emotional harangue among actants among others and ourselves

*/last of the mocap series/*

http://www.alansondheim.org/emotionalharangue1.jpg STILL
https://youtu.be/p4Kz22CKfAA  VIDEO
http://www.alansondheim.org/emotionalharangue2.jpg STILL

can you tell me can you tell me what this is
about? Sometimes I wonder if scratch that no turn
back. Sometimes I try to make sense of emotional
states and their conflicts when I'm working in
motion capture. Then I look for time reversal and
time forward and where they cross in the middle
and where they're bookended at both ends of the
segment that I'm creating. And this way I wonder
what it's for how the body can move supine or
otherwise in one or another Direction. or then
simultaneously. You understand what I'm saying
here. At least to the extent that if you do
understand you can begin at the end and work your
way forward to the beginning. If you worked away
backward it would be no transformation of time no
alteration inside. But there is such a thing and
that's what's occurring. There are people in
Conflict who are fighting. There are people
holding hands who are dancing. There are people
who are shuffling on the floor hiding from
everyone and everything. There are people who are
in the state there are people who are in a state
of exaltation. There appear people. There are
people who think that they are close to death.
Who are waiting for death. Or moving in forms
that they might consider their last movements.
After after death there are still movements but
they are immediately forgotten by the mind that
has also disappeared.these are things these
movements these residences that we have to
remember we have made that we have to know that
they will remain after us that they will be
memorials Graves tombs Caverns repositories
directories of our being.our beings themselves
more than simply words on the paper or movements
in spaces which have long since disappeared.we
who evolved ready we who have already been
forgotten await the. we will have already been
forgotten await see. Whither thou hastened or
thou are waylaid by the side of the road or in
the grave we are still here. Awaiting thee. Do
Not tarry on the road but come forth with come
forth with us to join us.

Arm and Hand Access Grid Worldwide Tour

http://www.alansondheim.org/armandhand.png
https://youtu.be/j9CPU9XP5ys video

from nearly before or after 2007-2008, early experiment using
the access grid which allows multiple cameras and microphones
from a single location to connect to the same at another
location. designed for invisible walls classroom use, the setup
is complex. we used the access grid at the virtual environments
lab at west virginia university in a number of ways; one of the
main ones involved bouncing an audio/video signal around the
world through other nodes, back to the lab in morgantown. by
using video feedback, i.e. the camera and mics aimed at the
receiving monitor, we were able to create closed circuits or
loops from morgantown through various other sites, including one
in new south wales, australia. in other words, the usual video
feedback occurred, but with delay occasioned by each layer
looping the entire globe. we used azure carter as subject for he
most part, looping sound and site and motion; in this earlier
experiment (which btw involved multiple computers in morgantown
as well; the software was complex), we used my waving hand for
proof of concept. the delays and color shifts were the result of
the signal travel. the procedure reminded me of the even older
email bangpaths that allowed one to send a file anywhere through
specified nodes.

in those days, not very long ago, i was also thinking about net
weather, the conditions of the routers, interferences, bad
connections, local gaps, and so forth; i remember being able to
tell the 'state of the net' in a particular direction by the
rate and interruptions of packets. michel serres' book on the
parasite was in the back of my mind, as was the collection of
texts on the very early net by peter salus. the only originality
i could claim here is the use and present/presencing of the body
itself, the somatic and almost punk register of the process or
piece, something i continue to think about and work through.
because we have our bodies have us and it's the appearance of
this momentary thickening we call a lifespan that's dependent on
the permeability of the world's fabric.

this quote from a letter by dylan thomas to pamela hansford
johnson, in october 1933, is relevant i think:

"I fail to see how the emphasizing of the body can, in any way,
be regarded as hideous. The body, its appearance, death, and
diseases, is a fact, sure as the fact of a tree. It has roots in
the same earth as the tree. The greatest description I know of
our 'earthiness' is to be found in John Donne's _Devotions,_
where he describes man as earth of the earth, his body earth,
his hair a wild shrub growing out of the land. All thoughts and
actions emanate from the body. Therefore the description of a
thought or action - however abstruse it may be - can be beaten
home by bringing it on to a physical level. Every idea,
intuitive or intellectual, can be imaged and translated in terms
of the body, its flesh, skin, blood, sinews, veins, glands,
organs, cells, or senses."

(p. 27 The Notebooks of Dylan Thomas, ed. Ralph Maud.)

the gendering is a problem of course, but the thinking of earth,
what i consider emanant, emanation or effluvia, avatar imaginary
or dissipating rootedness, relates well to the body immersed
within the access grid, or rather the imagine/imaginary of the
body traversing the access grid, and i, we, they will stop here.