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.

help side

help side
[help side defence,
or the tactile recalibration of peripheral vision,
or the hands of the clock at 13h50 -- just past high noon.]

 

left hand

"The faster we go, the more we look ahead in anticipation and lose our lateral vision."

(Paul Virilio, The Administration of Fear, p.36)

 

right hand

"Whiteness as blindness, as third type of blindness in which one sees with one's eyes open to the world, yet sees nothing. Not the absence of light and the consequent darkness that renders one incapable of seeing, nor the total intensification of light on the retinal receptors such that one is blinded by its sheer intensity and has a visceral reaction, which forces a closure of the eyes to get relief from the pain (as when looking at a sunny sky after being in a dark room). But a visible sightlessness that Antony Gormley helps us perceive, a third type of blindness in which one listens and touches, in which objects emerge from the white fog of chaos only at the penultimate moment of proximity."

(sportsbabel, june 2012)

 

a recursive game of prisoner's dilemma

The problem is not, as Bertrand Richard suggests in conversation with Paul Virilio, "that we still want even more speed and instantaneity." It is rather that we cannot afford to slow down, that we do not want to be left behind. The problem of speed thus becomes the inverse of the problem of exodus, except that we are describing an exodus from the hyperlinearity of time.

And as a question of praxis, we borrow from Paolo Virno to suggest a gradual move from a determined problem: keep pace or fall behind, to a totally different problem: how to realize the tempos available or at hand and to experience forms of self-expression that perhaps belie these temporal qualities and/or release differential energies.

swerve

Impulsion

xxx

kleinian kisses need stitching
breathing, and leaking
at the seams

seems like only yesterday
you tore free
from me, in me
and me to be

xxx

come, rated as such and dated as much
blue breath whispers
sizzzling
time written flee

xxx

seems extreme
this veering theme

xxx

explosive dreams need sequencing
mines stuttering cuts and pasting
and stitching
ocular gauze
visibly

xxx

three stitches or less
by exxxtension
impulsive tears by the tens
in another frame of mine

images of thought lying tattered
knead breath, defibrilly

xxx

_____

(for all the gadflies and barflies.)

nonhuman actors and expression

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.

 

A Short Note on Crowds and Expression

The "crowd" at a sporting event is not simply an aggregated number of individuals, nor a produced energy or volume, but a relationship to the capacity and architecture of a competition space proper (3,000 people watching a basketball game is a large number, for example, though one that loses significance in the context of an 18,000-seat sports arena). This relationship is precisely what constitutes the crowd as "crowd" — as an autonomous actor in its own right, singular yet plural, but also understood as an intensity. The plurality is this material aggregation in space of spectating bodies, while the "crowd"-as-singular is the singularity of a produced intensity as it waxes and wanes in the context of its architectural relation. That is, as an intensity the crowd may peak or subside but it may never be subdivided as such and still retain its internal coherency, as-crowd. Material space may be prefigured, but experiential space is co-generated.

Similarly, it is understood that there is some relationship between the energy of a crowd and the quality, sharpness and affective tone of the players on the court. This is not meant as a causal relationship of call-and-response between the two parties, but is rather to suggest mutual feedback loops between the "positive" or "negative" energies of a crowd, on the one hand, and the relative qualities of discipline and stylishness performed by the athletes at play, on the other. It is a mutually emerging field of experience we are describing, affective tensors played out in loosely-configured strategies of produced tension. A collective sporting individuation.

Have you ever tried playing an "important" game in an empty gym?

As we've already suggested, however, the crowd is also produced as an individuation in its relation to the arena architecture. If this is indeed the case then we must further note that the arena architecture plays a role in producing the gestural expression of the athletes at play. In other words, the nonhuman machine of the sporting arena — in a material sense — co-generates the expressive potential of those who perform.

Or, put differently again, this architectural object becomes subject-in-relation as its potential affects are to likewise produce an artificial becoming of athletic virtuosity. Those qualities of discipline and stylishness performed by the athletes at play may best reach their expressive peaks precisely because of their relationship to the material form of the sporting space proper.

(The question then becomes one of Virilian traject, or the tempo at which this arcing clinamen of individuating process plays itself out expressively, in contagio.)