Linear

Linear

 

"On the surface of things, water offers us this paradox: it is at once capable of gently propagating a wavy ripple to near-infinity, and yet it is also surprisingly resilient or responsive to dramatic changes in amplitude. A peculiar elasticity, then, this distributed and complex musicality in which we-swim."

(Jock Cousteaux, Aqua Rara, p.69)

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

all in for contagion. (biogram/biopsy)

all in for contagion

authority: scrabble (letter to: a young ingrid)

authority scrabble

ahoy ho!
hi!

:)

i/o

:(

out i-ray air tour
thor oat tout

our authority roi
thy rat hit rout hurt
hairy hoar tart trio
tit rot thot taut
oy.

(s)hitty, ya.                        (the first gift)

oar your tar rut
throat
author thirty hour riot! or
(w)rit it hot.                        (phantasmic double-you)

truth, ha.

tut tut you
torah hut hair tray
haut oath toy art
(be)troth.                        (come, body do)

 

yo hay tot:

try.

:)

 

hart,
hattr

rupture placenta (sous rature ~ wavestyle)

rupture collage (sous rature)

Department of Biological Flow
Rupture Placenta (Sous Rature ~ Wavestyle)
[semiotextil(e) remix]
2012
performance and collage

 

formerly known as:

Natality (Ingrid)
2009
performance

 

"The two Department of Biological Flow members are 'glued' together front-to-back in a motion capture studio. The forward person has markers on front and left sides of the body, the rear person has markers on right and back sides of the body. The two bodies match strides, glued together, and then 'split' apart halfway to veer off in opposite directions, as if 'tearing' the subject in two or radically reconfiguring its relationality." (2009)

 

- - -

 

"These Comments are sure to be welcomed by fifty or sixty people; a large number given the times in which we live and the gravity of the matters under discussion. But then, of course, in some circles I am considered to be an authority. It must also be borne in mind that a good half of this interested elite will consist in people who devote themselves to maintaining the spectacular system of domination, and the other half of people who persist in doing quite the opposite. Having, then, to take account of readers who are both attentive and diversely influential, I obviously cannot speak with complete freedom. Above all, I must take care not to give too much information to just anybody.

Our unfortunate times thus compel me, once again, to write in a new way. Some elements will be intentionally omitted; and the plan will have to remain rather unclear. Readers will encounter certain decoys, like the very hallmark of the era. As long as certain pages are interpolated here and there, the overall meaning may appear: just as secret clauses have very often been added to whatever treaties may openly stipulate; just as some chemical agents only reveal their hidden properties when they are combined with others. However, in this brief work there will be only too many things which are, alas, easy to understand."

– Guy Debord, Comments on the Society of the Spectacle, p.1, emphasis added