Nonsense Lab
Department of Biological FlowYield2013performance

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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

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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

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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

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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 …

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.

Rosanna ScimecaDance of the Photons2013performanceFitness Center for Arts and TacticsBrooklyn, NY

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"Dance of The Photons is an experimental performance inspired by the ‘Quantum Entanglement’ phenomenon. Quantum entanglement is a reaction between two elementary particles far from one another without any mediation. In other words, the particles influence each other beyond the realm of time and space. Albert Einstein once called this ‘a spooky action at a distance.’ In the show, performers perform different subjects in different locations, yet they are all interconnected. Participants and objects occupy and co-habit the space Fitness Center for Arts and Tactics in Bushwick, where musicians, artists, and curators live, work, and meet. By using bodies and objects, the space is filled with the following themes: the movement of gravity (Simone Couto), audible silence (JaeWook Lee), shifting architecture (Rosanna Scimeca), an imaginary organic creature (Stephanie Hyojung Kim) and the sense of déjà vu. By transferring perceptions of space-time networks of particles, connections, force and relations are created. Dance of the Photons explores a community of consciousness in which invisible layers of fabric allow us to share knowledge and love in an instant."

Commissioner: Laura BluerEvent Curator: JaeWook LeeParticipants: JaeWook Lee, Simone Couto, Rosanna Scimeca, Stephanie Hyojung Kim, and people we know and care.Event Advisors: Ernesto Pujol (artist), Denise Carvalho (critic)

Rosanna Scimeca
Dance of the Photons
2013
performance
Fitness Center for Arts and Tactics
Brooklyn, NY

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"Dance of The Photons is an experimental performance inspired by the ‘Quantum Entanglement’ phenomenon. Quantum entanglement is a reaction between two elementary particles far from one another without any mediation. In other words, the particles influence each other beyond the realm of time and space. Albert Einstein once called this ‘a spooky action at a distance.’ In the show, performers perform different subjects in different locations, yet they are all interconnected. Participants and objects occupy and co-habit the space Fitness Center for Arts and Tactics in Bushwick, where musicians, artists, and curators live, work, and meet. By using bodies and objects, the space is filled with the following themes: the movement of gravity (Simone Couto), audible silence (JaeWook Lee), shifting architecture (Rosanna Scimeca), an imaginary organic creature (Stephanie Hyojung Kim) and the sense of déjà vu. By transferring perceptions of space-time networks of particles, connections, force and relations are created. Dance of the Photons explores a community of consciousness in which invisible layers of fabric allow us to share knowledge and love in an instant."

Commissioner: Laura Bluer
Event Curator: JaeWook Lee
Participants: JaeWook Lee, Simone Couto, Rosanna Scimeca, Stephanie Hyojung Kim, and people we know and care.
Event Advisors: Ernesto Pujol (artist), Denise Carvalho (critic)

Anna Mikhailovskaia
Draw.Cut.Fall. (Disappearing Act)
45 min. video performance edited for time to 1 min.

Zach Blas
Facial Weaponization Suite
2011-13
wearable art

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Facial Weaponization Suite produces forms of protest against biometric facial recognition — and the inequalities these technologies propagate — by making “collective masks” in community-based workshops that are modeled from the aggregated facial data of participants. The masks are used for public interventions and performances. One mask, the Fag Face Mask, is a response to scientific studies that link determining sexual orientation through rapid facial recognition techniques. This mask is generated from the biometric facial data of many queer men’s faces, resulting in an amorphous mask that cannot be detected by biometric facial recognition technologies.

Dang Vanity Ratio



Nirvana Ago Ditty
A Dragon Nativity

Today Ranting Via
Today Raving Anti
Dignitary Nova At
Toady Ingrain Vat
Ad Organ Nativity
Avoid Gain Tyrant
Avatar Dignity On
Avatar Dying Into
Variant Dating Yo
Dating Via Notary
Tiara Vanity Dong
Avian Tango Dirty
Avidity Gonna Art!
Radio Gnat Vanity
Radiant Tango Ivy
Radiant Vanity Go (Go (Go)
Attain Angry Void
Attaining Ova Dry
Data Navy Rioting
Vagina Yarn Ditto
Radon Gait Vanity
Diva Gyration Tan
Vagrant Nay Idiot
Aviation Dang Try

Dang Vanity Ratio

Nirvana Ago Ditty
A Dragon Nativity

Today Ranting Via
Today Raving Anti

Dignitary Nova At
Toady Ingrain Vat

Ad Organ Nativity
Avoid Gain Tyrant

Avatar Dignity On
Avatar Dying Into

Variant Dating Yo
Dating Via Notary

Tiara Vanity Dong
Avian Tango Dirty

Avidity Gonna Art!
Radio Gnat Vanity

Radiant Tango Ivy
Radiant Vanity Go (Go (Go)

Attain Angry Void
Attaining Ova Dry

Data Navy Rioting
Vagina Yarn Ditto

Radon Gait Vanity
Diva Gyration Tan

Vagrant Nay Idiot
Aviation Dang Try

Nathan Gray
Score for Dance
2012
clear acrylic sheets, black masking tape, amplified floor, effects, sound system

Karla Solano
Hogar (Home)
2004
stills from video