At 11 am, things were flying above me with Jets, above the heads, above the crowds, above the birds, above the terrace, above the tallest tree in the town, piercing with sonic booms. Piercing are these sonic booms into the bodies, dismembered in and out. After all, the consummation was in excess of what was left below the bipedal beings. The surplus of the darkness underneath the land was engulfing the city. The darkness is returning as a sonic vibration back into organic matter. The city, which was engulfed and enclaved multiple times. Can we ever know the nature of the wind here? Can we ever study a place where there is no wind? Or would there be one at all? Painting wind as an infrastructure that makes flying possible until the tornado potential kicks in.
It’s a skillful maneuver to produce the force. A stream of particles jetted collectively, like a solar particle propelled by the solar wind. Decisive one, maybe. In a world where the abundance of images, hums, traces, and marks of various modes of violence permeates every aspect of life, what does it mean to know more clearly? What does it mean to study the wind, a wind that propels in dynamic movements? The speed at which the economy hovers is propelled by financial speculation, a financial balloon in making, making the ground intangible, and flattening all labor to mere value. As balloons hovered above, the land below was a mere shield covering the minerals. Minerals that could be extracted, but are extracted at the cost of wounds
The concept of Tribology. Coined by a British mechanical engineer in 1966, around the first wave of cybernetics. Tribology was used to study the amount of energy lost in friction in the UK economy.
Cybernetics waves - a California white man's project to study the unification of humans and machines, which in itself takes a presumption of control over matter. Although it never led to a significant flight. Nevertheless, it continues to haunt the current economies and their landscape, accompanied by a backdrop of thoughts that have emerged alongside it. And coming back to the word Tribology. The ‘Tribo’ is something to rub or something that creates a touch. Touch between the structures in the state of construction, or composition, or sometimes in decomposition or some instability. The Tribology of industrial sense was an empirical adventure to manipulate the touch, to control the interaction of different crystals [objects, lives, lands, and winds] for the surplus.
A different fascination with the touch stems from an embodied experience of situating oneself within the structures of caste groups, which predominate on the land facing the Greater Himalayan range. An anxiety towards any heterogeneous touches, a friction that stalls any form of touch and a stagnant image of world-building.
A landslide and a boomerang continental landmass led to the emergence of a significant Himalayan Mountain range. Continuing its journey toward the sky, it peaks every year by a few inches in height. A chase towards the blueness, and sky, melting below is the rush of howls of rivers. Howls erupt from the multiple wounds, spreading from the tree trunk below the mangroves of the Bengal region.
When particles are in touch- or in a state of rubbing, in a state of becoming - a Friction/twitching is a possible provisional outcome. A twitching gives a terrestrial imagination, a bouncing wigle from the Lizard tail. These frictional spaces, which occur at two systems/crystals, or possibly within the structures/ space/things/ objects themselves, are in a state of collision, a constant becoming. Collisions that manifest materially in different forms across the ecologies, reshape the ecology, and reverberate across time. This collision makes a duration as such possible, a sense of broken time within larger time envelopes. These expressions of friction spur and produce differential images, affects, and relations.
These relations spread across the cosmic materiality and remain to shape/ un-shape the laws. [both legislative and natural]. Reshaping the sense of time, landscapes, and ecologies. It is like the tectonic plates, which are boomeranged constantly moving from deep geo time, forming numerous mountain ranges, valleys, tsunamis, etc as registration. A rub, also a sense of intimacy, a sense of relation in making - these in-between formations I see as something like an event with the potential of the possibility - a non-space.
A collection of these minute manifestations happening around, sometimes unnoticed, and sometimes not given a voice/language. Erupting out of desires to collect them, it's not a collection in the sense of acquiring or maybe archiving. But it is a collection that occurs through the addition of new subjects and object relations, or a desire to explore new phenomena.
A drop now - within a subset, what follows now is a subject within the bigger image of this text -
[ This desire for in-between spaces stems from extensive complexities produced by racial, capital, and imperial apparatus, which are in nexus/tandem with these oppressive structures of caste]
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To boomerang the objects is to boomerang the image.
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[ In this in-between corner, the positions mix them to create an uncanny or a sort of apophenia in the making. But what does this actually create? - Well, I would say they create new relations or new economies that do not fit the restricted economy already in existence. ]
Out of the subset -
To boomerang the objects is to boomerang the image.
This is not a point of entry in a revolutionary or militant sense, but a tiny droplet or a quantum in the form of a small packet’s existence or world-building. The gestures produce a force that creates friction for new possibilities, collapses the boomerangs, or boomerangs the non-spaces.
It is driven by a desire to create a new position and be part of a new world making.
The flying balloons are filled with active fiction, or capital fiction;
It is a form of active lubrication, viewing this lubrication as a fabrication process. These fabricated airfoils maintain an abstraction, which becomes a double in creating a real abstraction.
Sub set -
[I see this lubrication, which I mean the fabrications, allows the techno-utopian machine to sail swiftly with its reality of racial subjugation and violence unleashed on the ecology in variations.]
The force drawn towards is a creation that could create a necessary disturbance, a necessary position in a room, or a force spinning within the image.
An image that looks back and stares/gazes still. It is a form of negative lubrication or possibly an unknown type of lubrication.
To Boomerang is to mean to desire the disturbance, with these small structures, which are kind of created in themselves, acting as a decolonial practice, a negative lubrication. A means to say it creates other infrastructures - disturbances that cut out the ruptures to allow for revealing, healing, and the creation of new fabrications that only die of—a new form of negative fabrication or creation of weak fictions.
This negative entropy [this is not the opposite of entropy for stagnation] is what I'm interested in initiating at the peripheries; they are no longer the center, but they remain at the periphery or in between the two.