All throughout this, the quirk gets wilder, more frantic, higher-speed. Then, she starts to scan her surroundings, following the line as we realize it is a perimeter, a wall around her-and Julian Casablancas sings “I can’t see beyond this wall.” Finally, the camera zooms way out, and we see that this wall entirely surrounds her. This feeling starts to be confirmed for us when Bosh careens directly into a thick line, smashing into it so hard it leaves cracks. Her body is held in tension, struggling against invisible forces. But the song, the stark white-on-black visuals, and wild, almost frantic abandon with which Gavin transitions from “trick” to “trick” begin to creep up on us-Bosh is moving nowhere very, very quickly. At first we might see the basic, vaguely nonlinear structure of a normal quirk track-a cloud of lines through which Bosh will move many times. The lyrics of “At the Door” (the Strokes track to which at the door… syncs) open with “I can’t escape it.” And it is this question of “escape” which is central to the track-although we might not realize it at first. , reviewed below) represents his most extensive consideration of the emotional component of the pressurized and tensional forces running through Bosh’s body-and takes them inward-outward, to the space of lived experience. Gavin’s previous work has certainly explored the spiritual-kinetic forces of other quirk tricks-the kramual at the start of Amsterdam comes to mind-but at the door… (along with the stylistically similar midnight. Yet this is precisely what gavinroo538 does in at the door…. There have been jokes about how quirk techniques would very apparently put Bosh in a great deal of pain, and this is true-imagine being flung around in a circle only by your arms.įlings-and most of quirk-consist of this stasis-like struggling-within-forces, and yet rarely do tracks metaphorize this struggle, this statis, this pain. A fling is body in tension, in stasis, going nowhere fast, held in such a state by a line that one does not visibly touch. In the position of the fling, what forces or experiences of forces besides gravity are acting upon Bosh’s body? We can diagram them:Ī fling holds Bosh’s body in tension, a tension heightened and made abstract by the invisibility of a line’s gravity well. In most quirk tracks-in most flings, in most freefalls, in most ten-point cannons-indeed, in most tracks in general, Bosh is held in stasis moving nowhere very quickly. And at a certain point, high speeds wrap back around to feeling almost stationary: each frame of Bosh’s movement is so far apart from each other frame that contextual clues about Bosh’s velocity disappear instantaneously-indeed, this is the principle upon on which frame-by-frame animation in Line Rider is possible. People who have played around with high speeds in Line Rider have encountered this problem: Line Rider is in a white void, and without sufficient background information, Bosh moving moderately quickly and extremely quickly can look almost the same. ![]() How fast is Bosh moving in this track? Which way is she moving? It is not the fling which can communicate this information, but context around the fling and between the frames of the fling which lets us know more details about her movement, such as the scarf and the background environment. Despite the historical association of flings with “hype” tricks and high-speed movement, this is the instant-to-instant experience of watching a fling: stasis. Can you tell a difference? Very likely not.
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