Accelerata: Sixteen Theses

The Acceleration Tour

1. Whether or not one understands time as unfolding in a linear fashion is immaterial; what matters is that experience and connectedness unfold along multiple and interweaving time signatures.

2. It is the time signature which produces affects, not time itself.

3. A collective energetics remains unevenly distributed. Nonetheless, its collectiveness always remains impressive, inspiring and humbling.

4. Dehabituated rhythms and changed or differential spatial parameters offer an invitation for novel gestural responses to the artwork.

5. When movement moves its way into the "aesthetic experience" proper, it continues to want to move, this time with the artwork, co-composing with it, contouring and creating with it.

6. It is not so much fatigue that one initially notices upon arrival at an artwork, but rather an interference of rhythms between runner and work, which thereafter gradually begin to harmonize or compromise. These resonances are of immediate interest in an aesthetico-ethical sense.

7. Habit can have unrefined pathways; one of these concerns its tempo.

8. Bodies are not "ideal", and thus neither should goals be. We understand these both in an affirmative sense.

9. The outwardly prosthetic body only makes evident and explicit the co-composition of all bodies.

10. A familiar gesture, machined differently, can be more more useful than a complex gesture known only to a few.

11. We are describing here an unhygienic experience (sweat, snot, traffic, noise, topography). Which is also in some ways to remind that we have been removed from the laboratory.

12. Speed only demands a greater adeptness with contingency and the aesthetics of failure.

13. There are both inner and outer accelerations that need to be considered in developing and evaluating the program.

14. If one seeks to create a nuclear or exponential energy field, one cannot initiate the reaction at maximum capacity. Rather, the intensity must be slowly increased to avoid the risk of rupture in a very real material sense.

15. The event itself is a collective enunciation — of gesture and energy. But so long as we remain bound to the particulars of language and its transmission, this collective enunciation must retain a spoken or written dimension as well. Breath must become metric rather than simply serving to inspire and expire.

16. Theses are exhausted and replenished much like mitochondrial reactors and muscular fibres. To elaborate: they, too, have relative catalytic points, elasticities and failure thresholds in the generation of things. And they, too, may also become fuel or worm food for future becomings . . .

sport and political technology

post-discipline

resurfacing, re: surfacing –> once again here's what the post-disciplinary enclosure looks like . . . all that is required now is for these technologies to get "better" and be merged with irregular image flows such as with public surveillance systems in London or Chicago . . .

sport and political technology –> panhaptic, simulated:

- multiple cameras 'speaking' to one another
- markerless motion capture
- extrusion of x,y,z coordinates to create 3D image
- timestamped events
- unique person IDs
- historical databases of typical body movements
- merging of 3D image with statistics
- expected vs. actual outcome analysis
- econometric querying

a 21st century portrait

a 21st century portrait

lactic acid dream sequence

lactic acidosis

turning,
the hotel-stay was yesterday
cycling to Troy and back-again.

Brutalist gearbox phantasy
of tobacco-lube and
threshold-sweat drenched,
teeth clenched
to pink-dress drafting
and aerodynamic headachery.

cycling one-tenth the distance
anticipated, he said later
though i'd never
paced my-self at any rate.
we don't have-time for more
in this screenplay-montage,
and now i'm too awake anyways
so here is the-finish-line
you can see it abating
(don't do it, don't say dream-fakery.)

forest girl

Hanna - Once Upon A Time

rhythms in search of
one another switch, hit
the cyborg unfaithful
as a memory weaves around
the gentle wrist of
a memory of
a friendship
(of a memory)
unremembered to
a future tension of things.

she whispers
breathlessly
don't follow me
but what use are words
or trees
when my voice is already
faltering anyways.

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)

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shoutouts: #rru #iics525