real-time text from my performance, E-Poetry 2003

[Alan Sondheim]

this turn of fate, this monument:: <::> this transformation
<==> you can meet her in the dark <::> it's the best
place:: lit by the fires of the burning of the national archives -
koranic interlude - you can wait on the floor -
there are always times for bodies
i just got this guitar today
so I thought I might use it in the performance.
but then I don't think it would work
since I didn't plan ahead of time for a guitar
but I couldn't resist this one, it cost $40
(that's almost 40 Euros!!!!)
thank yoU! thank you!!!
can you hear me!
thank you!Q thank you!Q
the guitar cost forty Euros -
anyway....
on the left anja schmidt on the right foofwa d'imobilite
foofwa the immobilized -
whenever one moves, there's a relationship with an object
which is a three dimensional cauterization of the real

this is one of those objects - this isn't a joke -
embedded in time and space-varying projections
transforming him into an object - you're seeing the object

oh oh oh I'm beside myself now!
I"M BESIDE MYSELF NOW!
HEHEH!

so anyway - you're seeing the object up there on the screen
- which is in front of me and what if I couldn't type this fast?
I'd be at a loss
becauxe when you work three-dimensionally it's all,
not even object-oriented,
but it's the object itself - it'
s the object itself - going inside and outside of the object -
whatever happened to the body 0-
it moves through violent spaces
	EACH SPACE IS AN ARCHIVE
	EACH SPACE HOLDS ITS OWN AS AN ARCHIVE
	YOUI CAN'T IMAGINE, YOU JUST CAN'T IMAGINE..
	`	parameters...there are always
        parfameters movinag -moving - parameters at work
caressing the space
forcing you through it / into it
THIS IS THE SPACE OF ARCHIVES
THIS IS THE SPACE THAT WAS DESTROYED IN IRAQ
the space in which an object appears in fifty-thousand
or onehundredseventythousand forms and formats.
a FOREST OF SPACES AND APPEARANCES

information carried down to the molecujlar level
look on the LEFT - the viruses from SARS
look on the right - who or what is in the LAST STAGES -

SO WHEN YOU STUDY HITTITE
you learn in cuneiform that there are...
strata,l layers, images, viewpoints -
for example, you might want to write MY FATHER
which is my name in hebrew - avi - but you would
use Akkadian - in the middle of the Hittite - you'd
write ABU.YA - like that - you can see the resemblance,
but the hittite's gone, just like it
s gone when sumerian or other forms, mitanni for example,
start to take over - it's ALL a matter of layers and images -
and their destruction - their overt destruction.
what we need is something else - another form/at - for
example the mouth - or a litany of plants and animals
and humans on the way to extinctions...
as plato would say - you get the IDEA....
Kant you understand?
by the way Florian is here, hello Florian! we were waiting...

which reminds me - that there are no end to them,
the protocols and codes and codecs and levelling,
no end at all to them....
so what you're seeing now... flattened images,
collapsed parameters - every image is already an imperialism,
a destruction - every image loses the memory of its creation....
thank you very much for coming and remember
that the war isn't over yet
that people and archives are being destroyed
that no protocol can rescue them
that everything is invaded from within
that i'm playing a guitar with five strings
that the six one is gone as in 'gone world' -