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s.a. liva

@spit.imprecision.art

composer, poet, archivist, intermedia artist, low theorist, tough customer. living on coast salish land with my heart in many places. 🌉 bridged from ⁂ tldr.nettime.org/@spit, follow @ap.brid.gy to interact

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s.a. liva @spit.imprecision.art · 27/07/2026

i should have posted more during #teardown2026 but my installation went well, i met some cool folks, and i burned myself while trying to connect a recycled vape battery to an ultrasonic piezo driver board. a pretty positive experience ☺️

a view of the installation of a device in my piece flagday, moin red on a clear acrylic shelf on a window. the devices is clear PET and black glitter PLA

another view of a similar device, but from behind (through the window). this one is printed in pink PLA and makes the paisley design on the back apparent

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s.a. liva @spit.imprecision.art · 10/12/2025

@ink got a pair of the meshnology n32 kits (heltec v3) for myself and a seeed studio sensecap indicator in the way for my girlfriend

a meshtastic node in a green plastic square shaped case on top of an apple keyboard

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s.a. liva @spit.imprecision.art · 23/10/2025

marijn nieuwenhuis & aya nassar, "losing ground: a collection of hⓄles," _emotion, space and society_ 36 (2020) > Holes arouse angsts that are associated with the _Abgrund_, the abyss or the fear of an impossible black void. Nevertheless, they are also […] [Original post on tldr.nettime.org]

Holes are melancholic (Atkins, 2017). We mourn over them. They drown meaning, evoking feelings and
emotions of dread in response to a loss of familiarity, fixity and stability. Holes arouse angsts that are
associated with the Abgrund, the abyss or the fear of an impossible black void. Nevertheless, they are
also things of curiosity, creativity, invention, hope and potentiality. A hole does not only induce anxiety,
it can also offer intimacy and the comfort of protection: for instance, in the symbolism of a womb or a
cave (in this issue Perlin et al., 2019; Hawkins, 2019). Holes are gendered, visceral, atmospheric and
affective (Anderson, 2009). They are affective because they have an ability to provoke a vast series of
bodily and instinctive reactions that can range from shock, fear and solitude to curiosity, wonder and
promise. Holes, rich in diversity, are windows onto light and dark, play and drama, and a myriad of
things in between.

When ground gives way, we might feel encouraged to interpret holes differently, not as ends, but as
potentialities. Oliver Marchart (2007, p. 169) reminds us that “the political”, or the struggle for what
he calls the “post-foundational”, only appears in those circumstances in which the myth of the ground
gives way.
Groundlessness... must not be mistaken for the simple absence of all grounds or for the simple
opposite of ground in the singular. The abyss does not serve as a new ground — not even in the
negative, as a bottomless or groundless 'black hole' — but as the very moment of the withdrawal
and retreat of ground (Marchart, 2007, p. 77, original emphasis).
This radical and disruptive potentiality to decline, or “impotentiality,” is where, as Agamben (1999, p.
182) famously argued, the “root of freedom is to be found”. To break open groundedness from the
inside to the outside, helps facilitate the “emergence of new life forms and collective particles as an
insider takeover, the rise of a new people” (Negarestani, 2008, p. 90).

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s.a. liva @spit.imprecision.art · 23/10/2025

rebecca schneider, "that the past may yet have another future: gesture in the times of hands up," _theatre journal_ 70:3, 2018

Perhaps all gestures open intervals. Perhaps all gestures are interval crossers as well as interval openers. Opening an interval, a greeting (a mode of gesture) establishes both proximity and distance, opening a space for response or crossing an interval with response, or both. Greeting, writes Avital Ronell, "establishes a relationality."" It is as if a gesture, moving air if nothing else, is not only the hand that articulates movement, but is composed of the spaces between and among us—the spaces through which it moves in or toward relation. Vectors of energy or vectors of possibility, gestures suspend possibility on their way to ricochet or reiteration. Calling out or hailing becomes not only a matter of extension across, movement into, or suspension of an interval, but (re)inaugurates duration and the open possibility of response. Extended out beyond

a body, a gesture is carried perhaps by air, perhaps by stone, perhaps by film, light, pixels, passed through algorithms, or perhaps by body-to-body transmission. A pho- tograph, for instance, might be said to suspend and simultaneously extend an action as a gesture, implicitly offering itself at the jump, to be picked up and played again by another (body or thing) in some reiterative combination of sameness and differ- ence-that is, in some response. A vocal call, too, carries a gesture in the grain of the voice, such as the one from police: "Hey, you there!" In Louis Althusser's famous "little theoretical theatre" of interpellation, the hail anticipates if not demands response.® For him, gesture establishes not only relation, but the whole gamut of ideology that ritu- als of hailing extend. Thus gesture bodies forth ideological precedent and casts it into the future by way of anticipated response, articulating a temporal and spatial interval that migrates body to body, even as that same interval is a potential site, dangerous as it may be, for alteration.

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