[...] 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.

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

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.

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...

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 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 lg3" stl="font-size:111%"> 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> 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, lss="trms">questioning.
the problem of his projectlss='qstn'>?

i am not shy in the work that i am trying to lss="trms">present publicly (lss='qstn'>?)
where am i shylss='qstn'>?

posture of lss="trms">position or lss="trms">gesture

<lrg clss="large lg4" stl="font-size:112%"> the moment you stand in front of the audience you stop being authentic.
lrg>
when we lss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listen to something very carefully and allow ourselves to be moved we can tune in ti=o the art work and absorb its lss="trms">methods. i have found myself moved when i allowed it, by the most lss="trms">childish and stupid works of arts.

open minded and eager to make connections

(jane jacob,) (1) lss="trms">community is spontaneous, the tissues of lss="trms">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 lss="trms">interaction between people who are lss="trms">different. but the design can also make something that has a lss="trms">social character.

we perform an experiment to prove or disprove a hypothesis, we are working within a framework of a closed lss="trms">system, the olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal prolss="trms">position 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 lss="trms">different issue. then we are working within the framework of an open lss="trms">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.

<lrg clss="large lg5" stl="font-size:153%"> William Empson
art results from overcrowding(lss='qstn'>?)
lrg>
when one is lss="trms">responsive rather than assertive one can't lss="trms">imagine where one will end Up<lgc clss='lgc'>:lgc> thinking. this lss="trms">responsiveness is lss="trms">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 l clss="ppl">Heideggerl> says, may be much the same as wandering. my lss="trms">lectures are like wandering.
someone who studies paradoxes, lss="trms">poetry and philosophy
(keeping what you know away from lss="trms">society, lss="trms">history and away from art, not to acknowllss="trms"nttrm="knowledge,Knowledge">edge what you have learn)

incompatibility between a particular lss="trms">love and a particular lss="trms">social arrangement for lss="trms">love.

when you play with others, not try to shine and not try to shy. (shyness is dlss="trms"nttrm="danger,stranger">angerous to lss="trms">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 sy[...]