Nonsense Lab

Department of Biological Flow
9-Bit Cyborg
2014
analogue encoding system

Beamlines at Canadian Light SourceSaskatoon, SK

Beamlines at Canadian Light Source
Saskatoon, SK

Department of Biological Flow
Thanks for Watching
2014
performance score and video

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#timespace815

TIMESPACE 815 was a short residency undertaken by the Department of Biological Flow at a 450,000 sq.ft manufacturing plant in Kingston, ON, which had been more or less abandoned for 25 years. The residency took place over two weekends, the first in mid-January and the second two months later in mid-March.

For the two of us in this otherwise empty space, the scale was staggeringly enormous and the archaeology fascinating, if not deeply inhuman. Space here was visceral, dizzying and vertiginous in its industrial magnitude this first weekend, not to mention intensified by the brief 48-hour window.

And yet one of the interesting facets about this space was that all of the clocks in the building—the former Northern Telecom cable manufacturing centre—had stopped at 8:15 some time post-abandonment. This gave an uncanny sense of timelessness to our initial experience, which would then animate the second weekend of the residency.

As part of this second weekend we invited an involution of the famous Christian Marclay artwork “The Clock”. Participants were asked to submit one-minute video sketches in any subject or style, and with minimal editing, but which at some point showed a clock set to 8:15. This video project was incorporated into the new work that would emerge on our second visit.

One of the sensemaking strategies that organically emerged during the first weekend was a sort of cartography in the narrative form of a videogame. TIMESPACE 815 became the name of this videogame, and the second weekend formed a return to “play” the final four levels as research-creation practice.

The manufacturing plant is slated to be demolished in April 2014 to make way for a new housing subdivision. Along with it will go all material installations produced while in gamespace.

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Main Menu

1. Qubit
2. Insane Asylum
3. The Underground
4. Joust (Boss Level)
5. Vox Volta
6. The Showers
7. Silo
8. Writ Discrete (Boss Level)

8-1/4. (Pause)

9. Pirate Bays
10. [[\holey//]] The Underground II
11. [[\space//]] Sky
12. Timespace 815 (Boss Level)

TIMESPACE 815 was a short residency undertaken by the Department of Biological Flow at a 450,000 sq.ft manufacturing plant in Kingston, ON, which had been more or less abandoned for 25 years. The residency took place over two weekends, the first in mid-January and the second two months later in mid-March.

For the two of us in this otherwise empty space, the scale was staggeringly enormous and the archaeology fascinating, if not deeply inhuman. Space here was visceral, dizzying and vertiginous in its industrial magnitude this first weekend, not to mention intensified by the brief 48-hour window.

And yet one of the interesting facets about this space was that all of the clocks in the building—the former Northern Telecom cable manufacturing centre—had stopped at 8:15 some time post-abandonment. This gave an uncanny sense of timelessness to our initial experience, which would then animate the second weekend of the residency.

As part of this second weekend we invited an involution of the famous Christian Marclay artwork “The Clock”. Participants were asked to submit one-minute video sketches in any subject or style, and with minimal editing, but which at some point showed a clock set to 8:15. This video project was incorporated into the new work that would emerge on our second visit.

One of the sensemaking strategies that organically emerged during the first weekend was a sort of cartography in the narrative form of a videogame. TIMESPACE 815 became the name of this videogame, and the second weekend formed a return to “play” the final four levels as research-creation practice.

The manufacturing plant is slated to be demolished in April 2014 to make way for a new housing subdivision. Along with it will go all material installations produced while in gamespace.

-

Main Menu

1. Qubit
2. Insane Asylum
3. The Underground
4. Joust (Boss Level)
5. Vox Volta
6. The Showers
7. Silo
8. Writ Discrete (Boss Level)

8-1/4. (Pause)

9. Pirate Bays
10. [[\holey//]] The Underground II
11. [[\space//]] Sky
12. Timespace 815 (Boss Level)

Department of Biological Flow
815 Killing Machine Cres.
2014
installation
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former Northern Telecom manufacturing plant
Kingston, ON
March 14-16, 2014

I’MPROMPT’U EVENT:
TIMESPACE 815 PERFORMATIVE READING CIRCLE THIS SATURDAY

(Please forward to friends and colleagues in Kingston who might be interested in this pop-up event. Thank you.)

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As part of the TIMESPACE 815 trajectory of research-creation hosted by the Department of Biological Flow, we invite you to a performative reading circle in an abandoned site of late industrial capitalism.

This 420,000 sq.ft manufacturing plant has somehow managed the difficult trick of disappearing in plain sight from the local imaginary, folded into the flashier tendrils of big box retail and normative spectacle. Our performative reading circle will take place within the confines of this abandoned space, attempting to engage what Keller Easterling might describe as its ‘dispositional’ qualities. And the selected text hopefully re/animates vbibrating tendencies betwen architecture and dialogue.

We will be reading the very recent essay published in e-flux by artist and theorist Gean Moreno, titled “Notes on the Inorganic”. Moreno attempts to articulate what he refers to as ‘accelerationist aesthetics’, following contemporary strands in philosophy and art which delve into accelerationism as perhaps a mutant strategy to contend with the equally mutant fluxes of deterritorializing capitalism.

keywords: archaeology, capital, flight, clinamen, vortex, control, dust, timespace, scale, decay, inhumanity, expression, force, elasticity, fragility, acceleration, performance.

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NOTES ON THE INORGANIC
by Gean Moreno
2013

Part I: Accelerations
http://www.e-flux.com/journal/notes-on-the-inorganic-part-i-accelerations/

Part II: Teminal Velocity
http://www.e-flux.com/journal/notes-on-the-inorganic-part-ii-terminal-velocity/

Please have read the text in advance and bring a copy of it with you on Saturday morning.

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The event begins Saturday morning at 10am. Since the outer doors are locked are require a special code to gain access, please arrive between 9:45-9:50am at the front doors of the plant, which is located just behind the retail complex on the southeast corner of Gardiners Road and Taylor Kidd Boulevard:

https://goo.gl/maps/a6H5Z

The event is free of charge. If you would like to attend, please join the Facebook event page (https://www.facebook.com/events/594843917260600/) or reply to this email so we know to expect you. Cheers.

plasticine (play-doh)

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if the internet is a libidinal machine, or perhaps a fucking machine (which doesn’t necessarily mean a fucking machine, but you kinda know the thing i’m webbing to you about):

we pump or push or pull libidinal energy into the stream, into the network slipstream canal federation. this energy becomes trapped, not unlike with ballard’s car crash in waiting, or cronenberg’s, which is pretty much the same thing anyways. reserves of petrosexual encounter well and congeal in fits and nodes everywhere, or perhaps offer the lubrication of a more refined oil to effect the semiotic passage.

the petrosexual is the fluid of the spectacle, distilled or refined from a more general field of relations in which they are produced and captured: a libidinal-made-sexual, at least in simulated form. properties of both crude and of crack, dinosaur juice fermented for hours and minutes rather than millions of years.

these fluids also form vectors: while it is a libidinal energy that invests itself in the network apparatus, this encounter also secretes data. tracking data: data of authentication and movement and consumption. this data is what makes an efficient economics of the libidinal relation; governmentality emerges as a secondary political effect.

not unlike the petrosexual, the libidinal-made-data is also based in simulation. the difference shifts, however, from the simulacrum that is a copy-without-original to become the algorithmic statistical simulation — or shifts from models to models, image to text, code to code.

heavy-grade crude or more subtle petroleum jelly? all plastic, this is for certain: a self-referential system of fluidity different from that of the lubricant, more concentrated or refined. this is what deleuze misses when describing enclosures as molds and therefore obsolesced in favour of modulating controls: the ability of plastic to self-deform and modulate upon injection into certain molds, making rapid use of enclosures as discardable non-objects.

* * *

which is also to say that the more general field of libidinal relations is messy and somewhat less refined, somewhat less self-referential, opening pluripotentially outward and perhaps this is a good thing.

plasticine (play-doh)

-

if the internet is a libidinal machine, or perhaps a fucking machine (which doesn’t necessarily mean a fucking machine, but you kinda know the thing i’m webbing to you about):

we pump or push or pull libidinal energy into the stream, into the network slipstream canal federation. this energy becomes trapped, not unlike with ballard’s car crash in waiting, or cronenberg’s, which is pretty much the same thing anyways. reserves of petrosexual encounter well and congeal in fits and nodes everywhere, or perhaps offer the lubrication of a more refined oil to effect the semiotic passage.

the petrosexual is the fluid of the spectacle, distilled or refined from a more general field of relations in which they are produced and captured: a libidinal-made-sexual, at least in simulated form. properties of both crude and of crack, dinosaur juice fermented for hours and minutes rather than millions of years.

these fluids also form vectors: while it is a libidinal energy that invests itself in the network apparatus, this encounter also secretes data. tracking data: data of authentication and movement and consumption. this data is what makes an efficient economics of the libidinal relation; governmentality emerges as a secondary political effect.

not unlike the petrosexual, the libidinal-made-data is also based in simulation. the difference shifts, however, from the simulacrum that is a copy-without-original to become the algorithmic statistical simulation — or shifts from models to models, image to text, code to code.

heavy-grade crude or more subtle petroleum jelly? all plastic, this is for certain: a self-referential system of fluidity different from that of the lubricant, more concentrated or refined. this is what deleuze misses when describing enclosures as molds and therefore obsolesced in favour of modulating controls: the ability of plastic to self-deform and modulate upon injection into certain molds, making rapid use of enclosures as discardable non-objects.

* * *

which is also to say that the more general field of libidinal relations is messy and somewhat less refined, somewhat less self-referential, opening pluripotentially outward and perhaps this is a good thing.

Department of Biological FlowHuman Wearing Phallus in the Dark2014process machine for protocol machine

Department of Biological Flow
Human Wearing Phallus in the Dark
2014
process machine for protocol machine

Department of Biological Flow
Reflexive Mottle
2013
programmed analog process

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[1] Flip image horizontal.
[2] Downsize image by 1%.
[3] Repeat 10x.
[4] Flip image vertical.
[5] Downsize image by 1%.
[6] Repeat 10x.
[7] Flip image horizontal.
[8] Stretch image by 1%.
[9] Repeat 10x.
[10] Flip image vertical.
[11] Stretch image by 1%.
[12] Repeat 10x.
[13] Save image as new file.

(n=259)

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#MSPaint

Department of Biological Flow
Three Lines for Plant Activation
2014
motion study and video