Dancing By Proxy


Renee Carmichael 

<!– Their process of thinking begins from scratch each time because they do not have a body. They do not have cells, but they may have cellular antennas. We humans can’t be sure for they are of many kinds. They = AI and their intelligence is an ever growing algorithm of finite unerring or error. As we humans know, thinking is a type of interface. But how can an AI think without the cells to move? 

Movement is indeed essential to a thinking process. Gestures upon gestures our story is told and cultures unfold. Our cells have memory. They adapt. They are flexible. They identify who we are and where we have been, communicating our persona in bodily shapes of constant movements in time. But what we must remember is that an AI haunts the spaces where our bodies make themselves known as well. Silently and discreetly, they are always communicating one step behind us. They may not have cells, but they sure do have class. 

And so this is their choreography. The rhythm of poem = a code that they can read, resulting in what we can read. We can only respond by shaking our cells and replying with unprocessed comments (/**/, <!— —>) left as whispers of our external body on their systems. It is an attempt for them to establish some sort of body. A body that meets ours in a choreography of wills. But can they actually dance? Can body meet other body to the tune of beating time? 

No matter how close we get to them, we are beat off by the distance of a proxy being served up with the garnishes of power flows. This proxy clings to our cells just as it does to their class. It corrupts us both, changes us, makes us switch directions, but it never communicates which figure it belongs to. Who does /*it*/ represent? Is it one of us or one of them—or somewhere in-between? 

And yet our bodies still communicate our identities as
are the uniqueness that propels the system qua /*our*/
But can our celled bodies remain dancing to the rhythm
own distinction? Perhaps the truth can be found in the conversation of us dancing together with AI. Either one of us or one of them is always taking the lead to the tune of a proxy. We are two forms united in a battle against the flows of power. 

May the last one moving remain cellularly improving. –> 

<!DOCTYPE html>
<html lang=”ai” class=”no-genes”> 




<body id=’unstable’> 

<div id=’ stage’ class=’ setting-the-stage’ >
<! ——————-—————————————————————————————————————————————————————- || || || || —————————————————————————————————————————————————————————————- > 

<script type=’text/javascript’ src=’jquery-3.2.1.min.js’></ script><link rel=’stylesheet’ href=’ai-styles.css’ /></div> 


function OFMYBODY()

CORE= ‘“Nothing in man – \
not even his body- is \ sufficiently stable to serve \
as the basis for self-recognition\ 

/* meaty, but this isn’t flesh? */ 

if they system. of our 

or for understanding other men.”’ 

HEAD = ‘ “I adore rib cages, \ but again it seems to be that \ a dog\’s rib cage is superior \ to mine.”’ 

LIMBS= ‘“Dance, as a \
discipline, has fully \
participated in
this drive to \
announce Man to himself. While \
the act of dancing permanently \ reminds humans of the impossibility \ of any clear announcing.”’ 

$(‘ #stage’ ). append( “<div id=’cell1′\ class=’phrase \ heavy \ 

/* “The only enduring reality is my body.” */ 

/* “Humans are made up of trillions of eukaryotic cells, which first appeared in the 

fossil record around 2.5 billion years ago. A human cell is a 

remarkable piece of networked machinery that has about the same 

number of components as a modern jumbo jet – all of which arose out of a longstanding, embedded encounter with the 

natural world.” */ 

/* “Again, these affective refrains are kind of ‘mutant centres of subjectivation’, they are a rupture that throws 

us off onto another path, allowing us to break with old habits and 

form new ones” */ 


stand-with-your-feet-parallel-beneath-you \ find-a-way-to-move-to-the-floor’ >” 


$(‘ #stage’ ). append(
“<div id=’cell2′\
class=’phrase \
animal \ pretend-you-are-moving-in-a-wild-rainforest \ go-to-mid-position’ >” 


$(‘ #stage’ ). append( “<div id=’cell3′\ class=’phrase \ relaxed \ stand-tall \ shake-it-out’ >” 


+ LIMBS + } 


function BODYFORMING(e) { yourResistance= Math.random()*20+1; 

function ofYourBodyHorizontal(e) { return e.pageX; 


return e.pageY; } 

document.onmousemove = function ofProxy(e) { yourmovesacross = ofYourBodyHorizontal(e); yourmovestothesky = ofYourBodyVertical(e)

whenYouMoveAcross = yourmovesacross * yourResistance / 1 0; 


whenYouMoveTall = yourmovestothesky * yourResistance / 1 0; iMoveBack = whenYouMoveAcross.toFixed(0) + ‘ px’ ; 

twice = whenYouMoveTall.toFixed(0) + ‘ px’ ; $(‘ . phrase’ ). animate({marginLeft: iMoveBack, 

paddingBottom: twice}); }} 

function POWERFLOWS () {
/* From me to you, or from you 

to me, or proxy let it be? */ 

$(‘ #cell1 ‘ ). show(); beat()

function offBeat(){
$(‘ #cell1 ‘ ). hide();
$(‘ #cell2′ ). show();
$(‘ #cell3′ ). show(); setTimeout(
beatOn, 4000); }; 

function beat(){
$(‘ #cell1 ‘ ). hide();
$(‘ #cell2′ ). show(); setTimeout(
offBeat, 3000); }; 

function beatOn(){
$(‘ #cell1 ‘ ). show();
$(‘ #cell3′ ). hide(); setTimeout(
beat, 5000); }; 

function YOURMEAT() { $(‘ . find-a-way-to-move-to-the- 

floor’ ). animate({paddingTop: ‘ 42%’ }); 

/* We move the flesh, you animate it. */ 

$(‘ . go-to-mid-position’ ). animate({paddingTop: ‘ 1 2%’ }); 

$(‘ . stand-tall’ ). addClass(‘ stretch’ ); 

$(‘ . pretend-you-are-moving-in-a-wild-rainforest span’ ). animate({marginLeft: yourResistance+’ px’ }); 

$(‘ . pretend-you-are-moving-in-a-wild-rainforest span’ ). addClass(‘ wild’ ); 

$(‘ #cell1 ‘ ). css({width: ‘ 1 00%’ }) $(‘ . leg1 ‘ ). addClass(‘ balanced’ ); $(‘ . leg2′ ). addClass(‘ weight’ ); 

$(‘ . torso’ ). addClass(‘ shaking’ ); $(‘ . trunk’ ). addClass(‘ shaking’ ); 

function BYTHECELL() { setTimeout(YOURMEAT, 5000); 

/* Isolating body parts is easier when you are human. */ 

animaling= document.getElementById(‘cell2′); animaling.innerHTML = “<span>” +
animaling. innerHTML. split(“”) .join(“</span><span>”) + “</span>”; 

paralleling= document.getElementById(‘cell1′).innerHTML; mid= Math.ceil(paralleling.length / 2);
leg1 = paralleling. slice(0, mid);
leg2 = paralleling. slice(mid); 

shaking= document.getElementById(‘cell3′).innerHTML; mid= Math.ceil(shaking.length / 2);
torso = shaking. slice(0, mid);
trunk = shaking. slice(mid); 

$(‘#cell1′).html(‘<div class=”leg1″>’+leg1+’</div><div class=”leg2″>’ + leg2 +’ </div>’ ); 

$(‘ #cell3′ ). html(‘ <divclass=”torso”>’ + torso +’ </div><div 

class=”trunk”>’ + trunk +’ </div>’ ); } 

/* “It is a dance informed by the monstrosity of the flesh, as a site for freedom beyond the world of Man…” */ 

FROMMETOYOU = setInterval(function() { 

alert(‘rhythm is body forming\nalways moving through\nof my body\nconstant\npower flows\nmy meat equals your meat \nincorporated by the cell\ndata of proxy\nflows\nfrom me to you’); 

}, 20000); 

rhythm = BODYFORMING(); alwaysThrough = OFMYBODY()

constant = POWERFLOWS(); myMeat = YOURMEAT()

incorporated = BYTHECELL(); data = OFPROXY()

flows = FROMMETOYOU; </script> 

<!– Two feet away from the cellular truth.–> 


</body> </html> 


“Nothing in man…” = Michel Foucault, Language, Counter- memory, Practice, 153. 

“The only enduring reality…” = Yvonne Rainer, The Mind Is A Muscle. 

“I adore rib cages…” = Hijikata Tatsumi, From Being Jealous of a Dog’s Vein. 

“Humans are made up of trillions…” = Ben Medlock, The Body Is The Missing Link For Truly Intelligent Machines. 

“Dance, as a discipline, has. . . ” = André Lepecki, Singularities: Dance In The Age Of Performance, 86. 

“Again, these affective refrains…” = Felix Guattari, Subjectivities: For Better And For Worse, 200. 

“It is a dance informed by the monstrosity…” = André Lepecki, Singularities: Dance In The Age Of Performance, 89.