Nonsense Lab

carnovsky
RGB
2010
installation
Johanssen Gallery, Direktorenhaus, Berlin

footsteps footsteps
     footsteps
wings flitting
humming

cold and uncertain
emboldened

humming

footsteps footsteps
     footsteps
wings flitting
humming

cold and uncertain
emboldened

humming

NeSpoon
public art works for Art Kitchen Foundation
Franciacorta, Italy
2011

Department of Biological FlowNASA (New Analog Space Anticipation)2012performance and video

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The Museum of Human AchievementAustin, TX 

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The moiré — as a spacing operation of grids laid upon one another — is not the same as Deleuze and Guattari’s smooth space emerging or escaping from the limits of striation, nor is it the same as the holey space that connects the striated and smooth via declination or vortical movement. And yet its watered silk still offers us a hydraulic model to perceive, but only when we are in movement. When standing still the traces of the moiré’s interference pattern remain as afterimages, barely perceptible — though it has only come to life in the first place once we have as well: in movement (cf. the discontinuity of Massumi’s ‘movement-vision’??). Rippling, shimmering: as we move with these grids our relation unfolds to suggest previously unseen contours and trajectories lying dormant within the metric machinery of these information ecologies.

Department of Biological Flow
NASA (New Analog Space Anticipation)
2012
performance and video

-

The Museum of Human Achievement
Austin, TX

- - -

The moiré — as a spacing operation of grids laid upon one another — is not the same as Deleuze and Guattari’s smooth space emerging or escaping from the limits of striation, nor is it the same as the holey space that connects the striated and smooth via declination or vortical movement. And yet its watered silk still offers us a hydraulic model to perceive, but only when we are in movement. When standing still the traces of the moiré’s interference pattern remain as afterimages, barely perceptible — though it has only come to life in the first place once we have as well: in movement (cf. the discontinuity of Massumi’s ‘movement-vision’??). Rippling, shimmering: as we move with these grids our relation unfolds to suggest previously unseen contours and trajectories lying dormant within the metric machinery of these information ecologies.

Department of Biological Flow
Slow Fade (Nano Gait Surf)
July 29, 2012
performance
Vondelpark, Amsterdam

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Emerging as a companion piece to the 2009 work Natality (Ingrid), the Department of Biological Flow attempts to explore notions of temporality, relation, luxury and waste in a public performance operating on an exponential time signature. In Slow Fade (Nano Gait Surf) a life technique of research-creation unfolds over the course of hours at Amsterdam’s Vondelpark, involving philosophy readings, food and drink, costume manufacture and social time. Though a basic program has been written for the event in advance, the methods for manufacturing costumes and setting a tableau emerge in situ, relative to one another and the simple materials/found objects at hand. As night finally falls, the two Department of Biological Flow members execute their own separation routine, tearing apart fibres and wires in the process. The sparks burn incandescently while the two gait surf into new orbits as slowly as possible on the fade to black.

Performance time: approximately 4.5 hours or 30 seconds.

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Inspired by Erin Manning’s ‘Stitching Time’ installation at the Sydney Biennale, Suely Rolnik’s essay ‘A New Smoothness?’, and Jason Rovito’s ‘Waste, Luxury, Knot’ seminar series. And a refracted network echo to Brian Massumi’s ‘philosophy squat’ on Cockatoo Island, Australia.

Department of Biological Flow
ICQ (Inverted Cubofuturist Query)
[World Record Attempt]
forthcoming, 2012
performance

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Becoming-Insect

If contemporary explorations in the arts and sciences are increasingly turning to the insect world for inspiration, then we must inquire after the particular types of relations that we are describing in this valorization. Put differently, with the thousands upon millions of insect species currently flying, crawling and swarming over the earth, the non-human turn in art and philosophy can pretty much locate any metaphor it wishes in order to explicate a particular form of expression.

What are the particulars? Insects, in toto, offer very different tempos, life expectancies, modalities of movement, moments of articulation, et cetera, than we humans — perhaps we turn to them too readily to find new models for living? In our valorization of the insects and the corresponding non-human turn are we simply abdicating our responsibility for the capitalist regime that only we humans have created?

Do we seek to simply represent insects, or do we seek a becoming-insect towards a new consideration of ethics within the contemporary ecologies of the electric?

Department of Biological Flow
SUV (Suburban Umbrella Vectors)
2011
performance and installation

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Am I indecisive for the fun of it?

I remember a line from another

poem “the rain is wordless

and still we get wet”

It’s almost like the house,

not entirely sure

what it stands for.

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— from “A Poem Handwritten,” by Feliz L. Molina.

Sense Lab @ Generating the Impossible
The Mist
2011
installation

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(video by nathaniel stern)