gift: scrabble (letter to: a young ingrid, less than three)

shiiine the lighght

[fig. i]

 

if i .gif
it fit i, ft
fifi tit gig ggg
ffft.

if i .tiff
fi tig g.i.
i fit figt                        (sorry saroyan gif)
i git.

 

~

 

if i fit it
i+i+i+…
iff i fit it
i gift it.

 

gigg(igg(igg))) )) ) :)

 

tgif,
<iii

body and image

ingrid

in sight.
insight.
ingrid.

did.

ddddd
ddda da
dada
did a dad a
data
add datum
um dat
dat dat dat
dada rat

grrr id
rid grid
id did
i
i i i
i did
ring grid
eyes rid
i rid rid did did

in-

ring rid i (sigh)

eye sighting
(i spy sigh)
cite incite

in grid did did

-ing

ringing ridding
gridding didding

(ding-a-ling)
(sing sing)

sting
in grid did sting.
silly thing.

walking is knowing (or, where it all began)

art\'n\'leather

(short ambulatory notes concerning longer ambulatory thoughts…)

 

kalverstraat
no matter where one spins in amsterdam, all roads lead to kalverstraat. the sucking sound you hear is the capture of "psychogeographical" drifts by a canalization of flows that has biogrammed from water to land. tourists and travellers alike may wander and wander and yet still find themselves emerging into this tight pedestrian corridor with its heavy flows and flashy storefronts. the sucking sound is doubled: it is also the money flowing out of collective pockets, from one drain to another. and doubled again: perhaps not the sound of money flowing out to consumption now, but rather its haunting forebear, which presents the street as a series of volumetric television commercials corresponding through brand semiotics to some future purchase in a more diffused breathing space. the second sucking sound is faint to our ears, then, since it is expressed in thinner air—from canal to liquid spectacle to mist.

kalverstraat is also good for gait surfing.

 

nassaukade
large grids meet "circles" (and their tiny grids within) at nassaukade. the wandering lines of the canal force their way onto land as gentle waves, channeling walkways, streets, bike paths and building facades. these wavy contours open peculiar spaces—somewhat straight, somewhat curvilinear—which for now fashion themselves as parking lots, tiny parks or bike racks. this is a space of transition for the walker, from the teeming and vortical fluxes of centrum to the more aerated grids of the inner suburbs, and back again. and forth, again: in terms of spacing operations we are discussing relatively smooth and relatively striated, but rather than a twisting passage of holey space between the two we have the multiple switches of the amsterdam traffic lights to meter the variegaited flows.

 

centrum
with the large windows that seem to invite a sort of exhibitionism or voyeurism at every turn, it might be easy to view amsterdam and its centrum as a particular geometry of glass and gaze, lines of sight in which all subjects have their moments of greater or lesser exposure. likewise, as the turns and turns of the downtown core vibrate in slow sympathy with the canals and ocean beyond, it may feel like a body is always in the process of falling forward or being thrust into the next movement. but perhaps we are forgetting about the sonorous—the musical ringing of bells that seems to unite vision with gesture and delicately fill in all those tiny aporias of perception, volumetrically. church bells to mark time, tram bells to mark space, bicycle bells to negotiate relation at variable tempos: the melodies always seem to be coming from somewhere else, and yet their tiny shocks are what suture together passage and experience as one moves through this peculiar city. one wonders how spinoza the lens grinder listened as he walked the city streets.

 

oud-west
even if one isn't consciously seeking to purchase frequently as a traveller to amsterdam, consumption ends up meaning regular dealings in cash—perhaps moreso than when one is more firmly routinized at whatever contingency is called home, where its electronic transactions incur less of an economic burden in fees concerning permission to spend. this also means the eventual accumulation of coins in the pockets of those jeans or shorts or jackets which repetitively get their traveller's due. the accumulation is a weight worn, or borne: it doesn't take much before one notices a slight tweak in walking motion, a rubbing here or a slight heaviness there that imperceptibly modulates the musculoskeletal system. how do these subtle differences affect one's gait, one's walking through the city and the tiny eddies that fluidly swirl in the wake, microturbulent yet slightly askew from one's normative mode of ambulance? how do the gaited butterflies flap their wings just a little bit differently before the storm? or, alternatively: how does the topology unfold as spending lightens the metallurgic reserve?

 

overtoom
a geosophy in progress, in process: drifting, dancing, or simply matching strides. the flow is flowing, thoughtfully and yet thoughtlessly at the same instant. a relational autopiloting of ambulatory praxis emerges, bubbles umbilically folding within bubbles and so forth as the whole thing perceptually unfolds. the neighbourhood backstreets are quiet, perhaps perfect for a walking dialogue in this sense. though they also perform a sonic buffering in their neat gridlike formations, for all of a sudden the grid ends its southerly course—or more precisely opens into a closing: here the great tributary of oud-west that is overtoom bends and merges into the roaring river of the a10 ring road. vast horizontal vistas, for the most part nonexistent in the highly vertical inner core of the city, now open widely to the wide open eyes of the walker who has ceded a relative primacy to the automobiles in transit. the river appears too wide to ford, the drift comes to an abrupt halt, shockingly, as if hitting a pane of glass—but the geosophy continues.

 

elandsgracht
tempos. this is the watchword for walking in the neighbourhood of jordaan. perhaps more than the slower pace found in other inner suburbs, perhaps less than a vigorous walk along leidseplein or a dense, dreamlike stroll through kalverstraat, the main thoroughfares of jordaan offer a heterogeneous palette of fluxes to the walking subject. both residential and touristy, in this space one may walk with those struck awkward by the scenery or moving purposefully toward the daily errands—maybe chatting amiably in search of coffee or clustering in approach to the boulevard play area. a flock of segways passes anachronistically over a canal bridge, offering a new tempo to those which have already informed the city. while diagonal trajectories crisscross the street lanes or veer into local shops, the effect of this palette paints itself most pronounced within the narrow sidewalks that otherwise attempt to stream this heterogeneous mix into a consistency—not unlike the flock, or school, which passes by in the distance.

 

vondelpark
the lungs of amsterdam, both literally and figuratively, vondelpark certainly seems the most gaseous of all walking spots in the city. while well-paved bronchi weave and branch assuredly throughout the vast park as the primary conduits for multidirectional transit, it is the ability for walking-particles to become diffuse and mist out from these paths to the more vegetal alveoli that is of interest. contra the bikers, walkers and police vehicles that move along relatively predictable channels through these park-lungs, the more gaseous pedestrians are veering off on all sorts of vectors—mobile, aggregating and coming apart, informing and reforming anew. the movement of vision within this movement of gesture at vondelpark is intense: while the literal lungs of amsterdam attempt to photosynthetically restore a sort of equilibrium to the local green ecology, the figurative lungs of the city evoke an occurrent perception that affectively nudges the local machine ecology to disequilibrium and non-linear effects.

 

museumplein
a mere shell of vondelpark, the myriad trajectories of movement at museumplein form a figurative resemblance to the mistified bearings and breathings of the former, though in a somehow different way. the walkers are slower, perhaps, or maybe it is the rounded gravel underfoot that only seems to encourage stopping when one is literally arresting motion with a photographic lens. motion also arrests itself in the large lines that snake between the square and museums, constricting passage to those hygienic portals we call the global art market or cultural history. if iamsterdam in this space, then perhaps i've missed the point about this city all along—or maybe i was too busy trying to forget about the points in favour of its more fluid processes.

object-oriented pornography at leidseplein

Candida

what can a body do?
it do?

what can a body dooo?

do. be. dooo-be do.
dooo-be dooo-be do.

bop. bop.

do. be.
shop. drop.
bop. bop.

don't stop
till the be-beat
drop.

window shopstop
stop. stop.
flat top backdrop
see two-dee crop.

~
top. top.

don't stop
with the we-beat
crop.

pop. pop.
~

(dew bodies drop.)

do bodies do
what twooo can
do be?

or more be do
at the shopdrop
store white clean
hygiene
through looking
glass scene twooo
lean bodies lean to
glean do screen
bright tweened twin sheen

see sexed machine
boxy cloudspace to dream
tooo soft future shock
freed
steampunk scream

~
cloudy bodies do.
do dream what
can they do, see?
~

cloudspace themes
neat hygiene dreams
write mainfeed streams
feed cyborg steams
no touch low sheen
see free three-dee
free transfer freed
white light peep memes

shop. prop.
bop. bop.

don't stop
till the be-beat
drop.

~
top. top.

don't stop
with the we-see
cop.

pop. pop.
~

(two bodies drop.)

stop. prop.
bop. bop.

don't shop
till the we-beat
pop.

~

pop. pop.
dew be drop

do. be. dooo-be do.
dooo-be dooo-be

come,
body do.

_____

(apple superstore, leidseplein, amsterdam, 17:30)

13-Minute Rupture and Loop

A Nonsense Lab Artist Con-fessional, Part Six

"There are no nomadic or sedentary smiths. Smiths are ambulant, itinerant. Particularly important in this respect is the way in which smiths live: their space is neither the striated space of the sedentary nor the smooth space of the nomad. … Smiths are not nomadic among the nomads and sedentary among the sedentaries, nor half-nomadic among the nomads, half-sedentary among sedentaries. Their relation to others results from their internal itinerancy, from their vague essence, and not the reverse. It is in their specificity, it is by virtue of their inventing a holey space, that they necessarily communicate with the sedentaries and with the nomads (and with others besides, with the transhumant forest dwellers)."

          — Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, p. 413

 

Con-fessional: Noise Layer

 

Script: January 12, 2046

COLONEL FORNSSLER: MISSION COMPLETE. BLAST CONTAINED. SHOCK (WAVING). ADAM SPLIT, GENERATUS OPERATIONAL. 'CONTAGION DANCE' IN AFFECT. END TRANSMISSION. INGRID.

 

6. 13-Minute Rupture and Loop

Con-fessional: 13-Minute Rupture and Loop

Program:
[1] Shed noise layer. [2] Message Colonel Fornssler re: mission success. [3] Plug in kettle for boiling water. [4] Towel off sweat. [5] Shave beard. [6] Don wig. [7] Dye moustache to match wig. [8] Put on different clothes and shoes. [9] A clue: "noise" hat worn on top of wig. [10] New watch and prescription eyeglasses. [11] Modify gait. [12] Document metamorphosis. [13] Loop back to gallery generator.

- - -

do we have holey space yet, smith asks?

rupture placenta (sous rature ~ wavestyle)

rupture collage (sous rature)

Department of Biological Flow
Rupture Placenta (Sous Rature ~ Wavestyle)
[semiotextil(e) remix]
2012
performance and collage

 

formerly known as:

Natality (Ingrid)
2009
performance

 

"The two Department of Biological Flow members are 'glued' together front-to-back in a motion capture studio. The forward person has markers on front and left sides of the body, the rear person has markers on right and back sides of the body. The two bodies match strides, glued together, and then 'split' apart halfway to veer off in opposite directions, as if 'tearing' the subject in two or radically reconfiguring its relationality." (2009)

 

- - -

 

"These Comments are sure to be welcomed by fifty or sixty people; a large number given the times in which we live and the gravity of the matters under discussion. But then, of course, in some circles I am considered to be an authority. It must also be borne in mind that a good half of this interested elite will consist in people who devote themselves to maintaining the spectacular system of domination, and the other half of people who persist in doing quite the opposite. Having, then, to take account of readers who are both attentive and diversely influential, I obviously cannot speak with complete freedom. Above all, I must take care not to give too much information to just anybody.

Our unfortunate times thus compel me, once again, to write in a new way. Some elements will be intentionally omitted; and the plan will have to remain rather unclear. Readers will encounter certain decoys, like the very hallmark of the era. As long as certain pages are interpolated here and there, the overall meaning may appear: just as secret clauses have very often been added to whatever treaties may openly stipulate; just as some chemical agents only reveal their hidden properties when they are combined with others. However, in this brief work there will be only too many things which are, alas, easy to understand."

– Guy Debord, Comments on the Society of the Spectacle, p.1, emphasis added