| Alan Sondheim on Tue, 20 Jan 2009 06:02:18 +0100 (CET) |
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Alan Sondheim <sondheim@panix.com>
looking for aylan whirr whirr whirr
when the meet
Check out installation in Second Life by DC Spensley (fwd)
Complaynte of Numbers
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Date: Mon, 12 Jan 2009 02:31:11 -0500 (EST)
From: Alan Sondheim <sondheim@panix.com>
Subject: looking for aylan whirr whirr whirr
looking for aylan whirr whirr whirr
http://www.alansondheim.org/ lookingforyou jpgs
julu twine is looking twine for dojoji twine looking for you aylan dojoji
dojoji twine
whirr whirr whirr
julu twine is looking for you fly up go in look up look up numbers go in
fly up dojoji is looking for you
whirr whirr whirr
julu twine is looking for you fly up go in look up look up numbers go in
fly up dojoji dojoji is looking for you
whirr whirr whirr
julu twine is looking for you fly up go in look up julu dojoji go in fly
up
whirr whirr whirr
julu twine is looking aylan dojoji is looking for you julu dojoji is
looking for you
whirr whirr whirr
julu twine is looking twine for dojoji twine looking for you aylan dojoji
dojoji twine
whirr whirr whirr
look up then fly in objects jump away from you - objects flee you
sensor: noone around
whirr whirr whirr
julu twine is looking for you fly up go in look up look up numbers go in
fly up dojoji dojoji is looking for you
whirr whirr whirr
twine is looking twine now for dojoji twine looking for you now aylan now
you you you julu twine
whirr whirr whirr
aylan julu is looking for dojoji twine looking looking aylan twine
touch me to teleport to skysphere
whirr whirr whirr
aylan julu is looking for dojoji twine looking
julu dojoji you you you julu dojoji you you
whirr whirr whirr
julu twine is looking twine now for dojoji twine looking for you now aylan
now you you you julu twine
whirr whirr whirr
aylan twine is looking julu twine julu dojoji go in fly up
aylan julu is looking for julu twine looking julu dojoji
whirr whirr whirr
aylan julu is looking for dojoji twine looking looking aylan twine
julu dojoji you you you julu dojoji you you
whirr whirr whirr
aylan julu is looking for dojoji twine looking looking aylan twine
julu twine is looking julu twine now for dojoji twine looking for
whirr whirr whirr
you now aylan now you you you julu twine
whirr whirr whirr
julu twine is looking for you fly up go in looking look up numbers go in
fly up dojoji dojoji is looking for you
whirr whirr whirr
julu dojoji is looking for you
whirr whirr whirr
whirr whirr whirr
http://www.alansondheim.org/ lookingforyou jpgs
whirr whirr whirr
whirr whirr whirr
whirr whirr whirr
twine twine
dojoji looking
looking for
for dojoji
you twine
aylan looking
whirr whirr whirr
whirr whirr whirr
whirr whirr whirr
julu numbers
is in
you is
go you
in fly
up go
up look
numbers up
looking
fly for
aylan twine
objects then
flee you
sensor: noone
noone
around
around
to
teleport touch
me
skysphere
whirr whirr whirr
whirr whirr whirr
whirr whirr whirr
whirr whirr whirr
whirr whirr whirr
http://www.alansondheim.org/ lookingforyou jpgs
http://slurl.com/secondlife/Odyssey/48/12/22
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Date: Thu, 15 Jan 2009 00:55:27 -0500 (EST)
From: Alan Sondheim <sondheim@panix.com>
Subject: when the meet
when the meet
when they dance for joy
when they meet up here there is an offering each makes to the other, but
neither can procure touch; everything revolves around, resolves within,
the lineage of sight, citation, site. sight, citation, site = permissions
= property, intellectual, flesh, sheave-skin. what might be traded might
be taken back. what is given is never lost.
what happens is that they take time to load and sometimes the clothing -
julu's contraptions for example - don't load - s/he appears naked 'in the
ordinary sense' - dojoji without the apparatus on the other hand has no
organ at all. what happens when they meet - they remain at a distance -
nothing touches - there's nothing there to touch, nothing there to do the
touching - this is called an 'encounter,' this might be called 'intimacy.'
the sinusoidl delineates bounded spatial regions of avatar and particle
movement; the regions fade out and change dimensions in a highly trigono-
metric way.
http://www.alansondheim.org/ode01.png
http://www.alansondheim.org/ode01.png
arena of skulls and faces
http://www.alansondheim.org/ode02.png
julu twine and aylan dojoji on first encounter;
julu is surrounded by her veils which generally glow.
http://www.alansondheim.org/ode03.png
another view from below; avatars look through each
other in encounters, much as humans do.
http://www.alansondheim.org/ode04.png
reverse view. these organs don't fit; everything
and nothing is visual, which is granted primacy:
'beneath the sign of vision' - 'beneath the visible
sign.
http://www.alansondheim.org/ode05.png
aylan dojoji naked without prosthesis which has yet
to appear after login: the waiting body, vertically
supine.
http://www.alansondheim.org/ode06.png
aylan dojoji with prosthesis attached; this is a
night revealing the bottom of the sea, diluted and
abstracted landscape.
http://www.alansondheim.org/ode07.png
http://www.alansondheim.org/ode08.png
http://www.alansondheim.org/ode09.png
ode to joy after encounter: aylan dojoji dances
alone according to the thrustext biovision hierarchy
file; julu twine is nearby.
http://www.alansondheim.org/ode10.png
julu twine without hir contraption; this conception-
body has been hidden by the veils. this is shortly
after logon, before the veils have had a chance to
form.
http://www.alansondheim.org/ode11.png
julu twine with full veil regalia, performing in
intermediate space between sea and land and air,
representations thereof.
http://www.alansondheim.org/ode12.png
http://www.alansondheim.org/ode13.png
http://www.alansondheim.org/ode14.png
groupings of parallelopipeds: the white box
contains aylan dojoji moving according to motion-
capture bvh files; the particle emissions are
bounded and grouped as well. the white box
changes shape, reflecting the avatar movement -
the blue boxes move and fade out, following their
particle groupings.
http://www.alansondheim.org/sinusoidl.mov
short video of boxes in motion.
For upcoming Arena NW(101,65,37) installation in Second Life:
1. Dropping those objects which have been taken - piled, flight: every-
thing flees, there's always clear space.
2. Physical objects: non-phantom, but dropped, held in position, but
whatever for?
3. Something tawdry, indigestible.
4. Flight to such a degree that they soon tunnel out of site (for most
settings), head out of world - the site has to be _tended,_ constantly
refurbished. Tended = a tendency to _disappear._
5. To work on _inpenetrable_ sound.
6. To work on transparent non-phantom objects: another position.
7. Intensities as things meld into one another - in the form of a debris
field.
8. Debris field = Gaza-slaughter. (title?)
| Eail archive: http://sondheim.rupamsunyata.org/
| To access the Odyssey exhibition The Accidental Artist:
| http://slurl.com/secondlife/Odyssey/48/12/22
| Webpage (directory) at http://www.alansondheim.org
| sondheim@panix.com, sondheim@gmail.org, tel US 718-813-3285
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Date: Thu, 15 Jan 2009 19:02:03 -0500 (EST)
From: Alan Sondheim <sondheim@panix.com>
Subject: Check out installation in Second Life by DC Spensley (fwd)
This message is in MIME format. The first part should be readable text,
while the remaining parts are likely unreadable without MIME-aware tools.
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This is really wonderful - I loved the kilometer-high drawing! - alan
---------- Forwarded message ----------
From: DC Spensley <spensley@pacbell.net>
Bio:
DanCoyote Antonelli:
The avatar DanCoyote was created as the proxy for David =93DC=94 Spensley i=
n the=20
virtual world of Second Life. The name DanCoyote is derived from Cervantes=
=92 Don=20
Quixote and in honor of a coyote that Joseph Beuys lived with for a time at=
the=20
Ren=E9 Block Gallery in New York during his 1974 action, =93I like America =
and=20
America Likes Me=94.
DanCoyote=92s costume is intended to be simple and low bandwidth, placing t=
he=20
emphasis on work outside of the avatar. Each detail of DanCoyote=92s garb,=
=20
however, has significance. Yellow and black are high visibility colors and =
also=20
the official colors of the City of San Francisco. The gold bands on his arm=
s=20
and legs symbolize a release from the bonds of gravity and physicality. The=
=20
wand in the left hand is called a =93caduceus=94, which refers to the=20
transformational nature of the Greek god Hermes. Caduceus .03 is also a one=
of=20
a kind virtual tool, custom programmed to project commands to metamorphosiz=
e=20
objects and installations from a distance.
DC Spensley
An alumni of the San Francisco Art Institute, DC Spensley has lived and wor=
ked=20
in Northern California since 1986. Spensley wears the hat of writer, direct=
or,=20
cinematographer, composer, performance artist and most recently has appeare=
d as=20
the avatar DanCoyote Antonelli in the virtual reality simulation of Second=
=20
Life. While most people jealously guard their pseudonymity inside this=20
alternate reality, Spensley attempts parity in both worlds and has exhibite=
d=20
internationally at the ZeroOne/ISEA conference in 2006, the Dutch Electroni=
c=20
Arts Festival 2006 and Ars Electronica 2007.
About the work on exhibition at ARENA:
I call this grouping "Recent Retrospective" because it contains art from=20
different bodies of my work done in the last three years as an artist in=20
residence in the virtual world.
Most prominent is the nearly kilometer tall assembly entitled "Drawing".=20
Drawing is neither a drawing or a sculpture, but is rather a conceptual ton=
gue=20
and cheek reference to both kinds of artifact that ironically cannot exist =
in=20
simulated space. Drawing informs viewers about scale in the virtual world i=
n a=20
way unlike most constructions found in SL by negating the figurative contex=
t=20
and pointing out the "avatar powers" of a viewer. This encourages a viewer =
to=20
become more aware of their configuration options and invites the viewer rea=
lize=20
a new level of proficiency in experiencing simulated space. The mute monoli=
ths=20
animate glacially, too slow for the eye to perceive and foreground a sense =
of=20
the volume of space displaced by the work. Viewers take a chair conveyance=
=20
available at the "Drawing" sign which carries them up to a vantage point hi=
gh=20
about the sim.
Also on display:
"Pixel Board", a binary feedback social sculpture. Viewers click squares on=
the=20
smaller panel and this input appears as output on the larger display, which=
is=20
then visible from a great distance. Pixel Board explores the social urge to=
=20
leave graffiti, but in a one-bit, black and white icon format.
"Mutant Hossies". These three weird quasi-horse artworks are remediations o=
f a=20
classic sculptural form and displayed like bronze statues on marble platfor=
ms.=20
They are a "mashup", or reworking of an original horse sculpture give away =
free=20
by Second Life artist Nomasha Syaks. Mutant Hossies have embedded scripting=
=20
that causes subtle animations to play that support the fanciful variation o=
f=20
horse depicted.
"Tomb Maze" Tomb Maze uses embedded reflexive scripting to create a tomb-li=
ke=20
maze that people are encouraged to navigate their avatar through. The maze =
is=20
possible. It does take some patience, so there is always the chance an=20
impatient avatar might become trapped and need to find other means of escap=
e!
"Very Silly Militude" is not what it seems. Very Silly Militude characteriz=
es=20
the quality of verissimilitude superficially. But when set to midnight, a=
=20
viewer walking through will see light cast in unusual ways. The exterior la=
yer=20
of the work is a deliberate misdirection and while it appears to be about t=
he=20
movement of heavy objects in space, it is really about the way light is=20
occluded by them.
Thanks for viewing!
David "DC" Spensley is DanCoyote in SL
Concurrent with the New Media Caucus panel Space: The New Frontier at the=
=20
National CAA 2009, =93@=94 is an exhibition that examines space and site.
With simultaneous locations in Los Angeles and Second Life (SL), =93@=94cha=
llenges=20
artists to consider place & placelessness from within the context of networ=
ked=20
culture.
The physical gallery space will be replicated within SL, featuring an actua=
l=20
window between the virtual and real worlds to observe and be observed.
The exhibition space will feature a floor-to-ceiling projection and a strea=
ming=20
video camera. This wall will serve as the interface between the Real Life =
(RL)=20
in the gallery and its replication in Second Life.
The intent for =93@=94 is to exploit the philosophically rich mirroring bet=
ween RL=20
and SL, as well as the paradoxical condition of being the observer and=20
observed.
CALL FOR WORKS:
Three aspects to the show will be curated separately but are expected to=20
connect conceptually:
1) installation in RL: a heterotopic space - "other space" or "alt space"=
=96 that=20
contains the projection from SL and that can be modeled in SL. The artist =
is=20
not responsible for creating the SL model.
2) video screenings: works concerning space and place vis-=E0-vis RL and=
SL.=20
These works will be screened in an adjacent space in RL and streamed in SL
3) works based in SL that may cross RL boundaries. Objects and performances=
=20
originating in SL that consider and make use of the synergistic interplay o=
f=20
RL/SL localities. Work may exist in either or both spaces.
Exhibition site: Southern California Institute of Architecture, Los Angeles=
,=20
CA, and Seventh Eye in Second Life.
Installation will take place at the end of February
Formats:
- Works may be in any medium. ( submissions must be web links)
- Physical works MAY be reproduced in the SL space.
- Please consider the exhibition context and propose new and existing works=
=20
that fit this hybrid space.
- Links to high compression downloadable quicktime are recommended, suggest=
ed=20
length is 3-5 minutes.
- The gallery is approximately 20' x 60' (detailed diagram available upon=
=20
request)
Deadline: January 26
Please send proposals or documentation links to:
gallery@arsvirtua.com
On Jan 15, 2009, at 11:12 AM, Alan Sondheim wrote:
>=20
>=20
> - This is amazing - please send me a description and I'll send it out to=
=20
> various lists etc. I particularly like the drawing which seems unique to =
me=20
> and the aesthetics are incredible. - thanks, Alan
>=20
>=20
>=20
> | Alan Sondheim Mail archive: http://sondheim.rupamsunyata.org/
> | To access the Odyssey exhibition The Accidental Artist:
> | http://slurl.com/secondlife/Odyssey/48/12/22
> | Webpage (directory) at http://www.alansondheim.org
> | sondheim@panix.com, sondheim@gmail.org, tel US 718-813-3285
--0-412167772-1232064075=:24121--
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Date: Mon, 19 Jan 2009 09:00:57 -0500 (EST)
From: Alan Sondheim <sondheim@panix.com>
Subject: Complaynte of Numbers
Complaynte of Numbers
1. There's no danger, I was about to put up images of cables inserted into
rectum and vagina, a means of internal recording motion capture with a
more than singular node. I decided against this, giving in to censorship
and the deepest desire not to offend, not to antagonize, not to be
antagonized, not to be offended, not to be under attack. Cowardice!
2. There's no danger, part-objects flying about everywhere. In the central
sphere or grounded skysphere, two floor panels slide against one another
and everything and everyone contributes to a story about power and body,
sex and longing, death above all else.
3. There's danger. At night I think of dying, I no longer sleep. At three
in the morning, now early and late for me, I erased my inbox; I no longer
think clearly, the world is fuzzy and I bumble about utterly exhausted.
4. There's more than danger with somewhat blurred vision in both eyes:
what am I looking at? Why am I looking.
5. There's more than anything. At night I think of dying. And I implore
you, I more than implore you: download everything from my site, as soon as
possible. Do this once a month once every other month. I am unsuccessful
in publishing; my work is online, fragile, always close to elimination.
Download and keep the texts alive after I'm gone.
6. There's more than nothing. After I'm gone someone will see images of
this exhibition or other work, perhaps read a text or listen to some sound
and that will begin a _process of recuperation,_ re-installation. Dead, it
will do me no good, just as the mini-revival of my albums and some new
ones do me no good now; it's too late, I'm too close to death or at least
far too close to thinking about anything else.
7. Nineteenth century humor, for example Thackeray's writings for Punch,
just doesn't seem funny - there goes the structuralist accounting for the
phenomenon, as far as I'm concerned. Something else is at work, something
untoward, something untoward this way comes.
8. If my work were to survive on your hard drive, then who will comprehend
any of it in the future? In West Virginia, we were happy; I had a lab, we
rented a small house, there were birds, I had an assistant who could
program, we could explore one strange place after another, we had good
and easy-going friends who made no demands, and we made none in return.
Most importantly, my work had a context, people who were interested in it,
the possibility of publication, public talks, a conference. Returning to
New York, with everything suddenly cut off, I no longer sleep, collapse,
am collapsed, wait for a _reconciliation_ with my own body of work which
never comes.
9. Second Life nauseates, defuge sets in; the fact that new pieces are
installed and the whole tuned almost daily doesn't help when so few people
visit. I've had over 1600 over a period of months, something a website
might get in half a day. I recognize the difficulty of navigating and even
beginning Second Life, but there's the possibility of exploring an entire
virtual and new world 'out there' and how often does that happen?
10. In sleeplessness today I thought of writing about my enemy encounters
with V.A, B.M., G.S., D.G., so many others, but already I fear giving more
than getting, the names reduce to initials out of a cowardice that won't
let me alone.
11. So much sexuality in the Second Life installation - faces, organs,
some arms and feet, no full or replete bodies, at least none that I
remember. Literally I lay myself on the line, cut myself off. I want
friendship without the premise or promise of death. The faces and organs
spell words and murmur, the hands and feet sign themselves in and out of
existence, I pretend to write through blurred vision, an experiment,
through greater and greater sleep deprivation, an experiment, through
double melatonins and wine, through noise-machines and temperature
control.
12. Let me see, I'd say something about the Middle-East.
http://www.alansondheim.org/danger2.png
http://www.alansondheim.org/danger3.png
http://www.alansondheim.org/danger4.png
http://www.alansondheim.org/danger5.png
http://www.alansondheim.org/danger8.png
http://www.alansondheim.org/lockup3.jpg
http://www.alansondheim.org/lockup4.jpg
http://www.alansondheim.org/lockup5.jpg
These things speak for themselves.
(There were going to be a hundred: We're all lucky he stopped.)
http://slurl.com/secondlife/Odyssey/48/12/22
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