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

walking is knowing (or, where it all began)

art\'n\'leather

(short ambulatory notes concerning longer ambulatory thoughts…)

 

kalverstraat
no matter where one spins in amsterdam, all roads lead to kalverstraat. the sucking sound you hear is the capture of "psychogeographical" drifts by a canalization of flows that has biogrammed from water to land. tourists and travellers alike may wander and wander and yet still find themselves emerging into this tight pedestrian corridor with its heavy flows and flashy storefronts. the sucking sound is doubled: it is also the money flowing out of collective pockets, from one drain to another. and doubled again: perhaps not the sound of money flowing out to consumption now, but rather its haunting forebear, which presents the street as a series of volumetric television commercials corresponding through brand semiotics to some future purchase in a more diffused breathing space. the second sucking sound is faint to our ears, then, since it is expressed in thinner air—from canal to liquid spectacle to mist.

kalverstraat is also good for gait surfing.

 

nassaukade
large grids meet "circles" (and their tiny grids within) at nassaukade. the wandering lines of the canal force their way onto land as gentle waves, channeling walkways, streets, bike paths and building facades. these wavy contours open peculiar spaces—somewhat straight, somewhat curvilinear—which for now fashion themselves as parking lots, tiny parks or bike racks. this is a space of transition for the walker, from the teeming and vortical fluxes of centrum to the more aerated grids of the inner suburbs, and back again. and forth, again: in terms of spacing operations we are discussing relatively smooth and relatively striated, but rather than a twisting passage of holey space between the two we have the multiple switches of the amsterdam traffic lights to meter the variegaited flows.

 

centrum
with the large windows that seem to invite a sort of exhibitionism or voyeurism at every turn, it might be easy to view amsterdam and its centrum as a particular geometry of glass and gaze, lines of sight in which all subjects have their moments of greater or lesser exposure. likewise, as the turns and turns of the downtown core vibrate in slow sympathy with the canals and ocean beyond, it may feel like a body is always in the process of falling forward or being thrust into the next movement. but perhaps we are forgetting about the sonorous—the musical ringing of bells that seems to unite vision with gesture and delicately fill in all those tiny aporias of perception, volumetrically. church bells to mark time, tram bells to mark space, bicycle bells to negotiate relation at variable tempos: the melodies always seem to be coming from somewhere else, and yet their tiny shocks are what suture together passage and experience as one moves through this peculiar city. one wonders how spinoza the lens grinder listened as he walked the city streets.

 

oud-west
even if one isn't consciously seeking to purchase frequently as a traveller to amsterdam, consumption ends up meaning regular dealings in cash—perhaps moreso than when one is more firmly routinized at whatever contingency is called home, where its electronic transactions incur less of an economic burden in fees concerning permission to spend. this also means the eventual accumulation of coins in the pockets of those jeans or shorts or jackets which repetitively get their traveller's due. the accumulation is a weight worn, or borne: it doesn't take much before one notices a slight tweak in walking motion, a rubbing here or a slight heaviness there that imperceptibly modulates the musculoskeletal system. how do these subtle differences affect one's gait, one's walking through the city and the tiny eddies that fluidly swirl in the wake, microturbulent yet slightly askew from one's normative mode of ambulance? how do the gaited butterflies flap their wings just a little bit differently before the storm? or, alternatively: how does the topology unfold as spending lightens the metallurgic reserve?

 

overtoom
a geosophy in progress, in process: drifting, dancing, or simply matching strides. the flow is flowing, thoughtfully and yet thoughtlessly at the same instant. a relational autopiloting of ambulatory praxis emerges, bubbles umbilically folding within bubbles and so forth as the whole thing perceptually unfolds. the neighbourhood backstreets are quiet, perhaps perfect for a walking dialogue in this sense. though they also perform a sonic buffering in their neat gridlike formations, for all of a sudden the grid ends its southerly course—or more precisely opens into a closing: here the great tributary of oud-west that is overtoom bends and merges into the roaring river of the a10 ring road. vast horizontal vistas, for the most part nonexistent in the highly vertical inner core of the city, now open widely to the wide open eyes of the walker who has ceded a relative primacy to the automobiles in transit. the river appears too wide to ford, the drift comes to an abrupt halt, shockingly, as if hitting a pane of glass—but the geosophy continues.

 

elandsgracht
tempos. this is the watchword for walking in the neighbourhood of jordaan. perhaps more than the slower pace found in other inner suburbs, perhaps less than a vigorous walk along leidseplein or a dense, dreamlike stroll through kalverstraat, the main thoroughfares of jordaan offer a heterogeneous palette of fluxes to the walking subject. both residential and touristy, in this space one may walk with those struck awkward by the scenery or moving purposefully toward the daily errands—maybe chatting amiably in search of coffee or clustering in approach to the boulevard play area. a flock of segways passes anachronistically over a canal bridge, offering a new tempo to those which have already informed the city. while diagonal trajectories crisscross the street lanes or veer into local shops, the effect of this palette paints itself most pronounced within the narrow sidewalks that otherwise attempt to stream this heterogeneous mix into a consistency—not unlike the flock, or school, which passes by in the distance.

 

vondelpark
the lungs of amsterdam, both literally and figuratively, vondelpark certainly seems the most gaseous of all walking spots in the city. while well-paved bronchi weave and branch assuredly throughout the vast park as the primary conduits for multidirectional transit, it is the ability for walking-particles to become diffuse and mist out from these paths to the more vegetal alveoli that is of interest. contra the bikers, walkers and police vehicles that move along relatively predictable channels through these park-lungs, the more gaseous pedestrians are veering off on all sorts of vectors—mobile, aggregating and coming apart, informing and reforming anew. the movement of vision within this movement of gesture at vondelpark is intense: while the literal lungs of amsterdam attempt to photosynthetically restore a sort of equilibrium to the local green ecology, the figurative lungs of the city evoke an occurrent perception that affectively nudges the local machine ecology to disequilibrium and non-linear effects.

 

museumplein
a mere shell of vondelpark, the myriad trajectories of movement at museumplein form a figurative resemblance to the mistified bearings and breathings of the former, though in a somehow different way. the walkers are slower, perhaps, or maybe it is the rounded gravel underfoot that only seems to encourage stopping when one is literally arresting motion with a photographic lens. motion also arrests itself in the large lines that snake between the square and museums, constricting passage to those hygienic portals we call the global art market or cultural history. if iamsterdam in this space, then perhaps i've missed the point about this city all along—or maybe i was too busy trying to forget about the points in favour of its more fluid processes.

herniation

spinal disc herniation, courtesy of wikipedia

////////////////////////////////////////////////////////////
i got 99 problems but a twitch ain't one.
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\

physiology and kinetics as politics? sensing body to body politic?

the rupture of a hydraulic system (nucleus pulposus) devastatingly cripples an electricity-based information network (spinal nerve). the amount of force applied need not be excessive — in fact, very little may do the trick — but rather must be strategically levered at a key point of weakness. trauma ensues. structures overreact to compensate and stabilize the trauma, deforming the system in the process. broader relations are compromised and reshaped around this 'choreographic moment'.

herniation as rupture as program of skin tectonics.

perhaps anthropocentric . . . . . . . . perhaps not.

- - -

"finally, it is true of the hydraulic model, for it is certain that the State itself needs a hydraulic science. but it needs it in a very different form, because the State needs to subordinate hydraulic force to conduits, pipes, embankments, which prevent turbulence, which constrain movement to go from one point to another, and space itself to be striated and measured, which makes the fluid depend on the solid, and flows proceed by parallel, laminar layers. the hydraulic model of nomad science and the war machine, on the other hand, consists in being distributed by turbulence across a smooth space, in producing a movement that holds space and simultaneously affects all of its points, instead of being held by space in a local movement from one specified point to another."

(gilles deleuze and félix guattari, a thousand plateaus: capitalism and schizophrenia, p.363)

- - -

"there is nothing in knowledge which has not been first in the entire body, whose gestural metamorphoses, mobile postures, very evolution imitate all that surrounds it."

(michel serres, variations on the body, p.70)

temporarily impermanent

Hopscotch Threshold

immanent.

like a temperature on
one's lips, is the word
not begun inspirating
a whisper of breath
to the sky
nigh expired.

expressed espresso of
quick twitch
flip sprinting
and surfing
the waves of
pedestrian glinting
and slowing
the beat to a much softer glowing,
for laying me lowing .tv dogs radioing,
[or rowing those waves but revisioned for knowing]
and wondering and waiting
and tired.

 
(bergson breeze is still blowing)
 

can third be the number to remember you (bye)?
sport supple gestures in
damp potter's spaces
claymation emerges
from multiplied paces
fastfry fractal relation
on hot blacktop baking
oven fired.

crying wolf. pack well
for timely dilation
braille acupuncture
teletype operator
of gait surfing needles
and coded transmissions
"i love you" net virus
contemplating my status of
wired.

so tired.

SEM.i/o.TEX


viriliovirno

The Plasticity of Process

(abstract submitted to the "duration [before and] after media" conference, hosted by ocad university)

Amsterdam Surf

The Plasticity of Process: Intuition as Method in Research-Creation

Sean Smith and Barbara Fornssler
European Graduate School
Department of Biological Flow

_____

"One might as well discourse on the subject of the cocoon from which the butterfly is to emerge, and claim that a fluttering, changing, living butterfly finds its raison d'être and fulfillment in the immutability of its shell. On the contrary, let us unfasten the cocoon, awaken the chrysalis; let us restore to movement its mobility, to change its fluidity, to time its duration." (Bergson, The Creative Mind, p.17)

In contrast to the rational intellect and spatialization of time that currently characterizes Western metaphysics, philosopher Henri Bergson proposes the continual flow of time that is duration, with intuition its proper method of knowing. In seeking to account for change and becoming, Bergson foreshadows the "minor" science of Deleuze and Guattari some decades later. This "hydraulic" model of minor science becomes the initial condition of possibility for a project of research-creation by the Department of Biological Flow titled "Walking is In(di)visible." Beginning with a surf on the waves of pedestrian gait in urban space, we have attempted to develop a number of interrelated processes to a state at which they have just ceased to be fragile enough for one's imagination to take over and build upon their frameworks. Rather than each artwork in the cluster standing as a discrete point from which a trajectory may be neatly considered in retrospect, "Walking is In(di)visible" emerges as a continual folding of past praxis into present process while drawing future questioning into an expressive now. In presenting works from this series we seek to open a dialogue with Bergson's notions of duration and intuition, engaging themes of the everyday gesture, folding density, the plasticity of craft, and the politics of consent.