the suicide king
of the s,word of the
queen of the Hiv
that killer of
in springtime the
blank white pagerank
terror comes welcome
cold and uncertain
(abstract submitted to the "precarious spaces: (dis-)locating gender" conference, hosted by the susan b. anthony institute at university of rochester)
Writing the Body: Technics, Gender and the Society of Control
European Graduate School
Department of Biological Flow
Fine Arts College of Kowloon
The notion of writing the body has a lengthy history in feminist scholarship, seen for example with such diverse writers as Cixous, Hayles and hooks. In their own unique ways we might suggest each describes practices of writing intensively — that is, of capturing affective thought in as urgent a fashion as possible so that thinking and feeling are no longer easily understood as discrete concepts. In contrast with the book "proper," which is most often understood as the culmination of a long process, the notebook, on the other hand, is usually the beginning of a process — the incipient moment of poiesis when thought emerges from the foldings of flesh relation to find expression in gesture and inscription. One captures thought through writing while it is still felt in the body, challenging any possible understanding of mind-body dualism in the act of recording or making memory prosthetic.
Increasingly, however, we might also understand the notebook as a site of politics and resistance in the contemporary society of control, with all the precarity that implies. It may offer dramatically different conditions of possibility precisely in how its embodiment enters into movements with other bodies — normative or otherwise — to create space, time and memory. We might describe these gendered technics through the lens of Fornssler's affective cyborgism — not a preconstituted body as such, but rather an always emergent part-subject that becomes individuated as it enters into contingent networks of relation and technique. This paper explores these gendered technics and their affective underpinnings in a performative autoethnography of writing practices, engaging a body of thought that also includes Ettinger, Deleuze, Guattari, Serres and Derrida.
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[do we have holey space yet, smith asks?]
still from 2-channel video installation
Notes Toward a Minor Performance
Julia Kristeva, "Arendt and Aristotle: An Apologia for Narration," in Hannah Arendt: Life is a Narrative:
"We note that the actor himself, the actor alone, however heroic his exploit, does not constitute heroic action. Heroic action is such only if it becomes memorable. Where do we find this memory? It is spectators who complete the story in question, and they do so through thought, thought that follows upon the act. This is a completion that takes place through evoked memory, without which there is nothing to tell. It is not the actors, but the spectators, if they are capable of thought and memory, who turn the polis into an organization that is creative of memory and/or history/histories" (p.16).
department of biological flow
vitruvian man 3000
antony gormley: aperture + hive + feeling material (33-33-33)
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"Sculpture knows what it lacks. It wants mobility and consciousness." — Antony Gormley
"what if the scoreboard lite-brite could be layered upon itself — perhaps repeatedly — such that multiple games were being recorded at the same time — perhaps one giving the cover of reduced exposure to the other?" — sportsbabel, september 2010
(adidas is "all in", 120-second version)
"Clinical synesthesia is when a hinge-dimension of experience, usually lost to active awareness in the sea change to adulthood, retains the ability to manifest itself perceptually. In synesthesia, other-sense dimensions become visible, as when sounds are seen as colors. This is not vision as it is thought of cognitively. It is more like other-sense operations at the hinge with vision, registered from its point of view. Synesthetic forms are dynamic. They are not mirrored in thought; they are literal perceptions. … Although synesthetic forms are often called 'maps,' they are less cartographic in the traditional sense than 'diagrammatic' in the sense now entering architectural discourse. They are lived diagrams based on already lived experience, revived to orient further experience. Lived and relived: biograms might be a better word for them than 'diagrams.'"
– Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation, p.186
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synesthesia: celebrity to flare gun to fireworks to flashbulbs to celebrity: luminescence may also carry the movement of the biogram's feedforward momentum . . .
(a slow paper pounce, a floating lazily down an amsterdam [channel] … )
Toward a Fleshy Architecture of Baseball
Baseball is a game of discrete operations. Or, as McLuhan used to suggest, the industrial assembly line economy perfected in its sporting form.
And yet, despite the pastoral sense of time it still retains somewhat in our contemporary society of the instant, baseball is a game that never quite comes to rest. Whether in terms of a subtle and syncopated rhythm of athletes continually in motion on the field of play, or of code that circulates endlessly through the folding networks of sporting actors producing the event, baseball is always already in excess of the formal play and its discreteness.
So while the architecture of baseball could be considered a computing architecture — that is, one that performs rational, linguistic calculations in order to achieve particular end goals as efficiently as possible — it is a computing architecture already in excess of its formal logic and discrete operations precisely because of the fleshiness of its moving components. Put differently, we are describing a baseball computer whose affects are precisely what allows for the functioning of the system and its switches.
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keywords: catcher, errors, sabermetric programming languages, sildenafil citrate, agency