The Remains of Argus

Kino-Gait

department of biological flow
kino-gait study no.2
2009
performance/video

"The organs of the senses form knots, high-relief sites of singularity in this complex flat drawing, dense specializations, a mountain, valley or well on the plain. They irrigate the whole skin with desire, listening, sight or smell. Skin flows like water, a variable confluence of the qualities of the senses. Interior and exterior, opaque and transparent, supple or rigid, wilful, present or paralyzed, object, subject, soul and world, watcher and guide, a place where the fundamental dialogue with things and others happens and where it is most brilliantly visible, the skin bears Hermes' message and what remains of Argus."

– Michel Serres, The Five Senses: A Philosophy of Mingled Bodies, p.52

AutoImmune Response

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"Riefenstahl's films develop the concept of dynamic form in Boccioni and the mobile cut in Deleuze/Bergson to arrive at a reassertion of the ways in which movement privileges expression over content. The foregrounding of dynamic form suggests that Riefenstahl composes with fascism but does not compose a fascist (disciplinary) body. What she composes is the expression of a becoming-body symbiotically linked to fascism but in excess of its disciplinarity. Riefenstahl composes-with. She begins with the beautiful, the young, the strong, but what she composes is never a particular or individual body. Movement is the commanding form of her work."

– Erin Manning, "From Biopolitics to the Biogram, or How Leni Riefenstahl Moves Through Fascism," in Relationscapes: Movement, Art, Philosophy, p.135.

Parsimoniously

wind, emergence

i spent a whole day reading
your words, blankly
heartly
infinitely in a time when every
syllable is measured so

parsimoniously
 

i spent a whole day writing
      i spent a whole day speaking
my words, inkly
      our words, barely
heartly
      hardly
bleeding away to another skin or
      surreal gesture or proximate longing
blanket, blankly
      inevitably, heartly

ceremoniously

northward, bound

intension

suboptimally smitten

intension
a luscious word or
rhythm rolling off the tip
of one's tongue off the tips
of one's fingers off
the tipsy stroll one takes on
the surface of one's face.

face off

interface, starry-eyed
not a force or a face but
a field and a gliding on
which affects play the game.

play off

she runs because she can and
isn't that the point in a
traject of points only seen
after the moment of aching
muscles and intensional sweating pours off?

pores off

i run because i am a program and
isn't that the point in a
traject of points only seen
in a tense future of quaking
connexions and intensional
sweating or fears?

if n+1=<3 then print
"i am sorry"
else off

Process Machine for Schizoanalytic Primer (Phase One)

iBolt (No.22)

Phase One: Bio(pro)gram for Use in Grid

10 START PROGRAM

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20 Retrieve
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In Leni Riefenstahl's Olympia, the 1,500 metres is described as "the greatest race of the Games." Today that has bifurcated into the marathon and the finals of the 100-metre sprint.

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30 Remember
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"Riefenstahl's films develop the concept of dynamic form in Boccioni and the mobile cut in Deleuze/Bergson to arrive at a reassertion of the ways in which movement privileges expression over content. The foregrounding of dynamic form suggests that Riefenstahl composes with fascism but does not compose a fascist (disciplinary) body. What she composes is the expression of a becoming-body symbiotically linked to fascism but in excess of its disciplinarity. Riefenstahl composes-with. She begins with the beautiful, the young, the strong, but what she composes is never a particular or individual body. Movement is the commanding form of her work. … The becoming-body in Riefenstahl is a force to be reckoned with, not least of which because it reinvents space-time. It is a force for the future. Certainly, its dynamism remains imbued with the charisma of Hitler's fascism. Yet it is also more-than: it becomes beyond the boundaries imposed by the era of its inception. It is more dangerous, more powerful, more evocative than what has been called a 'fascist body' or an 'aesthetic of fascism' because it is infinitely more malleable than even the regime itself" (Erin Manning, Relationscapes, p.135).

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40 Remix
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"Mr. Vitanza runs both the marathon and sprint of discourse, a 2-inch thick dissertation or an oratory in 420 characters or less. (Have you *heard* him perform at Facebook Square?) He shows that we can in fact be speedy with our thought and its expression, with our language and its related language games, with our performativity. (The societies of control demand we develop these strategies, do they not?) But his technique also suggests we must remember to root this rhetorical action cooking in a gesture of slowness, to be polyrhythmic in approaching how communicative action shapes our very thought itself. This rootedness is rhizomatic: bend what the ingredients can do with every linguistic turn; multiply connections. Call it style. Or a virtuosity compromised by overexposure. Or a minor literature, performed. Indeed, like Mr. Yamada, Mr. Vitanza strives to be a minor character in his own play."

 

Speeedd

 

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50 Subroutine One: Running
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Day 1 – 8 x 400 meter repeats @ current pace. Recover between each repeat with 2 minutes of passive recovery.

Day 2 – 2 mile fartlek run.

Day 3 – 2 x 1600 meter repeats @ 5K pace. Recover between each repeat with 4 minutes of passive recovery.

Day 4 – Run 2 miles @ easy pace.

Day 5 – 6 x 200 meter repeats @ 400 meter pace. Recover between each repeat with 1 minute of passive recovery.

Day 6 – 2 to 3 mile fartlek run or rest.

Day 7 – 2 x 200/400/200 compound sets. Run 200 meters @ 800 meter pace, 400 meters @ current mile pace and then another 200 meters @ 800 meter pace. Take no recovery between the distances. Recover between each set with 4 minutes of passive recovery.

Day 8 – Run 5 kilometers @ easy pace.

Day 9 – Run 4 x 400 meter repeats @ current mile pace. Recover between each repeat with 3 minutes of passive recovery. Then run 4 x 200 meter repeats @ 800 meter pace. Recover between each repeat with 2 minutes of passive recovery. Then run 4 x 100 meter repeats @ sprint pace. Recover between each repeat with 1 minute of passive recovery.

Day 10 – 5 kilometer fartlek run.

Day 11 - Run for 12 minutes alternating between 1 minute @ mile pace and 2 minutes @ easy pace. Then run 6 x 100 meter strides.

Day 12 – 5K fartlek run or rest.

Day 13 – Run 8 x 100 meter repeats up a steep hill. Run @ current pace. Recover by running down the hill @ easy pace.

Day 14 – Run 5 kilometers @ easy pace [adapted from running planet].

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60 Subroutine Two: Writing
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After each running subroutine the program will write, which will involve the use of multiple interfaces (such as notebook and computer).

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70 Subroutine Conditions
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1. all distances and times will be estimated, using low-fidelity measuring devices to assist the estimation.

2. the exchange rate between [distanceTraveled] and [wordsWritten] shall be approximately 20:1 (eg. 8 x 100 meter repeats = 8 x 5-word fragments; 5k fartlek = 250-word blog post).

3. the performances, seismologies and exposures of skin tectonics must be regularly recalibrated throughout the program.

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80 END PROGRAM

@Propeller: Here and There (and the threads in between)

Here and There, Courtesy of Propeller Gallery

Curated Exhibition organized by Propeller Centre for the Visual Arts in collaboration with One Hour Empire

Canada is commonly perceived as a nation of immigrants: people displaced and uprooted by events that are out of their control. They exist and work here while their hearts and minds are still there. This double life is not just an immigrant experience. You may live here in your parents' home but have a fantasy life there in the World of Warcraft. You may spend your daily grind here in the city while you live in the outskirts of town. You may suffer from illness here but imagine being healthy there. You may face yourself here in a mirror and under a microscope there.

The premise of the show is the juxtaposition of your two places in the broadest sense of place. Artists often use different forms when dealing with here and there while sometimes the differences are only in the content. We expect to see two separate works for HERE and THERE but we will also consider a single artwork if you feel it better presents your double life.

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The Department of Biological Flow will be showing work from Kino-Gait Study No.3 and Process Transduction, as well as performing the installation Living Room in the Year 2046. Come on down and join us Thursday night, or check out the show before the 13th! :D