obliques and tramps


basketball court as oblique function
(inspired by parent et virilio, architecture principe)


With the kinaesthetic abstractions in introductory gymnastics mentioned earlier, one might consider these serving as physical-cognitive 'prosthetics' for better understanding one's gestural relation to the unforgiving, constant quality of gravity and its right-angled vertical. The massive rock that is our planet overdetermines our every movement possibility (not to mention our gravitational or resonant qualities in potential between other bodies and objects in the terrestrial sphere); for the young child who is in the middle of a becoming-gravitational — in the sense of a living continuum from lying down to crawling to walking to more complex motor skills — these prosthetics are key supports for navigating this overdeterming force-relation. In a machinic-geometrical sense, these often take the form of inclined planes sutured in connexion to other elements of the abstracted apparatus.

But let us not forget here Paul Virilio and Claude Parent's work with Architecture Principe on the inclined plane, with which they hoped to create an "oblique function" that might destabilize the lived, proprioception of orthogonal or rectilinear perception and experience:

"With the orthogonal plane, the flat plane, as in the entire history of architecture, there is no difference between making one movement or another. On an inclined plane, climbing and descending are radically different; but climbing diagonally or descending diagonally are different again; and walking laterally is different as well. Every dimension, every direction of space becomes a modification of the body." (Virilio, Crepuscular Dawn, p.36).


"The advantage of the oblique is that you can choose what you want, whereas with the orthogonal, or with Le Corbusier, the right angle is always straight and up. Architecture Principe was based on breaking the orthogonal in every way. It no longer accepted the tyranny of the right angle. Entering into topology — you can say into 'the fold,' even if Gilles Deleuze had not yet written his essay on the baroque at the time — we did a lot of work on it. We had a lot of choices to play with, but they were dependent upon the experiment" (p.40).

While the oblique function is also a form of abstraction, as with the gymnastic prosthetics mentioned above, the qualities of the two abstractions are different in notable ways. For example, in gymnastics the inclined plane serves to reduce or mitigate accidence, while in the case of the oblique function it serves to introduce accidental potentials. While Parent and Virilio appear to imagine an (ableist?) oblique function in which everyone is predominantly walking, gymnastics at this elementary stage of skill acquisition often deals with a wider spectrum of gestures, including crawling, somersaulting, and dismounting. That these gymnastic prosthetics are cushioned and floppy to various degrees — ie. fuzzy — further speaks to this gestural kinaesthetic relation of a somewhat precarious quality, that of the young toddler still coming to understand gravity and the body.

Perhaps the most important difference between the two concerns the line taken within the inclined plane: in the gymnastics example above the line taken by the athlete is a vertical one in co-composition with the y/z-axes of gravitational force — which is to say, a decelerative line. The oblique function as understood by Parent and Virilio, by contrast, is intended to co-compose with, across, and diagonal to the gravitational force line — which is to say, transversally accelerative.


But even this transversal approach by Virilio and Parent is limited, a special case of Euclidean space wrought upon the erect body — derivative. To reconsider this in more radical terms, while the inclined plane of the oblique function attempts to offer a destabilization of the gravitational orientation for the land-based interstellar world, a trampoline reintegrates this function, offering a more aquatic destabilization of the gravitational vertical in comparable fashion. An architecture (or architectonics) completely dedicated to these elastic surfaces thus opens the calculus of the fold (particularly when walking) into vestibular dynamism and the oceanic — which is to say, into jerkism.

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 . . .

even plastic needs a motorrr


sports media question: why isn't the moral panic over neural reprogramming (electronic media) as great as the moral panic over muscular reprogramming (PEDs)?

one suspects the difference might concern switches and fibres, not to mention their respective topologies of visibility.

zed's dead, baby.

blood blister

(the following is based on a true story)


"The gestural body is a moving body, and is thus always already a political one as well. The logic of skin tectonics suggests that such a moving body will never be fully captured by the tightness of its spectacular skin, for there will always be a slippage between integumentary layers. And it is this slippage that constitutes the contemporary zone of opportunity, of resistance, and of indifference."

(sportsbabel, february 2010)

- - -

"Not so much pregnancy as an affirmative autonomy, then, but a soapy, bloody bubble given breath-between-two, before being blown back inward upon itself and coming out whole — propelled right back down into the throat of the blower, suffocating speech-potential ever so perceptibly as the newly-dawning subject is in-formed."

(sportsbabel, june 2012)


dyed red, burned bubbbling

It is damp, and a long march is about to begin. It has been thought about, planned and strategized for quite some time, the body has been prepared, and an imagined or dreamed conviction has set in resolutely — this can be accomplished.

Are we describing here the marathon runner who has trained and tapered and sweated all season, resolutely, or the political subject in emergence who seems to be stretching limbs and tensors one final time before the report of the starter's pistol shatters the intense edginess that hangs over the assembled hordes?

A skin tectonics is a slippage of sorts. Many sorts, many skins. Many potential frictions, shears, tears, bubbles and ruptures. The marathon runner teaches us that once the race begins not all variables can be controlled: sometimes the tectonic shifts have a logic of their own that may in-form identity on the fly. Bloody bubbles may form that challenge any prior idea of a quantified outcome to the process.

But the marathon runner may also teach us that these goals are not end-points but rather imagined inflections within process. Pain affectively calculates pain, just as pain remembers pain. We are newly informed through our in-formation, imprecisely. As such, this can be accomplished may take on a new meaning, maybe a very dramatic and affirmative new meaning that cannot be measured against the clock of the foot of the eye. Nor are intensities ever perceived in this way to begin with.

Bloody, potentially, the pain is embraced and the journey is completed — buoyed by the energetics of countless others. Somehow outside of historical time. This is the real story that will be told around campfires for years to come. And it's a true story.

In turn, perhaps the emerging political subject teaches us that these painful bubbles can be considered more deliberately — as possibilities to condition the spatiotemporal and numerical regimes of the contemporary moment. Perhaps this is the story that will be told someday.

But the questions remain: Whose goal are we considering? Whose body, distributed yet locatable? Whose pain?

bios, mechanics (je-nous)


Genuflection. The mechanical fatigue of tendon, muscle, bone is distributed among the masses, and surgery remains predominantly at level of the skin, plastic-Like.

LKL 5908


Thought-holograms from the Paris of the 22nd century.

The race begins as a point. Mile zero, time zero.

It is a teeming, trembling point, however: 45,000-strong and electric. Anticipatory, the point smudged out along the line it is about to suggest with its quantity of moving bodies. The point cannot be easily contained, even though it has been corralled. The point is a seething mass.

The point is a constellation of data points, actually, Achilles' heels morphed forward in the foot to the shoelaces and their expressive prosthetic transmitters.

As the gun fires to begin the race, this teeming point of running-bodies instantly dilates. There is a bifurcation of time at the very moment the marathon nominally begins, unique for each of the 45,000 strong. Two times: the "real" lived time of the race clock as the overall event unfolds, and the relative time of each moving body — indexed by radio frequency tag — as it finally crosses the start line to officially enter the event space and "begin" the race. Clock time versus chip time, the latter increasingly falling behind the former as one moves back through the corrals to the open entry gate and its unranked hordes.

Only clock time counts for official race results and ratified world records. Chip time does not serve any purpose in the adjudication of race results — at least in terms of authoritative measurements of the complete extension of the course. It seems it exists solely as an apologia to 99% of the runners that they are not the fastest in the world.

Indeed, the sole juridical function that chip time serves concerns the part-event, with its checkpoints and split times and implied paces segmenting the broader context. As Roberto Madrazo reminds us (in the name of St. Rosie of Bostonia), each checkpoint must be crossed in order, from start to finish. And if there are points of failure in this linear process — points at which chip time is not registered, either due to electronic defect, noise or subversion (ie. skipping a checkpoint) — any subsequently successful measurement cannot have been arrived at "too quickly" to be believed.

Madrazo cheated all too well!!

normal distribution curve, marathoning....

The race begins as a point but it very soon becomes a line, or more precisely, a curve. The race is the embodied manifestation of the normal distribution curve spreading out over asphault and concrete and steel and rock. From outliers to six-sigmas to outliers, from swift loping strides at the front of the pack to a mixed cacophony of running gaits and styles in the middle to the plodders who bring up the rear: each mile that passes expresses the modulation of kurtosis and skew as thicknesses of running-bodies.

The x-axis of this normal distribution curve, time, finds its striations also embodied in the race proper. Pace rabbits run with the pack holding signs with a desired race completion time on them (eg. 3h:15m, 3h:30m), embodying that given time and helping foster a rhythmic continuity for the overall machine — or perhaps a discontinuity, if understood in terms of an attractor effect. Time has been striated by the body moving within the statistical figure.

But this normal distribution curve is anything but normal. It is rather quite abnormal — not in the sense of deviant, but in terms of the carnivalesque. Costumes and clusters and chatterings identify the runners at the back of the pack, far back beyond even where the slowest pace rabbits will tread. The moving striation of time has become flimsy back here with the plodders, the affective tone of the topology much different than with the other end of outliers chasing down the finish line. An affective, generative tone still exists back here no doubt, and it is this tone that allows for the flimsy to not necessarily disintegrate, that helps as many of those at the back of the pack ultimately complete the asignifying pilgrimage of the race journey.

And in the middle of the pack, and at the front of the pack.

These are not points nor lines we are describing after all. They are certainly not surface-images, either, no matter how hard Spectacle attempts this reduction. They are volumes, actually. Running-bodies are resonating volumes of muscle and bone and nerve, blood and breath and sweat, psychic vibrations of fleshy affect amplified with the in-between energy of 45,000 other runners and the cheers of encouragement from spectators, who share in this radiance-by-exposure while reflecting a certain amount of energy back into the process.

Each of these runners knows a priori that the muscle and bone and nerve cannot sustain their mutual rhythm for the entire Pheidippidean journey. At some point the body wants to fail. And that seems to be the shared understanding of everyone in the race: once I hit that Wall, I just hope the energy of the crowd brings me home. The "energy of the crowd," again, as two-fold: energy from the shared suffering of the other runners constituting one's several-in-passing, and energy from the abstracted Babel of barricaded and cheering spectators.

It is this collected energy that keeps the running-body moving after it has decided it is no longer up to the task. Individual determination emerges from this collected energy to ignore a certain individually-experienced pain and complete the race.

keep moving.

In contrast with the #occupy movements around the world, who teach us contemporary lessons about taking and holding a space, the marathoners, with their smudged point of teeming mass yielding to a distended statistical curve of running-bodies, perhaps teach us contemporary lessons about taking and holding time.

The politics of chip time prove to be a sham. It is the affective politics of a temporary community running beyond one's presumed limits which reveals new understandings of that most Spinozan question: What can a body do? Points, lines and images play tricks with time: the teeming mass of energy dilates to diffuse an effective tremor lasting a couple of hours or until the very last person crosses the finish line. This elasticity of energy is not due so much to the speed at the front but rather the slowness at the back of the pack. There is an exit strategy to these affective politics, measured out at 26.2 miles, however long that takes.

Though almost everyone has some new understanding of what a body can do, not everyone makes it to the finish line. Lactic acid cramps or dizziness literally collapse the running body in a tragic heap of limbs as the final miles unfold. For some the exit strategy came too late, long after a collective affect could make the ultimate difference. Nothing was left in potential.

Desired exit or no, everyone hurts. The sore limbs are still in discord with the warm psychic vibrations of fleshy affect. A mild narcotic euphoria overcomes the body and most of the pain — the intensive stress-related pain, at least — disappears within hours. The rest lingers in the muscles and joints for the next few days, hinted at less and less frequently as other gestures replace the runner's gait. But it is this pain that consolidates the memory of the event, the living archive of the temporary commons woven from physical and psychic trauma.

Pain remembers pain, after all.

[THX 1138 ~ LKL 5908 :: Chi26.2 = woot!]