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)



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).’)


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)


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)?)