Charlotte Sometimes (Mudstep Jam)

lousy t-shirt provided by semiotextil(e)

1. We accelerate into the threshold to decelerate out the other side.

2. When one views a small farm while driving by in the hermetic confines of an automobile, the plot of land doesn't look so big. But get out of the car to walk in the field and the space begins to dilate. The rolling image has become an expanding volume. Now work that same field.

3. It is a question of tempo: smooth and striated spaces are not simply matters of intensities versus geometries, but concern speeds as well.

4. The problem with the theory of relativity is that for the layperson it is usually only applied in understanding cosmic or interstellar phenomena (ie. at the speed of light spacetime is compressed relative to our planetary frame of reference). But relativity has potential for us in the lived everyday as well: a change in velocities introduces distinct changes in the embodiment and perception of spacetime — by which we mean its active creation.

5. The threshold of holey space significantly modulates the vibrating fibres of matrixial intersubjectivity, partly through change in proximity, partly through change in velocity, partly through embodied archive and memory. Always through relation.

Several: "We are each constituted by more than one of these relational moebius strips, each of us several in our singularity. These relational fibres grow at rates different for each unique relation, to different thicknesses or densities of weave. Each one may be shorter or longer in total surface and decay at a different rate, despite being woven of essentially the same stuff. This is because the 'stuff' of which they are woven is both organic and technic, born of flesh, gesture and linguistic interface. And as these relations move to fibre optic communication networks there emerges a doubling or higher degree of complexity to the assemblage, with the moebius relations themselves becoming subject to a new moebius topology bounded by the here of local presence and the now of (nearly) instantaneous electronic transmission. These fibres, too, become subject to the rationality of industrial agriculture, this time in the form of social networking." (March 2010)

6. This phenomenon is most pronounced at the node, that location in the meshwork which stabilizes the web of relations but also most keenly and affectively senses the largest number of relational forces in tension or pull. For the node, passage through holey space constitutes the most dramatic shift in intensity experienced by any of the several.


7. Through gusts of wind that vigorously sway it back and forth the spiderweb holds on and persists, however, due in no small part to the strength of its nodes. Charlotte.

8. Unless it breaks. Sometimes.

9. The passage through holey space demands protocol (discrete particles) as well as performativity (resonant waves) to successfully negotiate the relational shift.

Tango: "Each of us forms a node in a broader network of these moebius relations. The web weaves through spaces and places both material and informational, mappings and tracings alike left in the wake of its continual emergence. But we must remember that this web emerges first and foremost from the moving body. The larger one's node in the network becomes, the greater potential for this moving body to form knots in these relations, knots somatically registered with a particular sense of anxiety. The moving body finds itself bound in a relational tango, to borrow the abstract diagram of intersubjective micropolitics suggested by Erin Manning. Or, already being several, it finds itself in a series of moebius part-dances with other individuals that attempt not to cross footsteps: as one body releases from the other in tango, given the space from which it may choose to return (anxiety), a differential space is opened in which other part-dances and their relational fibres may intersect or form knots and entanglements. The body thus finds itself in dances of relation, yes, but also in separate dances of disentanglement — the unweaving of knotty potentials and their somatic consequences." (March 2010)

Foucauldian Tomato Plants

10. Though the farm is relatively smooth in comparison to the city, this is not to suggest an absence of disciplinary techniques. The space is highly rationalized: enclosure, partition, rank. Sometimes the plants are given prosthetic braces, sometimes they are kept in cages. There are no surveillance cameras monitoring this movement, however, either in the greenhouses or out in the fields. Yet.

11. Repetition yields to rapid innovation in technique, though not necessarily a program.

12. The weather reports of Science take a distant back seat to what actually unfolds and what is in the process of unfolding. The latter is far more engaged in the "nomad" sciences (colours in the sky, intensities of wind registered against the skin), while the former is experienced as an attunement to the lived everyday.

13. High-speed telecommunications may modulate the farmer, though not necessarily the farmed.

14. Farmers knew about gait surfing long ago, at least in a "primordial" sense. Watch them walk the rows: contouring, flowing, sensing. They referred to it simply as "being in the world".

15. It would be easy to suggest that the farmer is simply walking up and down rows of stasis. But plants move: they grow up and out as sensing volumes in their own right, they deepen and expand their root systems, they sway to and fro in the gentle breezes of summer. At this recalibrated tempo, gait surfing's ontogenetic processes of walking-in-relation have been slowed down, exaggerated, and rendered more readily visible to one interested in biological flow. Dial down the BPM for this mudstep jam.

16. Note that biological flow is not the sole preserve of humans.

17. Do not confuse this with cheap nostalgia. Slowing down the gestural microscope reveals a care for the relation that exists between farmer and plant (and plant and plant…). This care is the envy of the gait surfer, who seeks to develop, sustain, or otherwise transduce it as the biological fluxes increase their speed upon return to the city.

All the faces
All the voices blur
Change to one face
Change to one voice
Prepare yourself for bed
The light seems bright
And glares on white walls
All the sounds of
Charlotte sometimes
Into the night with
Charlotte sometimes

Night after night she lay alone in bed
Her eyes so open to the dark
The streets all looked so strange
They seemed so far away
But Charlotte did not cry

The people seemed so close
Playing expressionless games
The people seemed
So close
So many
Other names…

Sometimes I'm dreaming
Where all the other people dance
Sometimes I'm dreaming
Charlotte sometimes
Sometimes I'm dreaming
Expressionless the trance
Sometimes I'm dreaming
So many different names
Sometimes I'm dreaming
The sounds all stay the same
Sometimes I'm dreaming
She hopes to open shadowed eyes
On a different world
Come to me
Scared princess
Charlotte sometimes

On that bleak track
(See the sun is gone again)
The tears were pouring down her face
She was crying and crying for a girl
Who died so many years before…

Sometimes I dream
Where all the other people dance
Sometimes I dream
Charlotte sometimes
Sometimes I dream
The sounds all stay the same
Sometimes I'm dreaming
There are so many different names
Sometimes I dream
Sometimes I dream…

Charlotte sometimes crying for herself
Charlotte sometimes dreams a wall around herself
But it's always with love
With so much love it looks like
Everything else
Of Charlotte sometimes
So far away
Glass sealed and pretty
Charlotte sometimes

(The Cure, "Charlotte Sometimes")


(intensity, proximity, technicality: thank you.)


4 responses to Charlotte Sometimes (Mudstep Jam)

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