companion species astral
projected. warm snores
detected, soft wear insected
tiny-light hairs coat
the tip of the Ear


hear to now
now to here, projection reflected
On-Star U-Turn protected. Drive-In
vision projected Thru to

our network nightmare
incisioned, dissected


eye osmosis

black hole
nights made

three-eights hutong
nightshades, flipped to
white-knight bookshades
and sotto voce crossfades

i have a voice.


consent to consensus
slow turns meant us
courage slow spoken hence
(12 seconds or whence)

or half again the time
on that great-rodeo-bull
named Fear.

fear not the time
but instead the tone spoken.
steel-spokes broken
steeled, the moment stolen
from its hard bodied

hard bodies swollen
steal moments spoken,
steel-toned broker
hard captive
in a time of Fear

not instead.

fluid, free
hard bodies soften
steal moments often
steel-timed breaker,
soft Rupture
and the time is Near



nearly empty
but the common can't merely
fill the Hannibal Lecter
coffee-machine. hot again,

ravenously angry
or hungry or thirsty,

dried canteen.

but the common can't put
my mere lips to the cup
for the bars wiring-closed
our machine

(no chianti or fava bean)

steeled, hot spokes spoken
half-life dipole broken
how many mere bars to
wire-close our machine?



The Department of Biological Flow cordially invites you to:


A play in three acts.

April 28, 2011

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

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.

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.

(down the rabbit) holey space

a breath of fresh air, redolent of vuvuzela blossoms

there was a public outdoor screening on a restaurant wall a few nights ago at the end of the street where i live: "bangladesh defeats england in historic cricket victory." it was not projected through the partition but rather reflected upon the building’s facade. closer, yet further away.

oh, i *do* remember our identity tourism in tucson. there were cast-iron sculptures of lisa nakamura's body on every building, just like antony gormley in london. "inverted post-colonialism," i think, was the vogue.

context is not only a spatiotemporal phenomenon, but a (matrixial) psychic phenomenon as well. context suggests an increasing tendency towards harmonized (and dare we say synchronized?) co-resonance. it seems to me that context itself constitutes the stasis of monotony and that the coming-into resonance of and through alterity is what creates the openness.

did you know that amsterdam is the steampunk version of second life? delanda said they created this shit back in the 1400s! and then at some point lewis carroll wrote a virus and messed up the code. the game still plays in my console, but the graphics are a little distorted, you know?

how does third place, the "runner up in the exceptional case," change the relation between numbers one and two ("the best winners")? the ontogenesis of the third is an alter-accomplishment in its own right, no? how do we understand the third in terms of multitude and the very being-in-language of which virno, agamben and nancy speak? how does the third come into resonance of and through alterity? is openness created?

children both shy and fearless; translation, mistranslation, smiling without voices; does it really matter? tonality, don't think in terms of romanization! a new iron curtain; public, private, third spaces; be a switch; but it wouldn't be a very honest emotion if you could turn it off like a switch.

or am i flailing?

crushed blossoms in a vase of water

diplomatic, relations

Courtesy of MLB

"major league baseball has opened its first baseball academy in china, using it as a foothold to continue the growth of the sport in the world's largest nation. … with the advent of the state-of-the-art development center, mlb is hoping to capture china's growing interest in baseball and move it forward toward the next world baseball classic in 2013." —

"even the most dominant nation-states should no longer be thought of as supreme and sovereign authorities, either outside or even within their own borders. the decline in sovereignty of nation-states, however, does not mean that sovereignty as such has declined." — hardt and negri, empire


In the age of the integrated spectacle (cf. Agamben), few of the static two-dimensional images that are presented to us in the course of everyday life — magazine ads, billboards, posters, direct mailings, and the like — are in fact truly depthless artefacts. Rather, they are the result of careful processes in which part-objects have been layered on top of one another, grouped together, and transformed in various ways before being flattened out to the final "static" image.

Generally speaking, these part-objects may be either textual elements or other image elements, that is, the fundamental building blocks of Flusser's line and surface thinking. The graphic design software that facilitates the creation of this final flattened image retains within the file all of the meta-information about each of these part-objects in terms of position, understood as the x-y coordinates of grid plane and the z-index of layer — in other words, the file contains the relations that existed between each part-object before flattening took place.

wii would like to play - we don't have tickets, courtesy of HomeShop

But a skilled and experienced designer doesn't need the original file to understand the relations that created the final image. Simply by assessing the visual outcome in the context of embodied memory, one is able to unlayer and reconstitute that which has been usurped of its depth in its rendering-spectacular.

The complexity of the spectacular apparatus increases as we move from the processed image into the realm of cinema and television and literally introduce motion to the process. Chion identifies new building blocks that are added to the image and text within the two-dimensional frame, most importantly the audio elements of speech and field sound captured during recording, and the music and sound effects added in post-production. To the moving image we also add the graphic overlay, a visual element that may be static or animated and which is visually distinct from the images that have been captured by the camera during filming. These overlays are increasingly connected to external (relational) databases in the specific example of television, as with statistics during a sports broadcast or with the latest quotes on a news channel stock market ticker.

Nonetheless, the experienced director or video editor may similarly be able to quickly apprehend after the fact the layers and corresponding relations that produced the final cinematic outcome. In doing so, we may already understand that the layer is not a two-dimensional phenomenon, as Chion's inclusion of audio and acoustic space illustrates.

Global Village Basketball 2009 - courtesy of marcef33

Now consider those works that find smooth passage through categorical barriers identified variously as interventions, conceptual pieces, participation-oriented performances or community-based art projects. Three such examples, different though interrelated, might include Global Village Basketball, HomeShop, and wii would like to play // we don't have tickets. While these works were "framed" with more or less well-defined spatiotemporal parameters, they are most definitely of the realm of the volumetric and hence introduce new complexities to the apparatus.

Of course, with such events there is no "file" to which we have recourse for determining the layers and relations between the part-subjects that comprised their contextual fabric. As Massumi points out, they are ontogenetic. But, as with the processed static and moving video images described earlier, is it possible to unlayer the volumetric interactions of the intervention after the fact? Can we assess the audiovisual outcomes in the context of embodied memory and perhaps in the process identify new building blocks for the becoming-social each work facilitated, such as gesture, tango, translation, risk and exchange?

(a work-in-process between elaine w. ho and sean smith towards "unlayering the relational: microaesthetics and micropolitics," a text for the mediamodes art and technology conference in new york)

deep-deep surface thought

"What characterizes the sage, according to Zhuangzi, is the fact that his breathing is "deep-deep." Not only does it embody harmonious regulation in its alternation, but, moreover, the intensive implied by the repetition of the word tells us that respiration must extend throughout the physical being to the very extremities: 'The authentic man breathes from his heels,' in other words, to his foundations; the common man breathes only 'from his throat.'" — François Jullien, Vital Nourishment

???? jingshan park,
beijing, china
august 2008