lines, flights, labouring

fly...

In the contemporary society of control, "naked life" should be most often understood as a statistical concept of the body. While this may indeed (and must) have significant consequences for the naked animal body proper, it should first and foremost be considered a databased abstraction of the dividual social body (the predictive model of simulation described by Baudrillard) thereafter given spectacular flesh as the body+body+body of libidinal desire.

In this sense, we may consider the sponsorship of a sports team jersey as a particularly effective and salient communication strategy in that it allows for the corporate brand or meme to propagate in a fashion far more molecular than what is possible with any focused traditional advertising campaign (the molar). Couple this with the poverty of gesture (or physical literacy) that emerged in the labouring classes during the latter half of the twentieth century, and the sports sponsorship of naked life comes to resemble a straitjacket of signification.

The "closer" the skin of spectacle is to the animal body proper, the more virile the transmission.

Memories of the World, Cup Overfloweth

Zidane Eyes

June 2007: It was a little blonde girl, perhaps twelve years of age, kicking a soccer ball by herself. Her actions were deliberate, as if trying to develop some skill that she couldn't quite muster. Since a few of us had taken to kicking a ball around in the hotel courtyard after lunches, I motioned her to send a pass in my direction. We started kicking the ball back and forth a few times, after which she asked me a question … in German. I didn't understand a word she said. I was also trying to ask her a question, and tried to communicate back to her in English, equally to no avail. Our gesticulations couldn't overcome the language barrier either, and I could sense her becoming increasingly frustrated with this inability to make ourselves understood.

___

"Only apparently do the players relate to each other empirically as discrete terms, mediated by reflection and language. They relate to each other in their collective becoming, as a distinct ontological level doubling their substantial being. It is this collective becoming that is the condition of a formation like a sport, common to the proto-game, the official game, unofficial versions coexisting with it, and subsequent variations of them all" (Massumi, Parables for the Virtual, p.76, emphasis added).

___

July 2006: Beaded with sweat, under the glare of the stadium lights and the softer Berlin twilight, his head gleamed like a golden ball …

Memory

"I'd like to risk a basketball example…" (Brian Massumi, Saas-Fee, August 2010)

___

June 2007: Isn't sport great sometimes? I left our random encounter and continued up the cobblestone path, spirits buoyed. Danke schoen, little German girl, for making me smile as well.

Motion Uncaptured

re: Captcha

stay close, think with
a passage
together
expressing expression
to open the sky,
a double expresso
to double the
free falling flesh.

energy! ecstasy!
these are poor words
for expressing the falling
impoverished language
and bodies that fall.

becoming anew
with each spoken expression
ideas and thoughts and my
falling with you.

Treatise on Table Tennis

Relational Mesh

ping . . . : . . . pong

ping . . . : . . . pong . . . : . . . ping . . . : . . . pong . . . : . . . ping . . . : . . . pong . . . : . . . ping . . . : . . . pong . . . : . . . ping . . . : . . . pong . . . : . . . ping . . . : . . . pong . . . : . . . ping . . . :

ping . . . channeled phantoms of edison sublime . . . pong . . . aural corona the scramble of time . . . ping . . . rally duration to numbering game . . . pong . . . rhythm gives birth to the name of the name . . . ping . . . grip yields to grasp on our service and spin . . . pong . . . noise gives the slip to overexposed skin . . . ping . . . unchoreograph the frenzied ballet . . . pong . . . severed connect tournament tourniquet.

ping . . . :

ping . . . :

ping . . . :

>searching . . .

>searching . . .

. . . . . . .

B-Side Wins Again

babel, amsterdam

here we go y'all, time to play ball
athletic gestural poet.

food for the brain, beats for the feet
, or
that's what Chuck D told me
when he D'd it up so sweet
, and

Balso and Beck speak bball, too, with the
jab step pitter patter pen to paper platter
, and

BB bootyshakes the late-night bebop backbeat
at the Happy sweaty hepcat hardwood affair
, and

Bebe peeps the love for a future nostalgia
no-look bounce pass hard drive to nowhere
, and

Baby Jesus leaps from the free throw line
presidential prophecy in his Air Force Ones.

the erotics of the body athletic

relationbot

apprehension
a prehension
re: sean app
impression

press on him
hymn on this
come on with
knot on miss

cat's cradle multiple
affects
percepts
and language that always says the wrong things.

double SlitScan experiment

gesture is the mo(ve)ment through which flesh-wave becomes language-particle.

petals

gamespace

sight lines crisscross, crossfade into
exaggerated forensic muscle.

body stereoed,
flesh pollination
of thickening agents
in the urban channel.

colourful koi fish nibble traces of my bastard image
along cobblestone stagery.

digital clean stays the
current hygiene, no matter the decay
that foreplays in the
foldings of its skin.

cut through the wash.
articulate.

i love that function of you
on the rivermade of my newsfeed,
just like i still love those
other traces that remain of you, too.

* * *

(department of biological flow: gait surfing study number two, kalverstraat, amsterdam, 16:45)

yellow card, oranje card, red card

"oranje boven!" the memorabilia reads, a curious choice of words for the runners-up in that great football festival of the world. sponsored corporate schwag, propaganda, carnival, a meme science of learning to lose well: capital seems to have lowered its standards in the vectoral age.

but this is a calculated play, no? keep the party going, stimulate the chafed teat of the economy a little longer, turn the waikiki beach of gait surfing into canals of oranje gello. as with the winners of the great trophy, our first best loser may also be used as a thickening agent with which one is able to coagulate biological flows, from the molecular to fluid audience mass.

oranje boven

in the logo for foot locker shoes stands the referee: figure of authority in the spaces of sport, chimera of police and judiciary patrolling the privileged layer of lex sportiva. dark-haired, male, trim, the referee in the foot locker logo casts a watchful eye not directly at you, but rather around you.

every sales clerk at foot locker retail locations — no matter the body shape, size, sex, hair colour or skin tone — wears the same uniform of the referee, for they are the authorities of athletic footwear. draped in the pure binary of black and white, their asignifying gestural barcode of alternating uniform stripes stands in sharp contrast to those other markers of inventory management proliferating in malls everywhere.

oranje gello

it is crisp in black and white: on the one hand an even balance between Right and Wrong and on the other a visual noise that stands out against the vivid colours of packaged spectacle or everyday playing-in-the-world. from black and white to yellow card to oranje card to progressively deeper shades of colour (…like the tall woman walking through the square near bloemenmarkt, whose auburn hair caught the slanted 18:30 sun in just such a way…) and finally to red card and the full power of Language and Law.

there are no games left for now, no opportunities remain to avenge the contingent national identity. instead, we wallow in the luxury of our own failure: foot locker authorizes this second place finish.

(down the rabbit) holey space

a breath of fresh air, redolent of vuvuzela blossoms

there was a public outdoor screening on a restaurant wall a few nights ago at the end of the street where i live: "bangladesh defeats england in historic cricket victory." it was not projected through the partition but rather reflected upon the building’s facade. closer, yet further away.

oh, i *do* remember our identity tourism in tucson. there were cast-iron sculptures of lisa nakamura's body on every building, just like antony gormley in london. "inverted post-colonialism," i think, was the vogue.

context is not only a spatiotemporal phenomenon, but a (matrixial) psychic phenomenon as well. context suggests an increasing tendency towards harmonized (and dare we say synchronized?) co-resonance. it seems to me that context itself constitutes the stasis of monotony and that the coming-into resonance of and through alterity is what creates the openness.

did you know that amsterdam is the steampunk version of second life? delanda said they created this shit back in the 1400s! and then at some point lewis carroll wrote a virus and messed up the code. the game still plays in my console, but the graphics are a little distorted, you know?

how does third place, the "runner up in the exceptional case," change the relation between numbers one and two ("the best winners")? the ontogenesis of the third is an alter-accomplishment in its own right, no? how do we understand the third in terms of multitude and the very being-in-language of which virno, agamben and nancy speak? how does the third come into resonance of and through alterity? is openness created?

children both shy and fearless; translation, mistranslation, smiling without voices; does it really matter? tonality, don't think in terms of romanization! a new iron curtain; public, private, third spaces; be a switch; but it wouldn't be a very honest emotion if you could turn it off like a switch.

or am i flailing?

crushed blossoms in a vase of water

gesturing∞gesturing

Whether to privilege speaking or writing as the primary form of communication most closely representing and/or governing humankind's expressive potential — and the form that exists closest to thought itself — is a debate that has interested philosophers for some time. It is also what Bergson would refer to as a false problem, formed by the badly analyzed composite that considers the two as the same in kind.

The first critique we must address is that to even begin to approach the debate presumes we may distinguish pure forms of speaking and writing process, and indeed between the speaking and writing subject. But this is trickier than it appears. Those that seem to be writing may at times be speaking and vice-versa, depending on the context and the relation. Plato's dialogues, for example, are clearly spoken forms that have been committed to text. And with a sports television news anchor reading from a studio teleprompter, the spoken is but a temporary transformation that sees teletype become voice become the writing-with-light of video photography and electromagnetic transmission. Most modes of communication are in fact some hybrid of the two.

recorded waveforms

If we insist on understanding speaking and writing as pure forms, however, at least as they are used in common parlance, then we must first make the relational nature of their form explicit. That is, we must also consider the whom to which our communication is addressed and the ontogenetic character of our messages and technical apparatus. As Avital Ronell queries in "Delay Call Forwarding",

When does the telephone become what it is? It presupposes the existence of another telephone, somewhere, though its atotality as apparatus, its singularity, is what we think of when we say "telephone." To be what it is, it has to be pluralized, multiplied, engaged by another line, high strung and heading for you (p.5).

Should we not change the form of our written language in this document (a spoken dialogue to be sure), then, and first name these processes speaking-listening and writing-reading instead? This is not to suggest a purely dialectic approach. Even if we are to take the liberty of divorcing these binary relations from the total multisensory contexts in which they emerge, they nonetheless remain permeated through with noise, multiple codings, ignored bits, signal filters and suppressed utterances, all of which prove troublesome for what could otherwise be perceived as a cybernetic model of communication. The form is further compromised once the binary becomes several with the third-party audience member, innocent bystander, eavesdropper, translator or witness: the resultant multiplied fibres of relation and modulated degrees of exposure ensure that the acts of speaking-listening and writing-reading are never dialectic in their syntheses.

But this is not satisfactory, either. The left-to-right linearity of writing in Western languages is such that the first term of the composite usually becomes the privileged one (think first author status on a journal article). The speaker and writer purportedly become active agents in this scenario while the listener and reader remain mere passive vessels for message reception, or at best participants who actively formulate in response when the roles shift. To listen for the call is as significant a form of communication as the expression of the call itself, however, at times a priori or at least co-emergent. And to offer the call a response, re-route it to a more appropriate listener, or ignore it altogether are also significant forms of expression that further undermine the privilege of the first term in considering speaker-listener or writer-reader.

Should we acknowledge the generative potential of the relation between these two terms that continually unfold and fold back into one another, then, by substituting the infinity symbol for the hyphen? Should we name these concepts speaking∞listening or listening∞speaking or writing∞reading or reading∞writing, the first term in the pair receiving privilege in that particular context but each always existing at the flip?

calligraphy by gail frost, photoshop by sportsbabel

This focus on relation leads to a second critique of the debate between speaking and writing, which is that the two forms are different in kind because they infold time in different ways. We might suggest that speaking∞listening (again, as an ideal form) is aware of its relation in a particularly intimate fashion, owing to both a flesh-oriented spatial proximity and a simultaneity in time. Speech exists in a perpetual present, the utterance evaporating or dispersing into thin air along with the breath that gave it expression. Only the question of memory is left in its microturbulent wake.

Due to the complex relational interplays each brings to the process — along with their unique temporal trajectories and rhythms — both speaking and listening subjects resonate more or less harmoniously with one another at any particular moment in the dialogue or discourse. While there is a simultaneity in time that allows for the encounter, it does not necessarily imply a synchronicity. Speaking must thus be considered an emergent process towards the possibility of a tangential moment, or a touching of sorts. It is in this possibility of the tangent that simultaneity may become synchronicity.

As is well known, writing∞reading introduces what is called historical consciousness. "History began with the invention of writing," Vilém Flusser notes, "not for the banal reason often advanced that written texts permit us to reconstruct the past, but for the more pertinent reason that the world is not perceived as a process, 'historically,' unless one signifies it by successive symbols, by writing" (p.63). We should not be so quick to dismiss the banality of reconstruction, however, as it is grounded in relation: writing understands a different sense of history and future in that it abstracts its audience. One who writes can only approximate the relational nature of communication insofar as it is left open-ended; the future constructed by the written document is presumed in many ways to remain stable.

We may summarize the material aspects of relation in these ideal expressive forms as follows: a speaking body is met by a listening body, the threshold or interface between the two at the skin of the tympanic membrane; a writing body, on the other hand, is met by a reading body, the threshold between the two at the skin of the archive.

Courtesy of Zhang Huan

zhang huan
family tree
2000
performance

The skin is a surface, however. It wraps around a volume, encloses gesture.

Gesture precedes both speaking and writing. The latter two are not the same in kind but rather the same, or at least variations of a topology emerging from gestural expression. Gesture can either co-exist with or become one of these two more highly-coded forms — or some hybrid that finds them both interwoven — depending on the concepts of time performed by the moving body+bodies in question. It brings the coded acts of speaking and writing to the plane of immanence and the fleshy resonance of affect. Gesture is time in the always-becoming of volumetric embodiment.

If we are to continue considering "pure" forms and relationality, then the embodied movement of the gesturing body is likewise met by another gesturing body; nothing is in stasis. In some cases a coded gesture is given a coded response that more closely resembles speaking or writing, while in others the gesture itself is replicated. In yet other cases still the gestural codes are less apparent and the gestural response simply exists in the always-imperfect negative space of its other(s). Whichever case we are describing — and understanding we are bound to lapse into more abbreviated linguistic habits later in the document — we should for now name its process gesturing∞gesturing.

(from the introduction to "body+politics: towards a sporting multitude," a work-in-progress doctoral dissertation for the european graduate school of media and communications)

police state of anticipation

Courtesy of Anonymous Toronto Star Reader

police officers take in world cup action in advance of the g20 summit in toronto.
the security force for the summit will cost $1 billion.
(photo by anonymous toronto star reader)

"The species is what presents and communicates itself to the gaze, what renders visible and, at the same time, what can — and must, at all costs — be fixed in a substance and in a specific difference in order to constitute an identity." — Giorgio Agamben

Stadium Surfing

Feb. 2010: "The integumentary system of our artificial living consists of a series of interconnected layers, from the subcutaneous, dermis and epidermis; to hair, nails, horn and pelt; to clothing and architecture; to that vast and mostly invisible network of communication protocols we call the internet. Indeed, as McLuhan suggests, 'in the electric age we wear all mankind as our skin.' But these layers do not sit neatly upon one another, sedimented in neat parallel striae; there is rather a slippage between layers, a series of foldings and touch points emerging from the integumentary movements and flows. Call it skin tectonics: the shifts and rumbles between various layers that may at times rupture or crack the 'surface'."

* * *

Stadium Surfing

Idea for a Conceptual Art Project, No.22:

1. Take a sports stadium teeming with partisan fans.
2. Combine the pixelated card stunt with the spectator wave to create an 8-bit surfing avatar.
3. Ride that motherfucker 'round and 'round the stadium.
4. Synchronize wide-angle tracking shot.
5. Bail avatar headfirst into the wash.

* * *

Feb. 2010: "The gestural body is a moving body, and is thus always already a political one as well. The logic of skin tectonics suggests that such a moving body will never be fully captured by the tightness of its spectacular skin, for there will always be a slippage between integumentary layers. And it is this slippage that constitutes the contemporary zone of opportunity, of resistance, and of indifference."

(thank you to karima dorney for initiating the dialogue.)

Caveat Ludor

Venice Biennale Basketball

Giorgio Agamben, Profanations:

"More essential than the function of propaganda, which views language as an instrument directed toward an end, is the capture and neutralization of the pure means par excellence, that is, language that has emancipated itself from its communicative ends and thus makes itself available for a new use" (p.88).

"We must always wrest from the apparatuses — from all apparatuses — the possibility of use that they have captured. The profanation of the unprofanable is the political task of the coming generation" (p.92).

Memories of Venice

"Intuition is neither a feeling, an inspiration, nor a disorderly sympathy, but a fully developed method." (Gilles Deleuze)

Surgery

Inspired by the Brazilian artist Lygia Clark and her artworks featuring relational meshes, moebius strips and moving bodies, the artist locates the basketball mesh as a canvas upon which to explore a program of research-creation.

The mesh is actually a symmetrical grid whose striations link together at every knotty intersection. The immediate intuition is to cut it vertically down one side and lay it flat on the table, before giving the half-twist-and-reconnect required to form a moebius strip. The basketball mesh has now become a moebius mesh.

Surgery

Since the mesh is mass-produced in Taiwan with fibres made of synthetic nylon, the act of reconnection is accomplished by melting the severed ends together with a disposable butane lighter. Most cuts are treated; the ends are charred; bits of hot liquid nylon stick to the artist's fingers. The air is toxic.

Consider this intuitive operation to have been a stainless steel incision and cauterization inflicted upon a moebius topology that recognizes scant distinction between subject and object positions. Consider it to have been surgery.

Shibari

The artist acquires a second mesh canvas upon which to experiment. This time, however, the intuition is to take a spool of brightly coloured thread and begin to wrap it around the synthetic nylon fibre. Around and around, always in a clockwise fashion around the girth of the mesh.

Shibari

The artist stays in one segment of the basketball mesh, between two knots, for an indeterminate number of revolutions until it is felt time to move on. The thread is then wrapped around the knot and into the next segment, and so on until that particular spool is exhausted. Another colour begins and the psychogeographical drift through the segments of the mesh continues. The surgical cut is not permitted.

Sometimes the thread is wrapped loosely while at other times it is pulled tight, perhaps too tight. Interesting patterns of coloured thread and synthetic fibre begin to emerge. The girth of the meshwork is transformed with every turn, while trails from the end of a spool hang loosely in suspension. At other times the different coloured threads blend together, the beginning of a new colour overlapping where another had previously been.

As the process continues to unfold different techniques emerge, each with their own unique outcomes: thicknesses begin to grow; strategies to anchor a thread are developed; tensors attempt to leap across the chasms separating the various mesh segments. The architectural platform around which the threads are bound modulates its shape in reply. The relational tempo is slowed down dramatically, gesture becomes more pronounced. Consider this intuitive process to have been shibari.

Flip

The artist has the sense that the first piece remains incomplete. A long piece of brilliant ruby thread hangs from the second. Part of this excess is cut off with a pair of scissors and snipped into smaller segments, which are then tied into tiny tourniquets just above those cuts on the first mesh that remain untreated: brilliant ruby red bows complete the first sculpture. The severed thread on the second sculpture is not cauterized, meanwhile, its trauma remaining open-ended instead.