Nonsense Lab

Jesús Soto
Espiral Doble
1955
39 x 39 cm

Eusebio SempereMóvil1972stainless steel300 x 300 x 20 cm

Eusebio Sempere
Móvil
1972
stainless steel
300 x 300 x 20 cm

Naum GaboTorsion (Variation no. 3)1963

Naum Gabo
Torsion (Variation no. 3)
1963

Robert SmithsonFour-Sided Vortex1965stainless steel, 4 mirrors35” x 28” x 28”

Robert Smithson
Four-Sided Vortex
1965
stainless steel, 4 mirrors
35” x 28” x 28”

Eben Goff
Flood Cubes
2010-12
sculpture series

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"Steel volumes bolted to the concrete bed of the L.A. River (Ballona Creek) during winter rains in January, 2010. After one week in river, the forms, wrapped with accumulated debris, were unfastened and taken back to the studio."

Moto Waganari
Real Virtuality
sculpture series

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

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 …

Wolfgang Laib
Milkstone
sculpture and performative gesture
series begun in 1975

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Milkstone is a solid piece of white marble with a small dip carved into the top of the stone. This small indentation is filled daily with fresh milk, creating what appears to be a solid surface. To get close to the stone, even at eye level, crouching on your knees, you can’t see where the stone begins and where the milk ends. Laib has created a way to make physical endlessness in natural materials.

Hans BrederBody Sculpture1972

Hans Breder
Body Sculpture
1972