Phantom Limb

flesh∞notebook∞network, superiority of analog, study no.2

Phantom Limb (Notebook Study)

. the soft cardboard cover of the book is easy to groove or etch lines into
. constellations, synthetics

. when the vinyl of the sticky tattoo covers the soft cardboard, the pen-stylus tip gets caught up in the foldings or furrows that precede its path during the grooving process

. saw = slow scalpel

. material is too flimsy to saw through (didn't have any way to keep the book from moving)
. slipped rhythm
. the cut was rough, though it appears relatively clean (articulations)

. or as the Colonel would suggest in her own sawn-off fashion, truthing hurts …

Phantom Limb (Notebook Study)

. what does skin tectonics have to say about the chasm?

The Voice (and its Mingled Bodies)

Courtesy of Kellogg

With professional sport — and particularly those major professional sports leagues that play a large number of games in a season, such as the NBA, NHL or MLB — there exist at least three distinct tempos at play which animate the television broadcast. The first is born of the Flesh that plays the game proper — that is, the athletes that literally provide the muscular motor for the sporting spectacle that is being produced. Fast-twitch fibres, razor-sharp reflexes, power: everyone says the game is always fasterthe athletes that much more impressive — when they are witnessed in person, which is to say volumetrically.

The second tempo is provided by the multiple Eye that captures this fleshy expenditure in its becoming, both for telecast to audiences far removed from the sports stadium as well as for archival purposes and their future extractive values — from in camera to on camera. Obviously this is the tempo most apparent to the television viewer at whatever contingency is called home, even though its aim is to achieve a perfect transparency that allows for the truth of sporting copoiesis and its measureable objectives to illuminate the living room or sports bar space.

Paradoxically, this is a tempo of acceleration: while slow-motion instant replay allows the network producer to loop back ad infinitum to show athletic exploits at reduced speed in startling detail, the multiple cuts they entail and indeed the slow-motion techniques themselves serve overall to somatically accelerate a pace that has been largely compromised by the wide-angle tracking shot.

This subtle narcosis of the TV screen is in turn partially offset by a third tempo, that of the Voice (play-by-play, colour commentary) which narrates the athletic emergence and channels its discursive formation in a fashion that toggles between registers of servomechanism and agency. While the fleshy bodies on the field of play must eventually decay and be replaced by other peak bodies, the Voice is timeless — or at least of a pace that introduces nostalgia through the rhythmic undulation of its articulations and periodic spasms of hyperbole (if you are sleeping then you are not paying full enough attention).

Puberty is metamorphosis for the Voice: expression has changed, a phase shift that for both genders generally deepens the tone and produces a different quality of intensity to the air that is expired with every word spoken. After puberty, one's voice barely changes throughout the rest of one's life, even while the rest of its fleshy container grows old and withers. While peak athletic bodies come and go at great pace, the timelessness of the announcing Voice is ensured so long as it does not become strange and lose its ability to connect at this slower tempo.

The Voice is a Skin (or perhaps an aural form of what Serres refers to as a veil) that does not appear on the TV screen too often — in fact, we might consider it a form that ruptures the pellicule (skin) itself. Its performative expression is much less for the television than it is a performance of the television and its network affiliations for the hordes in attendance at the stadium. At the very least the Face of the Voice is visible on-screen rarely enough that the sight of bad toupees, weaves or awkward botox treatments are either barely registered or offer a quaint and queer artefect produced as the excess of nostalgia's claims to truth.

_____________ _ _ _

Rewind: Sept. 2008: "Structurally, late modern sport operates along two primary temporal vectors: it is at once the eternal recurrence of a particular sporting history wrapped in the warm folds of nostalgia (or better, what LCD Soundsystem might call borrowed nostalgia for the unremembered century) and a continual preparation for contagion, processing, incarceration and trauma. Somewhere in between this implicated past and future is the now of consumption."

_____________ _ _ _

Generally speaking, we might suggest it is the multiple Eye (and its interface with the touch of Skin) that governs the preparation for contagion, processing, incarceration and trauma found in late modern sport, while the Voice (and its interface with the touch of Skin) anchors its eternal recurrence of particular sporting histories in nostalgia.

Finally, we might suggest that the Flesh (and its interface with the touch of Skin) both implicates and is implicated by the now of consumption. It is here that exchange occurs, tempos slightly out of joint, though one hopes not overly so. It is here that we gesture towards new forms of encounter, new politics, new exchanges — in part through and with the Skin, but also by interfacing Flesh directly, in resonances of harmony or interference.

3 Fucking Metres

3 Fucking Metres

3 FUCKING METRES
Moving Bodies for Democracy in Canada

#CAN3FM

While struggles continue around the world for the democratic right to vote, Canada had a voter turnout rate in its 2008 election of 58.8 percent, the lowest percentage in Canadian electoral history. Clearly we need to start thinking much smaller.

Do NOT use your remote control to turn on your TV for the national Canadian Leaders' Debates on APRIL 12+14 — walk, run, wheel, crawl, or skip to the TV instead. Cover the 3 fucking metres under your own power. Move your body for democracy.

Once you complete the basic training, move to discuss politics in a public space (coffee shop, gym, community centre, mall, market, transit, etc, etc, etc) with a friend, acquaintance, stranger or anyone else of interest! Suggested non-partisan phrasing may include: "Are you voting in this election?"

Finally, vote! No remote controls! Walk, run, wheel, crawl, or skip to your local polling station on MAY 2, 2011.

One-week training program starts today for 3 FUCKING METRES!

 

3 FUCKING METRES
http://tinyurl.com/CAN3FM-2011

Get VOTER FIT in just ONE WEEK!! ®
http://tinyurl.com/CAN3FM-voter-fit

How to create VOTING SHOES ®
http://tinyurl.com/CAN3FM-voting-shoes

 

"To appropriate the historic transformations of human nature that capitalism wants to limit to the spectacle, to link together image and body in a space where they can no longer be separated, and thus to forge the whatever body, whose physis is resemblance — this is the good that humanity must learn how to wrest from commodities in their decline. Advertising and pornography, which escort the commodity to the grave like hired mourners, are the unknowing midwives of this new body of humanity" (Giorgio Agamben, The Coming Community, p.50).

 

All artwork by Department of Biological Flow.

-30-

track, cycling

Courtesy of CP1 Contemporary

Courtesy of CP1 ContemporaryCourtesy of CP1 Contemporary

Google Maps
Olympic Velodrome and Pool (Berlin)
2011
satellite image

Dominique Perrault
Olympic Velodrome and Pool
1992 | 1999
Berlin, Germany

. . . . .

from the CP1 Contemporary exhibition
Speed and Politics: A Tribute to Paul Virilio

hanna (2011)
movie trailer
(youtube, pause at 0:55)

"The level of connotation of the visual sign, of its contextual reference and positioning in different discursive fields of meaning and association, is the point where already coded signs intersect with the deep semantic codes of a culture and take on additional, more active ideological dimensions. … Codes of this order clearly contract relations for the sign with the wider universe of ideologies in a society. These codes are the means by which power and ideology are made to signify in particular discourses." — Stuart Hall

capital, gee

Courtesy of Google

Gmail Motion:
"Familiarize yourself with some of the basic functionality of Gmail Motion using this printable guide of sample gestures. With it, you'll be able to start writing and responding to emails – with your body – in no time."

"Language must be paid for, in energy at the very least; it is never free. We will need to determine after this if it gives the given. Meanwhile, they're not exactly giving it away. And if you believe they are, you might as well believe in perpetual motion" (Michel Serres, The Five Senses: A Philosophy of Mingled Bodies, p.117).

Courtesy of FIBACourtesy of FIBACourtesy of FIBACourtesy of FIBACourtesy of FIBACourtesy of FIBACourtesy of FIBACourtesy of FIBACourtesy of FIBACourtesy of FIBA

sportsBabel, August 2009: "Print is, of course, an expression of the eye taken in linear sequences. But it is also a folding and capturing of the hand and its sensual laying of pen to paper, hammer to marble, remington typekey to carbon paper substrate, plastic keyboard to digital sensor to random access memory chip to immaterial hard drive memory sector. And though translation does not belong exclusively to the domain of print, we must bear in mind that even in the most seemingly disembodied form of communication as a written manuscript, the act of crossing a threshold through translation will bear to some degree this folding and capturing of the body. As such, it will also fold and capture time."

Courtesy of Google

"Touch is topological and prepares the planes and smooth varieties for a relaxed, metric, Euclidean gaze, the skin covers with a veil what the eye cannot see. … Pure touch gives access to information, a soft correlate of what was once called the intellect" (Serres, p.83).

___

(a gesture of thanks to r and j)