[...]se 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'>?)

when ideas fail, words come in very handy. (l clss="ppl">Goethel>lss='qstn'>?)

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.

<lrg clss="large lg2" stl="font-size:111%"> 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.
lrg>
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!

<lrg clss="large lg1" stl="font-size:125%"> violence is lss="trms">symbolized in many good old art. karaoke, etc.
violence is art-performance is exhibited...
lrg>
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.

It is a self-defining lss="trms">system of signs referring to signs.

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)

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)

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'>?

turn the lss="trms">spectator to the lss="trms"nttrm="already,spread">reader.

does shame lss="trms">intertwines with queerlss='qstn'>?
this lss="trms">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 lss="trms">linguistic relss="trms">presentational and political artistic performance.

shameless in my shyness. (at the level of lss="trms">affect theorylss='qstn'>?)

shyness<lgc clss='lgc'>:lgc> looking otherwise and feeling lss="trms">differently

to act shamed of exactly that which he is exlss="trms">cited. (is this a queer subjectlss='qstn'>?)

<lrg clss="large lg3" stl="font-size:110%"> queer is not isolss="trms">morphic 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 lss="trms">differently; the subject can disidentify from such lss="trms">interpolations and re-deploy the abjecting and/or disciplining of the terms in unforeseen ways, which Warhol did.
lrg>
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 lss="trms">lss='trgt hghlght 1'href='?q=L'>Love. See how lss="trms">children are endowed with shyness, that is lss="trms">natural. Shyness is inherent. Shame is inflicted by lss="trms">society and is acquired. Shame brings guilt and shyness adds to onelss='qstn'>? beauty. Retain your shyness and drop your shame. (lss='qstn'>?)

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.

deciding not to care how people thing (or feellss='qstn'>?), 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 changelss='qstn'>? just having fun with my stuff. can i decide not to care what people thinklss='qstn'>? shyness...

<lrg clss="large lg4" stl="font-size:111%"> 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)
lrg>
i am embarrassed to show the shy singing.

chronically embarrassing my self. (Aula lss="trms">presentation, shy singing, ...)

on passivity, note for the lss="trms"nttrm="already,spread">reader<lgc clss='lgc'>:lgc> not to mistake it for endurance in this discourse. here we are talking about a philosophical term, in lss="trms">relation 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.

<lrg clss="large lg5" stl="font-size:160%"> just in time shyness
lrg>
what are the pitfalls and lss="trms">abysses of philosophical reflection on and with shynesslss='qstn'>?
what am i trying to shortcutlss='qstn'>?
was l clss="ppl">Socratesl>[...]