i woke up one morning to find out i had been cloned.
it was painless, really. a few bits of data lying around had suddenly been reconstituted into a new me. clippings whose sum value approaches zero as the replication approaches infinity, the baudrillard-image might suggest, xeroxing their way across the ecosystem.
i didn't feel a thing…
'Replication has also long been manifest in the sportocratic imagination, its genealogical roots reaching back at least to the mechanical reproduction of baseball cards and bubblegum. But these flattened, lifeless representations lack sufficient dynamism for a culture hell-bent on its own immortality, and so we begin to animate the images by repurposing the data stocks and flows generated as a derivative of baseball's industrial production process. At the cusp between biomechanics and the age of simulation, Strat-O-Matic becomes the link in the helical chain connecting Branch Rickey and scientific management in baseball with Billy Beane, the sabermetric revolution and the third wave eugenics of baseball performance.'
'Though the vector of flow is clearly directed towards an obsolescence of the body, the question is if we will continue to see periodic eddies in the current, in which we "retrieve" the body or parts thereof for one purpose or another.'
* * *
Bodies without organs.
Bodies without bodies.
_____ without _____.
Fill in your own fucking theory.
'This identity constellation of corporate consumer control is marked by its architecture and interface, and it obscures its bodily remainders in the process. In navigating multiple identities, on the other hand, one explicitly acknowledges the remainders, indeed embraces them. The former is an administered, metered and exchanged passage into the skin, while the latter offers a contingent and outward invitation of the flesh.'
January 30, 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.'
Boris Groys, 'The Weak Universalism', e-flux:
"Today, in fact, everyday life begins to exhibit itself—to communicate itself as such—through design or through contemporary participatory networks of communication, and it becomes impossible to distinguish the presentation of the everyday from the everyday itself. The everyday becomes a work of art—there is no more bare life, or, rather, bare life exhibits itself as artifact. Artistic activity is now something that the artist shares with his or her public on the most common level of everyday experience. The artist now shares art with the public just as he or she once shared it with religion or politics. To be an artist has already ceased to be an exclusive fate, becoming instead an everyday practice—a weak practice, a weak gesture. But to establish and maintain this weak, everyday level of art, one must permanently repeat the artistic reduction—resisting strong images and escaping the status quo that functions as a permanent means of exchanging these strong images."
(to laura dean, for fanning the flames)