[...]rt 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?), 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: not to mistake it for endurance in this discourse. here we are talking about a philosophical term, in 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.

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. this responsiveness is different 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 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: “we are all in this together”. but well we can't all be in this together in the same way, so what is it that we do together, despite this fact.

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 notion of being comfortable in the presence of difference. being physically comfortable in presence of the people who are not like yourself.

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 metaphors.
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

the notion of skill in art, performance, life, work

trauma, in the experience of the trauma, the source mixes, and articulate in metaphors and hubric signifiers.

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.

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...One can chat and gossip but it is forbidden to preach, lecture or instruct.”
Claudio Magris’ Micronismi

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(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: a drawing by Hanno). verbal language because of its easy everyday usage has become mundane and instrumental to communication, visual sign due to its learning curve and skillfulness belonged to the art domain.

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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



[steiner]
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: every language-act has a temporal determinant. No semantic form is timeless. When using a word we wake into resonance, as it were, its entire previous history. A text is embedded in specific historical time; it has what linguists call a diachronic structure. To read fully is to restore all that one can of the immediacies of value and intent in which speech actually occurs.

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. Ev[...]