[...] comes, in other words, not from the lss="trms">world, but from ourselves. It is a result of our lss="trms">affecting ourselves. In l clss="ppl">Derridl>a’s words, its olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin is “the auto-lss="trms">affection” of consciousness.

<lgc clss='lgc'>-->lgc> ‘consciousness’ Since it involves the self-awareness that lss="trms">demands self-lss="trms">presence, the lss="trms">question of lss="trms">language expands once again. In answering it, we must inquire into the lss="trms">nature of consciousness.  

<lgc clss='lgc'>-->lgc> ‘lss="trms">veil’ unlss="trms">veiled. a sign of lss="trms">difference, a kind of timiditylss='qstn'>? is shyness same as lss="trms">veillss='qstn'>? is it a sheer projectionlss='qstn'>? are we (am i) subduedlss='qstn'>?

<lgc clss='lgc'>-->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 relss="trms">presentatives of postlss="trms">modernism adopt the stylss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic forms, themes and visual lss="trms">material of their art from the boundless treasure trove of art lss="trms">history so lss="trms"nttrm="already,spread">readily accessible today. dependence on what has allss="trms"nttrm="already,spread">ready been lss="trms">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 lss="trms">question<lgc clss='lgc'>:lgc> “what is to be donelss='qstn'>?”. I too, choose to refuse to pander to the lss="trms">demands of innovation, style and lss="trms">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 lss="trms">language and other kind of ‘enjoying’ the lss="trms">nature, art or other structures.

how is the philosophy of the lss="trms">sublime (quality of greatness) related to the format of my talkslss='qstn'>? if lss='mywrk'>my work is not an endeavor on the philosophy of the lss="trms">sublime then what is itlss='qstn'>?

<lrg clss="large lg2" stl="font-size:110%"> in this lss="trms">writing i am not going to work in the forms of claims as lss="trms">stages in a logical argument. my approach would we unsubstantial to break free from the process of offering philosophical evidence...

mobilizing forces
scoring lss="trms">system
lrg>
oplss="trms">position to shamanism in performance art, points in The Art of lss="trms">Modernism - l clss="ppl">Sandro l clss="ppl">Bocolal>l>, for critique on Beuys and l clss="ppl">Abraml>ovich.
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 lss="trms">system and are left entirely to their own devices, i.e. to their own emotional lss="trms">responses, for all the good that does them. They feel lss="trms">affected, and have a vague and almost unwilling sense of being touched at a certain emotional depth, but are unable to lss="trms">interpret these feelings (isn't that the case with most art performanceslss='qstn'>?). 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 lss="trms">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 lss="trms">presents a work (as form and expression of his own self), but as a lss="trms">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. l clss="ppl">Kohutl> 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 lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">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 oklss='qstn'>?)

<lrg clss="large lg1" stl="font-size:143%"> when ideas fail, words come in very handy. (l clss="ppl">Goethel>lss='qstn'>?)
lrg>
all lss="trms">serious thinking is lss="trms">interpersonallss='qstn'>? it is the key to how we think by challenging each other with our ideas.

this is early, i should really give lss="trms">lectures in 20 years.

intimacy<lgc clss='lgc'>:lgc> first talking than thinking (maybe even taking it back), feeling an idiot afterward. When the saying is taken over by lss="trms">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 lss="trms">anxieties. the art that i am talking about should not win the conversation. (but why intimacy in the art project at alllss='qstn'>?) by intimacy i find a route to my true consciousness. in intimacy only there is the possibility for lss="trms">love. not making the other/audience to think in a certain way, but exactly the oplss="trms">posite, the performer has to loose the game of convincement or wit (in her work/form/performance).

shyness<lgc clss='lgc'>: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 lss="trms">relation to the other, as always important, stakes are higher in performancelss='qstn'>? the proximity of the art object, the lss="trms">relation of the face to face lss="trms">relationship between the speaker and the lss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listener, is the later container of ethical stakelss='qstn'>?

not audience attention, but audience lss="trms">imagination. not their reaction, but their lss="trms">response. Usually a lss="trms">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 actionlss='qstn'>? need for drama.

the event has happened off lss="trms">stage, now we talk about it. Macbeth, unlike tarantino!

violence is lss="trms">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 lss="trms">history of islam. (lss="trms"nttrm="already,spread">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 performslss='qstn'>? someone doing somethinglss='qstn'>?
what is the cure for shyness.
‘performing for the other’

silent coming and going of the feminine, (form of shynesslss='qstn'>?)

when we send the shyest as an ambassador to relss="trms">present us.

<lrg clss="large lg3" stl="font-size:110%"> It is a self-defining lss="trms">system of signs referring to signs.
lrg>
a quiet lss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listener. we have yet no idea what is speak. how taking transforms the mind that talks. conditions of thinking in lss="trms">relation to talking, before or after the mouth that talks. thinking in other lss="trms">languages. if intimacy is saying before thinking, how fits the acts of maulwurfelss='qstn'>?

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

“...Nudged on the slss="trms">cene as a kind of shivering being, lss="trms">anxious and shy,..” (kafka, test)

<lrg clss="large lg4" stl="font-size:112%"> There is the suglss="trms">gestion here, as in l clss="ppl">Holderlinl>, 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.) (l clss="ppl">Avitall> l clss="ppl">Ronelll>, The lss="trms">Veils of Servility)
lrg>
lss="trms">According to Silvan Tomkins, “shame operates only after lss="trms">interest or enjoyment has been activated.”

as l clss="ppl">Sedgwickl> has argued, for some people, and most often queer subjects, “shame is simply the first, and remains a permanent, structuring fact of identity<lgc clss='lgc'>:lgc> one that ... has its own, powerfully productive and powerfully lss="trms">social lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphoric possibilities.

the idea is that the performance that avows its performanlss="trms">ceness acknowllss="trms"nttrm="knowledge,Knowledge">edges 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 performancelss='qstn'>? is shyness, they way i do it, queerlss='qstn'>?

<lrg clss="large lg5" stl="font-size:139%"> turn the lss="trms">spectator to the lss="trms"nttrm="already,spread">reader.
lrg>
does shame lss="trms">intertwines with [...]