Nonsense Lab
Zach Blas Face Cage #1 (Christopher O’Leary)2014

Zach Blas
Face Cage #1 (Christopher O’Leary)
2014

Walter PichlerTV Helmet1967wearable art

Walter Pichler
TV Helmet
1967
wearable art

Liza Lou
Security Fence
2005
glass beads on steel

Louise BourgeoisCell (Eyes and Mirrors)1989-93marble, mirrors, steel, and glass

Louise Bourgeois
Cell (Eyes and Mirrors)
1989-93
marble, mirrors, steel, and glass

enter the line
at the point not
then or where-now
but sort of a
silent halfway toward
finding ourselves.

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A Movement Topology from “2D” to “3D” Space

A given stream of signification is already woven of many threads (for example, a song which may have a title, lyrics, rhythm, melody, genre, etc.), any of which may move through an apparent cut or break in a process of experimentation to form a new tendency through experience, memory, or “intent”.

1. Begin with atmosphere. Take turns retrieving music from the internet archive, one song at a time.

2. In the confusion or hesitation to gesture and intersubjective embodiment, begin with language. Free associate keywords, concepts, and points of interest, marking the vertical surface of inscription as such.

3. Do not speak to one another during the process.

4. As best possible, enter this process somewhere in the middle — “en route” to who knows where — and simply make.

5. When the process is exhausted, discuss.

- - -

tiny menhirs dot curious
our passage together
ancient journeys through time
or with moments to live.

_____

workshop with toronto-based dance/performance artist cara spooner, retrospectively titled.
poem quoted: “constellation”, sportsbabel, july 2011.

THX 1138 FITNESS, Study No.1
September 26, 2011

- - -

DOCTOR FOUCAULT, DOCTOR VIRILIO: YOU ARE NEEDED IN EMERGENCY … STATS!!

- - -

- Foucauldian space of disciplinary enclosure overlaid on the remote television screen, the body-space quasi-doubled

- one is trained to know where the limits of the volume are located

- this training is reinforced by the uncanny portrayal of one’s body dematerializing upon challenging the boundaries of the enclosure

- this apparatus (luminescent diagram, psychoanalytics) has real effects in the control society: for a certain amount of time per day, the object of information may be located precisely within a 4’ x 4’ square

(one wonders about basketball and the principle of verticality?)

- hygiene becomes more explicitly spatialized

- registration and authentication of one’s identity begins the session (how are these different?)

- ambient voiceovers provide a normalizing aural context to the control

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An excerpt

Foucault located the disciplinary societies in the eighteenth and nineteenth centuries; they reach their height at the outset of the twentieth. They initiate the organization of vast spaces of enclosure. The individual never ceases passing from one closed environment to another, each having its own laws: first the family; then the school (“you are no longer in your family”); then the barracks (“you are no longer at school”); then the factory; from time to time the hospital; possibly the prison, the preeminent instance of the enclosed environment. It’s the prison that serves as the analogical model: at the sight of some laborers, the heroine of Rossellini’s Europa ‘51 could exclaim, “I thought I was seeing convicts.”

Foucault has brilliantly analyzed the ideal project of these environments of enclosure, particularly visible within the factory: to concentrate; to distribute in space; to order in time; to compose a productive force within the dimension of space-time whose effect will be greater than the sum of its component forces. But what Foucault recognized as well was the transience of this model: it succeeded that of the societies of sovereignty, the goal and functions of which were something quite different (to tax rather than to organize production, to rule on death rather than to administer life); the transition took place over time, and Napoleon seemed to effect the large-scale conversion from one society to the other. But in their turn the disciplines underwent a crisis to the benefit of new forces that were gradually instituted and which accelerated after World War II: a disciplinary society was what we already no longer were, what we had ceased to be.

We are in a generalized crisis in relation to all the environments of enclosure—prison, hospital, factory, school, family. The family is an “interior,” in crisis like all other interiors—scholarly, professional, etc. The administrations in charge never cease announcing supposedly necessary reforms: to reform schools, to reform industries, hospitals, the armed forces, prisons. But everyone knows that these institutions are finished, whatever the length of their expiration periods. It’s only a matter of administering their last rites and of keeping people employed until the installation of the new forces knocking at the door. These are the societies of control, which are in the process of replacing disciplinary societies. “Control” is the name Burroughs proposes as a term for the new monster, one that Foucault recognizes as our immediate future. Paul Virilio also is continually analyzing the ultrarapid forms of free-floating control that replaced the old disciplines operating in the time frame of a closed system. There is no need to invoke the extraordinary pharmaceutical productions, the molecular engineering, the genetic manipulations, although these are slated to enter the new process. There is no need to ask which is the toughest regime, for it’s within each of them that liberating and enslaving forces confront one another. For example, in the crisis of the hospital as environment of enclosure, neighborhood clinics, hospices, and day care could at first express new freedom, but they could participate as well in mechanisms of control that are equal to the harshest of confinements. There is no need to fear or hope, but only to look for new weapons.

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Gilles Deleuze, “Postscript on the Societies of Control,” October, Vol. 59. (Winter, 1992), pp. 3-7.

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.