pulse, relay, switch

high five

The ways in volleyball and basketball that hand touches — high fives, low fives, fist bumps, etc. — maintain an energetic and affective flow throughout an athletic context, during play as well as during stoppages: congratulating, rewarding, acknowledging, affirming, but also dissipating sad passions, situational failures, and the like.

The difference between the two is largely structural: volleyball centralizes and ritualizes the hand touches, with all 6 players on the floor coming together after each point for a group exchange that appears quite indifferent to whether a point was scored or surrendered. In basketball, meanwhile, the hand touches are more distributed through the 5-player system as multiple haptic relays and switches, one player high-fiving another one here, another over there, and yet again; the energy staying on the move, diffuse, leaking into defensive transition opportunities and brief game stoppages as an occurrent "computational art" based on physical proximity, tempo, context, and event.

prophylactic

prophylactic

involution: a phallic object and its envelopment, the relation seemingly turned upon itself; rhythms and waves and particles reconfigured; breath blows the resonant signal that stimulates production.

the only thing that appears to be the same is the prophylactic device.

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 . . .

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

Prekaryat (Ltd Inc.)

ok polis

for n = i
i n, i m
mi i = y
i = 5 y?
get $ for i = y
$i max max
mi max $stack $tax

echo {echo {echo {{echo
hi hi $i $i
mi y x
d(x) x hex hex
i>y>x

echo "to whom it may;"
echo "concern please consider;"
echo "this;"

this

echo "this letter of reference;"
echo "this letter of reference;"
echo "this letter of reference;"

referents and deference and
elevated reverence

and
manyfactored relevance

field facing form filling
font fetching face frilling
fast fasting feed faking
fee faring free fading

(refresh #ffffff)

echo "sir sir miss miss;"
echo "please consider this;"

for $i

echo "respectfully;"
echo "sincerely;"
or
echo "yours truly;"

if i = truly
then get $i
else die

for ($i = 1, $i <= 10; $i++);
echo {echo {echo {{echo
get get y?

Common

common

"It begins with the mass deportations. 25,000 runners packaged onto a fleet of school buses as neatly as you can say 'logistics'. They are being shipped to another town for processing — 26.2 miles away, to be exact — and yet the overwhelming sense in the air right now is one of optimism. An affirmative energy of nervous dialogue markedly contrasts the monologue of radical dividualization that steers the proceedings. Bright yellow sponsor bags, which hold those personal possessions one hopes will make the return journey, are clutched in every hand. An inversion has taken place: these overmen&women are the new figures of Agamben's camp logic, and yet they couldn't be happier. In some ways, they run for us all."

(Hunter Thompson Blanchot, I'm All In for the Disaster, p.22)