[...] living Earth

sts clss="lsts lst1">•gaian s clss="trms">worlds>view
sts> sts clss="lsts lst1">•animism
sts> sts clss="lsts lst1">•native Americanism
sts> sts clss="lsts lst1">•deep s clss="trms">ecologs>ism
sts> ss='lgc'>ss='lgc'>--> inhabits the s clss="trms">respons>sive tissues of a planet-sized complex organism
ss='lgc'>--threateningss='lgc'>ss='lgc'>--> into the muck of planetary personification New Age joy ss='lgc'>[ss='lgc'>-ss='lgc'>ss='lgc'>--> <span clss='gtrw'>go tospan> the latest godzilla film industrial apologetics and s clss="trms">ecologs>ical satanism ss='lgc'>ss='lgc'>--> tales of human accountabilityss='lgc'>]
ss='lgc'>ss='lgc'>--> <strcls clss='strcls'>*strcls>biocentrism<strcls clss='strcls'>*strcls> ss='lgc'>[of our time 2019ss='lgc'>] ss='lgc'>ss='lgc'>ss='lgc'>~=> noble s clss="trms">ficts>ions

cross-disciplinary s clss="trms">scies>nce
mythos clss="trms">poes>tic
atmospheric chemistry

ss="large lg2" stl="font-size:111%"> earthss='lgc'>: organized, self-contained look of a live creature, full of information, marvelously s clss="trms">skils>led in handling the sun
<span clss="prgrph">-s clss="trms">Lovs>elock
span> ss='lgc'>--dependingss='lgc'>ss='lgc'>--> on the forever unfinished and s clss="trms">erots>icized s clss="trms">naturs>e of human s clss="trms">syms>bolization

gaia ss='lgc'><ss='lgc'>== s clss="trms">narrats>ive s clss="trms">integrs>ation of s clss="trms">cosmos>logy and morality (ss='lgc'><ss='lgc'>-- can we do without it<span clss='qstn'>?span>)

eukaryote made from prokaryotes and of the mesocosmic level of s clss="trms">animals> and plant bod-ies made from reproducing eukaryotes


(three billion years ago, the oldest type of sex on the planetss='lgc'>:)
bacterial omnisexuality ss='lgc'>ss='lgc'>--> promiscuousss='lgc'>: not delimiting sexual exchanges with s clss="trms">species>s barriers (ss='lgc'>+ it needs s clss="trms">inters>mediaries such as plasmids or viruses to do so)
ss='lgc'>ss='lgc'>--> lateral transfer

omnisexualityss='lgc'>: a means of genetically “locking” together once-diverse groups (of prokaryotes)

bacterial crowding ss='lgc'>ss='lgc'>==> life on earth

endos clss="trms">syms>biosisss='lgc'>: one organism swallow another without dis clss="trms">gests>ing it ss='lgc'>ss='lgc'>==> os clss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>in of new s clss="trms">species>s ss='lgc'>[<ss='lgc'>=/= gradual accumulation of mutationsss='lgc'>]

cancer ss='lgc'><ss='lgc'>== rampant multiplication of the occasionally vampiric mitochondria

bacteria's bodies are so genetically open, that the very concept of s clss="trms">species>s falsjfies their character as a unique life form

ss="ppl">ss='trgt hghlght 1'href='?q=S'>Sagan
this s clss="trms">zoos>logical “I” ss='lgc'>[is open to radical revision<span clss='qstn'>?span>ss='lgc'>]

model of s clss="trms">zoos>centrismss='lgc'>: encased self

(<span clss='qstn'>?span>what are s clss="nms">ajayebs>) s clss="trms">bestiars>y's s clss="trms">aesthets>ic model of a s clss="trms">differens>ce (ss='lgc'>=/=<span clss='qstn'>?span> s clss="trms">zoos>centric model)
ss='lgc'>--Burgessss='lgc'>ss='lgc'>--> s clss="trms">inters>ference patterns generated by a series of s clss="trms">syms>biotically living form ss='lgc'>ss='lgc'>==> artist

as an organism's connections to the external envimnment grow, that environment becomes its body ss='lgc'>[ss='lgc'>=/= s clss="frds">ss='trgt hghlght 1'href='?q=S'>Sinas>ss='lgc'>]

snail
snail whose house is carried on his back, the “case” of the “self” has been moved, through an incorporation of what once would have been called inanimate s clss="trms">matters>sss='lgc'>--organically worked and reworked

<span clss="prgrph">-subjective identities always als clss="trms"nttrm="already,spread">reads>y und ergoing active (de)coms clss="trms">posits>ion
span> <span clss="prgrph">-(s clss="trms">relations>s of) physiological identity and psychological subjectivity link up
span>
ss="ppl">ss='trgt hghlght 1'href='?q=S'>Sagan trying to relativize that s clss="trms">zoos>centric bedrock of “self”

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political s clss="trms">chimers>as

chiefs’ talk
fluent in a s clss="trms">verbs>al genre
formalized speeches directed either to leaders of other groups (ss='trgt hghlght 1'href='?q=S'>Southern Amazon in multiethnic and multis clss="trms">lingus>al s clss="trms">syss>tem of Upper Xingu) or to their own people, depending on the context in which they are delivered
ss='lgc'>--Guerreiross='lgc'>ss='lgc'>--> both the chief and his audience are s clss="trms">syms>bolically constructed as “paradoxical” subjects characterized by contradictory predicates
sts clss="lsts lst1">•<strcls clss='strcls'>*strcls>how uncertainty can enact an exchange of perspectives<strcls clss='strcls'>*strcls> (through which the identities of the group and the chief are produced)
sts>
(from a gift-theory perspective) chiefss='lgc'>: donator of goods and words, and a receiver of spouses ss='lgc'><ss='lgc'>-- unilateral direction ss='lgc'>ss='lgc'>==> “chieftaincy s>کدخدايىs>ss='lgc'>: a place of nonexchange” ss='lgc'>[ss='lgc'>~ signs are deprived of their circulation value ss='lgc'>+ reciprocity is denied under the s clss="trms">demands> that s clss="trms">socis>ety make visible the foundations of power, maintaining them under the control of the collective bodyss='lgc'>] ss='lgc'>ss='lgc'>--> ‘creditor s clss="trms">posits>ion of chief’ would imprison power and assume control of the place where it could emerge ss='lgc'>=/= s clss="trms">socis>ety of the state

ritual polity
public rituals are the main motor of collective life / ss='at'>@s clss="nms">apasss>

chieftaincy ss='lgc'><ss='lgc'>ss='lgc'>--> ritual

ritual cons clss="trms">denss>ationss='lgc'>: the s clss="trms">simultans>eous enactment of nominally contrary modes of s clss="trms">relations>shipss='lgc'>:
sts clss="lsts lst1">•affirmations of identity are at the same time testimonies of s clss="trms">differens>ce
sts> sts clss="lsts lst1">•displays of s clss="trms">authors>ity are also des clss="trms">monsts>rations of subordination
sts> sts clss="lsts lst1">•the s clss="trms">presens>ce of persons or other beings is at once corroborated and denied
sts> sts clss="lsts lst1">•secrets are s clss="trms">simultans>eously dissimulated and revealed
sts> sts clss="lsts lst1">•
sts> ss='lgc'>ss='lgc'>==> combination of contras clss="trms">dictis>ons ss='lgc'>ss='lgc'>==> distinctive context of s clss="trms">communs>ication

ss="large lg14" stl="font-size:118%"> ritual efficacy of images and objects
ritual s clss="trms">relations> to mnemonic s clss="trms">techns>ologies
s clss="trms">relations>s between images and words
ss='lgc'>--ss="ppl">ss="ppl">ss='trgt hghlght 1'href='?q=S'>Severiss='lgc'>ss='lgc'>--> concept of s clss="trms">chimers>a helps (an indigenous mode<span clss='qstn'>?span>) in understanding power and dealing with it

(ss="ppl">ss="ppl">ss='trgt hghlght 1'href='?q=S'>Severi and Lagrou ss='lgc'>+ Guerreiro)
ss='lgc'>[<strcls clss='strcls'>*strcls>ss='lgc'>]s clss="trms">chimers>ass='lgc'>: every image that, by designating a ps clss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurs>al being by means of a single res clss="trms">presens>tation, mobilizes its invisible parts, by purely optical means or by a set of inferences
<span clss="prgrph">-s clss="trms">chimers>ical image ass clss="trms">socis>ates, in a single visual form, indexes from s clss="trms">differens>t beings (a s clss="trms">birds> and a human being, a serpent and a jaguar, a wolf and a sea lion etc.), provoking a projection by the eye, which gives rise to an image implying at the same time the s clss="trms">presens>ce of these s clss="trms">differens>t beings
span> <span clss="prgrph">-evokes something that is implicit or absent to the observer
span> <span clss="prgrph">-s clss="trms">chimers>ical images s clss="trms">presens>t a s clss="trms">specifis>c link between iconic res clss="trms">presens>tation (by imitation and convention) and indexical indication (visual, tactile or other) of a s clss="trms">presens>ce whose mode of existence, especially mental, is not realized s clss="trms">materis>ally
span> ss='lgc'>ss='lgc'>--> game betweenss='lgc'>:
sts clss="lsts lst1">•perception <span clss='and'>&span> projection
sts> sts clss="lsts lst1">•iconic res clss="trms">presens>tation <span clss='and'>&span> indexical indication
sts> ss='lgc'>ss='lgc'>==> intensification (of the efficacy of s clss="trms">chimers>ic images) ss='lgc'>: “capture the eyess='lgc'> = capture the s clss="trms">imagis>nation” ss='lgc'>+ s clss="trms">demands> that by projection ss='lgc'>[the observerss='lgc'>] mentally “complete” the image

indexical signs have a s clss="trms">causas>l contiguity (spatiotemporal contiguity) with what they signify

ritual action and artistic creation ss='lgc'>--ss="ppl">ss="ppl">ss='trgt hghlght 1'href='?q=S'>Severiss='lgc'>ss='lgc'>--> synesthetic

(my s clss="trms">lecturs>e-performances<span clss='qstn'>?span> ss='lgc'>~ s clss="trms">chimers>ic image of chiefs’ talk ss='lgc'>[khotbe s>خطبهs> fluent at combining s clss="trms">differens>t s clss="trms">aesthets>ic resourcesss='lgc'>] ss='lgc'>ss='lgc'>-->) s clss="trms">lingus>istic ss='lgc'>+ extras clss="trms">lingus>istic media in ritual performance (working/producing visual ss='lgc'>+ mental images)
ss='lgc'>ss='lgc'>--> combining of indexical signs in s clss="trms">communs>ication acts ss='lgc'>ss='lgc'>==> s clss="trms">poes>try of identities-in-motion (capable of projecting complex images of a nonvisual kind)
ss='lgc'>[<strcls clss='strcls'>*strcls>ss='lgc'>]imagess='lgc'>: an abstract portrait of identity s clss="trms">fashions>ed out of cumulating patterns of congruence across all manner of indexical signsss='lgc'>--ins clss="trms"nttrm="cluster,club">clus>ding visual onesss='lgc'>--that addressees and audiences can s clss="trms">imagis>natively experience, like a hologram
(ss='trgt hghlght 1'href='?q=S'>Silverstein > Guerreiro)
ss='lgc'>ss='lgc'>ss='lgc'>~ss='lgc'>~ss='lgc'>ss='lgc'>--> <strcls clss='strcls'>***strcls>s clss="trms">relations> between s clss="trms">poes>tics and the production of identities<strcls clss='strcls'>***strcls>

s clss="trms">chimers>ical res clss="trms">presens>tationss='lgc'>: an art of ambiguity

(ss="ppl">ss='trgt hghlght 1'href='?q=S'>Strauss's Amazonian ethnology ss='lgc'>ss='lgc'>-->) dualism in perpetual disequilibriumss='lgc'>: centripetal forces of centralization ss='lgc'>+ centrifugal forces of dispersion

ss='at'>@s clss="nms">apasss> ss='lgc'>ss='lgc'>==> “s clss="trms">socis>eties against the state”
complex s clss="trms">relations>s between hierarchy and counterhierarchy
(ss='lgc'>ss='lgc'>--> s clss="frds scrmbld">Renans>'s notion of monologue)


ss='lgc'>[Clastres's model rooted in Western s clss="trms">languages> ideology looking at Amerindian s clss="trms">languages>:ss='lgc'>]
s clss="trms"nttrm="metaph,metamorph,metabol,metal">metas>s clss="trms">histos>rical bond between <strcls clss='strcls'>*strcls>power <span clss='and'>&span> speech<strcls clss='strcls'>*strcls> cannot be conceived of separately
sts clss="lsts lst1">•state s clss="trms">socis>eties ss='lgc'>ss='lgc'>--> the word is a ‘s clss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>ht’ to power (that may be used to command)
sts> sts clss="lsts lst1">•s clss="trms">socis>eties against the state ss='lgc'>ss='lgc'>--> the word is a ‘duty’ of the chief (an indigenous leader must be capable of offering s clss="trms">socis>ety the words that it ‘s clss="trms">demands>s’)
sts> sts clss="lsts lst3">◾Amerindian chiefss='lgc'>: a voice preaching in the s clss="trms">wilds>erness (s clss="trms">literas>lly says nothing, a repetition of “edifying discourse”) ss='lgc'><ss='lgc'>-- his speech is not spoken in order to be s clss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>ened to (ss='lgc'>~ ritualized act ss='lgc'>[ss='lgc'>=/= act of s clss="trms">communs>icationss='lgc'>]) ss='lgc'>ss='lgc'>==> chief's speech is transformed into pure value (ss='lgc'>ss='lgc'>~= s clss="trms">poes>t's speech for whom words are values before they are signs) ss='lgc'>ss='lgc'>--> (for Clastres) s clss="trms">languages> ss='lgc'>=/= violencess='lgc'>: a facet of coercive power
sts>
denotative s>قوه تفکيکs> ()
predicative (Dickensian aspect)
referential (the efficacy of its context and meaning depends on something else)
s clss="trms">enuncs>iation (s clss="trms">pragmas>tic) ss='lgc'>ss='lgc'>==> effects on the s clss="trms">enuncs>iator ss='lgc'>+ audience ss='lgc'>ss='lgc'>~ss='lgc'>~ss='trgt hghlght 1'href='?q=S'>Silversteinss='lgc'>ss='lgc'>--> ss='lgc'>[<strcls clss='strcls'>*strcls>ss='lgc'>]politicsss='lgc'>: the dynamic arrangement and rearrangement of people as subjects within structures of actual and potential action of all s clss="trms">sorts> ss='lgc'>--comprisesss='lgc'>ss='lgc'>--> s clss="trms">poes>tics ss='lgc'><ss='lgc'>== everything experienced as effective practice is formed s clss="trms">semios>tically (ss='lgc'>~ through sign)
<strcls clss='strcls'>*strcls>political oratory ss='lgc'>[ss='lgc'>=/= informing the content of a messagess='lgc'>] uses s clss="trms">poes>tical resources that allow s clss="trms">inters>locutors to have their identities s clss="trms">mutuals>ly constructed by means of indexical signs<strcls clss='strcls'>*strcls> (that connect the message's form to extras clss="trms">lingus>istic contextual facts) ss='lgc'>ss='lgc'>--> <strcls clss='strcls'>*strcls>message ascribes to me ss='lgc'>[ss='lgc'>=/= message describes my realityss='lgc'>]<strcls clss='strcls'>*strcls>

s clss="frds scrmbld"nttrm="Alice,ss='trgt hghlght 1'href='?q=S'>Shariati">Alis>'s use of political oratory in the context of ordinary s clss="trms">inters>actions with me ss='lgc'>ss='lgc'>--> i forgot that the s clss="trms">syms>bolic procedures that separate ritual speech from ordinary s clss="trms">inters>actions are not necessarily intended to mean something
<span clss="prgrph">-what was the s clss="trms">pragmas>tic conditions that define the kind of ‘s clss="trms">languages> game’ s clss="frds scrmbld"nttrm="Alice,ss='trgt hghlght 1'href='?q=S'>Shariati">Alis> was playing<span clss='qstn'>?span>
span>
ss="large lg26" stl="font-size:105%"> ss='lgc'>[<strcls clss='strcls'>*strcls>ss='lgc'>]formalizationss='lgc'>: reduction of combinatory and creative possibilities of s clss="trms">languages> by the use of s clss="trms">formus>las, archaic s clss="trms">vocabulars>y, syntactic and stys clss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>ic patterns ss='lgc'>{ss='lgc'>ss='lgc'>--> distancing the
discourse from its semantic content ss='lgc'>ss='lgc'>==> attention to its context and performance ss='lgc'>ss='lgc'>==> effectsss='lgc'>}

ritual action ss='lgc'>--ss="ppl">ss="ppl">ss='trgt hghlght 1'href='?q=S'>Severiss='lgc'>ss='lgc'>--> reflexivityss='lgc'>: des clss="trms">finits>ion of its own meaning and effectiveness within the context of ritual s clss="trms">communs>ication

(ss='at'>@s clss="nms">apasss>'s) performative and s clss="trms">poes>tic structure
ss='lgc'>[Guerreiro ss='lgc'>ss='lgc'>-->ss='lgc'>] chiefss='lgc'> = consanguine kin s>ابىs> <span clss='and'>&span> potentially ds clss="trms"nttrm="danger,stranger">angers>ous enemy ss='lgc'>[ss='lgc'>-ss='lgc'>ss='lgc'>--> <span clss='gtrw'>go tospan> s clss="trms">transferens>cess='lgc'>]
(chief's fellows's both as s clss="trms">childs>ren <span clss='and'>&span> prey)

ritual speech ss='lgc'>ss='lgc'>==> <strcls clss='strcls'>***strcls>complex s clss="trms">enuncs>iator<strcls clss='strcls'>***strcls> ss='lgc'>[ss='lgc'>ss='lgc'>~= ss='at'>#feedbackss='lgc'>]
ambiguity of duality of s clss="trms">gests>ural and s clss="trms">verbs>al ss='lgc'>[ss='lgc'>ss='lgc'>==> exchange of perspectives (ss='lgc'>=/= exchange of words)ss='lgc'>] ss='lgc'>--<span clss='qstn'>?span>ss='lgc'>ss='lgc'>--> paradoxical construction of identities
ss='lgc'>+
s clss="trms">chimers>ical res clss="trms">presens>tation ss='lgc'>ss='lgc'>--> s clss="trms">presens>ce of counterparts (of percepted fragmentary signs) to its audience


beautiful and strong body
serene and generous behavior
s clss="trms">lingus>istic abilities (“made to discourse”)
(we are living with) mythical, s clss="trms">aesthets>ic, and ritual elaboration
guiding them with “good speech”
pleasing them by sponsoring rituals
welcome messengers (“made in order to s clss="trms">greets> messengers”)

s clss="trms">relations>al and possessive

(possessed form of) as clss="trms">syms>metrical s clss="trms">relations>ship between a denominated (individualized) person and an uns clss="trms">differens>tiated collective

agglutinate
s clss="trms">enuncs>iated in the same tone with no pauses to breath
ss='lgc'>+
expletive ah
ss='lgc'>+
set of particles
ss='lgc'>+
deictic ige (evidential ss='lgc'>[devaluating<span clss='qstn'>?span>ss='lgc'>] particle that indicates proximity, s clss="trms">presens>ce, or existence, fixed to the copula ss='lgc'>ss='lgc'>--> piece of advice<span clss='qstn'>?span>)

expletive and particles with no lexical element ss='lgc'>ss='lgc'>--> self-derogatory forms of speech (the “humbling effect”)


it's common for men to emit long high-pitched and melodic screams as soon as they wake up ss='lgc'>ss='lgc'>==> to wake the whole village up with joy

s clss="trms">presens>t is nothing more than an impoverished form of a previous age idealized as grandiose ss='lgc'><ss='lgc'>-- (chief) to “work on his s clss="trms">childs>ren” like an s clss="trms">ancests>or, he must state that he could never do so


<strcls clss='strcls'>*strcls>parallelism<strcls clss='strcls'>*strcls>
enchainment of repeated verses and themes ss='lgc'>ss='lgc'>==> the shaman is s clss="trms">syms>bolically identified as a paradoxical character (human <span clss='and'>&span> nonhuman, here <span clss='and'>&span> there, in the s clss="trms">presens>t time <span clss='and'>&span> in the mythic time)
ss='lgc'>ss='lgc'>--> transfer properties from one being to another

(formal ss='lgc'>=/=) ‘performative parallelism’ between the actual chief and those before him ss='lgc'>ss='lgc'>==> attenuate s clss="trms">pasts> <span clss='and'>&span> s clss="trms">presens>t
<span clss="prgrph">-he speaks about s clss="trms">ancests>ors, as an s clss="trms">ancests>or (using their s clss="trms">languages>), and on s clss="trms">ancests>ors’ behalf (since they are gone)
span>
(antonymic affirmation of) “s clss="trms">pasts> ss='lgc'>=/= s clss="trms">presens>t” ss='lgc'>ss='lgc'>ss='lgc'>~=> shame in the s clss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>eners ss='lgc'>ss='lgc'>==> act as the ancient chiefs’ own s clss="trms">childs>ren
ss='lgc'>--ss="ppl">Austinss='lgc'>ss='lgc'>--> illocutionary force ss='lgc'>==givesss='lgc'>ss='lgc'>==> capacity to perform an act in saying something
<strcls clss='strcls'>*strcls>hyperbole (contrast) ss='lgc'>ss='lgc'>==> the audience could be s clss="trms">aesthets>ically and morally compelled
to act in some way (perlocutionary acts)


that which had once been human (ss='lgc'>ss='lgc'>--> mythical human os clss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>in of the plant corn)

chief is weakened ss='lgc'>ss='lgc'>==> people tend to be more egoistic ss='lgc'>ss='lgc'>--> “go crazy” ss='lgc'>+ forget about their relativesss='lgc'> = (the first step in) producing a witch

(s clss="nms">Pirs> ss='lgc'>ss='lgc'>~= chief's) foundations of kinshipss='lgc'> = thinking about kin ss='lgc'>=/= forgetting kin ss='lgc'>:
sts clss="lsts lst1">•generating and raising s clss="trms">childs>ren
sts> sts clss="lsts lst1">•producing food
sts> sts clss="lsts lst1">•avoiding witchs clss="trms">crafts>
sts> ss='lgc'>ss='lgc'>==> fabrication of a collective body of kin

imperfections of the s clss="trms">presens>t ss='lgc'>+ ideal of s clss="trms">socis>al life ss='lgc'>==encouragess='lgc'>ss='lgc'>==> people to behave like kin (ss='lgc'><ss='lgc'>-- needs to be actively produced)

ss='lgc'>[we have to be carefull in art with performances ofss='lgc'>] words hold within them the s clss="trms">posits>ive moral and creative element of power; and contain meaningfulness, value, artistry and s clss="trms">affects>ive mass (ss='lgc'>ss='lgc'>--> carrying the weight of an order without appearing as such) ss='lgc'>=/= s clss="trms">authors>itarian discourse
ss='at'>@s clss="frds scrmbld"nttrm="ss='trgt hghlght 1'href='?q=S'>Singa">Ingas>

ss='lgc'>ss='lgc'>--> <strcls clss='strcls'>***strcls>a brief moment, a s clss="trms">worlds> where the s clss="trms">differens>ce between chiefs (leader-like speaker, am i like that in my performance s clss="trms">lecturs>es<span clss='qstn'>?span>) and nonchiefs (s clss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>eners, his s clss="trms">childs>ren) can be effective<strcls clss='strcls'>***strcls>

ss="large lg34" stl="font-size:100%">

ss="large lg10" stl="font-size:115%"> xxxxxx

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theory (is either)ss='lgc'>: <strcls clss='strcls'>*strcls>powerful<strcls clss='strcls'>*strcls> (accounting for a limited number of features valid for a great number of cases) ss='lgc'>{extensionally oriented, for example comparative or statistical analysisss='lgc'>} ss='lgc'>=/= <strcls clss='strcls'>*strcls>expressive<strcls clss='strcls'>*strcls> (accounting for a great number of features belonging to a limited number of cases) ss='lgc'>{intentionally oriented, for example clinical case studiesss='lgc'>}

extensional ss='lgc'>ss='lgc'>--> s clss="trms">generalizs>ing

‘ethnography ss='lgc'>ss='lgc'>==> reduction of complexity’ ss='lgc'>=/= complexity is precisely what characterizes ethnography


counterintuitive ss='lgc'>==givess='lgc'>ss='lgc'>==> res clss="trms">presens>tation its psychological salience

the experience of dreaming is full of counterintuitive res clss="trms">presens>tations (rapidly forgotten)

counterintuitive context of ritual s clss="trms">communs>ication ss='lgc'>ss='lgc'>--> successful propagation of a res clss="trms">presens>tation (s clss="trms">mems>orable)
for example res clss="trms">citas>tion of shamanistic chants ss='lgc'>--constructss='lgc'>ss='lgc'>--> an acoustic mask ss='lgc'>=/= convey meaningful message

for s clss="trms">religs>ion (and s clss="trms">markets>ing<span clss='qstn'>?span>) culturally successful res clss="trms">presens>tation ss='lgc'>: <strcls clss='strcls'>*strcls>a counterintuitive res clss="trms">presens>tation s clss="trms">formus>lated within counterintuitive conditions of s clss="trms">communs>ication<strcls clss='strcls'>*strcls>

ss='lgc'>}ss='lgc'>--ss="ppl">ss="ppl">ss='trgt hghlght 1'href='?q=S'>Severiss='lgc'>ss='lgc'>--> we need a more expressive theory of cultural propagation (ss='lgc'><ss='lgc'>-- my try in telegram s clss="trms">bestiars>y text)


ss="large lg30" stl="font-size:104%"> doctrinal (semantic s clss="trms">mems>ory) and s clss="trms">imagis>stic (episodic s clss="trms">mems>ory) s clss="trms">religs>ious modes

(how to better be understand the contemporary art's drive to) <strcls clss='strcls'>*strcls>ritual s clss="trms">communs>ication<strcls clss='strcls'>*strcls> ss='lgc'>ss='lgc'>--> performed through both action <span clss='and'>&span> speech
sts clss="lsts lst1">•the contextss='lgc'>: establishment of a particular form of s clss="trms">inters>action (from a series of contradictory connotations, being two things at the same time ss='lgc'>ss='lgc'>--> s clss="trms">syms>bolic transformation) ss='lgc'>==constructss='lgc'>ss='lgc'>==> a special identity of the participants
sts> ss='lgc'>ss='lgc'>--> xxxx s>جمع گرایانهs> s clss="trms">syncs>retistic movement ss='at'>@s clss="nms">apasss> (used as an s clss="trms">instrus>ment of resistance<span clss='qstn'>?span>)


messianismss='lgc'> = intense propagation ss='lgc'>+ paradoxical identification
ss='lgc'>ss='lgc'>--> convert entire populations in a short amount of time

s clss="trms">pragmas>tics of s clss="trms">communs>ication ss='lgc'>ss='lgc'>--> appearance of a paradoxical “I” personified by the prophet

(warrior shaman messiah's) contradictory self-des clss="trms">finits>ion ss='lgc'>==abless='lgc'>ss='lgc'>==> s clss="trms">enuncs>iate paradoxical statements
ss='lgc'>--ss="ppl">ss="ppl">ss='trgt hghlght 1'href='?q=S'>Severiss='lgc'>ss='lgc'>--> to be faithful to the local tradition

Appache ss='lgc'>ss='lgc'>--> ops clss="trms">posits>ion to s clss="frds scrmbld"nttrm="Christianson">Christians>ity take the firm of conceptualizing s clss="frds scrmbld"nttrm="Christianson">Christians>ity as a s clss="trms">differens>t s clss="trms">religs>ion
sts clss="lsts lst1">•absorbing but not understanding the elements (of s clss="frds scrmbld"nttrm="Christianson">Christians> s clss="trms">religs>ion) ss='lgc'>ss='lgc'>~= being impressed by s clss="trms">storys> ss='lgc'>{ss='lgc'><ss='lgc'>-- i do this in my artistic work but i don't ask for devotion or trustss='lgc'>}
sts> ss='lgc'>ss='lgc'>--> using typical s clss="trms">imagis>stic s clss="trms">methods>s, ritual of dance

the old man Arnold

chant (ritual s clss="trms">syms>bolism) ss='lgc'>ss='lgc'>-->
sts clss="lsts lst1">•treat illness
sts> sts clss="lsts lst1">•accompany rite of passage
sts> sts clss="lsts lst1">•impart magical powers
sts> <span clss="prgrph">-
span>
(amerindian) shamanism ss='lgc'>ss='lgc'>--> establishes a s clss="trms">s clss="trms"nttrm="metaph,metamorph,metabol,metal">metas>phors>ical link, a set of analogies ss='lgc'>ss='lgc'>~= mystical s clss="trms">relations>ships between ritual objects and living being ss='lgc'>[ss='lgc'>ss='lgc'>--> construct its own truthuniverse, supers clss="trms">naturs>al dimension thought of a possible s clss="trms">worlds>ss='lgc'>]

bleeding pearl

parallelism ss='lgc'>: (a s clss="trms">techns>ique of) ths clss="trms"nttrm="already,spread">reads>ing s clss="trms">verbs>al images together

ss="large lg26" stl="font-size:120%"> ss='lgc'>[ss="ppl">ss="ppl">ss='trgt hghlght 1'href='?q=S'>Severi's early s clss="trms">inters>pretation ofss='lgc'>] tradition (would need to) preserve the text ss='lgc'>+ s clss="trms">instrus>ctions to use ss='lgc'>--byss='lgc'>ss='lgc'>--> s clss="trms">verbs>alizing them (store them in the chant)

Kuna ss='lgc'>ss='lgc'>--> description of the s clss="trms">posits>ion of the speaker (“shaman is now seated there and is saying...”) characterizes the special kind of s clss="trms">communs>ication (appropriate for ritual changing)

ss="large lg30" stl="font-size:109%"> shamanss='lgc'>: novel s clss="trms">sorts> of s clss="trms">enuncs>iator (lending his voice to other invisible beings ss='lgc'>ss='lgc'>--> ps clss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurs>al and contradictory identity)

acoustic maskss='lgc'>: a reflexive means to define the ritual identity of the speaker

reflexive application of parallelism

(ss='at'>@Isabel, how to make s clss="trms">communs>ity without becoming a cult<span clss='qstn'>?span>)

use snake ss='lgc'>ss='lgc'>--> capture the s clss="trms">imagis>nation of the followers ss='lgc'>ss='lgc'>==> s clss="trms">authors>ity

s clss="trms">imagis>stic (iconic mode, sequence of acid) ss='lgc'>+ doctrinal (discursive mode, text, prayer)ss='lgc'> = s clss="trms">pragmas>tics context of s clss="trms">enuncs>iation ss='lgc'>ss='lgc'>==> messianistic s clss="trms">religs>ion

both paradoxical <span clss='and'>&span> paralles clss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>ic

new ways to be faithful...

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exhibition-making and preventive conservation ss='lgc'>ss='lgc'>--> inspection and exs clss="trms">posits>ion ss='lgc'><ss='lgc'>-- (s clss="trms">differens>t understandings and use of) <strcls clss='strcls'>*strcls>touchss='lgc'> = curatorial<strcls clss='strcls'>*strcls>

professionalisation of curating
short-term education
cultural exchange

ss='at'>@s clss="nms">apasss> feedbackss='lgc'>: (terrain of) peer engagement ss='lgc'>ss='lgc'>--> understanding each other’s practices

education, research, s clss="trms">literas>cy, management, s clss="trms">networks>ing, custodianship, audience development

research (overdue) s clss="trms">relations>ship with intelligence ss='lgc'>--<span clss='not'>✕span>ss='lgc'>ss='lgc'>--> <strcls clss='strcls'>**strcls>researchss='lgc'>: adventure of charismas<strcls clss='strcls'>**strcls>

...to be migratory (in thought, praxis, s clss="trms">communs>ity)

...subjectivities without a s clss="trms">herits>age in criticality and art

constraintss='lgc'>: a source of self-abundance ss='lgc'>--s clss="frds scrmbld">Renans>ss='lgc'>ss='lgc'>--> suffering and riskss='lgc'> = opportunities to hybridize with life

curatingss='lgc'>:
sts clss="lsts lst1">•nutrition and extension
sts> sts clss="lsts lst1">•analysis and transplantation
sts> sts clss="lsts lst1">•ss='lgc'>=/= content s clss="trms">histos>ricization
sts> sts clss="lsts lst1">•ss='lgc'>=/= s clss="trms">datas>
sts>

extraterritoriality
being collocated in all the whispers of the s clss="trms">worlds>


s clss="trms">wilds> pollination
artificial breeding

s clss="frds scrmbld">Renans>ss='lgc'>: Institutional work carried by a freelancer, a private individual or a civil servant can improve the publicness of art. It gives confidence to the work of art in public service. This institutionality creates new tasks in art that can be sustained by other practitioners.
ss='at'>@s clss="nms">apasss>

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publication of the miracle
ss='lgc'>[the miraculous in exhibitions ss='lgc'>+ self-exhibiting miraclesss='lgc'>]
s clss="frds scrmbld">Renans>'s <strcls clss='strcls'>*strcls>exhibitionary s clss="trms">herits>age<strcls clss='strcls'>*strcls> of miracles

seeing (risk of sight) ss='lgc'>ss='lgc'>--> passionate misunderstanding, confusion, rejection

cultural engineering of s clss="trms">anthrops>ology of s clss="trms">herits>age

exhibitionary s clss="trms">herits>agess='lgc'>: a scafs clss="trms">folds>ing that times, locates, and proliferates all that is exhibitionary (like a shower, or rainfall)

curatorial subjectivity

exhibitionary complex
sts clss="lsts lst1">•describe the problems of an exhibitionary s clss="trms">herits>age
sts> sts clss="lsts lst1">•find solutions to artistic problems in the description of exhibitionary complexes
sts>
(the ss='thdf'>bad idea of s clss="trms">inters>preting exhibitionary s clss="trms">herits>age as an) exhibitionary solution to problems that are res clss="trms">presens>ted by the works of art ss='lgc'>ss='lgc'>--> correlate artistic solutions with exhibitionary problems ss='lgc'>}ss='lgc'><ss='lgc'>--s clss="frds scrmbld">Renans>ss='lgc'>-- s clss="trms">consums>es the links between art, exhibits, and curation s clss="trms">naturs>ally and atheoretically

creation of art ss='lgc'><ss='lgc'>--<span clss='not'>✕span>ss='lgc'>ss='lgc'>--> birth of exhibition
(artistic problem ss='lgc'>ss='lgc'>~/= exhibitionary problem)

...using the concepts and tools of exhibition s clss="trms">histos>ry

the ss='thdf'>bad idea of the artistic is conceived in exhibitions <span clss='and'>&span> the exhibitionary in artworks

postulate s clss="trms">matters> in terms of
sts clss="lsts lst1">•errors
sts> sts clss="lsts lst1">•s clss="trms">questions>s
sts> (not necessarily in terms of)
sts clss="lsts lst1">•exhibition
sts> sts clss="lsts lst1">•artwork
sts>

exhibitionary s clss="trms">herits>age of
sts clss="lsts lst1">•artistic practices ss='lgc'>ss='lgc'>--> the miracle in ideas/objects
sts> sts clss="lsts lst1">•curatorial practices ss='lgc'>ss='lgc'>--> s clss="trms">categs>ories of the miracle
sts> sts clss="lsts lst1">•exhibitionary practices ss='lgc'>ss='lgc'>--> the miraculous as datum of the s clss="trms">worlds>
sts>
miracle can be contained or can burst into the study of traditions and transs clss="trms">missions>s

miracless='lgc'> = content ss='lgc'>+ form

miraculous ss='lgc'>ss='lgc'>--> surrogate medium of the artistic

(s clss="frds scrmbld">Renans>ss='lgc'>:) how a miracle can turn the hopeful perplexity surrounding Virgin Mary into the relentless exhibitionary ss='lgc'>-ss='lgc'>-ss='lgc'>ss='lgc'>--> <strcls clss='strcls'>*strcls>the power of sugs clss="trms">gests>ion is curatorial<strcls clss='strcls'>*strcls> ss='lgc'>ss='lgc'>--> s clss="trms">materis>als can be rearranged (or other contents can be shaken off from them s clss="trms">accords>ing to the s clss="trms">demands>s of art s clss="trms">histos>ry)


flower showers

ss="large lg14" stl="font-size:108%"> an auspicious beginning for a lasting devotion

s>گلبرگs> ss='lgc'>ss='lgc'>--> the petal applied to the body of the sick and invalid, a sacred relic that is progressively distant yet proliferative


problem of the exhibitionary s clss="trms">herits>age ss='lgc'>--s clss="frds scrmbld">Renans>ss='lgc'>ss='lgc'>--> discursify that even miracles can be s clss="trms">inters>preted art s clss="trms">histos>rically, that they are worthy of belief

ss="large lg6" stl="font-size:133%"> ss="brkr">
ss="ppl">Julia ss="ppl">ss='trgt hghlght 1'href='?q=S'>Scher (first two weeks of April (1-14.04) and last two weeks of June (14-30.06))
Marie-Luise s clss="trms"nttrm="danger,stranger">Angers>er (last two weeks of June)

Luis Negrón van Grieken (free)
s clss="frds scrmbld"nttrm="Christianson">Christians> ss='trgt hghlght 1'href='?q=S'>Sievers
Daniela Kinateder

David Hahlbrock
Zilvinas Lilas

Matthias Müller
Phil Collins
Heide Hagebölling

Mischa Kuball
Andreas Henrich
Ute Hörner
Peter Friedrich ss='trgt hghlght 1'href='?q=S'>Stephan


////////////////////

i am using these spaces basically as their potential for being a host for something else, rather than pointing their pure site s clss="trms">specifis>city.
<span clss='mywrk'>my workspan> has worked (for me<span clss='qstn'>?span>) whenever it was an s clss="trms">inters>vention to/for its objecthood as a being-in-art-form or for my own fantasies. the problem/s clss="trms">matters> of exhibition.
the theoretical work would base on s clss="trms"nttrm="already,spread">reads>ing shyness as for a philosophical opening for the practical part of the diploma that comes afterward. By this way of s clss="trms">writs>ing i operate myself, breaking free from the process of offering philosophical evidence.

sts clss="lsts lst1">•Maulwurfe in the Moschee (shit on the head looks like Ts clss="trms"nttrm="disturban">urbans>(!), about action and taking the action and getting the call, over doing of anything, revenge program, revelation to other's transs clss="trms">missions>, talking about shit in a mosque, etc.)
sts> sts clss="lsts lst1">•king lear in the Hochzeitssalon (space for speech act, ritual, marriage of daughters, etc.)
sts> sts clss="lsts lst1">•islam intro in the Biologie Zentrum Uni Köln (hygiene in islam, work on s clss="trms">mems>ory s clss="trms">relations> to research, reciting Koran brings the dead as witness, etc.)
sts>

////////////////////

shyness is prescribed for woman, it exists in s clss="trms">religs>ion as a female virtue

thinking in yoga posing (thinking, thanking), the thanking pose and the always thinking pose in yoga.

s clss="trms">inters>vention is not always attacking the other-as-stupid, but rather how do you perform your s clss="trms">inters>vention in that sense that is that YOU are stupid before the other

the moment of madness in encountering art, understanding has to go through that madness

i am going to have a smooth s clss="trms">transits>ion from my amazon project to my diplom, via s clss="trms">animals> talk<span clss='qstn'>?span>

ss='lgc'>ss='lgc'>--> ‘face’ in performance. (s clss="trms"nttrm="already,spread">reads> ss="ppl">ss="ppl">Haraway, ss="ppl">Levinas, ss="ppl">Derrida)
face is linked to sensibility and vision in an intimate way. something that resists s clss="trms">categs>orization, containment or comprehension, ins clss="trms">finits>ely foreign. it is not the biological face. it is ss='thdf'>the idea of ins clss="trms">finits>y within oneself. this idea of ins clss="trms">finits>y which the face encapsulates is for ss="ppl">Levinas the key means by which thought is brought into s clss="trms">relations> with what goes beyond its capacity. and this is crucial in art and s clss="trms">specifis>cally in performance art for encountering something such as face, face of the performer or the face of the work. the face is perceived as something that resists possession or utilization. the face promotes a discourse when it invites me. (ranting against sober means of s clss="trms">communs>ication). the face to face s clss="trms">situs>ation founds s clss="trms">languages>.
s clss="trms">presens>ce of the face coming from beyond the s clss="trms">worlds> , but committing me to human fraternity (Gemeinschaft) does not overwhelm me as a numinous essence arousing fear and trembling. to be in s clss="trms">relations>ship while absolving oneself from this s clss="trms">relations> is ‘to speak’. the face always speaks directly and absolutely to me.

many late 20th century s clss="trms">horrors> films feature a masked villain. the act of masking the face is not only s clss="trms">s clss="trms"nttrm="metaph,metamorph,metabol,metal">metas>phors>ical, but also has the terrifying effect of dehumanizing the villain. in herbert kelman's work on dehumanization, when the perception of a person “as an individual, independent and distinguishable from others, capable of making choices is denied, they no longer elicit compassion or other moral s clss="trms">respons>ses. the facelessness of the alien, swarms of ants, or other villains of pop culture.

for face look at facade too.

ss='lgc'>ss='lgc'>--> ‘provocation’ in performance. (s clss="trms"nttrm="already,spread">reads> ss="ppl">ss="ppl">Haraway, ss="ppl">Levinas)

ss='lgc'>ss='lgc'>--> ‘act’ in performance. (s clss="trms"nttrm="already,spread">reads> grotowski)
what is to bess='lgc'>: ‘completely s clss="trms">naturs>al and logical’. dealing with the discomfort of unreasonable s clss="trms">presens>ce on the s clss="trms">stags>e. nonres clss="trms">presens>tational aspects of performance

ss='lgc'>ss='lgc'>--> ‘teaching’ that is not s clss="trms">rhetors>ics where the revelation of the other can take place (ss="ppl">Avital, ss="ppl">Levinas). teaching is synthesizing for someone else. what kind of s clss="trms">communs>ication is teaching involved<span clss='qstn'>?span>
the discourse inherent in the s clss="trms">relations> with the other is like or as a sermon.

ss='lgc'>ss='lgc'>--> ‘eyes’ threatening or seducing eyes of the performer (ss="ppl">Rainer)

ss='lgc'>ss='lgc'>--> ‘ranting’ of the drunk in the face of the sober. dists clss="trms"nttrm="disturban">urbans>ce of a continuity with attack with words.

ss='lgc'>ss='lgc'>--> ‘saying’, before it conjugates a s clss="trms">verbs>al sign, is als clss="trms"nttrm="already,spread">reads>y an ethical s clss="trms">gests>ure. saying is therefore als clss="trms"nttrm="already,spread">reads>y the proximity of one to the other, the commitment of an approach, the one for the other.
one saying enters into the service of the said, that is the thematization of being, purity of its intentions will be inevitably compromised. a saying that must be unsaid. a movement of thought that continues to resist collapsing into a settled expression, freedom from the cage of thematics. this s clss="trms">missions> (s clss="trms">respons>sibility for the other) can be adequately expressed only through a certain impossible undoing of s clss="trms">languages>. s clss="trms">presens>ting a philosophical other is only possible when we generate a saying saying saying itself.
my performance talkss='lgc'>: to s clss="trms">situs>ate my subjectivity s clss="trms">lingus>istically (in a nons clss="trms">presens>ce and a nonplace). (<span clss='qstn'>?span>) (if the stakes are at s clss="trms">situs>ating myself, then the s clss="trms">questions> is why<span clss='qstn'>?span>)
saying becomes totally exposed in its approach to the other. in limited s clss="trms">socis>al s clss="trms">situs>ations it creates risks of embarrassment or rebuttal and perhaps sounding psychotic. something that will strip away all protective layers, whether cultural or s clss="trms">literas>l, from the body (of knowls clss="trms"nttrm="knowledge,Knowledge">edges>). it can also be masochistically painful for the subject. the absolute saying is a trauma, with vulnerability and passivity even is a bodily way, where the ethical being isss='lgc'>: one penetrated by the other. (saying is ethical while said is juridical.)

ss='lgc'>ss='lgc'>--> ‘psychology’ not only what we do but why we do. the s clss="trms">scies>nce that should be studied so much in art, specially in performance art. the how of human behavior, feelings and emotions.
the psychological space, the s clss="trms">inters>mediary space of the ethical s clss="trms">relations>, shyness and commitment to the other. “i am ins clss="trms">finits>ely more s clss="trms">demands>ing of myself than of others”. (is this the realm of shyness being before god<span clss='qstn'>?span>)

ss='lgc'>ss='lgc'>--> ‘intelligence’ in the sense that what do i pay attention to and why, and what do i ignore and why, and how do i put it together. (synthesizing)

ss='lgc'>ss='lgc'>--> ‘cornered’ someone that is cornered s clss="trms">ontos>logically. can not shy out of the corner.

ss='lgc'>ss='lgc'>--> ‘s clss="trms">presens>t’ of s clss="trms">presens>ce signifies nowness. The movement of time makes things s clss="trms">presens>t by making them now. What is the s clss="trms">relations> of this “making s clss="trms">presens>t” to the s clss="trms">worlds><span clss='qstn'>?span> Is the movement of time ultimately to be traced to that of the s clss="trms">worlds><span clss='qstn'>?span> On such a view, we take the successive nows that constitute time’s movement as a function of the s clss="trms">worlds>. Their os clss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>in is the successive impressions we receive from its objects. We, thus, come to affirm that nowness is the s clss="trms">worlds>’s s clss="trms">presens>ce to us in the impressions it leaves. ss="ppl">Augustine gives the classic expression of this s clss="trms">posits>ion when he s clss="trms">writs>esss='lgc'>: “It is in you, O my mind, that I s clss="trms">meass>ure time. ... What I s clss="trms">meass>ure is the impress produced in you by the things as they pass and ss='lgc'>[the impressionsss='lgc'>] abiding in you when they have passed."2 The impress is registered as the s clss="trms">presens>t now. We register the abiding impression left in the mind as the res clss="trms">mems>bered now. If, however, we break the tie between s clss="trms">presens>ce and the s clss="trms">worlds>, we have to say that the impress is the result of our own activity. The impression that results in the now comes, in other words, not from the s clss="trms">worlds>, but from ourselves. It is a result of our s clss="trms">affects>ing ourselves. In ss="ppl">Derrida’s words, its os clss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>in is “the auto-s clss="trms">affects>ion” of consciousness.

ss='lgc'>ss='lgc'>--> ‘consciousness’ ss='trgt hghlght 1'href='?q=S'>Since it involves the self-awareness that s clss="trms">demands>s self-s clss="trms">presens>ce, the s clss="trms">questions> of s clss="trms">languages> expands once again. In answering it, we must inquire into the s clss="trms">naturs>e of consciousness.&nbsp;&nbsp;

ss='lgc'>ss='lgc'>--> ‘s clss="trms">veils>’ uns clss="trms">veils>ed. a sign of s clss="trms">differens>ce, a kind of timidity<span clss='qstn'>?span> is shyness same as s clss="trms">veils><span clss='qstn'>?span> is it a sheer projection<span clss='qstn'>?span> are we (am i) subdued<span clss='qstn'>?span>

ss='lgc'>ss='lgc'>--> ‘exhibitionist ambitions’ and idealized structures. the exhibitionist ambitions of these artists forswear all objective orientation. Their own uniqueness and grandiosity is taken for granted. it is not open to debate and need not be founded in a structured manner that is accessible and comprehensible to one's powers of appraisal and judgment. the res clss="trms">presens>tatives of posts clss="trms">moderns>ism adopt the stys clss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>ic forms, themes and visual s clss="trms">materis>al of their art from the boundless treasure trove of art s clss="trms">histos>ry so s clss="trms"nttrm="already,spread">reads>ily accessible today. dependence on what has als clss="trms"nttrm="already,spread">reads>y been s clss="trms">formus>lated. the underlying tone of this art serves to flaunt an unparalleled sense of superiority and grandiose self-confidence. seen in many performance in this time too. (in my painting i have a rational point of view.) i don't want to orient myself towards ambitions, injected by libidinal energy, of my grandiose self-artist. of those, whose prime concern is to show their uniqueness find themselves faced with the s clss="trms">questions>ss='lgc'>: “what is to be done<span clss='qstn'>?span>”. I too, choose to refuse to pander to the s clss="trms">demands>s of innovation, style and s clss="trms">integrs>ity, but at the same time not to work myself up to grandiose self-image of artistic omnipotence.

look at the theory of intelligence for s clss="trms">languages> and other kind of ‘enjoying’ the s clss="trms">naturs>e, art or other structures.

how is the philosophy of the s clss="trms">sublims>e (quality of greatness) related to the format of my talks<span clss='qstn'>?span> if <span clss='mywrk'>my workspan> is not an endeavor on the philosophy of the s clss="trms">sublims>e then what is it<span clss='qstn'>?span>

in this s clss="trms">writs>ing i am not going to work in the forms of claims as s clss="trms">stags>es in a logical argument. my approach would we unsubstantial to break free from the process of offering philosophical evidence...

mobilizing forces
scoring s clss="trms">syss>tem

ops clss="trms">posits>ion to shamanism in performance art, points in The Art of s clss="trms">Moderns>ism - ss="ppl">ss='trgt hghlght 1'href='?q=S'>Sandro ss="ppl">Bocola, for critique on Beuys and ss="ppl">Abramovich.
Faced with objects and performances by Joseph Beuys, viewers are as baffled as they are by Marcel Duchamp's Bottle Rack. They do not know what is going on, are unable to relate what they see to any known s clss="trms">syss>tem and are left entirely to their own devices, i.e. to their own emotional s clss="trms">respons>ses, for all the good that does them. They feel s clss="trms">affects>ed, and have a vague and almost unwilling sense of being touched at a certain emotional depth, but are unable to s clss="trms">inters>pret these feelings (isn't that the case with most art performances<span clss='qstn'>?span>). Beuys celebrates complex and incomprehensible rituals before an astonished audience. He subjects his person to difficult tasks and appears to be making some kind of sacrifice in doing so. Beuys, after all, wishes to heal. To judge by his statements, he wishes to redeem the German people and indeed all of humankind from their s clss="trms">socis>al evils, their petrifaction and impotence. In this sense, he transcends the role of the artist. He sees his audience not, in the traditional sense, as a free counterpart to whom he s clss="trms">presens>ts a work (as form and expression of his own self), but as a s clss="trms">materis>al to be formed. He appears as the people's tribune, as teacher, seer, healer and prophet, transforming the role of the artist into that of the shaman. ss="ppl">Kohut stresses that the effect of messianic and charismatic personalities is not necessarily detrimental under all circumstances. At times of severe crisis, it is not the modestly self-doubting type of personality that is needed (who generally makes up the leading stratum in calmer times). In times of fear, the masses turn to a messianic or charismatic personality, not because above all they have recognized his abilities and competence, but because they feel that this leader will satisfy their need to be imperturbably convinced of being s clss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>ht, or because they want to identify with his strength and security.
(caution criticizing beuys and abramovic, you don't know all about them. your criticism is certain aspect of their persona and performance face, in order to make your own point and argument. it is not to understand their works. is this ok<span clss='qstn'>?span>)

when ideas fail, words come in very handy. (ss="ppl">Goethe<span clss='qstn'>?span>)

all s clss="trms">serios>us thinking is s clss="trms">inters>personal<span clss='qstn'>?span> it is the key to how we think by challenging each other with our ideas.

this is early, i should really give s clss="trms">lecturs>es in 20 years.

intimacyss='lgc'>: first talking than thinking (maybe even taking it back), feeling an idiot afterward. When the saying is taken over by s clss="trms">rhetors>ic or maneuvering or calculation then the problem is persuading or proving, not intimacy. (intimate thoughts in ss='trgt hghlght 1'href='?q=S'>Shakespear). running with strategy in conversing and conversation (winning a round or winning an argument) is traceable back to power and coercion and its discomforts and s clss="trms">anxis>eties. the art that i am talking about should not win the conversation. (but why intimacy in the art project at all<span clss='qstn'>?span>) by intimacy i find a route to my true consciousness. in intimacy only there is the possibility for s clss="trms">lovs>e. not making the other/audience to think in a certain way, but exactly the ops clss="trms">posits>e, the performer has to loose the game of convincement or wit (in her work/form/performance).

shynessss='lgc'>: not the clinical term. i am talking about a shyness that is deep in the character, a kind of trembling before the other.

the ethical s clss="trms">relations> to the other, as always important, stakes are higher in performance<span clss='qstn'>?span> the proximity of the art object, the s clss="trms">relations> of the face to face s clss="trms">relations>ship between the speaker and the s clss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>ener, is the later container of ethical stake<span clss='qstn'>?span>

not audience attention, but audience s clss="trms">imagis>nation. not their reaction, but their s clss="trms">respons>se. Usually a s clss="trms">respons>se is a reply to a query not the result of a stimulus. ss='trgt hghlght 1'href='?q=S'>Stimulus is an urgent vital process that acts to arouse action in shortest time. that time that is the price for thinking.

shakespear, the Everest of acting. Why performance/theater is not related to thinking and is always setup for acting and action<span clss='qstn'>?span> need for drama.

the event has happened off s clss="trms">stags>e, now we talk about it. Macbeth, unlike tarantino!

ss="large lg30" stl="font-size:125%"> violence is s clss="trms">syms>bolized in many good old art. karaoke, etc.
violence is art-performance is exhibited...

the power of voice in islam, taboo of body.
no one is beheaded in the s clss="trms">histos>ry of islam. (s clss="trms"nttrm="already,spread">reads> tarikhe sakhtkoshi) contrast to French revolution.
i am not going to critique islam, i don't know what it is, just let me perform it.

ss="large lg6" stl="font-size:105%"> who performs<span clss='qstn'>?span> someone doing something<span clss='qstn'>?span>
what is the cure for shyness.
‘performing for the other’

silent coming and going of the feminine, (form of shyness<span clss='qstn'>?span>)

when we send the shyest as an ambassador to res clss="trms">presens>t us.

It is a self-defining s clss="trms">syss>tem of signs referring to signs.

a quiet s clss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>ener. we have yet no idea what is speak. how taking transforms the mind that talks. conditions of thinking in s clss="trms">relations> to talking, before or after the mouth that talks. thinking in other s clss="trms">languages>s. if intimacy is saying before thinking, how fits the acts of maulwurfe<span clss='qstn'>?span>

work on shyness, I have to start (slowly) with what i (kind of) know.

“...Nudged on the ss clss="trms">cenes> as a kind of shivering being, s clss="trms">anxis>ous and shy,..” (kafka, test)

There is the sugs clss="trms">gests>ion here, as in ss="ppl">Holderlin, that timidity might be a dialect of stupidity. (Finding no way of testing out of these subtle complicities, one falls asleep, exhausted by the distress of proving one's most minimal merit.) (ss="ppl">Avital ss="ppl">Ronell, The s clss="trms">Veils>s of ss='trgt hghlght 1'href='?q=S'>Servility)

s clss="trms">Accords>ing to ss='trgt hghlght 1'href='?q=S'>Silvan Tomkins, “shame operates only after s clss="trms">inters>est or enjoyment has been activated.”

as ss="ppl">ss='trgt hghlght 1'href='?q=S'>Sedgwick has argued, for some people, and most often queer subjects, “shame is simply the first, and remains a permanent, structuring fact of identityss='lgc'>: one that ... has its own, powerfully productive and powerfully s clss="trms">socis>al s clss="trms">s clss="trms"nttrm="metaph,metamorph,metabol,metal">metas>phors>ic possibilities.

the idea is that the performance that avows its performans clss="trms">cenes>ss acknowls clss="trms"nttrm="knowledge,Knowledge">edges>s the difficulty of fitting into roles, finding identities, and managing a self, especially a self vulnerable to the effects of stigma.

is there a queerness in me and my performance<span clss='qstn'>?span> is shyness, they way i do it, queer<span clss='qstn'>?span>

ss="large lg30" stl="font-size:120%"> turn the s clss="trms">spectas>tor to the s clss="trms"nttrm="already,spread">reads>er.

does shame s clss="trms">inters>twines with queer<span clss='qstn'>?span>
this s clss="trms">affects> and mode of performance (which normative euro American culture would rather eradicate) can be queered, twisted and turned into endless artful enactments.
queer, as experimental s clss="trms">lingus>istic res clss="trms">presens>tational and political artistic performance.

ss="large lg10" stl="font-size:121%"> shameless in my shyness. (at the level of s clss="trms">affects> theory<span clss='qstn'>?span>)

ss="large lg14" stl="font-size:119%"> shynessss='lgc'>: looking otherwise and feeling s clss="trms">differens>tly

to act shamed of exactly that which he is exs clss="trms">cites>d. (is this a queer subject<span clss='qstn'>?span>)

queer is not isos clss="trms">morphs>ic with gay or lesbian or any other fixed identity, rather, queerness undoes all identities into an endless multiplicity and unbecoming. (liquefaction of any solidification)
queer seems to hinge much more radically and explicitly on a person’s undertaking particular, performative acts of experimental self-perception on a filiations.
Indeed, the performativity of both queer and shame can be reiterated s clss="trms">differens>tly; the subject can disidentify from such s clss="trms">inters>polations and re-deploy the abjecting and/or disciplining of the terms in unforeseen ways, which Warhol did.

In surrender the head bends and meets the heart. The head that does not bend has no value, and the head that is stiff will have to bend sometime, either in surrender or in shame. The head that bends in surrender will never have to bend in shame. ss='trgt hghlght 1'href='?q=S'>Shame accompanies arrogance. ss='trgt hghlght 1'href='?q=S'>Shyness accompanies s clss="trms">Lovs>e. ss='trgt hghlght 1'href='?q=S'>See how s clss="trms">childs>ren are endowed with shyness, that is s clss="trms">naturs>al. ss='trgt hghlght 1'href='?q=S'>Shyness is inherent. ss='trgt hghlght 1'href='?q=S'>Shame is inflicted by s clss="trms">socis>ety and is acquired. ss='trgt hghlght 1'href='?q=S'>Shame brings guilt and shyness adds to one<span clss='qstn'>?span> beauty. Retain your shyness and drop your shame. (<span clss='qstn'>?span>)

shame is simply the first and remains a permanent, structuring fact of identityss='lgc'>: one that has its own, powerfully productive and powerfully s clss="trms">socis>al s clss="trms">s clss="trms"nttrm="metaph,metamorph,metabol,metal">metas>phors>ic possibilities.

deciding not to care how people thing (or feel<span clss='qstn'>?span>), because those are the things i don't want to change! (or i don't think i should want to change) (warhol)
what do i want to change<span clss='qstn'>?span> just having fun with my stuff. can i decide not to care what people think<span clss='qstn'>?span> shyness...

in shame i wish to continue to look (or talk, or make or perform) and be looked at (or spoken to or seen in my performing of myself), but i also do not wish to do so. (ss='trgt hghlght 1'href='?q=S'>Silvan Tomkins)

i am embarrassed to show the shy singing.

chronically embarrassing my self. (Aula s clss="trms">presens>tation, shy singing, ...)

on passivity, note for the s clss="trms"nttrm="already,spread">reads>erss='lgc'>: not to mistake it for endurance in this discourse. here we are talking about a philosophical term, in s clss="trms">relations> to the “being” and the “other”...

an architecture that tries to be modest, a performance that tries to be intimidating as much
as it can.

just in time shyness

what are the pitfalls and s clss="trms">abyss>ses of philosophical reflection on and with shyness<span clss='qstn'>?span>
what am i trying to shortcut<span clss='qstn'>?span>
was ss="ppl">ss='trgt hghlght 1'href='?q=S'>Socrates intruding in his punk philosopher, stopping people at back allies and perform philosophy. he doesn't hold back, he intrudes, tattooing the body of the other, s clss="trms">questions>ing.
the problem of his project<span clss='qstn'>?span>

i am not shy in the work that i am trying to s clss="trms">presens>t publicly (<span clss='qstn'>?span>)
where am i shy<span clss='qstn'>?span>

posture of s clss="trms">posits>ion or s clss="trms">gests>ure

the moment you stand in front of the audience you stop being authentic.

when we s clss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>en to something very carefully and allow ourselves to be moved we can tune in ti=o the art work and absorb its s clss="trms">methods>s. i have found myself moved when i allowed it, by the most s clss="trms">childs>ish and stupid works of arts.

open minded and eager to make connections

(jane jacob,) (1) s clss="trms">communs>ity is spontaneous, the tissues of s clss="trms">communs>ity are not something that can be planed, that they happen spontaneously. (2) and this only happens when you are at the local scale. so in this sense, design is suspect, because design is set to be post spontaneity.
find a way to think locally, and thinking about the city as a product of spontaneous s clss="trms">inters>action between people who are s clss="trms">differens>t. but the design can also make something that has a s clss="trms">socis>al character.

we perform an experiment to prove or disprove a hypothesis, we are working within a framework of a closed s clss="trms">syss>tem, the os clss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>inal pros clss="trms">posits>ion governs our procedures and observations, at arriving at yes or no. but when performing the experiment we come across something unforeseen, or prompted by evidence to jump tracks and think about a s clss="trms">differens>t issue. then we are working within the framework of an open s clss="trms">syss>tem. we move beyond yes or no to exploring something emergent, something whose elements was there but whose form was unknown to us. a fancy and careful way of saying “something new”, because it is new to our understanding.

William Empson
art results from overcrowding(<span clss='qstn'>?span>)

when one is s clss="trms">respons>sive rather than assertive one can't s clss="trms">imagis>ne where one will end Upss='lgc'>: thinking. this s clss="trms">respons>siveness is s clss="trms">differens>t than the state of being active or passive. a passivity that motivates and mobilizes the subject into places that are yet unknown to her/him.
Thinking, as ss="ppl">Heidegger says, may be much the same as wandering. my s clss="trms">lecturs>es are like wandering.
someone who studies paradoxes, s clss="trms">poes>try and philosophy
(keeping what you know away from s clss="trms">socis>ety, s clss="trms">histos>ry and away from art, not to acknowls clss="trms"nttrm="knowledge,Knowledge">edges> what you have learn)

incompatibility between a particular s clss="trms">lovs>e and a particular s clss="trms">socis>al arrangement for s clss="trms">lovs>e.

when you play with others, not try to shine and not try to shy. (shyness is ds clss="trms"nttrm="danger,stranger">angers>ous to s clss="trms">socis>ety)
it is like being lynched by kukluksklan.
curios about some[...]