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

Common

common

"It begins with the mass deportations. 25,000 runners packaged onto a fleet of school buses as neatly as you can say 'logistics'. They are being shipped to another town for processing — 26.2 miles away, to be exact — and yet the overwhelming sense in the air right now is one of optimism. An affirmative energy of nervous dialogue markedly contrasts the monologue of radical dividualization that steers the proceedings. Bright yellow sponsor bags, which hold those personal possessions one hopes will make the return journey, are clutched in every hand. An inversion has taken place: these overmen&women are the new figures of Agamben's camp logic, and yet they couldn't be happier. In some ways, they run for us all."

(Hunter Thompson Blanchot, I'm All In for the Disaster, p.22)

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.

zed's dead, baby.

blood blister

(the following is based on a true story)

 

"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."

(sportsbabel, february 2010)

- - -

"Not so much pregnancy as an affirmative autonomy, then, but a soapy, bloody bubble given breath-between-two, before being blown back inward upon itself and coming out whole — propelled right back down into the throat of the blower, suffocating speech-potential ever so perceptibly as the newly-dawning subject is in-formed."

(sportsbabel, june 2012)

 

dyed red, burned bubbbling

It is damp, and a long march is about to begin. It has been thought about, planned and strategized for quite some time, the body has been prepared, and an imagined or dreamed conviction has set in resolutely — this can be accomplished.

Are we describing here the marathon runner who has trained and tapered and sweated all season, resolutely, or the political subject in emergence who seems to be stretching limbs and tensors one final time before the report of the starter's pistol shatters the intense edginess that hangs over the assembled hordes?

A skin tectonics is a slippage of sorts. Many sorts, many skins. Many potential frictions, shears, tears, bubbles and ruptures. The marathon runner teaches us that once the race begins not all variables can be controlled: sometimes the tectonic shifts have a logic of their own that may in-form identity on the fly. Bloody bubbles may form that challenge any prior idea of a quantified outcome to the process.

But the marathon runner may also teach us that these goals are not end-points but rather imagined inflections within process. Pain affectively calculates pain, just as pain remembers pain. We are newly informed through our in-formation, imprecisely. As such, this can be accomplished may take on a new meaning, maybe a very dramatic and affirmative new meaning that cannot be measured against the clock of the foot of the eye. Nor are intensities ever perceived in this way to begin with.

Bloody, potentially, the pain is embraced and the journey is completed — buoyed by the energetics of countless others. Somehow outside of historical time. This is the real story that will be told around campfires for years to come. And it's a true story.

In turn, perhaps the emerging political subject teaches us that these painful bubbles can be considered more deliberately — as possibilities to condition the spatiotemporal and numerical regimes of the contemporary moment. Perhaps this is the story that will be told someday.

But the questions remain: Whose goal are we considering? Whose body, distributed yet locatable? Whose pain?

this won't mean nothing to you.

chip time and fuzzy geolocation. these are the watchwords of a sport at the vanguard of control. a swarm of runners channeled for 26.2 miles down a long corridor, tagged like insects in a laboratory experiment. the clock-foot is synchronized to the clock-eye, which swarms in turn around the course of events, ticking.

touching. spools of clock-skin are spun out along the channel, spun around the city, spun across the network: not a dermal whole, as with a text or a book, but part-fibres that twitch with every passing muscular stepflayed skinny one might suggest as the weaving unfolds.

misty-eyed. the insects run and spray numbers everywhere: we know inexactly where your code is in the swarm at all times.

chicago 2012

"Digital technologies have a connection to the potential and the virtual only through the analog. Take word processing. All of the possible combinations of letters and words are enveloped in the zeros and ones of ASCII code. You could say that entire language systems are numerically enveloped in it. But what is processed inside the computer is code, not words. The words appear on screen, in being read. Reading is the qualitative transformation of alphabetical figures into figures of speech and thought. This is an analog process. Outside its appearance, the digital is electronic nothingness, pure systemic possibility. Its appearance from electronic limbo is one with its electronic transformation. Now take digital sound: a misnomer. The sound is as analog as ever, at least on the playback end, and usually at the recording end as well (the exception being entirely synthesized music). It is only the coding of the sound that is digital. The digital is sandwiched between an analog disappearance into code at the recording and an analog appearance out of code at the listening end.

Take hypertext. All possible links in the system are programmatically prearrayed in its architecture. This has lead some critics to characterize it not as liberating but as downright totalitarian. While useful to draw attention to the politics of the possible, calling hypertext totalitarian is inaccurate. What it fails to appreciate is that the coding is not the whole story: that the digital always circuits into the analog. The digital, a form of inactuality, must be actualized. That is its quotient of openness. The freedom of hypertext is in the openness of its analog reception. The hypertext reader does something that the co-presence of alternative states in code cannot ever do: serially experience effects, accumulate them in an unprogrammed way, in a way that intensifies, creating resonances and interference patterns moving through the successive, linked appearances."

– Brian Massumi, Parables for the Virtual, p.138

chicago 2012

the whole thing is partly inexact.

no, the code is in the miles and the sweat and the pain and the fatigue and the stretching and the training partners and the dirty laundry and the calories and the, and the, and the pantpantpanting.

and then it's in the code. after that, these alphanumerics — but more precisely, the numbers that drive the text and image — have a felt-ness of context and can mean something across the planet, mean something more than just a clinical dividuality given substance as a temporary-or-forever object of information. they can produce new intensities in turn — and call these latter human if you must.

chicago 2012

what kinds of meanings, though, or what kinds of intensities? what kinds of affects can these numbers produce from the ocular mist?

proximal, yet missed. some programs have more of an openness than others: did playing fantasy sports or videogames ever make you want to cry?

_____

(lkl 7039: you made it look like a walk in the pahhhk.)