1913issue6online

4 bugs—outfoxed and ratted out—what are we, after all, except walking rules that, when tailed or tailing, become animals, or at least give that impression. Our training uses double-blind identity intelligence: who has the key, has the war— oops— door. On entering the premises, hair combings should be taken first, then foreign hairs and fiber samples (—we are not two forces pulling in opposite national directions—yet we must be prepared for anything behind our backs.) Compared to what we gather, our cover is unimportant. Make-yourself-at-home, carpenters, curators. After the ‘game’, one of us will need to redress, sexually, literally, the threshold as a neutral position. Needless to say, if the handlers had run this black bag job more efficiently, we could re-engage that hovering feeling we’ve mentioned. But this cover may not hold; we’ve lost our bridge agent somewhere along the way and the objects have no easy job of it. We have it that Duchamp loves fresh heavy windows, like two hairs touching. Duchamp says something about hair that is male-female: “Il faut mettre la moelle de l’épée dans le poil de l’aimée.” For forensics, twenty-five full-length hairs, pulled and combed from different head and pubic regions are needed to show hair characteristics. Hairs found in the hands belong normally to the victim. But without the subject, contact with interior spaces cause hair to collect on socks. Doors and windows searched for traces of entry or exit. Package hats in separate paper bags, using care especially with adjustable headbands, as these are a source also for fingerprints. Our contamination must be avoided. Duchamp: “Il n’y a pas de solution parce qu’il n’y a pas de problème.” That’s fine unless the door acts as its own artwork. Covering the scene, can we be sure of proper removal? Photograph all evidence prior to touching it; bag each item separately. It’s dangerous to let the target out of sight because the eyes change constantly, and lines of

1913issue6online

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