Slow Parabolic Surface

Slow Parabola

dulcet tones
of a breakbeat bodyfelt
babeling ambient
brook in pastels
peoples, dilated
sleek suffocated
sweet intoxicated
by the sheer
by the sheen
orchestrated by the
machine, buy the machine
but softly and thereafter

not so warm here after all,
not too much sun, the UV glide-on
roll-on is on

and we move on . . .

* * *

(department of biological flow: imago — a play in three acts, toronto, april 28, 2011)

Imago

Imago

The Department of Biological Flow cordially invites you to:

IMAGO

A play in three acts.

April 28, 2011
5:00pm-onwards

. . . . . . . . . . . . .

Entomology.
In biology, the imago is the last stage of development of an insect, after the last ecdysis of an incomplete metamorphosis, or after emergence from the pupa where the metamorphosis is complete. As this is the only stage during which the insect is sexually mature and, if it is a winged species, has functional wings, the imago is often referred to as the adult stage.

Etymology.
Imago is Latin for "image".

. . . . . . . . . . . . .

Act One. "Kino-Butterfly"
   emergent from "The Butterfly Project"
   a public performance work with Tara Ostiguy and Cara Spooner
   @ Nathan Phillips Square, Toronto

Intermezzo. "Gait Surfing III"

Act Two. "Someone Might Be Listening"
   @ 'Techosapien' - OCADU Wearable Technologies student exhibition

Act Three. "Lorenz Security Ltd."
   @ 'Fashion/Unfashion' - Toronto Alternative Arts + Fashion Week

. . . . . . . . . . . . .

Attire for the evening will be faux kino-gait.

Laughter

Dentonia Park, Toronto

clinamen simple form
origami
Sharp cuts edge
the body, roundly
a will, visibly

You were everywhere in
my breath.

La Paracite

Ithaca poster

Department of Biological Flow

"Let's return to the banquet of men, always interrupted. So who are the gods? The ones whose meals are never interrupted. The immortal is the eternal reveller. Look at Simonides at the banquet: he eats and drinks as he pleases, quite in the position of a parasite. He stuffs himself and gets drunk for his freely given verse; he pays his select table companions and their good food in word. But someone disturbed the dinner. At the door of the room, they heard a noise. Simonides runs off, but no one else follows him. No one of the cohort misses a bite. But the cohort is wrong, for its members are about to die."

– Michel Serres, "Athlete's Meals," The Parasite, p.31

Why I Do Notebook Studies

Courtesy of Warner Bros.Courtesy of Warner Bros.

(the prescribed "plans" that chart the course of each person's life in the adjustment bureau)

* * *

"In body. — More so than men who are coaxed toward social success, toward sublimation, women are body. More body, hence more writing. For a long time it has been in the body that women have responded to persecution, to the familial-conjugal enterprise of domestication, to the repeated attempts at castrating them. Those who have turned their tongues 10,000 times seven times before not speaking not speaking are either dead from it or more familiar with their tongues and their mouths than anyone else. Now, I-woman am going to blow up the Law: an explosion henceforth possible and ineluctable; let it be done, right now, in language."

(Cixous, "The Laugh of the Medusa")

* * *

 

 

phantom limb

phantom limb
(2011)

_____

shoutouts: #rru #iics525

Numerical Blackface?

42 - Courtesy C. Krupa

Proposition: The uniform is the protective and symbolic skin of baseball, while its numbering number serves as a marker of identity.

Minor Tangent: In his rhetorical analysis of sports videogames, titled "Performing Blackness: Virtual Sports and Becoming the Other in an Era of White Supremacy," David Leonard invokes such terms as high-tech blackface, minstrelsy, and virtual black athletic body when describing the skinned characters that may be donned by the gamer at home. We also recall that these identity-vehicles are polygons dancing in a mathematically-generated ludic non-space — which is to say they are composed of numerical code.

42 - Courtesy C. Krupa

Question: Then in this tribute to Jackie Robinson, who broke Major League Baseball's color barrier in 1947 wearing number 42, do we not introduce a symbolic appropriation of his struggles through a form of transhistorical numerical blackface? And by corporate decree do we not also homogenize the identities of the current players and coaches on the field in this donning of the cloned skin?