The Infrathin and the Hunch

I wanted to share this found poem I wrote a few years ago as part of a final creative project for a seminar on process philosophy and architecture. It is composed of fragments of theories  from Arakawa and Gins, Deleuze and Guattari, Andrew Murphie, Brian Massumi, and too many others to recall (but if you are interested, you can select phrases and google them to discover their origins). After reading both Erin and Duchamp writing on the 'infrathin' I now realize what I was trying to capture in this poem is precisely what is outlined as the 'infrathin', "the minimum perceivable lapse"... that which cannot be defined but only understood in relation, what I call in the poem a hunch.

I think working with found materials always equates to an encounter, and perhaps even an attempt to summon the infrathin. In my experience, I rarely feel alone or stuck when I am creating using found materials, or what the surrealists referred to as "les objets trouves", so long as I stay attuned to what they are trying to tell me, where they want to go, where they wants to take me next. 

A map of hunches

thoroughly associated and aligned

a crucial element

readied for action

comprehensible or not

the soul that longs to come forward

but we see only its silhouette

being oblivious to any aspect of what is happening

the organism that persons starts up an atmospheric trajectory

juxtaposed repeatable and re-combinable items of a built discourse

it looks how to shift the focus

they are not the usual ones for literary and cultural studies

the minimum perceivable lapse

an asignifying philosophy of affect

a perceptual landing site

an assemblage to produce the new

everything is really relative

“preterritorialized” in matrices of standardization

creativity becomes an industry

to some extent we are all wrestling with this impossible closure

so she engages in collage making to advance it

the soul is temporarily exorcized of what appeared to be coagulating within

technics can rework the order of things freely

there is no natural sovereignty or hierarchy to forms of knowing

but a semblance of order can be found

only if the trace of the past actions, including a trace of their contexts were conserved

in the brain and in the flesh,

but out of mind and out of body,

understood as qualifiable interiorities,

active and passive respectively,

direct spirit and dumb matter

opposites coexist, coalesce and connect

equal to parallelism, both simple and negative

equal to all means of intensifying the sensation of things

a tool of abstraction

it bears only a superficial resemblance

this is indeed a form of thinking

there’s no truth that doesn’t “falsify”

these capacities to falsify produce truth

it’s all the same thing

embracing movement,

or blocking it,

politically,

whose essence lies in the spontaneous play of the emotion?

one lets loose ubiquitous sentience

organism-person-environment takes hold and holds forth

a moving project

stimulates the haptic imagination

a new fabric

a limit in the resistance of this or that material

optical and aural situations

new forms of coexistence, ordering, transforming

repetition and difference are mutually involved.