"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)

With its lilting and stuttering, consider the (mecha) butterfly as part of an aesthetico-political topology of movement through gesture and language — passing through the free radical, to the busker, the jester, and finally to Paolo Virno's joke, which effectively "changes topics" in conversation and may be considered a form of innovative action in surveillant/spectacular societies dominated by language. In this topological sense, not only are the "logico-linguistic" resources of jokes important (as with Virno), but also the movements of the jester or joker, the gestures and delivery that allow for the topical change to occur (as with the butterfly).

~

The butterfly is relatively ambivalent to the local striations of anthropocentric territories (city streets, lot plans, the domestic home), save for an interest in those affordances offered by other objects within these striated spaces (flower beds, vegetable gardens, shaded areas). For the butterfly, in this sense, space is always "smooth", or at least its particular attractions and connections are not mapped in gridly fashion: it lilts and stutters from stopping point to stopping point, a nomadic line avant la lettre, but perhaps even more illustrative to us perceptually-conceptually as it moves in its delicate awkwardness volumetrically, lifting the nomadic line off the canvas or the cave wall or the desert route for understanding in other dimensional spaces.

~

The jester, on the other hand, figures prominently in the medieval court. Offering "witty" counsel to the king or queen through jokes (and other forms of performance), the jester is that one who attempts to provoke a minor shift in perspectival viewpoints — from on high to down low. As the feudal court apparatus is transduced to the even more striated and biunivocal relations of the chess board, serfs and pawns get their due while the jester is left behind. But in tegwar chess, or the societies of control, the rules are modulating with every move. We find the perfect opportunity for the (re)introduction of the jester and performative jokery into the game — a powerful piece on the board so long as it does not seek to enlarge its own image or invest in the credit.

it is One thing to join under the One of the school and its team. it is also One thing to join under the One of the corporate sponsor. but it is One different thing altogether to join under the One of a god, particularly if that One god is not explicitly linked a priori with that One school and its team.

even the One of the american nation-state offers the freedom of multiple religions!

(does it not?)

Auctioning a Piece of Post-Season Perfection Highlights Uniform Evolution

By Jason Turbow
October 8, 2012
4:45 pm
Categories: Gadgets, gear & games

In 1956, Don Larsen was paid $13,000 by the New York Yankees for a season's worth of work, which included throwing the first (and still only) perfect game in postseason baseball history.

Today, the uniform he wore on that historic afternoon, during Game 5 of the World Series against the Brooklyn Dodgers, goes up for auction. It is expected to fetch more than $1 million.

. . .

The proceedings . . . will run for 56 days — marking both the year the perfect game occurred, and the amount of time, 56 years, since then — through Dec. 5. . . .

[T]he Yankees' uniform design, alone among Major League Baseball, has seen no significant changes in well over a half-century. . . .

. . .

. . . The Collective Bargaining Agreement now maintains that players' pants not drop below the top of the heel.

. . . Once, baseball players wore white socks underneath colored sanitary hose. The reason: The dye for the stockings, far from colorfast, offered an assortment health risks should it come into contact with an open wound.

. . . (Another stylistic fad into which the Yankees failed to buy included uniform numbers on the fronts and sleeves of jerseys.)

. . . The Yankees continue to be the lone big league club to eschew names on the backs of their uniforms, both home and away, but in 1956, the practice was status quo. That changed in 1960, when the presence of slugger Ted Kluszewski probably made the Chicago White Sox equipment manager sorry about his team’s decision to become the first to so identify players. (It should be noted that the Yankees were the first team to utilize uniform numbers on a permanent basis, in 1929. They assigned numbers according to players' spots in the batting order.)

Larsen has already sold his cap, glove and shoes from that game, as well as the baseball used to strike out Dale Mitchell for the final out. They went in 2002, for a total of $120,750. In 2010, Berra's jersey from the same day sold at auction for about $565,000.

. . .

"The San Diego Hall of Champions already validated it," he said. "In addition, we've done extensive picture matching of historical photos — of the stitching, the interlocking NY, how his name was sewn (stitched inside the uniform for identification purposes, not an external-facing nameplate) in relation to everything else. Honestly, this was probably the easiest match from any jersey we’ve sold because there are so many great images from that game for us to use."

attn:

natality?

yin yan
tail tail
tiny lan lit

a y/n ail.

i alt ny
tan anal it
natty
taint, tit
nail tna nitty

aint any latin
lint anti italy

~
NO. NOT IT. STOP. PLI-NATAL, PLS.
~

impulsion?

i/o

i plus us
minus u (plus u)

ou

moi plus nous
moins il ou L (plus lui)

oui oui

sun sin loins (sí)
opium oil nip
spumoni plum sip
spin spin slip

slip
snip snip lips

(i'm)pulsion

~

i plus iii
minus Y
        minus pms-ism
                minus simstim ip pin
                        politY

pulmón-natal
. . sssss . . . .

iou

my soul alit
                                                in tailspin
not simply an

(i'll)usion

REM

ten tues. minutes
us
term rent
resin menu nest sim
met sit rest nuts
remit reins
rum urn rite rue
us

stir mine rune true
siren muse
trius

mr/ms rites tire
ie i must mire miser
inure its sent terminus

minus us                        (tier)

/REM

um,
unmiter time?

term-in-us

rise, unite us must
strum sine nets
untie us tunes
muster sun mist                        (miner)

rim risen mite terns
smite tin mint rust
ruin stern runt emirs
stun nuit mitre nits                        (rime re: turn)

mute mein sire
in mister men snit
sir tine is inert
emit suet site sin?                        (sure)

u set?

RUN