Nonsense Lab

Merlin Carter
Abstract Calisthenics I
2012

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

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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.

Final chosen works for Project Anywhere are in and posted for the 2014-15 season. Department of Biological Flow's Channel Surf is one of 5 projects worldwide selected for this program of arts-based research inquiry.

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Channel Surf is an open platform for arts-based research that will unfold during a 200km journey paddling from Kingston to Ottawa along Canada’s Rideau Canal. With approximately 30 participants at any one time (the majority completing the entire trip and a smaller subset dynamically interchanging along the journey), it is envisaged that daily activities of co-creation and mutual learning will emerge.  Accordingly, the canal will metaphorically assume the role of information channel, and the paddlers that of data packets invested with inventive agency in transit.

Final chosen works for Project Anywhere are in and posted for the 2014-15 season. Department of Biological Flow's Channel Surf is one of 5 projects worldwide selected for this program of arts-based research inquiry.

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Channel Surf is an open platform for arts-based research that will unfold during a 200km journey paddling from Kingston to Ottawa along Canada’s Rideau Canal. With approximately 30 participants at any one time (the majority completing the entire trip and a smaller subset dynamically interchanging along the journey), it is envisaged that daily activities of co-creation and mutual learning will emerge. Accordingly, the canal will metaphorically assume the role of information channel, and the paddlers that of data packets invested with inventive agency in transit.

Department of Biological FlowArtist Statement

Nominally, the Department of Biological Flow is a co-compositional experiment in research-creation practice for aesthetic philosophy. We also often describe this practice more readily as that of precarious insects who develop an art-philosophistry of concepts and movement to inform our curving vectors of life technique for survival in the control society.

Movement made thought through gesture is the first compositional turn of inquiry: our pure means and the first mediation for generating lifeworlds. We move fluidly between performance, installation, text, image, video, poetry and motion capture to engage themes of relation, energetics, hospitality and ethics. Our work explores process itself as the most plastic of the arts of living; we are very concerned with this plasticity and its potentials for plastination or plastique.

Relation here is understood as a constellation of forces, not as independent term. Not an identity, but rather a movement. And a moment: the transformative interface of play moving space-time haptically, ephemerally, reconfigured perceptions of signal both extracted from and woven together with noise — a filtering and a faltering for collaborative exploration, an embodied attunement to context generating intuitive knowledge that falls ambiguously aside language.

We are interested aesthetically in fragility, imagination, intermediality and tempo. Emergent ecologies of practice coalesce in birthing form: i’mpulsion. Everything more or less falls apart in the end.

This ephemerality is perhaps most explicit in our curated events, which exist at the myriad intersections of art, philosophy, movement and pedagogy. Here we attempt to work through various problems that could be considered an ecological aesthetics, not simply in the traditional sense of a green environment but also in terms of the new grey ecologies based in electrical systems and information networks.

Exploring trajectory and curvature, spending time with other creators thinking and working on new ways of coexisting; establishing and/or rejecting ecological models of aesthetic practice; or simply listening and learning and developing a craft.

Until forgetting it anew.

Department of Biological Flow
Artist Statement

Nominally, the Department of Biological Flow is a co-compositional experiment in research-creation practice for aesthetic philosophy. We also often describe this practice more readily as that of precarious insects who develop an art-philosophistry of concepts and movement to inform our curving vectors of life technique for survival in the control society.

Movement made thought through gesture is the first compositional turn of inquiry: our pure means and the first mediation for generating lifeworlds. We move fluidly between performance, installation, text, image, video, poetry and motion capture to engage themes of relation, energetics, hospitality and ethics. Our work explores process itself as the most plastic of the arts of living; we are very concerned with this plasticity and its potentials for plastination or plastique.

Relation here is understood as a constellation of forces, not as independent term. Not an identity, but rather a movement. And a moment: the transformative interface of play moving space-time haptically, ephemerally, reconfigured perceptions of signal both extracted from and woven together with noise — a filtering and a faltering for collaborative exploration, an embodied attunement to context generating intuitive knowledge that falls ambiguously aside language.

We are interested aesthetically in fragility, imagination, intermediality and tempo. Emergent ecologies of practice coalesce in birthing form: i’mpulsion. Everything more or less falls apart in the end.

This ephemerality is perhaps most explicit in our curated events, which exist at the myriad intersections of art, philosophy, movement and pedagogy. Here we attempt to work through various problems that could be considered an ecological aesthetics, not simply in the traditional sense of a green environment but also in terms of the new grey ecologies based in electrical systems and information networks.

Exploring trajectory and curvature, spending time with other creators thinking and working on new ways of coexisting; establishing and/or rejecting ecological models of aesthetic practice; or simply listening and learning and developing a craft.

Until forgetting it anew.

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

Marie-France Brière
Ondes
2005
black marble sculpture
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Tanna Schulich New Music Building
Montreal, QC

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)

Tomas Saraceno
In Orbit
2013
installation

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"A multilayer, netted web 65 feet high at Germany’s K21 Staendehaus museum. The three levels of netting are connected by airfilled PVC balls reaching up to 30 feet in diameter. Those who enter Saraceno’s hybrid vision experience into a constantly fluctuating geography, in which the landscape and viewers constantly shift.

When several people enter the audacious construction simultaneously, their presence sets it into motion, altering the tension of the steel wires and the intervals between the three meshwork levels. Visitors can coordinate their activities within the space, and are able –- not unlike spiders in a web –- to perceive space through the medium of vibration.”

Jenine Shereos
Breath(e)
mixed media installation

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Branch-like forms move subtly, fading in and out almost imperceptibly, as sounds of wind and breathing undulate in the background. A mysterious object is suspended in the center of the wall, and is revealed as the video fades to white. The viewer has the opportunity to align their shadow with this object, a pair of lungs constructed using fibrous materials, thus positioning themselves simultaneously within the body and within the landscape. Notions of the body, time and memory are alluded to within the work.

Breath(e) is an exploration of the ‘permeable boundary’ that exists between our physical bodies and the world around us. There is a literal exchange that occurs within every inhale and every exhale. This exchange, subliminal and subtle, happens beneath the surface. It is background, peripheral, like the passing of a breeze through branches. Yet it is this exchange that fuels us. When we are without it, we are without breath, without life.

Metaphorically, the act of breathing speaks to the continuous dialog, the ongoing give and take that occurs in each person’s life. As we daily leave our marks in the world, the world leaves its marks upon us. I am interested in the way these interactions are absorbed through the body, leaving their residue within our memory.