Nonsense Lab
Piet MondrianComposition No. 10: Pier and Ocean1915oil on canvas

Piet Mondrian
Composition No. 10: Pier and Ocean
1915
oil on canvas

Alexander LibermanBeat1952enamel on aluminum42 x 42”

Alexander Liberman
Beat
1952
enamel on aluminum
42 x 42”

John FranzenEach Line One Breath2013ink drawing on paper

John Franzen
Each Line One Breath
2013
ink drawing on paper

Department of Biological Flow
Reflexive Mottle
animation process
in progress

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detail:
node zoom —> skin and eyes, 200%

Department of Biological Flowasciii rumble2013thermopoetics

Department of Biological Flow
asciii rumble
2013
thermopoetics

Department of Biological Flow
ICQ (Inverted Cubofuturist Query)
2011
performance
Toronto Nuit Blanche 2011
approx. 30mins

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"See and be seen. Interpolate and interpellate. In an explicit gesture to Duchamp and the Russian Futurists, the Department of Biological Flow offers ICQ (Inverted Cubofuturist Query), a performance that reconsiders the question of tempo in public space and interrogates opportunities for movement in the contemporary vision machine.”

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Program:

1. Plug kinoderm tail appendage into faux kino-gait transcribing device.
2. Begin walking staircase. Ensure a steady rhythm.
3. Using surgical devices at hand (scissors, small garden shears, Japanese band saw, large BBQ knife), cut away from kinoderm while walking up stairs.
4. If gait slows down too much, cease cutting and resume steady rhythm.
5. The performance ends once the artist has cut free from the kinoderm and fled the gaze.

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(The full video for a second performance of ICQ (Inverted Cubofuturist Query) in 2012 may be viewed on Youtube.)

Marina Abramović and UlayBreathing In, Breathing Out1977still from performance

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"Ulay and Abramovic introduce the video of ‘Breathing in, Breathing out’ (April 1977, Belgrade) as follows: ‘We are kneeling face to face, pressing our mouths together. Our noses are blocked with cigarette filters.’ Ulay says: ‘I am breathing in oxygen. I am breathing out carbon dioxide.’ Abramovic: ‘I am breathing in carbon dioxide. I am breathing out carbon dioxide.’ Ulay: ‘I am breathing in carbon dioxide. I am breathing out carbon dioxide.’ In November of the same year, the reverse version of ‘Breathing in, Breathing out’ was performed at the Stedelijk Museum, Amsterdam under the title ‘Breathing out, Breathing in’. The intimacy suggested by the video still is actually misleading. For almost twenty minutes, Ulay and Abramovic depend desperately on each other to stay alive. They share their breath, without external access to oxygen. The physical struggle that ensues due to the lack of oxygen and to the breathing in of carbon dioxide is visibly exhausting. Abramovic is sweating profusely; her breathing is clearly audible. Ulay manages to control the rhythm of his breathing for slightly longer, but soon he is suffering too. At that point, Ulay and Abramovic are no longer sitting still, but are moving vehemently to and fro until they cannot take it anymore. They let go of each other’s mouths, gasping to regain their breath. Compared to the other performances based on bodily stamina, this highly strenuous performance is relatively short, due to the lack of the most essential ingredient of life.”

Marina Abramović and Ulay
Breathing In, Breathing Out
1977
still from performance

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"Ulay and Abramovic introduce the video of ‘Breathing in, Breathing out’ (April 1977, Belgrade) as follows: ‘We are kneeling face to face, pressing our mouths together. Our noses are blocked with cigarette filters.’ Ulay says: ‘I am breathing in oxygen. I am breathing out carbon dioxide.’ Abramovic: ‘I am breathing in carbon dioxide. I am breathing out carbon dioxide.’ Ulay: ‘I am breathing in carbon dioxide. I am breathing out carbon dioxide.’ In November of the same year, the reverse version of ‘Breathing in, Breathing out’ was performed at the Stedelijk Museum, Amsterdam under the title ‘Breathing out, Breathing in’. The intimacy suggested by the video still is actually misleading. For almost twenty minutes, Ulay and Abramovic depend desperately on each other to stay alive. They share their breath, without external access to oxygen. The physical struggle that ensues due to the lack of oxygen and to the breathing in of carbon dioxide is visibly exhausting. Abramovic is sweating profusely; her breathing is clearly audible. Ulay manages to control the rhythm of his breathing for slightly longer, but soon he is suffering too. At that point, Ulay and Abramovic are no longer sitting still, but are moving vehemently to and fro until they cannot take it anymore. They let go of each other’s mouths, gasping to regain their breath. Compared to the other performances based on bodily stamina, this highly strenuous performance is relatively short, due to the lack of the most essential ingredient of life.”

Pablo RasgadoUnfolded Architecture (Museum Walls)2011Berlin

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Jordan Crandall: “Movement is the internalization of rhythm as it intersects with machines.”

Pablo Rasgado
Unfolded Architecture (Museum Walls)
2011
Berlin

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Jordan Crandall: “Movement is the internalization of rhythm as it intersects with machines.”

no know no-bodies

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no know no-bodies
on that hepcat internet tune

(though note we’re know-bodies
upon bodies)

upon tables and banking,
metronome nom-de-plume

upon networks and ranking
our organs in-tune

~

organically turned, twisted

and soon gilded,
ever thicker

the weight of our gold
with each footstep and flicker,

though we don’t feel a thing
in the lightness of quicker.

Quicken our step
so the heartbeat will flicker

~

we <3 the we
that beats slow,
less than three

tick, tick, ticker

~

taped parade
to breakbeat fracture

sugar glass crack
stunt double impacture

smack the metronome beat
strict crack stricture

back to back to back,
no know no-picture

no know no-bodies

- - -

no know no-bodies
on that hepcat internet tune

(though note we’re know-bodies
upon bodies)

upon tables and banking,
metronome nom-de-plume

upon networks and ranking
our organs in-tune

~

organically turned, twisted

and soon gilded,
ever thicker

the weight of our gold
with each footstep and flicker,

though we don’t feel a thing
in the lightness of quicker.

Quicken our step
so the heartbeat will flicker

~

we <3 the we
that beats slow,
less than three

tick, tick, ticker

~

taped parade
to breakbeat fracture

sugar glass crack
stunt double impacture

smack the metronome beat
strict crack stricture

back to back to back,
no know no-picture