[...]resentation
(how to better be understand the contemporary art's drive to)
messianism
pragmatics of communication
(warrior shaman messiah's) contradictory self-definition
Appache
the old man Arnold
chant (ritual symbolism)
(amerindian) shamanism
bleeding pearl
parallelism
Kuna
shaman
acoustic mask
reflexive application of parallelism
(
use snake
imagistic (iconic mode, sequence of acid)
both paradoxical & parallelistic
new ways to be faithful...
exhibition-making and preventive conservation
professionalisation of curating
short-term education
cultural exchange
education, research, literacy, management, networking, custodianship, audience development
research (overdue) relationship with intelligence
...to be migratory (in thought, praxis, community)
...subjectivities without a heritage in criticality and art
constraint
extraterritoriality
being collocated in all the whispers of the world
wild pollination
artificial breeding
publication of the miracle
seeing (risk of sight)
cultural engineering of anthropology of heritage
exhibitionary heritage
curatorial subjectivity
exhibitionary complex
(the
(artistic problem
...using the concepts and tools of exhibition history
postulate matter in terms of
exhibitionary heritage of
miracle can be contained or can burst into the study of traditions and transmissions
miracle
miraculous
(
flower showers
an auspicious beginning for a lasting devotion
problem of the exhibitionary heritage
Julia
Marie-Luise Angerer (last two weeks of June)
Luis Negrón van Grieken (free)
Daniela Kinateder
David Hahlbrock
Zilvinas Lilas
Matthias Müller
Phil Collins
Heide Hagebölling
Mischa Kuball
Andreas Henrich
Ute Hörner
Peter Friedrich Stephan
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i am using these spaces basically as their potential for being a host for something else, rather than pointing their pure site specificity.
my work has worked (for me?) whenever it was an intervention to/for its objecthood as a being-in-art-form or for my own fantasies. the problem/matter of exhibition.
the theoretical work would base on reading shyness as for a philosophical opening for the practical part of the diploma that comes afterward. By this way of writing i operate myself, breaking free from the process of offering philosophical evidence.
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shyness is prescribed for woman, it exists in religion as a female virtue
thinking in yoga posing (thinking, thanking), the thanking pose and the always thinking pose in yoga.
intervention is not always attacking the other-as-stupid, but rather how do you perform your intervention 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 transition from my amazon project to my diplom, via animal talk?
face is linked to sensibility and vision in an intimate way. something that resists categorization, containment or comprehension, infinitely foreign. it is not the biological face. it is
presence of the face coming from beyond the world , but committing me to human fraternity (Gemeinschaft) does not overwhelm me as a numinous essence arousing fear and trembling. to be in relationship while absolving oneself from this relation is ‘to speak’. the face always speaks directly and absolutely to me.
many late 20th century horror films feature a masked villain. the act of masking the face is not only
for face look at facade too.
what is to be
the discourse inherent in the relation with the other is like or as a sermon.
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 mission (responsibility for the other) can be adequately expressed only through a certain impossible undoing of language. presenting a philosophical other is only possible when we generate a saying saying saying itself.
my performance talk
saying becomes totally exposed in its approach to the other. in limited social situations it creates risks of embarrassment or rebuttal and perhaps sounding psychotic. something that will strip away all protective layers, whether cultural or literal, from the body (of knowledge). 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 is
the psychological space, the intermediary space of the ethical relation, shyness and commitment to the other. “i am infinitely more demanding of myself than of others”. (is this the realm of shyness being before god?)
look at the theory of intelligence for language and other kind of ‘enjoying’ the nature, art or other structures.
how is the philosophy of the sublime (quality of greatness) related to the format of my talks? if my work is not an endeavor on the philosophy of the sublime then what is it?
in this writing i am not going to work in the forms of claims as stages in a logical argument. my approach would we unsubstantial to break free from the process of offering philosophical evidence...
mobilizing forces
scoring system
opposition to shamanism in performance art, points in The Art of Modernism - Sandro
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 system and are left entirely to their own devices, i.e. to their own emotional responses, for all the good that does them. They feel affected, and have a vague and almost unwilling sense of being touched at a certain emotional depth, but are unable to interpret these feelings (isn't that the case with most art performances?). 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 social 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 presents a work (as form and expression of his own self), but as a material 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. 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 right, 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?)
when ideas fail, words come in very handy. (Goethe?)
this is early, i should really give lectures in 20 years.
intimacy
shyness
the ethical relation to the other, as always important, stakes are higher in performance? the proximity of the art object, the relation of the face to face relationship between the speaker and the listener, is the later container of ethical stake?
not audience attention, but audience imagination. not their reaction, but their response. Usually a response is a reply to a query not the result of a stimulus. 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? need for drama.
the event has happened off stage, now we talk about it. Macbeth, unlike tarantino!
violence is symbolized 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 history of islam. (read 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.
who performs? someone doing something?
what is the cure for shyness.
‘performing for the other’
silent coming and going of the feminine, (form of shyness?)
when we send the shyest as an ambassador to represent us.
It is a self-defining system of signs referring to signs.
a quiet listener. we have yet no idea what is speak. how taking transforms the mind that talks. conditions of thinking in relation to talking, before or after the mouth that talks. thinking in other languages. if intimacy is saying before thinking, how fits the acts of maulwurfe?
work on shyness, I have to start (slowly) with what i (kind of) know.
“...Nudged on the scene as a kind of shivering being, anxious and shy,..” (kafka, test)
There is the suggestion here, as in 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.) (Avital Ronell, The Veils of Servility)
According to Silvan Tomkins, “shame operates only after interest or enjoyment has been activated.”
as Sedgwick has argued, for some people, and most often queer subjects, “shame is simply the first, and remains a permanent, structuring fact of identity
the idea is that the performance that avows its performanceness acknowledges 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? is shyness, they way i do it, queer?
turn the spectator to the reader.
does shame intertwines with queer?
this affect 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 linguistic representational and political artistic performance.
shameless in my shyness. (at the level of affect theory?)
shyness
queer is not isomorphic 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 differently; the subject can disidentify from such interpolations 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. Shame accompanies arrogance. Shyness accompanies Love. See how children are endowed with shyness, that is natural. Shyness is inherent. Shame is inflicted by society and is acquired. Shame brings guilt and shyness adds to one? beauty. Retain your shyness and drop your shame. (?)
shame is simply the first and remains a permanent, structuring fact of identity
deciding not to care how people thing (or feel?), 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? just having fun with my stuff. can i decide not to care what people think? 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. (Silvan Tomkins)
i am embarrassed to show the shy singing.
chronically embarrassing my self. (Aula presentation, shy singing, ...)
on passivity, note for the reader
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 abysses of philosophical reflection on and with shyness?
what am i trying to shortcut?
was 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, questioning.
the problem of his project?
i am not shy in the work that i am trying to present publicly (?)
where am i shy?
posture of position or gesture
the moment you stand in front of the audience you stop being authentic.
when we listen to something very carefully and allow ourselves to be moved we can tune in ti=o the art work and absorb its methods. i have found myself moved when i allowed it, by the most childish and stupid works of arts.
open minded and eager to make connections
(jane jacob,) (1) community is spontaneous, the tissues of community 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 interaction between people who are different. but the design can also make something that has a social character.
we perform an experiment to prove or disprove a hypothesis, we are working within a framework of a closed system, the original proposition 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 different issue. then we are working within the framework of an open system. 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(?)
when one is responsive rather than assertive one can't imagine where one will end Up
Thinking, as Heidegger says, may be much the same as wandering. my lectures are like wandering.
someone who studies paradoxes, poetry and philosophy
(keeping what you know away from society, history and away from art, not to acknowledge what you have learn)
incompatibility between a particular love and a particular social arrangement for love.
when you play with others, not try to shine and not try to shy. (shyness is dangerous to society)
it is like being lynched by kukluksklan.
curios about somebody else rather than identifying with them.
i really learned how to work with people by learning how to keep people from killing each other in street.
if we are very sympathetic, saying “i know how you feel” is privileging solidarity
instead of the declaring voice “i believe this or that”, we can say “i would have though” or “perhaps” introducing a zone of ambiguity in people's relationship with each other you might get something social. subjunctive mood (konjuktiv) not only is to zusammenbinden the elements of semantic also to zusammenbinden the the people who are speaking in these terms.
cooperation is a rehearsal not a performance.
public real made of people who don't argue in behalf of their own interest but to think most disinterestedly.
my talks/works is about how we make sense of our environment, the network that we live in and the texts and discourses that we are reading and writing.
how shyness (even) look like? can we recognize it when we see it?
what is feeling comfortable in the presence of strangers? not verbally i mean, physically.
the subjunctive is the language that the shy uses naturally, which is one of the necessary elements of cooperation. in contrast to subjunctive speech, there is declarative speech is a form of declaration invites submission, and it invites submission because somebody else defines for you clearly what something is about. there is almost an erotic of that, they really now what they are on about, they really know who they are, and you become a spectator to their definiteness. giving yourself up to somebody who seems more defined and more purposive.
cooperation in islam is not a personal experience, it is something that is encoded in very strict ritual. it is not an act of choice. cooperation is not a duty but a desire.
my talk is a fancy and careful way of responding to the voices of other. the ones that are sounding in my ear. (inslam, shakespear, math, that girl in enghelab square, etc.). i am not good at immediate reaction, so i respond with a delay and a lot of playfulness and black holes that come in to be of the part of this, by this relationship to the Other, that is manifesting itself through the language of the Other (islam)
In my performative practice, I seek a way to approach thinking about things that arrests my curiosity. It is a form of commitment to what comes forward and calls for thinking, an attention before what I do not know. My Talks are fancy and careful responding to that otherness, to the voice or face that speaks to you from somewhere that you cannot yet locate. This call could be from a sadistic super-ego inside or Shakespeare or kleinen Maulwurf, der wissen wollte, wer ihm auf den Kopf gemacht hat.
i am not just interested in my own foundational
is there an amateurishness at the intersection of art and philosophy that i am drawing?
what is amateur?
the fact that i am giving talks is very much related to the social culture around me, in Germany the culture has a taste to listen and there is an interest for speech. now i get it like in the case of warhol he is rethinking his surrounding culture which is dominated at that time by pop, media and celebrity. i am rethinking the academia and philosophy that is in relationship with the arts, my issues and interests are different than warhol for that matter. i am enthusiastic and extremely interested in the material that i am working with, and at the same time overthrown by it and i believe in it, in the same way that maybe warhol believed in pop culture and business.
the nightmare after performance
trauma, in the experience of the trauma, the source mixes, and articulate in
relationship between older works and performances, the issue of skill and technology.
it took 60 years after the developments in tempering metal, for barnors to learn new nigf techniques. this is common in the history of technology, that a tool appears before people know how to use it. do we know how we can use computers? when we master a technique, its uses are not immediatly clear.
getting interested in the wrong answer in the four answer question.
no skill develops without a good dose of curiosity. which enables us to think about what might be, rather than what is.
There is a half-remembered discussion of Sigmund Freud I read once in a book and which I have been paraphrasing regularly ever since. It said that for Freud dreams were a way of thinking by doing. You run, you cry, you kiss, you love, you cheat, you argue, you fall, you kill, you eat, you sing, you get lost, you travel back in time, you become somebody else – but you do it all in your head. You do it in your head and so it is thinking, just not a thinking we recognize as thinking. When I am dreaming I am composing thoughts in the way an artist composes a painting or a witch a potion – an assemblage made of bodies and places and actions. An embodied thinking, that is no less eloquent or extraordinary or transformative for being so.
...One can chat and gossip but it is forbidden to preach, lecture or instruct.”
Claudio Magris’ Micronismi
(butler)
the structure of address itself
although I did not know in whose voice this person was speaking, whether the voice was his own or not, I did feel that I was being addressed.
To respond to this address seems an important obligation during these times.
It is about a mode of response that follows upon having been addressed, a comportment toward the Other only after the Other has made a demand upon me, accused me of a failing, or asked me to assume a responsibility.
The structure of address is important for understanding how moral authority is introduced and sustained if we accept not just that we address others when we speak, but that in some way we come to exist, as it were, in the moment of being addressed, and something about our existence proves precarious when that address fails.
...the demand that comes from elsewhere, sometimes a nameless elsewhere,...
We think of presidents as wielding speech acts in willful ways, so when the director of a university press, or the president of a university speaks, we expect to know what they are saying, and to whom they are speaking, and with what intent.
...perhaps we should think more seriously about the relation between modes of address and moral authority. (also one of the issues in today's performance art)
narration is always judgment
affective intervention
why should i listen to you?
because i have a voice!
visual culture has different strand from lecture culture. people are able to express themselves with verbal signs long before they can draw anything, using visual sign (picture
transitive verb constructions are the ones that require a direct object in order to complete the meaning and to be grammatical. Used in theater, between director and actor, by communicating with transitive verbs actors can perform the language of the director.
my work embodies and communicates a desire to read (and write) texts
in Greek mythology the poet and the seer are blind so that they may, by the antennae of speech, see further.
One thing is clear
The process of diachronic translation inside one’s own native tongue is so constant, we perform it so unawares, that we rarely pause either to note its formal intricacy or the decisive part it plays in the very existence of civilization. By far the greatest mass of the past as we experience it is a verbal construct. History is a speech-act, a selective use of the past tense. Even substantive remains such as buildings and historical sites must be ‘read,’ i.e. located in a context of verbal recognition and placement, before they assume real presence.
(notes - december 15, 2011)
lemon grass plant, marigold
Tehran Wi Fi
newer medium may be ‘nested’ inside of an older medium (or vice versa)
mental life (memory, imagination, fantasy, dreaming, perception, cognition) is mediated and is embodied in the whole range of material media… we not only think about media, we think in them (Mitchell)
The shock of new media is as old as the hills
Franz Reuleux described this correlation
(For Winnicott,) play is a psychological state where the boundaries between self and the world remain labile and fluid, (a state which is important not only for the development of the child, but with significant ramifications for human life and culture in general.)
Representation is a distinctive manner of imagining the real, and is a fundamental phenomenon upon which all culture rests.
Henri Lefebvre distinguishes Representations of space and Representational spaces . ... Representational spaces are “directly lived” through associated images and symbols which overlay physical space, making symbolic use of its objects.
the conceiving mind over the perceiving body (vision/touch)
touching was considered “a cruder scanning at close range,” and seeing “a more subtle touching at a distance.”
for Berkeley there is no such thing as visual perception of depth, and Condillac's statue effectively masters space with the help of movement and touch. The notion of vision as