genetic mutation (escape codes)

genomic variation

"At the gala opening ceremonies of the 2004 Summer Ω∟¥₥₱¡© Games in Athens, Greece, organizers mounted a spectacular tableau of Western cultural history. Merging figures of Greek mythology, the changing aesthetics of Hellenic pottery, and an ascending chain of modern humanity, the Olympic pageant metamorphosed from epoch to epoch, culminating in a cosmic Milky Way lake of lights. In a last transformation (effected by a complex system of wires, projections, and laser lights), the luminous lake rose into the air to form the double helix, a spiraling light show representing, if not the alpha, then the omega of it all. The BBC1 commentators who bantered the pageant play-by-play evinced no surprise at the transition from the horizontal cosmos to the whirling vertical of the molecule. It was as if this finale was already anticipated, evincing the 'of course' of recognition and familiarity, as if an old friend had arisen from its familiar stellar habitat."

(Judith Roof, The Poetics of DNA, p.1)

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skin tectonics, surgery and a question of autonomy

"we don't eavesdrop specifically on you (the freedom), we just abstract models from databases for statistical profiling (the non-freedom) . . ."

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"Thus while we see the antagonism of the labouring body move from the musculo-skeletal to the central nervous system to the micro-memory coding modules of DNA, in the parallel movement to colonize relation we must similarly code the spectrum of in-between located in the trans-subjective. And here is where we locate the one binary that is irreducible, for relation as understood by capital expansion today is distilled via systems analysis and statistical method to the ones and zeroes of the machine. Embodied poiesis is always already compromised by the digital form, while synchronicity exists as the tangential touching that tracks these skins in relation."

(sportsBabel, May 2010)

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variations on the body, appropriate to the task at hand


omega, right-angle, yen, mill, peso, inverted exclamation mark, copyright, dollar sign



(hat tip to ®™ark)

temporarily impermanent

Hopscotch Threshold


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

so tired.

losing my edge


thick midnight breath
weighs heavily
presses thickened skin
damply, thickly

and lcd soundsystem
is losing his edge, of affect
bc some fucking kids and their
footsteps (steps (steps)
are chasing him into the future

(but they're actually really nice…)

damp base cleft
stamped bass clef(f(f)
to the lowly rumbling rhythms

bass rhythm elastic
slow wave edge ride to
wavelength frequency

base string strung,

footfalls fallow
thumb's edge listless
presses thickened skin
gently, thinly

exposure, transparency, opacity (hopscotch threshold)

Hopscotch Threshold

gait surfing study number two
kalverstraat, amsterdam

exposure is an ontogenetic and relational phenomenon. it is a thread of thought developed by virilio in lost dimension that is among his most innovative and promising. exposure is also a political phenomenon, for each of us to varying degrees our politics today.

we should not desire pure opacity. this is a dangerous end of the exposure spectrum as we all know, and which the concentration camps or prison solitary confinement zones should confirm for us. pure opacity should be considered a gravity well of (political) effects from which light struggles to emerge.

approach the lip of the well, in other words, maybe grind your board on the rail a little bit. but don't fall over the edge at any cost: there are no knee pads or glasses of mom's lemonade waiting at the bottom of this halfpipe. pure opacity kills.

this is not to suggest we should desire pure transparency, either. the oversaturation of light-information on the retinas is its own form of painful blindness. as agamben reminds, the "pure" transparency that is the character of debord's spectacular society finds its own horrors in the legacy of timisoara, which he describes as the "auschwitz of the age of the spectacle".

and the slightly lesser incandescence that glares down on each of us brings its own political effects as well. celebrity, surveillance, performativity are all implicated in this transparency of the everyday, which presents itself as a democracy of the visible. we all shine on.

pure transparency should also be understood as the limit of a gravity well, then, with its own potential for skating and grinding and carving an edge. but perhaps its walls are steeper and its gravitational pull stronger or more tempting, as insects are so often attracted to a light.


always deterritorialize carefully. or wear a parachute.

the middle of the exposure spectrum is its own zone of politics, for we are always on the move between the rails of opacity and transparency on this bastard halfpipe of collective existence. everyone wants the next wave. we're always bumping into one another.

our proximity also implies that thresholds of opacity may offer cover to another, if only partial. what is the ratio of exposure for a couple-pairing: is it asymmetrical? (one hopes not overly so. or overtly so?) what if the group is a threesome or a several: how do the ratios of exposure, transparency+opacity modulate in such events? when considering proximity in this sense, err in the analysis towards the temporal rather than the spatial: virilio reminds us that exposure is a time-based phenomenon, and thus thresholds of opacity may often be spatially-displaced, yet actually proximate.

Stadium Surfing

Feb. 2010: "The integumentary system of our artificial living consists of a series of interconnected layers, from the subcutaneous, dermis and epidermis; to hair, nails, horn and pelt; to clothing and architecture; to that vast and mostly invisible network of communication protocols we call the internet. Indeed, as McLuhan suggests, 'in the electric age we wear all mankind as our skin.' But these layers do not sit neatly upon one another, sedimented in neat parallel striae; there is rather a slippage between layers, a series of foldings and touch points emerging from the integumentary movements and flows. Call it skin tectonics: the shifts and rumbles between various layers that may at times rupture or crack the 'surface'."

* * *

Stadium Surfing

Idea for a Conceptual Art Project, No.22:

1. Take a sports stadium teeming with partisan fans.
2. Combine the pixelated card stunt with the spectator wave to create an 8-bit surfing avatar.
3. Ride that motherfucker 'round and 'round the stadium.
4. Synchronize wide-angle tracking shot.
5. Bail avatar headfirst into the wash.

* * *

Feb. 2010: "The gestural body is a moving body, and is thus always already a political one as well. The logic of skin tectonics suggests that such a moving body will never be fully captured by the tightness of its spectacular skin, for there will always be a slippage between integumentary layers. And it is this slippage that constitutes the contemporary zone of opportunity, of resistance, and of indifference."

(thank you to karima dorney for initiating the dialogue.)

micro, current

December, 2008: Deleuze and Guattari weren't totally correct. Surfing is not necessarily about entering into an existing energetic system in and of itself, as much as it is about riding the turbulent, frothy edge between signal and becoming-noise. In the case of gait surfing, there is an entering into the energetic system of the flow of pedestrian traffic, but this traffic is itself produced by the muscular energies of the individual body. We are still exerting a force within the striations of the urban environment, that is, the biomechanical leveraging of the musculoskeletal system towards a particular linear vector of production. But when examined intensively, this linear flow-in-theory has different internal paces, rhythms, deviations from normal gaits, errors, noise, speeds, purposes and objectives, cultural histories — and indeed, an entire erotics in its relationality to the unfoldings of the several.

It is these anomalies that constitute the minor perturbations in a flow that may thereafter become chaotic attractors and create turbulence (cf. DeLanda). We find in the aggregate from these perturbations in bodily locomotive style the corporeal jetwash or break point between signal and becoming-noise of the urban gait surfer — not unlike a television picture in which one can see the dopplered images of visual signal and snowy static noise.

March, 2009: 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.