Suely Rolnik, 'The Body’s Contagious Memory: Lygia Clark’s Return to the Museum':

"The characteristically activist operation, with its macropolitical potential, intervenes in the tensions that arise in visible, stratified reality, between the poles of conflict in the distribution of places established by the dominant cartography within a given social context (conflicts of class, race, gender, etc.). Activist intervention is inscribed in the heart of these conflicts, situating itself at the position of the oppressed and/or the exploited, with the aim of fighting for a more just configuration of society. Whereas the characteristic operation of artistic intervention, with its micropolitical potential, acts on the tension of the paradoxical dynamic located between the dominant cartography with its relative stability, on the one hand, and on the other, the sensible reality in continuous change, the product of the living presence of otherness that ceaselessly affects our bodies. Such changes tense up the current cartography, until they finally produce collapses of meaning. These become manifest in crises of subjectivity that impell the artist to create, so as to lend expressivity to the sensible reality that generates this tension. Artistic intervention is inscribed in the performative plane – whether visual, musical, verbal or otherwise – carrying out irreversible changes in the reigning cartography. Becoming embodied in artistic creations, those changes make them into the bearers of a contagious power at the moment of their reception. As Guattari writes: 'When an idea is valid, when a work of art corresponds to a genuine mutation, articles explaining it in the press or on TV aren’t necessary. It’s transmitted directly, as fast as the Japanese flu.' In short: with activism we find ourselves facing the tensions inherent to conflicts on the level of the cartography of visible and utterable reality (the plane of stratification that delimits subjects, objects and their representations); with art we face the tensions between this plane and the one already foreshadowed in the diagram of sensible reality, invisible and unutterable (the plane of flows, intensities, sensations and becomings). The first one convokes mainly perception, and the second one, sensation."

Moebius - Sean Smith - 2010

nylon basketball mesh

topological hoops; moebius flip, locus of style; relational fibres severed, cauterized; relational optics; walking with lygia clark; thresholds, polygons, shadows, representations.

Moebius - Sean Smith - 2010


June, 2008: But can one calculate the obsession of the basketball player who finds his ultimate expression under the harsh-soft light of the arena as he enters a state of flow?

"Obsession makes life intensive … so long as you are capable of forgetting" (Schirmacher).

He cannot forget. His courage in the arena does not extend to his entire life technique. Nor will it. Condensation forms on the designer sunglasses he wears to the post-game press conference. Tears of a cyborg body that mask the emotions he must always conceal, repress, make absent. "For there is no end to the folly of the human heart" (Woolf).


2 responses to Transmission

- rss feed for this comment thread
  1. sportsBabel » Skin Tectonics, Surgery and a Question of Autonomy says:

    [...] growing network fibers is not necessarily a bad… i guess this is actually pointing back to the trauma of breaking relation in the web it's when the relation cannot move anymore via weight of the network then this becomes burden [...]

  2. sportsBabel » Memories of Venice says:

    [...] The mesh is actually a symmetrical grid whose striations link together at every knotty intersection. The immediate intuition is to cut it vertically down one side and lay it flat on the table, before giving the half-twist-and-reconnect required to form a moebius strip. The basketball mesh has now become a moebius mesh. [...]