Department of Biological Flow
Imago (Kino-Butterfly · Someone Might Be Listening · Lorenz Security Ltd.)
a topological play in three acts
April 28, 2011
Department of Biological Flow
sculpture and performative gesture
series begun in 1975
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Milkstone is a solid piece of white marble with a small dip carved into the top of the stone. This small indentation is filled daily with fresh milk, creating what appears to be a solid surface. To get close to the stone, even at eye level, crouching on your knees, you can’t see where the stone begins and where the milk ends. Laib has created a way to make physical endlessness in natural materials.
chromogenic transparency in lightbox
(horizontal optokinetic nystagmus.)
Toward a Kinoderm Aesthetics
November 17-18, 2012
Museum of Human Achievement
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What if one’s gait could see?
Take Dziga Vertov’s concept of kino-eye and vision it anew in the age of gait-based detection and surveillance: the skin-as-camera. Think with others on questions of performance, politics and pedagogy as mobile subjects in the contemporary vision machine.
"Toward a Kinoderm Aesthetics" might be of interest to academics, artists, activists or others working with questions of moving bodies, visioning technologies, public spaces and politics in the common sphere. We encourage a variety of educational backgrounds, professional practices and personal experiences to enliven and enrich the weekend event.
This intensive workshop of research-creation will weave previous work by the Department of Biological Flow together with contemporary critical theory, embodied movement practices and consideration of cognate works by other artists. While a background in any of these areas would certainly be considered useful for the workshop, it is by no means a prerequisite for participation. One need only be interested in challenging discussions designed to catalyze potentials in one’s own projects thereafter.
Come play with us!
My Light is Your Life
old lamps, cabels, electro
Cell (Eyes and Mirrors)
marble, mirrors, steel, and glass
A Nonsense Lab Artist Con-fessional, Part One
"Thinking involves the microperceptions that are the virtual content of the not-yet out of which potential worlds are composed. Thinking exposes the overlappings of the actual and the virtual, their complex inadequation. Research-creation works at this in-between of immanence and actuality where multiplicities converge into affirmations. Creativity folds out of thought even as it proposes thought to itself. Thought is an untimely proposition."
— Erin Manning, “Creative Propositions for Thought in Motion,” 2008
"See and be seen. Interpolate and interpellate. In a gesture of fragility and exhaustion, the Department of Biological Flow considers questions of tempo, intensity and ethics in public space and interrogates opportunities for movement in the contemporary vision machine."
— advertisement for D S NFORMAT ON exhibition
1. Bunker Archaeology
Where does a process begin? When does it begin? How?
Is there a starting point? If so, one cannot be easily identified in this case. There is no neat and tidy cause and effect to this story, that much is certain, no neatly ordered program of experimentation. There is no hermetically-sealed laboratory of controlled thought from which hypothesized results emerge — though there is a white cube involved.
We are describing the smooth white cube of a university art gallery, uniquely marked by its inscription within the concrete white cylinder of an institutionalized exoskeleton. From a god’s eye perspective — which is to say when viewed from straight above, perpendicular to terra firma and flattened — it appears as a square inscribed within a circle — and are these two forms not irrevocably bound together within the precise numerics of royal science? Circle within square within circle, and so forth: centrepoints and radii and equidistant segments and entirely too rational tangents — the latter which get their name from the Latin tangere or touching. Circles and squares are precise only insofar as how they come into touch with one another.
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A tangent: Humans cannot perceive “perfect” versus “imperfect” circles, nor can we create one of the former, materially, in the absence of technical assistance. We’re always on the move. Rather, we’ve extrapolated a concept of the circle from the morphogenetics of matter-flow as they concresce into semi-stable patterns of an apparently perfect roundness. We locate this concept in mathematics and then in our instruments, which return the favour by producing perfect circles in our thought.
But matter-flow isn’t perfect: it is turbulent and distorted and always decaying imperceptibly. Our circles, both those we perceive in “nature” and those we reproduce in embodied “social” forms, are always delightfully misshapen as their particles push one another in ways both predictable and unpredictable. This isn’t to say these circles are any less significant and powerful, save their inability to be god-like. Instead they make explicit that their power derives not from their ideal mathematical form-as-such, but rather because they participate in generating the future-past of a certain intensity.
Our perceptions and gestures can never quite reach the concept, but our circles are still precise insofar as how we come into touch with them — or insofar as we perceive the intensity of the approach.
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Where were we then? Right, the map. This gallery and its institution aren’t just any square inscribed within any circle: the eye in the sky perceives its likeness in the form below, the narrow corridor that connects the concrete perimeter to the rest of the curriculum a sort of optic nerve that channels objects of information into and out of the enclosure, canals or conduits to this smooth gleaming white space and those processes given the label “art”.
Or change the channel, god-like. The eyeball sits spherically in its ocular socket and the surface can be sliced in so many ways. Perhaps the map is an orthogonal projection and one sits on the gray matter, looking out with that orientation we call “forward”. The god’s eye view stares directly through that which is rocklike and solid to find the liquid abyssal beyond.
In return, the critique of ocularcentrism shifts fluidly away from the iris (with its colour and aperture) and towards the retina (with its pattern and exposure). The latter is not only a primary locus of biometric identification but the threshold at which light information is converted to electricity, which is to say, converted to the network mode of circulation.
Subjecte 020063867, retinal scan, right eye: “Due to its unique and unchanging nature, the retina appears to be the most precise and reliable biometric. Advocates of retinal scanning have concluded it is so accurate that its error rate is estimated to be only one in a million.” (Wikipedia)
The blood vessels that give the biometric identifier its differentiating pattern trace branchlike back to the origin and scotoma of the optic nerve, portal to contingent authority and integrated spectacle. Punctum caecum ēlectricus. Perhaps the focal point of the gallery should be viewed from slightly off-centre, then, where the optic nerve would be located in this orthogonal perspective? Perhaps this is where the story will unfold and be told, with the blind spot as zone of political action.
Did I mention this space looks like a military bunker — or maybe a nuclear reactor?
This was my artlab for four days in January 2012. This is where the experiment took place.
Department of Biological Flow
Process Machine for Plant Activation (Homo generatus lepidopterae)
September 20, 2011
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1. The two Department of Biological Flow particles will begin the process at opposite points on the circular orbit.
2. One particle begins walking around the circle counter-clockwise toward the other stationary particle, who holds the relay baton.
3. A camera will serve as the relay baton.
4. When the moving particle reaches the stationary particle it shall bump the stationary particle into motion along the same orbital trajectory.
5. The baton shall be passed backwards each time two particles collide.
6. The orbital velocity shall increase with each revolution until both particles are in motion, at varying speeds.
7. Once both particles are in motion the orbital velocity for either particle may decelerate, so long as the overall energy in the system stays relatively constant (ie. if one particle slows to a walk, the other must accelerate to a run).
8. The performance ends when the plant has been activated.