American Pragmatism

oshie

the geometry of the thing couldn't be any more obvious: a rectangle with standardized dimensions and rounded corners; a swath of freshly zambonied ice about half the width of the rink; a puck from dead middle centre ice on a plumb line straight vertical to the goal; a goaltender crouching in the way, also dead centre on this plumb line to victory.

modern sport writ large: sochi olympic men's ice hockey prelims; usa vs. russia; shootout; tj oshie is picked to shoot an unprecedented 6 times and almost single-handedly lifts team usa to the win.

but it's the style of the how which concerns us here, not simply the 4 goals oshie scored (after beating the russian goalie bobrovsky cleanly on all 6 attempts, it should be added). what was so devastating about his approach?

think expressive lines. it begins in the difference from the line oshie takes relative to the plumb vertical, not to mention the more normative lines skated by other players in shootout situations.

the orthodox lines that constitute shootout normativity? think of full-bore speed straight down the plumb line with a little deke at the goalmouth; or one big arc before coming to the strong hand and sniping from the slot; or the dangle that emerges at the end from an otherwise gentle wave of a line; or that crazy mess of a scribbled line when the coach puts in the wrong shooter to win the game — the indecisive line.

(or perhaps putting the brakes on, right before the crease, showering the goldtender in the eyes with a little snowy blindness?)

oshie has taken flight from this expressive normativity in a number of ways. first, the tempo: his opening arc is extremely slow relative to the average shooter, and the pace and shape of the arc somehow suggest a snake charmer conjuring the relational cobra with a tune. second, his use of space: he explores almost the entire width of the freshly flooded ice, even to the point of skating beyond that outer limit a few times (and in the process suffering stumbles to otherwise smooth curves).

oshie

because of the first two, slowness and width of arc, there emerges a third: oshie is able to complete a pretty full two turns of generous and seductive curvature in the opening of his approach, relative to what is usually at most only one. as a result he doesn't reveal his handedness too early to bobrovsky (which is to say his contextual handedness — ie. front or back hand — rather than a general handedness — ie. left or right shot).

these turns are of descending amplitude: there is a gravitational pulling-towards the epicentre that is the goal, oshie generating an intensity with the big slow arcs before the lightning and chaotic finish right at the net. it is vortical: his line expresses a tornado that has bobrovsky as its subject and the goal right behind if the displacement is successful enough ("in other words, a figure in which all the points of space are simultaneously occupied according to laws of frequency or of accumulation, distribution" — d+g, atp, p.489). oshie has shortened the phase of the relational tango between he and bobrovsky using an exponential time signature on skates.

(it is noteworthy that oshie's stumbles from going wide on the opening turn didn't necessarily result in a miss; in fact, they seemed to add even more chaos to the approach, allowing oshie a greater disequilibrium with/in which to play at the goal.)

oshie

so which one of these lines or attempts constitutes oshie's "ideal form", then?

of course it is the topology itself — the biogram — held within a sort of statistical probability of lines that may be expressed. it is all six of the attempts, and more ("a physics of packs, turbulences, 'catastrophes,' and epidemics corresponding to a geometry of war, of the art of war and its machines" — d+g, atp, p.489). it is oshie's ability to manipulate and intensify experiential time, and then quickly read the relational tango that emerges such to avoid formatted routines. and it is the confidence born of inherited results which ultimately state either a functional yes or no — even if you've beaten the goalie cleanly on six and only scored on four.

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 . . .

sport and political technology

post-discipline

resurfacing, re: surfacing –> once again here's what the post-disciplinary enclosure looks like . . . all that is required now is for these technologies to get "better" and be merged with irregular image flows such as with public surveillance systems in London or Chicago . . .

sport and political technology –> panhaptic, simulated:

- multiple cameras 'speaking' to one another
- markerless motion capture
- extrusion of x,y,z coordinates to create 3D image
- timestamped events
- unique person IDs
- historical databases of typical body movements
- merging of 3D image with statistics
- expected vs. actual outcome analysis
- econometric querying

on accelerating

iBolt (No.22)

on the surface it seems profoundly anti-"ecological" (to use a term floating around right now) to go wholesale into an acceleration: ecologies are more profoundly periods of stillness mixed with accelerations. the latter are very traumatic, especially when considered intensively — childbirth is an acceleration of sorts, in which the "speed" and "distance" involved don't seem like much, and yet are extremely traumatic in both material and psychic senses (and we could include the traumas of other accelerations, such as returning from space travel, car accidents, the fall of the Berlin Wall, etc. etc.).

what sort of ruptures, tears and detachments would be implied in an accelerationism at the planetary level?

before this technical infrastructure was "turned on", so to speak, i'd love to know more about the ontological, epistemological and ethical problems entailed — for example, collaborative decision-making which is shot through by speed and its intensified fragmentation of part-knowledges and part-subjects.

since it wouldn't be animals, rocks or other "objects" creating these technical infrastructures it seems fair to ask these questions even if they seem a little "humanist" in the process.

 

Speeedd

 

in the meantime, can we start more simply by "training" for an accelerationist world, not unlike how a world-class sprinter would do: by dialing up tempo and intensity incrementally, learning how to endure, speeding up and slowing down "schizostrategically" (to use joseph's term), allowing traumas (muscular, psychic, relational) to heal more readily, all while preparing for the "big race" — even if we don't know what or when said race is, or if it is for a people to come?

__________

(thoughts that have been gestating for a while, and which have only "accelerated" since reading nick srnicek and alex williams' #accelerate manifesto and mckenzie wark's response a few weeks ago.)

I Run Because I Can

boston finish

by Lindsay LaMorre

 

Two days of complete exhaustion and emotional depletion after the Boston Marathon … and I find both the desire and need to run.

I ask myself why??

Running makes me smile and has the power to change a day.
I run because no two runs are ever the same.
I run because it fills my heart with joy.
I run because success and happiness lies within.
I run to keep my mind and spirit clear and strong.
I run because I value and care for my health.
I run to be with amazing friends.
I run to be a part of an incredible community of runners that have welcomed, mentored, supported and encouraged.
I run because of the journey.
I run to embrace adversity.
I run because I can.

What was supposed to be a celebratory, joyous, and momentous event … turned into disappointment.

I ask myself why?

Was it the cowardly acts of terrorism that destroyed and deflated the whole event, manufacturing the run as completely meaningless? Was it my heavy heart for the victims who were fighting for lives and limbs? Was it the media that glorified the terror to enhance its spectacle? Or had it been something more personal, more selfish? Was it the thought of all those winter training hours suddenly deemed insignificant due to the bronchitis that had attacked my chest and lungs just days before I was to run? Was it that I couldn’t have my peak physical performance on the stage of the world’s oldest and most iconic marathon?

Maybe . . .

But the tragic events that occurred in Boston have impacted me personally and changed my perspective forever. My true disappointment laid within me … it rested in my inability to actually go back to the foundations of why I run in the first place. In the moment, I forgot to savour the opportunity and experience I was so blessed and privileged to have. Success isn't measured by a stopwatch; it's distinguished by the journey.

Explosions Sirens Chaos Panic Confusion

Why?

Within a blink, I may not have been so lucky — an opportunity lost and an experience taken for granted.

I finished the Boston Marathon.
I was with a loved one at the time of the explosion.
I was warm.
I had my belongings.
I was safe and healthy.
I was so very blessed.

I am fortunate enough to get a second chance in 2014 to revisit this question of "why?"

Running is my comfort … Boston is my inspiration.

_______________

(Lindsay LaMorre is a Health and Physical Education specialist who lives and works in Toronto. She wore bib number 10577 at Boston 2013.)

Millwrite

millwrite

The treadmill: prison disciplinary technology, work machine, spinning, grinding. But what, precisely, is being produced? Once the substratum of corn or grain is removed from the carceral equation and the treadmill takes a new turn in the production of bodies, hygiene and spectacle, we can say that the grind is one of spacetime itself: the elongation of the tangent in order to give an apparent linearity to what is a circular process — an illusion of displacement produced, certainly, but even more fundamentally the illusion of history and progress made (and its "high of mechanical annihilation").

The grind becomes ground and the body writes the metrics of its own imagined passage, or perhaps only an endless series of sweaty ellipses — unless elliptical thoughts are of another order altogether.