The contemporary city: a site of decaying spaces and shiny interfaces. A meshwork of subjectivities accelerating faster than the ability of our own embodiment to keep up. The question today has become one of embodiment. Does the body sense? Does the body move or create?
Is the body liquid?
Swimming pool. Pond at the local park. Damp mist that turns to shower that turns to driving downpour. Gutters, storm drains, and underground conduits of wastewater. Evaporating sweat from the back of the road construction worker, the broker in the trading pit, or the athlete at the stadium. Aqua may be found all over the city, flows coursing independently yet bound up with one another as well as with larger processes in patterns binary, circular and linear.
Green grass at the park. Humming streets. Golf course turf. Designer architecture. Chipped concrete curbs and asphault blacktop. Abandoned lots. Thatch and decomposing undergrowth. What aqua gives (life), it also takes away (decay). Speed makes us forget sometimes that the solidity of terra is itself bound up in liquid processes, which perhaps take just a little longer to witness visually.
Aqua has a diversified rapport with terra in the folds of the contemporary city, sometimes as signal and other times as noise to the constantly throbbing rhythms of dwelling and commerce. The tree, the pond, the park, the rain: all connected by fluxes of people navigating, tracing and inscribing the urban everyday. Always flowing. Never trapped, enclosed or solid.
Is the body liquid?
Traditionally, the playmaker has been the figure in sports who makes plays, that is, who manufactures positive outcomes in the clutch, who embodies drill, discipline, execution and repetition. But a new logic of bodies and flow is emerging in cities around the world. Existing energy systems become the locus of creative possibility for the athletic body, as we witness with the street skateboarder, the snowboarder, or the parkour athlete who contours and traces asphault, concrete, bricks and mortar on runs through the urban cityscape.
A challenge has been issued to the sprinter and marathoner. Increasingly seen as products of the industrial laboratory, they stand markedly in contrast to the flowing body and the growing variety of energetic systems in which it realizes its potential. But we need not be describing these figures as mutually exclusive. Merge art and science, fold this emerging dynamism back upon the runner, imagine the urban as a field of sporting possibility and ride the somatic flux of pedestrian traffic through the streets, concourses and plazas. For it is the human body, in both singular and plural form, that connects together the various flows of aqua and terra in the contemporary city.
Instead of making plays, one must now embrace the challenge of making play, rescuing it from the seriousness of industrial manufacture and the factory production model. To make plays, one blocks out the noise of the crowd and visualizes the task at hand. To make play, by contrast, one embraces and engages the noise of the crowd, sensing one's self in space as an affective body, athletic and full of creative potential.
Find the points of intersection between binary, circular and linear forms. Ride the interference waves in the oscillation between signal and noise. Make play. Flow. This constitutes the tactile burden of all playmakers, regardless of their material habitat: to feel the heaviness of the body at the same moment one feels the lightness of its liquidity. To move, perform, create, liberate.
Is the body liquid?
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(final copy of a text that was to be published in a design catalogue by a major athletic footwear and apparel company; catalogue deep-sixed due to budget concerns amid the worldwide crisis of neoliberalism)
Don't wait to be told what to do, how to share information, how to think!
Thank you for the invitation, but I shall decline. Too much surveillance already, no? ;)
Good work. You're getting it.
The hipster is rarely an artist.
So suggested Norman Mailer in The White Negro. Embedded in his critique of the racial politics of white backlash, one imagines he is referring at least in part to the question of poiesis: the hipster is born of representation while the artist exists at the threshold of creation and representation. The artist is the one who creates, the one who fashions the beginnings of order from an otherwise roiling sea of chaos (to borrow from Deleuze and Guattari) while the hipster, on the other hand, represents the creative process of the artist in his presentation of self.
If Mailer was literally writing of and from that roiling sea, he might likewise have suggested:
The poseur is rarely a surfer.
Is the surfer not an artist of the body? (Interestingly, the Polynesian cultures from which surfing originated considered it an art form and not a sport.) Two articles offer the briefest glimmerings of an answer. In the first, "How to Surf," Clifton Evers sets out to teach the academy just that very thing. Right away, his exercise proves futile since what he trying to describe to us is the corporeal act of surfing — not its representation, but an actual being-in-the-world. In short, he is trying to describe to us the surfer in the throes of affect, the embodied sense of self and the navigation of intensity while riding through the waves. It is impossible to fully capture the sensation in words, for it is pre-language: it requires a moving body for a similar affect to be generated. (Get on a board and ride!)
In "Beyond 'Decorative Sociology': Contextualizing Female Surf, Skate, and Snow Boarding," Holly Thorpe describes the processes by which surfing cultures are signified, commodified and re-sold to non-surfing markets as well as back to the original surfers themselves. As surfing becomes a sporting "subculture," authenticity becomes always already compromised by the gaze, the spectacle, commodification and discourse. It then cannot be separated from the demands of late capitalism. (Get on a board and ride! But are you wearing Billabong?)
The surfer, the skater, the traceur: at once existing at the threshold of a body culture distinguishable from the linearity of rational modern sport — as well as a non-conformity or critique of elements of consumer culture — and its own spectacularization and contribution to the conformity of consumerism. Part of this has to do with documentation, or the archive: if the surfer is an artist of the body, then how does one represent the practice without crossing the threshold?
Post-Literacy and the Wave
According to Marshall McLuhan, the mode of communication of a society was one of the determining factors towards how the surrounding environment was perceived by individuals, and thus the aesthetics and politics that may emerge as a result.
[O]ne of McLuhan's primary frameworks was the distinction between pre-literate, literate, and post-literate societies, which are classified based on the dominant mode(s) of communication of the day. Pre-literate societies communicate primarily by the spoken word; literate societies emerged from the introduction of the phonetic alphabet and the Gutenberg press and communicate predominantly through book form; and post-literate societies are those that are characterized by the electric communications technologies of telegraph, telephone, radio, television, personal computer, satellite, etc. McLuhan's hypothesis was that post-literate societies — that is, those who live in the electric age of communications, such as ourselves — would very much resemble pre-literate (ie. "tribal") societies in the way that they acted, both as individuals and as a collective.
For McLuhan, the reliance on auditory and tactile forms of perception for the pre-literate society had consequences in the way that space and time were perceived: the former as a resonating sphere and the latter as a circular process. With the introduction of linearity in alphabetic writing, accelerated by the distribution potential of the printing press, the perception of space and time similarly began to shift: the former became a geometric container in which perspectival vision extends and vanishes at a point on the horizon, and the latter became an unfolding of a linear process that begat the cause and effect thought of the Enlightenment.
So what of the perception of space and time in the post-literate or electric age?
The problem I have with McLuhan's framework is that I don't think it adequately considers the vector of change. Those entering the Electric Age are emerging from the visually-oriented, linear mindset of the literate age and all that it represents, and no matter how closely we may indeed resemble pre-literate tribal peoples in their behaviours and sensory ratios, it must be noted that this will be a categorically different group of people given that we are vectoring away from the Print Age.
In other words, there is no clear-cut end point to the literate age and corresponding start point to the post-literate age: we are at the cusp of a slow inexorable transition in communication practice and the perception of space and time produced as a result.
To advance a perhaps-radical thesis, is it possible that while in this cusp the becoming-electric society exhibits a dynamism or interference between visual and acoustic-tactile sensations, which manifests itself in a perception of space and time that exhibits circular and linear properties at once? In other words, an eternal recurrence crossed with time's arrow to give us the wave as the emerging means of perceiving space and time today?
Surfing and Documentation
Of course not everyone in post-literate societies perceives these waves equally, for we are all to varying degrees still bound in the linearity of the literate age and the social structures of commerce and dwelling it has produced. While it is relatively easy for most to perceive those waves which the surfer calls home, it took a particular assemblage of social, economic and technological constraints for the Zephyr skateboard team to perceive similar waves in the asphault tundra and concrete swimming pools of 1970s Los Angeles.
Similarly, hang gliders found waves in air currents, snowboarders found waves on the sides of icy mountains, parkour traceurs found waves in urban architectures, and wakesurfers found waves in the powerboat jetwash of otherwise flat lakes. Urban gait surfers hope to find waves in the flows of public/private pedestrian traffic. Waves are everywhere to be found, even in something as simple and readymade as a chain strung between two posts (the relation, see right).
As Deleuze reminds us, surfing has replaced the older sports.
Let us advance then a perhaps-radical politics to complement the perhaps-radical thesis: those who can find the waves need to make them perceptible to those who cannot. If the ways in which we communicate, the ways in which we sense and perceive the space and time of our environments, are bound up in an aesthetics of politics and a politics of aesthetics, then an embodied and performative engagement of electric society and the waveform is our best bet towards challenging the linearity of capitalism (which, because it is absolutely based upon the principle of exchange, precedes its non-linear outcomes) and finding a hinge point of global sustainability. Virno's communism of capital?
A problem arises. As we mentioned earlier, refusal and consent become bound together when the style of surfing, skating, snowboarding practice — the style of waves — is raised to the level of documentation. In the refusal of a particular aesthetics and politics, on the one hand, wavestyle also plants the seeds of its own reterritorialization and contribution to consent through the networked spectacle. The new bodies of consent produced by this reterritorialization also surf waves: those of immateriality and electromagnetism, those of radio, television and data. We should be discussing two waves instead of one. Since mathematicians will point out that sine lags behind cosine in the becoming of waveform functions, maybe a sine wave of representation to follow a cosine wave of performance?
We are left with a conundrum: How to communicate the existence of embodied surfing potential in its myriad forms and work towards realizing such a new perhaps-radical politics without documenting the performance and contributing to a regressive politics of representation, fear and desire? This conundrum has lurked in the shadows for centuries, embedded in what Deleuze and Guattari refer to as the hydraulics of nomad science. One cannot document the act of surfing, the poiesis of being-in-body and becoming. Like secret whispers passed throughout history from breath to ear, then, one can only document the wave.
(thanks to a. staley groves for his thoughts, both presenced and networked)