Millennium performance text 3/18/06

[Alan Sondheim]

Millennium performance text 3/18/06

pronouncements, but on what? imperfectly, we are fastened to the world.
pronouncements, but on what? imperfectly, we are fastened to the world.i
onlyhave a limited amount of material here, I'll have to repeat myself,
apologies because this doesn't happen in the real world. there are two
united states airplanes pronouncements, but on what? imperfectly, we are
fastened to the world ad there are many ways that the world speaks to us
through vibrations of buildings or radiations in isolated places where we
can listen without or outside the power grid the world manifesting itself
through the body of dance. through the upwelling of inconceivable matter.
through manifest electromagnetic waves surrounding us. through eventhis
mouse and this mousepad and antenna connected, irradiating, fulfilling dna
with subterfuge with the possibility of decay, decadence, pronouncements,
but on what? imperfectly, we are fastened to the world my life is taken up
with power grid in precise increments of 60 or fifty cycles per 2nd.
*/probe 1 of the doctor/* I'm from this moment on, using up all my
material < -- > interacting with the and at the same time, the presence of
the doctor or antenna, the splitting of the body, the memory of some
things you might have come across before, or sometimes entirely new, the
revelation of the antenna coupling the dancer to the earth/ground of the
material powergrid substratum of the grutli room rehearsal space in
geneva. foofwa was bleeding after this. next time we are moving the piece
to the alps. anything in the environment that conducts
body < === > electro-surface . pronouncements, but on what? imperfectly,
we are fastened to the world < === > vlf radio desiged by nasa in the
background. we are breathing ions. ah this is so damn clumsy,you're seeing
the inside of my mind < === > inside of muscle memory of dancer mind/body
of what is recalled from past choreography or so it was explained to me.
this was a particular move (left) that could only be repeated once while
on the right (right) is the dictionary order of nude descending a
staircase divided in the midst of itself . ultimately, of course, the
dancer is completely alone on the stage pronouncements, but on what?
imperfectly, we are fastened to the world by the stage, by the appearance
of the stage. recently it has come to our intention that we are living the
shadow of the cave of course you've heard this all befrore (that little
boys love women). (that lkittle boys are scared of women) that little boys
need to be probed. that the probe is based on the simultaneity of
repetitoin. at this point sondheim was 'in the midst of ' a system of
imags almost always out of his control, dancers he worked with with their
own agenda, past memories both problematic and inaccessible,
pronouncements, but on what? imperfectly, we are fastened to the world,
the world tethered by such pronouncements, on the surface of the world,
not hardly but in reality on the surface of the fastner itself. did i tell
you this story? about the fantasms of henri rousseau, were genevan or
francais, in the midst of the grutli rehearsal space, simultaneous
confession and exact resistance of logic? perhaps you have heard something
of the island where the birds were raised?
when the phone rings you can look at the voice.
this is true. i haven't heard from her since.
pronouncements, but on what? imperfectly, we are fastened to the world.
this is true. the president is in the plane.
(think: geneva international)
FILMED IN PAL!
thank god that's over with. i said ok that's over with.
the floor of the grutli is a deleuze-guattarian nomadic surface of the war
machine becoming-woman. (it's theory, so it's ok if it's boring,
apologies, I'm sorry). well the idea of this is that the president can't
get into the big meeting because he can't clear security so he's stuck
there with the rest of the iraqis.
"when the war machine meets the security clearance of the radiation-ether
molecular transformation of the GOD=DOG it's impossible to predict the end
of narrative, much less the end of narratology" -= John - Jacks -
Rousseau.
"alan and azure at home while he (alan) was working on this precise video
and performance (material)" - sartre. the bodies twisted _among
themselves_ not among others, i.e. responsible for the central content of
the image, Courbet's >entrance and exits from the world in the midst of
the family drama/<===? (yes, well, chaos). i keep thinking, it's never
enough, there's never enough images, since images =
tethering,pronouncements, but on what? imperfectly, we are fastened to the
world = there's no possibility of more / less in this regard - as i've
said many times before, this is the totality of my still image work for
the past twelve years. one can only hope for example that if there are
sufficient numbers of such things, the bodies remain fasted.
do bodies remain fastened, ever?
remain fasted? the anorectic body sufficient in that state, the dancer
disappearing into the dance, the muscle disappearing totally into memory,
nothing remains / noting remains / but memory - almost every dancer i've
known has had bouts of anorexia/bulemia - many were abused - the dance is
simutalenously a remembrance and a forgetting, the muscle simultaneously a
release and a binding - "When I make these imags, I"m sure there's an
order to them, a logical progression from one toanother. Then I realize,
it's all a fiction, just like the narative pronouncements, but on what?
imperfectly, we are fastened to the world this could be relayed from one
to another in just about any direction at all and the whole will hold. "
at least perhaps not for the viewer but in temporal sequence, which is
after "all" a"ll we have - if you're not following this, we began
(earlier, i.e. before this._) i.e.representation of teh blown-out
form/ulation of the dancer < == > split / spaltung. on one side the shadow
in the shadow of the other (shadowed by texture-mapping of the identical
image) leading to birth: <===> Julia Kristeva would be out of a job if it
wasn't for the matrix...
or that highly specific location in geneva where the rhone and arve meet
with the transformation of the waters.
thank you.