sight lines crisscross, crossfade into
exaggerated forensic muscle.

body stereoed,
flesh pollination
of thickening agents
in the urban channel.

colourful koi fish nibble traces of my bastard image
along cobblestone stagery.

digital clean stays the
current hygiene, no matter the decay
that foreplays in the
foldings of its skin.

cut through the wash.

i love that function of you
on the rivermade of my newsfeed,
just like i still love those
other traces that remain of you, too.

* * *

(department of biological flow: gait surfing study number two, kalverstraat, amsterdam, 16:45)

yellow card, oranje card, red card

"oranje boven!" the memorabilia reads, a curious choice of words for the runners-up in that great football festival of the world. sponsored corporate schwag, propaganda, carnival: a meme science of learning to lose well. capital seems to have lowered its standards in the vectoral age.

but this is a calculated play, no? keep the party going, stimulate the chafed teat of the economy a little longer, turn the waikiki beach of gait surfing into canals of oranje gello. as with the winners of the great trophy, our first best loser may also be used as a thickening agent with which one is able to coagulate biological flows, from the molecular to fluid audience mass.

oranje boven

in the logo for foot locker shoes stands the referee: figure of authority in the spaces of sport, chimera of police and judiciary patrolling the privileged layer of lex sportiva. dark-haired, male, trim, the referee in the foot locker logo casts a watchful eye not directly at you, but rather around you.

every sales clerk at foot locker retail locations — no matter the body shape, size, sex, hair colour or skin tone — wears the same uniform of the referee, for they are the authorities of athletic footwear. draped in the pure binary of black and white, their asignifying gestural barcode of alternating uniform stripes stands in sharp contrast to those other markers of inventory management proliferating in malls everywhere.

oranje gello

it is crisp in black and white: on the one hand an even balance between Right and Wrong and on the other a visual noise that stands out against the vivid colours of packaged spectacle or everyday playing-in-the-world. from black and white to yellow card to oranje card to progressively deeper shades of colour (…like the tall woman walking through the square near bloemenmarkt, whose auburn hair caught the slanted 18:30 sun in just such a way…) and finally to red card and the full power of Language and Law.

there are no games left for now, no opportunities remain to avenge the contingent national identity. instead, we wallow in the luxury of our own failure: foot locker authorizes this second place finish.

(down the rabbit) holey space

a breath of fresh air, redolent of vuvuzela blossoms

there was a public outdoor screening on a restaurant wall a few nights ago at the end of the street where i live: "bangladesh defeats england in historic cricket victory." it was not projected through the partition but rather reflected upon the building’s facade. closer, yet further away.

oh, i *do* remember our identity tourism in tucson. there were cast-iron sculptures of lisa nakamura's body on every building, just like antony gormley in london. "inverted post-colonialism," i think, was the vogue.

context is not only a spatiotemporal phenomenon, but a (matrixial) psychic phenomenon as well. context suggests an increasing tendency towards harmonized (and dare we say synchronized?) co-resonance. it seems to me that context itself constitutes the stasis of monotony and that the coming-into resonance of and through alterity is what creates the openness.

did you know that amsterdam is the steampunk version of second life? delanda said they created this shit back in the 1400s! and then at some point lewis carroll wrote a virus and messed up the code. the game still plays in my console, but the graphics are a little distorted, you know?

how does third place, the "runner up in the exceptional case," change the relation between numbers one and two ("the best winners")? the ontogenesis of the third is an alter-accomplishment in its own right, no? how do we understand the third in terms of multitude and the very being-in-language of which virno, agamben and nancy speak? how does the third come into resonance of and through alterity? is openness created?

children both shy and fearless; translation, mistranslation, smiling without voices; does it really matter? tonality, don't think in terms of romanization! a new iron curtain; public, private, third spaces; be a switch; but it wouldn't be a very honest emotion if you could turn it off like a switch.

or am i flailing?

crushed blossoms in a vase of water