Inframince can be described as
site where second and third dimensions meet (duchamp)
thickness inside a limit
small or peripheral by-product of haptic engagement
sensational displacement or doubling (reflection from a mirror or glass, duchamp)
taste of my mouth in the cigarette smoke i exhale (duchamp)
iridescent (duchamp)
music made walking in corduroy pants (duchamp)
space between the recto and the verso (duchamp)
static
slip-casting
limit of the hypnagogic
two concrete walls being cast against each other in the same time
staring (can be metaphor for proprioception)
concavity (‘site where one feels tangency to the world and to oneself,’ michel leiris, mirroir de la tauromachie. depth is more in the middle of perception while periphery teases at being shallow. cinerama.)
scratched photographs
mediality (‘in [benjamin’s] essay on language, pure language is that which is not an instrument for the purpose of communication, but communicates itself immediately, that is, a pure and simple communicability; likewise, pure violence is that which does not stand in a relation of means toward an end, but holds itself in relation to its own mediality (agamben, state of exception, 62).’)
film/pellicule/fell
where hearing meets music (occurs at the trommelfell, the tympani membrane (the thinnest fell (in english, film or serosa - serous membrane)), like a tür to the inner ear there where cranial nerve nr. viii auditory vestibular nerve resides)
a door swing
monolith in kubrick’s 2001: space odyssey
interior of the TARDIS
varve a pair of thin layers of clay and silt of contrasting colour and texture that represent the deposit of a single year (coarse and fine = spring and fall = light and dark) in a lake (particularly glacial); from swedish ‘varv’: revolution,’ ‘layers,’ ‘circle’ synonym: ‘annually laminated’ (‘varves are amongst the smallest scale evenets recognized in stratigraphy (wikipedia).’
musical phasing
spinoza’s eternity (the swelling of time)
chora
architect's pleasure in a pane or plane
sunaisthesis (movement of the soul that involves the coincidence not of the self with itself but of an event and its potentiality to occur; the soul's sensation of a 'sensible thing' and its 'ability in relation to the thing sensed (daniel heller-roazen, inner touch, 84).’
para-inframince (turn surface into axis and the limit is reduced to an impotent point with contingent extension in all directions (response to grosz’s question of merleau-ponty: can the effects of depth, of interiority, of domesticity and privacy be generated by the billowing convolutions and contortions of an outside, a skin (grosz, architecture from the outside, 64)?)