Nonsense Lab
Cataphasis, Cuts and Biological Flow

Dan & NanditaCentre for the Study of Theory and CriticismUniversity of Western Ontario

review of ICQ (Inverted Cubofuturist Query) — World Record AttemptJanuary 12, 2012Artlab Gallery, London, ON

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We arrived in time for Sean’s ‘Grand Entrance’ into the Gallery as an Apparently (and/or ‘App’-parently: i.e. hardwared) Patriotic Cyber-Hoser, with Hoses and Cameras and Gadgets duct-taped to his Low-Tech Cyber-Suit apparel. Cyber-Sean then proceeded down the Visual-Arts Entrance through the Main Hall and into the UWO Art-Lab, where he clicked on an Internet Countdown (set at Twenty Minutes Forty-Six Seconds) and then Proceeded to Perform a Hose-and-Camera-and-Gadget Striptease on an Exercise Machine using Blades (knives) of Various and Increasing Sizes — enacting a kind of Low-Tech Hacker-Manifesto.

Since the Countdown was Projected on a Wall to the Right of his Exercise Machine, Cyber-Sean had to Turn his Head to the Right Repeatedly in order to Keep Track of the Countdown and Keep to its Time. When the Countdown reached Zero and its Screen then Flashed Red, Cyber-Sean was still engaged in a Gadget-removal, and only noticed that his Twenty Minutes Forty-Six Seconds had Elapsed a Minute or so After-the-Fact (Enacting the Having-Become-an-Historical-Object). Seeing the Flashing Red Screen, Realizing his Time was Up, he Dismounted the Machine and Departed.

Actually (hearkening back to our very first statement): we arrived Very Much Earlier than this Entrance and subsequent Performance, allowing us time to take-in his Art-Installation. On the Floor at the Left of the Art-Lab Entrance was a pile of Plastic-bound Print-outs from the ‘THX 1138’-inspired ‘Department of Biological Flow’ Web-pages: 59 Black-and-White pages ‘Toward a Kinoderm Aesthetics’ (the Latter being the Title of this Text). The Art-Installation consisted, for the most part, of pages from this Black-and-White Catalogue (i.e. Print-outs of the ‘Department of Biological Flow’ Web-pages) taped to the Walls of the Art-Lab — the Message, here, being the Medium (the Text being the entire Context). The Writing was on the Walls: Read the Catalogue or Read the Art-Lab Exhibition — the Catalogue is the Exhibition and the Exhibition is the Catalogue; Cataphasis. Both the Lab and the Book, the Exhibition and the Catalogue, Constituted the Cataphatic Epiderm, the titular ‘Kinoderm Aesthetics’; or so we suspected until the Performance, until the Appearance of the Cyber-Hoser, whose Hoses and Conduct were the Conduit toward which the titular ‘Toward’ Cataphatically Conducted the entire Exhibit/Catalogue.

Cyber-Sean, in the End, as the And, was the ‘Kino’ of the Cataphatic Catalogue/Exhibition’s Epidermal Aesthetic, and the Double Display, the Pair of Particulars in Play, were Precisely the Out-of-Time/Having-Become-Historical aspect qua ‘Glitch’ of his Gadgetted Kinetic and the ‘Original Accident’ of his Having-Been-Cut: his Monty-Cantsin-style cut Drawing Blood, which in the End, as the And, was the Ultimate Drawing (the ‘Original Accident’ as ‘Ultimate Drawing’): an Actual and Enacted ‘Biological Flow’.

Cataphasis, Cuts and Biological Flow

Dan & Nandita
Centre for the Study of Theory and Criticism
University of Western Ontario

review of ICQ (Inverted Cubofuturist Query) — World Record Attempt
January 12, 2012
Artlab Gallery, London, ON

- - -

We arrived in time for Sean’s ‘Grand Entrance’ into the Gallery as an Apparently (and/or ‘App’-parently: i.e. hardwared) Patriotic Cyber-Hoser, with Hoses and Cameras and Gadgets duct-taped to his Low-Tech Cyber-Suit apparel. Cyber-Sean then proceeded down the Visual-Arts Entrance through the Main Hall and into the UWO Art-Lab, where he clicked on an Internet Countdown (set at Twenty Minutes Forty-Six Seconds) and then Proceeded to Perform a Hose-and-Camera-and-Gadget Striptease on an Exercise Machine using Blades (knives) of Various and Increasing Sizes — enacting a kind of Low-Tech Hacker-Manifesto.

Since the Countdown was Projected on a Wall to the Right of his Exercise Machine, Cyber-Sean had to Turn his Head to the Right Repeatedly in order to Keep Track of the Countdown and Keep to its Time. When the Countdown reached Zero and its Screen then Flashed Red, Cyber-Sean was still engaged in a Gadget-removal, and only noticed that his Twenty Minutes Forty-Six Seconds had Elapsed a Minute or so After-the-Fact (Enacting the Having-Become-an-Historical-Object). Seeing the Flashing Red Screen, Realizing his Time was Up, he Dismounted the Machine and Departed.

Actually (hearkening back to our very first statement): we arrived Very Much Earlier than this Entrance and subsequent Performance, allowing us time to take-in his Art-Installation. On the Floor at the Left of the Art-Lab Entrance was a pile of Plastic-bound Print-outs from the ‘THX 1138’-inspired ‘Department of Biological Flow’ Web-pages: 59 Black-and-White pages ‘Toward a Kinoderm Aesthetics’ (the Latter being the Title of this Text). The Art-Installation consisted, for the most part, of pages from this Black-and-White Catalogue (i.e. Print-outs of the ‘Department of Biological Flow’ Web-pages) taped to the Walls of the Art-Lab — the Message, here, being the Medium (the Text being the entire Context). The Writing was on the Walls: Read the Catalogue or Read the Art-Lab Exhibition — the Catalogue is the Exhibition and the Exhibition is the Catalogue; Cataphasis. Both the Lab and the Book, the Exhibition and the Catalogue, Constituted the Cataphatic Epiderm, the titular ‘Kinoderm Aesthetics’; or so we suspected until the Performance, until the Appearance of the Cyber-Hoser, whose Hoses and Conduct were the Conduit toward which the titular ‘Toward’ Cataphatically Conducted the entire Exhibit/Catalogue.

Cyber-Sean, in the End, as the And, was the ‘Kino’ of the Cataphatic Catalogue/Exhibition’s Epidermal Aesthetic, and the Double Display, the Pair of Particulars in Play, were Precisely the Out-of-Time/Having-Become-Historical aspect qua ‘Glitch’ of his Gadgetted Kinetic and the ‘Original Accident’ of his Having-Been-Cut: his Monty-Cantsin-style cut Drawing Blood, which in the End, as the And, was the Ultimate Drawing (the ‘Original Accident’ as ‘Ultimate Drawing’): an Actual and Enacted ‘Biological Flow’.