Nonsense Lab
Robert TaiteUntitled Work from Always Somewhere Else2014wood, latex paint, varathane48” x 48”

Robert Taite
Untitled Work from Always Somewhere Else
2014
wood, latex paint, varathane
48” x 48”

Francisco-Fernando Granados
spatial profiling
2010-11
performance, drawing installation

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performed during reLIVE at VIVO Media Arts Centre as part of the LIVE 2011 Biennial of Performance Art on September 25, 2011

KolkozLuna Park2012Collins Park, Miami (USA)

Kolkoz
Luna Park
2012
Collins Park, Miami (USA)

Heather LewisPay-per-view2011(with coin in the meter)

Heather Lewis
Pay-per-view
2011
(with coin in the meter)

Kika ThorneSingularity2006-ongoinglycra, aircraft cable, hardware, rare earth magnets

Kika Thorne
Singularity
2006-ongoing
lycra, aircraft cable, hardware, rare earth magnets

Bohyun Yoon
Fragmentation
2004

Murat GökBorder (Hammock)2010installation

Murat Gök
Border (Hammock)
2010
installation

Department of Biological FlowThe Acceleration TourSeptember 20, 2013Montreal, QCTime Forms conference

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ACCELERATA: SIXTEEN THESES

1. Whether or not one understands time as unfolding in a linear fashion is immaterial; what matters is that experience and connectedness unfold along multiple and interweaving time signatures.

2. It is the time signature which produces affects, not time itself.

3. A collective energetics remains unevenly distributed. Nonetheless, its collectiveness always remains impressive, inspiring and humbling.

4. Dehabituated rhythms and changed or differential spatial parameters offer an invitation for novel gestural responses to the artwork.

5. When movement moves its way into the “aesthetic experience” proper, it continues to want to move, this time with the artwork, co-composing with it, contouring and creating with it.

6. It is not so much fatigue that one initially notices upon arrival at an artwork, but rather an interference of rhythms between runner and work, which thereafter gradually begin to harmonize or compromise. These resonances are of immediate interest in an aesthetico-ethical sense.

7. Habit can have unrefined pathways; one of these concerns its tempo.

8. Bodies are not “ideal”, and thus neither should goals be. We understand these both in an affirmative sense.

9. The outwardly prosthetic body only makes evident and explicit the co-composition of all bodies.

10. A familiar gesture, machined differently, can be more more useful than a complex gesture known only to a few.

11. We are describing here an unhygienic experience (sweat, snot, traffic, noise, topography). Which is also in some ways to say we have been removed from the laboratory.

12. Speed only demands a greater adeptness with contingency and the aesthetics of failure.

13. There are both inner and outer accelerations that need to be considered in developing and evaluating the program.

14. If one seeks to create a nuclear or exponential energy field, one cannot initiate the reaction at maximum capacity. Rather, the intensity must be slowly increased to avoid the risk of rupture in a very real material sense.

15. The event itself is a collective enunciation — of gesture and energy. But so long as we remain bound to the particulars of language and its transmission, this collective enunciation must retain a spoken or written dimension as well. Breath must become metric rather than simply serving to inspire and expire.

16. Theses are exhausted and replenished much like mitochondrial reactors and muscular fibres. To elaborate: they, too, have relative catalytic points, elasticities and failure thresholds in the generation of things. And they, too, may also become fuel or worm food for future becomings …

Department of Biological Flow
The Acceleration Tour
September 20, 2013
Montreal, QC
Time Forms conference

- - -

ACCELERATA: SIXTEEN THESES

1. Whether or not one understands time as unfolding in a linear fashion is immaterial; what matters is that experience and connectedness unfold along multiple and interweaving time signatures.

2. It is the time signature which produces affects, not time itself.

3. A collective energetics remains unevenly distributed. Nonetheless, its collectiveness always remains impressive, inspiring and humbling.

4. Dehabituated rhythms and changed or differential spatial parameters offer an invitation for novel gestural responses to the artwork.

5. When movement moves its way into the “aesthetic experience” proper, it continues to want to move, this time with the artwork, co-composing with it, contouring and creating with it.

6. It is not so much fatigue that one initially notices upon arrival at an artwork, but rather an interference of rhythms between runner and work, which thereafter gradually begin to harmonize or compromise. These resonances are of immediate interest in an aesthetico-ethical sense.

7. Habit can have unrefined pathways; one of these concerns its tempo.

8. Bodies are not “ideal”, and thus neither should goals be. We understand these both in an affirmative sense.

9. The outwardly prosthetic body only makes evident and explicit the co-composition of all bodies.

10. A familiar gesture, machined differently, can be more more useful than a complex gesture known only to a few.

11. We are describing here an unhygienic experience (sweat, snot, traffic, noise, topography). Which is also in some ways to say we have been removed from the laboratory.

12. Speed only demands a greater adeptness with contingency and the aesthetics of failure.

13. There are both inner and outer accelerations that need to be considered in developing and evaluating the program.

14. If one seeks to create a nuclear or exponential energy field, one cannot initiate the reaction at maximum capacity. Rather, the intensity must be slowly increased to avoid the risk of rupture in a very real material sense.

15. The event itself is a collective enunciation — of gesture and energy. But so long as we remain bound to the particulars of language and its transmission, this collective enunciation must retain a spoken or written dimension as well. Breath must become metric rather than simply serving to inspire and expire.

16. Theses are exhausted and replenished much like mitochondrial reactors and muscular fibres. To elaborate: they, too, have relative catalytic points, elasticities and failure thresholds in the generation of things. And they, too, may also become fuel or worm food for future becomings …

Department of Biological Flow
Pinkeye
2012
mixed media and closed-circuit video installation

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Pinkeye challenges normative understandings of the surveillance apparatus by introducing qualities of contagion, infection or proliferation to the cybernetic coupling of the closed-circuit video loop. Given the static nature of the installation, however, this contagion is ambiguous: does it attack the central locus of surveillant optics, or is it rather being secreted outward in capillarized form?

Žilvinas Kempinas
Tube
2009
magnetic tape installation