Kinaesthetics, Intensive Gatherings and Bodily Arts

The body itself becomes a sundromos, an intensive gathering of forces
(of desire, of vigorous practices, of musical sounds, of corporeal codes),
trafficked through and by neurons, muscles and organs.  Entwined with the
body in this way, rhetorical training thus exceeds the transmission of ‘ideas,’
rhetoric the bounds of ‘words.’ (Hawhee 160)

Yesterday I attended a Writing Program mini-seminar on the relationship
between the writing center and athletics and the presence of
student-athletes in writing courses. As a part of ongoing professional
development, most writing teachers at SU attend two mini-seminars each semester. 
The speaker–a graduate student in rhetoric at Arizona–brought many insights;
he’s been instrumental in launching a satellite writing center in the athletic
department at UofA, and so the four-hour session was aptly named "Home Turf:
Defining Access and Success for College Student-Athletes."  Early on, the
conversation hinged on the spatial quality of athletic performance; for
pre-reading, we looked at Hawhee’s "Bodily Pedagogies: Rhetoric, Athletics, and
the Sophists’ Three Rs," from College English, Andrew Zimbalist’s chapter
"The Student as Athlete" from Unpaid Professionals, Wilfred Bailey’s
"Summary: Time Constraints, Or Why Most College Athletes Cannot Also Be
Students," (College Sports, Inc.) and a few articles from

ESPN.com
on whistle-blowers. We also talked through perceptions of
student-athlete privilege, so-called "problematic sports" of men’s basketball
and football (with no direct justification for crediting this commonplace to any
particular institution, much less SU), and part-time faculty bearing added labor
because of support measures (email check-ins from coaches, mid-semester progress
reports, etc.) initiated from athletics.

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Disciplinary Sculpture

Via information aesthetics,
I came across this

entry
on "email
erosion."
  An enclosure houses a block of biodegradable foam subject to
sprays of water triggered by a stream of discourse–emails sent to bots in this
case.  As I understand it, the email-analyzing algorithm activates the bots
that patrol each side of the container; under certain conditions, the bots let
loose with the water and the block of foam dissolves.

"At the end of the show, the remaining foam, if any, is a
finished sculpture."

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Pass It On-sendings

[Ray "Sugar Dada"] Johnson initiated a practice called
‘on-sending’ which
involved sending an incomplete or unfinished artwork to another artist, critic,
or even a stranger, who, in turn, helped to complete the work by making some
additions and then sending it on to another participant in the network. 
These gift exchanges, begun in 1955, evolved into more elaborate networks of
hundreds of participants, but at first they included a relatively small circle
of participants.  Johnson would often involve famous artists, like Andy
Warhol, as well as influential literary and art critics in these on-sendings. 
In a variation on this process, each participant was asked to send the work back
to Johnson after adding to the image.  Much of Johnson’s mail art and on-sendings
consisted of small, trivial objects not quite profound enough for art critics to
consider them ‘found objects.’ These on-sendings were part of the stuff
previously excluded from art galleries.  Johnson’s gift giving resembled
the lettrists’ earlier use of a type of potlatch (which was the name of one of
their journals), Fluxus Yam Festivals, and the work of intimate bureaucracies in
general.  The gift exchanges soon led Johnson to explore the fan’s logic in
more depth. (31)

Saper, "A Fan’s Paranoid Logic,"
Networked Art

Stale Art

On my mind–Emig citing Jakobovits.  Any guesses when Jakobovits
likened composition to stale art?:

The linguist Leon A. Jakobovits suggests that "stale art" is
algorithmic–that is, it is produced by a known algorithm, "defined as a
computational device that specifies the order and nature of the steps to be
followed in the generation of a sequence." One could say that the major
kind of essay too many students have been taught to write in American schools
is algorithmic, or so mechanical that a computer could readily be programmed
to produce it: when a student is hurried or anxious, he simply reverts or
regresses to the only program he knows, as if inserting a single card into his
brain.

From Janet Emig’s "Lynn: Profile of a Twelfth-Grade Writer."