Nonsense Lab

Bea Camacho
Enclose
2005
11-hour performance and single-channel video

Department of Biological Flow
9-Bit Cyborg
2014
analogue encoding system

Merlin Carter
Abstract Calisthenics I
2012

I’MPROMPT’U EVENT:
TIMESPACE 815 PERFORMATIVE READING CIRCLE THIS SATURDAY

(Please forward to friends and colleagues in Kingston who might be interested in this pop-up event. Thank you.)

- - -

As part of the TIMESPACE 815 trajectory of research-creation hosted by the Department of Biological Flow, we invite you to a performative reading circle in an abandoned site of late industrial capitalism.

This 420,000 sq.ft manufacturing plant has somehow managed the difficult trick of disappearing in plain sight from the local imaginary, folded into the flashier tendrils of big box retail and normative spectacle. Our performative reading circle will take place within the confines of this abandoned space, attempting to engage what Keller Easterling might describe as its ‘dispositional’ qualities. And the selected text hopefully re/animates vbibrating tendencies betwen architecture and dialogue.

We will be reading the very recent essay published in e-flux by artist and theorist Gean Moreno, titled “Notes on the Inorganic”. Moreno attempts to articulate what he refers to as ‘accelerationist aesthetics’, following contemporary strands in philosophy and art which delve into accelerationism as perhaps a mutant strategy to contend with the equally mutant fluxes of deterritorializing capitalism.

keywords: archaeology, capital, flight, clinamen, vortex, control, dust, timespace, scale, decay, inhumanity, expression, force, elasticity, fragility, acceleration, performance.

- - -

NOTES ON THE INORGANIC
by Gean Moreno
2013

Part I: Accelerations
http://www.e-flux.com/journal/notes-on-the-inorganic-part-i-accelerations/

Part II: Teminal Velocity
http://www.e-flux.com/journal/notes-on-the-inorganic-part-ii-terminal-velocity/

Please have read the text in advance and bring a copy of it with you on Saturday morning.

- - -

The event begins Saturday morning at 10am. Since the outer doors are locked are require a special code to gain access, please arrive between 9:45-9:50am at the front doors of the plant, which is located just behind the retail complex on the southeast corner of Gardiners Road and Taylor Kidd Boulevard:

https://goo.gl/maps/a6H5Z

The event is free of charge. If you would like to attend, please join the Facebook event page (https://www.facebook.com/events/594843917260600/) or reply to this email so we know to expect you. Cheers.

Department of Biological Flow
Writ Discrete
2014
performance
-
former Northern Telecom cable production plant
Kingston, ON

- - -

Negentropic gesture. A fragile yarn structure forms a fluid grid of red sensors or offers subtle shade from the surveillant camera above. The two artists, blindfolded and tied to the four directions at the wrists and ankles by jute twine, begin to write or dance.

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

~

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

Department of Biological FlowYield2013performance

- - -

As an investigation into tempo, energetics and relation, the Department of Biological Flow offers Yield, a site-specific movement intervention located between Bruce Nuclear Power Station and Huron Wind Farm that attempts a topology between orbit, drift and entanglement. We learn that one cannot initiate the reaction at maximum capacity but rather the intensity must be slowly increased to avoid the risk of rupture in a very real material sense.

Department of Biological Flow
Yield
2013
performance

- - -

As an investigation into tempo, energetics and relation, the Department of Biological Flow offers Yield, a site-specific movement intervention located between Bruce Nuclear Power Station and Huron Wind Farm that attempts a topology between orbit, drift and entanglement. We learn that one cannot initiate the reaction at maximum capacity but rather the intensity must be slowly increased to avoid the risk of rupture in a very real material sense.

Department of Biological FlowImago (Kino-Butterfly · Someone Might Be Listening · Lorenz Security Ltd.)a topological play in three actsApril 28, 2011Toronto, CAN

Department of Biological Flow
Imago (Kino-Butterfly · Someone Might Be Listening · Lorenz Security Ltd.)
a topological play in three acts
April 28, 2011
Toronto, CAN

Department of Biological FlowThe Acceleration TourSeptember 20, 2013Montreal, QCTime 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
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 …

living in our scarssuturing experience togetherthrough the networkand meatiness of things.

living in our scars
suturing experience together
through the network
and meatiness of things.