[...] 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.

•Maulwurfe in the Moschee (shit on the head looks like Turban(!), about action and taking the action and getting the call, over doing of anything, revenge program, revelation to other's transmission, talking about shit in a mosque, etc.)
•king lear in the Hochzeitssalon (space for speech act, ritual, marriage of daughters, etc.)
•islam intro in the Biologie Zentrum Uni Köln (hygiene in islam, work on memory relation to research, reciting Koran brings the dead as witness, etc.)


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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’ in performance. (read Haraway, Levinas, Derrida)
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 the idea of infinity within oneself. this idea of infinity which the face encapsulates is for Levinas the key means by which thought is brought into relation with what goes beyond its capacity. and this is crucial in art and specifically 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 communication). the face to face situation founds language.
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 metaphorical, 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 responses. the facelessness of the alien, swarms of ants, or other villains of pop culture.

for face look at facade too.

--> ‘provocation’ in performance. (read Haraway, Levinas)

--> ‘act’ in performance. (read grotowski)
what is to be: ‘completely natural and logical’. dealing with the discomfort of unreasonable presence on the stage. nonrepresentational aspects of performance

--> ‘teaching’ that is not rhetorics where the revelation of the other can take place (Avital, Levinas). teaching is synthesizing for someone else. what kind of communication is teaching involved?
the discourse inherent in the relation with the other is like or as a sermon.

--> ‘eyes’ threatening or seducing eyes of the performer (Rainer)

--> ‘ranting’ of the drunk in the face of the sober. disturbance of a continuity with attack with words.

--> ‘saying’, before it conjugates a verbal sign, is already an ethical gesture. saying is therefore already 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 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: to situate my subjectivity linguistically (in a nonpresence and a nonplace). (?) (if the stakes are at situating myself, then the question is why?)
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: one penetrated by the other. (saying is ethical while said is juridical.)

--> ‘psychology’ not only what we do but why we do. the science that should be studied so much in art, specially in performance art. the how of human behavior, feelings and emotions.
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?)

--> ‘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)

--> ‘cornered’ someone that is cornered ontologically. can not shy out of the corner.

--> ‘present’ of presence signifies nowness. The movement of time makes things present by making them now. What is the relation of this “making present” to the world? Is the movement of time ultimately to be traced to that of the world? On such a view, we take the successive nows that constitute time’s movement as a function of the world. Their origin is the successive impressions we receive from its objects. We, thus, come to affirm that nowness is the world’s presence to us in the impressions it leaves. Augustine gives the classic expression of this position when he writes: “It is in you, O my mind, that I measure time. ... What I measure is the impress produced in you by the things as they pass and [the impressions] abiding in you when they have passed."2 The impress is registered as the present now. We register the abiding impression left in the mind as the remembered now. If, however, we break the tie between presence and the world, 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 world, but from ourselves. It is a result of our affecting ourselves. In Derrida’s words, its origin is “the auto-affection” of consciousness.

--> ‘consciousness’ Since it involves the self-awareness that demands self-presence, the question of language expands once again. In answering it, we must inquire into the nature of consciousness.  

--> ‘veil’ unveiled. a sign of difference, a kind of timidity? is shyness same as veil? is it a sheer projection? are we (am i) subdued?

--> ‘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 representatives of postmodernism adopt the stylistic forms, themes and visual material of their art from the boundless treasure trove of art history so readily accessible today. dependence on what has already been formulated. 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 question: “what is to be done?”. I too, choose to refuse to pander to the demands of innovation, style and integrity, but at the same time not to work myself up to grandiose self-image of artistic omnipotence.

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 Bocola, for critique on Beuys and 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 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?)

all serious thinking is interpersonal? it is the key to how we think by challenging each other with our ideas.

this is early, i should really give lectures in 20 years.

intimacy: first talking than thinking (maybe even taking it back), feeling an idiot afterward. When the saying is taken over by rhetoric or maneuvering or calculation then the problem is persuading or proving, not intimacy. (intimate thoughts in 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 anxieties. the art that i am talking about should not win the conversation. (but why intimacy in the art project at all?) by intimacy i find a route to my true consciousness. in intimacy only there is the possibility for love. not making the other/audience to think in a certain way, but exactly the opposite, the performer has to loose the game of convincement or wit (in her work/form/performance).

shyness: 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 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: one that ... has its own, powerfully productive and powerfully social metaphoric possibilities.

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: looking otherwise and feeling differently

to act shamed of exactly that which he is excited. (is this a queer subject?)

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: one that has its own, powerfully productive and powerfully social metaphoric possibilities.

deciding not to care how people thing (or feel?), becau[...]