Light Cycle Inscription

spectacle bank

The marathon course is drawn, inscribed within the established grids of an urban core. New barriers are created, temporarily cutting off certain flows (cars, bicycles, pedestrians) in order to facilitate others: a gated conduit for the gaited competitors who will run on this crisp gray morning.

This cut creates a new surface, or perhaps we can say it multiplies surfaces — it is surfacing, actively producing itself in the proliferating striations of the new territory. Perhaps we can say it is for security, or perhaps we can say that security offers the alibi for a folding of spectacle upon itself, the intestinal guts of vectoral capitalism turned outwards as if Lyotard's great ephemeral skin revealing the shit that really makes the machinery slicken.

Glide then, runners: extend your energetics into this libidinal surface as you race to that cloaca called a finish line. The light cycles of sponsorship precede your motorcade at the flanks, both shiny and festering with their spectacular repetition and insatiable appetite. But remember this digestive cookie from Guattari as footstep and breath connect to eyes and stomach: "It's on this level of investments of desire that there are reserves of capacity to express the revolt."

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

reprogram

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.

Dang Vanity Ratio

crutch

 

Nirvana Ago Ditty
A Dragon Nativity

Today Ranting Via
Today Raving Anti

Dignitary Nova At
Toady Ingrain Vat

Ad Organ Nativity
Avoid Gain Tyrant

Avatar Dignity On
Avatar Dying Into

Variant Dating Yo
Dating Via Notary

Tiara Vanity Dong
Avian Tango Dirty

Avidity Gonna Art!
Radio Gnat Vanity

Radiant Tango Ivy
Radiant Vanity Go (Go (Go)

Attain Angry Void
Attaining Ova Dry

Data Navy Rioting
Vagina Yarn Ditto

Radon Gait Vanity
Diva Gyration Tan

Vagrant Nay Idiot
Aviation Dang Try

I Run Because I Can

boston finish

by Lindsay LaMorre

 

Two days of complete exhaustion and emotional depletion after the Boston Marathon … and I find both the desire and need to run.

I ask myself why??

Running makes me smile and has the power to change a day.
I run because no two runs are ever the same.
I run because it fills my heart with joy.
I run because success and happiness lies within.
I run to keep my mind and spirit clear and strong.
I run because I value and care for my health.
I run to be with amazing friends.
I run to be a part of an incredible community of runners that have welcomed, mentored, supported and encouraged.
I run because of the journey.
I run to embrace adversity.
I run because I can.

What was supposed to be a celebratory, joyous, and momentous event … turned into disappointment.

I ask myself why?

Was it the cowardly acts of terrorism that destroyed and deflated the whole event, manufacturing the run as completely meaningless? Was it my heavy heart for the victims who were fighting for lives and limbs? Was it the media that glorified the terror to enhance its spectacle? Or had it been something more personal, more selfish? Was it the thought of all those winter training hours suddenly deemed insignificant due to the bronchitis that had attacked my chest and lungs just days before I was to run? Was it that I couldn’t have my peak physical performance on the stage of the world’s oldest and most iconic marathon?

Maybe . . .

But the tragic events that occurred in Boston have impacted me personally and changed my perspective forever. My true disappointment laid within me … it rested in my inability to actually go back to the foundations of why I run in the first place. In the moment, I forgot to savour the opportunity and experience I was so blessed and privileged to have. Success isn't measured by a stopwatch; it's distinguished by the journey.

Explosions Sirens Chaos Panic Confusion

Why?

Within a blink, I may not have been so lucky — an opportunity lost and an experience taken for granted.

I finished the Boston Marathon.
I was with a loved one at the time of the explosion.
I was warm.
I had my belongings.
I was safe and healthy.
I was so very blessed.

I am fortunate enough to get a second chance in 2014 to revisit this question of "why?"

Running is my comfort … Boston is my inspiration.

_______________

(Lindsay LaMorre is a Health and Physical Education specialist who lives and works in Toronto. She wore bib number 10577 at Boston 2013.)

Millwrite

millwrite

The treadmill: prison disciplinary technology, work machine, spinning, grinding. But what, precisely, is being produced? Once the substratum of corn or grain is removed from the carceral equation and the treadmill takes a new turn in the production of bodies, hygiene and spectacle, we can say that the grind is one of spacetime itself: the elongation of the tangent in order to give an apparent linearity to what is a circular process — an illusion of displacement produced, certainly, but even more fundamentally the illusion of history and progress made (and its "high of mechanical annihilation").

The grind becomes ground and the body writes the metrics of its own imagined passage, or perhaps only an endless series of sweaty ellipses — unless elliptical thoughts are of another order altogether.