rupture placenta (sous rature ~ wavestyle)

rupture collage (sous rature)

Department of Biological Flow
Rupture Placenta (Sous Rature ~ Wavestyle)
[semiotextil(e) remix]
2012
performance and collage

 

formerly known as:

Natality (Ingrid)
2009
performance

 

"The two Department of Biological Flow members are 'glued' together front-to-back in a motion capture studio. The forward person has markers on front and left sides of the body, the rear person has markers on right and back sides of the body. The two bodies match strides, glued together, and then 'split' apart halfway to veer off in opposite directions, as if 'tearing' the subject in two or radically reconfiguring its relationality." (2009)

 

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"These Comments are sure to be welcomed by fifty or sixty people; a large number given the times in which we live and the gravity of the matters under discussion. But then, of course, in some circles I am considered to be an authority. It must also be borne in mind that a good half of this interested elite will consist in people who devote themselves to maintaining the spectacular system of domination, and the other half of people who persist in doing quite the opposite. Having, then, to take account of readers who are both attentive and diversely influential, I obviously cannot speak with complete freedom. Above all, I must take care not to give too much information to just anybody.

Our unfortunate times thus compel me, once again, to write in a new way. Some elements will be intentionally omitted; and the plan will have to remain rather unclear. Readers will encounter certain decoys, like the very hallmark of the era. As long as certain pages are interpolated here and there, the overall meaning may appear: just as secret clauses have very often been added to whatever treaties may openly stipulate; just as some chemical agents only reveal their hidden properties when they are combined with others. However, in this brief work there will be only too many things which are, alas, easy to understand."

– Guy Debord, Comments on the Society of the Spectacle, p.1, emphasis added

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