Spin the bottle

-

Dark matter, this
All fumble and handed
Strange charmer you
Are (will be (already)

You
You

Fall toward midnight
Depths pulling darkly
Strong our way curving
There, warmer than the
Math said dizzy (x) we
Expon’t upon these
Intensity pulsings
Here, these (x)yzz-vectors
Beginning to tremble we

Flip

Right through the bottle
Left you silkspinning

Still.

So stellar, this

Like an ear or a seashell

-

Stippling hives braille breathlessly
Bloody jam and sticky sense of
Diff’rence pitters past manifold
Shimmering sweet for all that
Feel its weightless worth in bold.

Knittering knots fail needlessly
Small sutra sutures given wing
For egress statements manifest
Smoothing slow vast digital
Velvet vistas far from rest.

Carolee Schneemann
Up To And Including Her Limits
1973-76
performance, live video relay, crayon on paper, rope and harness suspended from ceiling

Zhang Huan
Family Tree
2000
performance

‎”A threnody is a song, hymn or poem of mourning composed or performed as a memorial to a dead person. The term originates from the Greek word threnoidia, from threnos ( ‘wailing’) + oide (‘ode’); ultimately, from the Proto-Indo-European root wed- (‘to speak’) that is also the precursor of such words as ‘ode’, ‘tragedy’, ‘comedy’, ‘parody’, ‘melody’ and ‘rhapsody’.” [Wikipedia]

friction (feedback and reverb)

.

art object
objected.

wiry,
and noisy patterns
patterning

pitter patter tendency
listen up kids

~

remix quick the triple dip clipped gaze
snip snip grays to scaled grid layer haze,
moiré maze, fresh hip skills for days

and check that techniqued fractal glaze
just sideways, skinned end of days
and the dermal siloed
sigh bin plays

(sigh)

see, i sense a snake
wiry and lithe
unraveling at every
limb
and shedding flesh frequency

saw, that misdetect is on the scene
investigate this!
graceful throwback
seeing wiry and with

xtra xtra you can read all about it!
on the random access
xray-memories

and tell wireless

~

haiku whispers
in the early morning
sunrise

top:
Glenn Ligon
Negro Sunshine
2006
neon

bottom:
Man Ray
Fingers
1930
“solarized” photograph

- - -

skins, skins, nailed to a glass
wall liquid crystal, displayed.

Judith Butler: “In other words, acts, gestures, and desire produce the effect of an internal core or substance, but produce this on the surface of the body, through the play of signifying absences that suggest, but never reveal, the organizing principle of identity as a cause. Such acts, gestures, enactments, generally construed, are performative in the sense that the essence or identity that they otherwise purport to express are fabrications manufactured and sustained through corporeal signs and other discursive means.”

_____

Gender Trouble, Routledge, 1999, p.136.

Sean Ripple
Privacy_A Lunch_Break_From_One’s_Public_Identity
2011
performance and text
(part of the show Relational Transgressions)

- - -

Gilles Deleuze: “When a language is so strained that it starts to stutter, or to murmur or stammer … then language in its entirety reaches the limit that marks its outside and makes it confront silence. When language is strained in this way, language in its entirety is submitted to a pressure that makes it fall silent. Style—the foreign language within language—is made up of these two operations; or should we instead speak with Proust of a nonstyle, that is, of ‘the elements of a style to come which do not yet exist’? Style is the economy of language. To make one’s language stutter, face to face, or face to back, and at the same time to push language as a whole to its limit, to its outside, to its silence—this would be like the boom and the crash.”

_____

“He Stuttered,” Essays Critical and Clinical, University of Minnesota Press, 1997, p. 113.
— also see Walking with Lygia (2009) by Department of Biological Flow.

The Facebook Polis

- - -

‎‎‎4. Each subject exists at a not-insignificant remove from equilibrium in the Facebook Polis. The addition of friends known and unknown; the multiplying of relations around a particular node or series of nodes — that is, the development of severals within a multiplicity, each with its own intensity; the steady release of new technologies or interfaces; all of these and more push the expression of the space and its myriad produced subjectivities to disequilibrium. The steady rhythm of signal modulation that is one’s wall (dermis) offers the illusion of an equilibrium or homeostasis to soothe what is otherwise the stress of the system.

-

5. Virilio’s stereoscopics of “here” and “now” are not so much spatiotemporal coordinates on or off the network, but rather qualities of relation(s) in changing modes of embodiment. This suggests they each provide differential modes for *breathing*, either artfully inspired or expired. The Facebook Polis offers one such potential “now” for breathing as a form of political action.

-

‎6. Today we are all “creators,” all able to see ourselves extended into the data networks of the ludic-synthetic. In other words, all complicit in the creation of a new mirror — a slightly kaleidoscopic mirror, mind you — but one that captivates us like Narcissus long beyond that mirror phase of childhood. Like the two-way sort used in clinical psychology, however, this new era of the interactive is at once mirror and screen, at once opportunity for enclosed self-contemplation and open performance. For we all know what lurks behind the silvering of this new mirror in the Facebook Polis and that is the gaze: sometimes manifest as benevolent glance and sometimes as cold, clinical, unblinking stare. Always performance.

Narcissus never suspected that Echo was swimming below the surface of the pool, but we know better.

-

7. This blur between mirror and screen is perhaps best understood in the language used to describe it: “one-way mirror”, “two-way mirror”, “one-way glass” and “two-way glass” are all used interchangeably, two sets of complete opposites in recombination to express the same concept. The fragmented subject only finds confusion in its attempts to articulate its relation to the interface; even with this 2x2 matrix the concept eludes us. Political action in the Facebook Polis must consider both the material element of this membrane between gesture and vision as well as its relative opacity in approaching the speed of light — the panoptic space is obsolesced by our very reflection.

_____

posted in no particular order, these aphorisms are the beginnings of a microbook-in-progress for Delere Press, a boutique e-book publishing venture by Jeremy Fernando and Yanyun Chen

#facebookpolis

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

- - -

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.