[...]="brkr">
='lgc'>='lgc'>='lgc'>--='lgc'>--='lgc'>='lgc'>--='lgc'>--='lgc'>[how can we ask without ="trms">question mark='qstn'>?='lgc'>]
='strcls'>*="frds scrmbld">Lili='lgc'>: through acts/="trms">gestures, by creating ="trms">relationality, and by using reiterational processes
='strcls'>*="frds scrmbld">Esta='lgc'>: my body knows the answer of what i ask, other states of body, what is mark='qstn'>? ='lgc'>='lgc'>--> culture/context ="trms">specific
='strcls'>*="frds scrmbld">Seba='lgc'>: finding the best ="trms">questions in beauty is about learning pronunciation, the issue of pronunciation instead of ="trms">questioning (or their merge='qstn'>?), (statement/="trms">question) ='lgc'>='lgc'>--> doubt ='lgc'>='lgc'>--> postponing an immediate answer (“but before you answer...”) ='lgc'>='lgc'>--> death of ="trms">question
='strcls'>*="frds scrmbld">Esteban='lgc'>: not to do='lgc'>: impose an answer, not t="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riggering in the other, expecting an idea of an answer
='strcls'>*="frds scrmbld">Arianna='lgc'>: deep truth involved, process, point of passage (the axis of ="trms">child ="trms">traverses your axis) what you say to the other is a container
='strcls'>*="trms">Joke='lgc'>: ="trms">question ='lgc'>--to='lgc'>='lgc'>--> invitation, creating the invitation
='strcls'>*="frds scrmbld">Pierre='lgc'>: posting a problem is not about general sentences, it is about finding new ="trms">relations in the existing fabric of the ="trms">world, problematizing our intuitions into problems, therefore it is important to have the “='qstn'>?”
='strcls'>*="frds">Sina='lgc'>: re="trms">membering beyond ="trms">history

='lgc'>='lgc'>='lgc'>--='lgc'>--='lgc'>='lgc'>--='lgc'>--='lgc'>[how can we enter something and not enter it at the same time='qstn'>?='lgc'>]
='strcls'>*="frds scrmbld">Thiago='lgc'>: non="trms">presence ='lgc'><='lgc'>='lgc'>--> thinking, without body='qstn'>?!
='strcls'>*="frds scrmbld">Aela='lgc'>: is about the ="trms">question of distance and inside/outside, by practicing openness, it is about when something enters ‘you’
='strcls'>*="frds scrmbld">Sana='lgc'>: physical-="trms">presence ='lgc'>=/= ="trms">imagination (mental activity ='lgc'>~= dream) ='lgc'>{She needs to see ="ppl">Miyazaki='lgc'>}
='strcls'>*Roger='lgc'>: we do it all the time, for him it is more about active engagement, role of feelings, moments that you are pushed out by the entity
='strcls'>*="frds scrmbld">Maarten='lgc'>: no! enter ='lgc'>=/= not-enter, research depends on de="trms">finitions
='strcls'>*="frds scrmbld">Juan='lgc'>: layers of realities are involved, it is about expanding the consciousness by charming it into 90='prcnt'>% ="trms">presences, theater gives a yes/no quality to the ="trms">question of entering, actors, ="trms">stage as Dystopie of ="trms">presence
='strcls'>*="frds scrmbld">Xiri='lgc'>: yes! this is often the case, we are between 2nd-chances and being-torn-apart

='lgc'>='lgc'>='lgc'>--='lgc'>--='lgc'>='lgc'>--='lgc'>--='lgc'>[who told the first ="trms">joke='qstn'>?='lgc'>]
='strcls'>*="frds scrmbld">Gerald='lgc'>: objects ='lgc'>=/= actual life (absurdity and absoluteness of objects) (contemplating about object ='lgc'>==> inner smile)
='strcls'>*="frds scrmbld">Nicolas='lgc'>: father (by not getting it ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right), not mother (she is not the teller type), the tickler is about lunching possibilities
='strcls'>*="frds scrmbld">Vladimir='lgc'>: God, ="frds scrmbld">Vladimir thinks this is theological and therefore axiomatic (that means self-evident or un="trms">questionable)
='strcls'>*Lise='lgc'>: Monty Python, ="trms">specifically the philosopher soccer video, in the way that makes you ="trms">laugh
='strcls'>*="frds scrmbld">Elke='lgc'>: God, God said “this is reality” (but we didn't get his ="trms">joke)
='strcls'>*="frds scrmbld">Steven='lgc'>: some funny kid in the street when he was 5 or 6, and it wasn't really a ="trms">joke more a ="trms">story

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

i like to set up a synonym-finder machine
(looking at mutations of ...)
='lgc'>='lgc'>--> the same way that in ="ppl">Attar's ="trms">birds, one ="trms">birds trying to convince another ="trms">birds, is living by a roaming assemblage of assertions, and not really an argument='lgc'>--i am also not having any argument in that sense

="large lg2" stl="font-size:112%"> the words locked to certain meanings='lgc'>='lgc'>--='lgc'>--lock is another word for ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure, a key and lock seducing each other, we can check its mechanics


three ="trms">interesting objects from ="nms">apass’ environment='lgc'>:
="prgrph">-op="trms">posite
="prgrph">-omen
="prgrph">-alarm



in the beginning there was the ... rather than the word ‘or’

(or is about ="trms">joke, alternatives, and maybes)


="large lg1" stl="font-size:135%"> a mouthful='lgc'>: as much as a mouth will hold. ='lgc'>: a word, name, or phrase that is very long or difficult to say. ='lgc'>: something said that has a lot of meaning or importance.



="trms">interdisciplinary exploration of


is “what is your project about again='qstn'>?” the ="trms">question we want to ask in ="nms">apass='qstn'>? does this ="trms">question really helps the other='qstn'>? or is it just for you, the ="trms">questioner='qstn'>?
="prgrph">-how to resist the ="trms">interference of double click='qstn'>?


="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

(in the direction of ='mywrk'>my research; hastily opening the ="trms">ontological envelope that saves a heart full of “="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list of ="trms">specifications”...)
the visit will be to the ‘European Committee for Standardization’ (CEN, French='lgc'>: Comité Européen de Normalization), one of the EU fostered nonprofit public institutions of the cutting-="trms"nttrm="knowledge,Knowledge">edge development regarding ambitious notion of ‘="trms">data,’ ‘="trms">systematic knowl="trms"nttrm="knowledge,Knowledge">edge,’ and ‘="trms">specifications’. the excursion will be oriented towards a meeting between the participants of advanced performance and scenography studies and the re="trms">presentatives of CEN, and encourages a run between the ="trms">ontological ="trms">demands of ="trms">international economy and contemporary art, their disastrous split, and where their formations meet and ="trms">intersect.

KEYWORDS='lgc'>: ="trms">cosmology, experimentation, existence, ="trms">specification, future, knowl="trms"nttrm="knowledge,Knowledge">edge, irrationality, permanence and substance, ="trms">technological acts='lgc'>--of naming, a path of becoming='lgc'>--on the grid of ="trms">technological dominion, suspicious partnership of “advanced democracies” and “high ="trms">technology"='lgc'>--what allows their ="trms">mutuality='qstn'>?, standard-testing='lgc'>--which sectors of existence it is ="trms">traversing='qstn'>?, pre-="trms">technological traces of cognitive normalization, the very little ="trms">difference between ="trms">specification and “the real thing,” THE o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of the ="trms">demand for ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorous ="trms">specification, migration of ="trms">questions out of the areas of ="trms">instrumental fitness, human ="trms">relation to the surrounding ="trms">world, impoverished ="trms">zoologies='lgc'>--under ="trms">techno-="trms">epistemo-="trms">anthropocentric values, squeezing pre="trms">historic modes of weakening subjectival normativity='lgc'>--a field that today gets heavily ="trms">technologized,

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

to bring our needs and ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lures towards each other
bring my ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure to the table (that thing which i can't stop following)

who/what are you pregnant with='qstn'>?

(that is what you are proposing)

(that is to play with the ‘="trms">histories of body and mind’ ='lgc'>[="ppl">="ppl">Haraway='lgc'>] you in="trms">herit ='lgc'>='lgc'>--> for me is to play with the pre-subjective singularities)
='lgc'>[in="trms">heritance is of great importance for our research. it is about the passing of ="trms">obligations from something ghost-like. i am sure we have other modes of ="trms">response available to us other than how Hamlet takes in what is in="trms">herited to him, other ways of ="trms">responding to the ghostly beings that talk to us from death. (in="trms">heritance ='lgc'>~= inhabiting spirit ='lgc'>[they cannot be possess as a piece of property='lgc'>], ="trms"nttrm="already,spread">reading inflaming flashes of remote spirits ='lgc'>[='lgc'>='lgc'>--> is this hear from one another looks like='qstn'>? is ="trms">technology placed at the source of this reflection='qstn'>?='lgc'>--="trms">technology itself answers the call='lgc'>--(="ppl">Avital)='lgc'>]) could we work with Ophelia's kind of ='at'>#Wortsalad instead='qstn'>? (Salad-e Kalame, khoresht-e kalame; same thing happens to Shirin of in Khosro Shirin, but unlike ="ppl">Shakespeare, ="ppl">Nezami allows another ="trms">poetic drift;) ="ppl">Heidegger's “die Sprache spricht” ='lgc'>: ="trms">language is monologue ='lgc'>--='qstn'>?='lgc'>='lgc'>--> ="trms">schizophrenia and ="trms">schizophrenic discourse ='lgc'>--='qstn'>?='lgc'>='lgc'>--> structure of speaking='lgc'>]
='lgc'>[speaking asserts a certain temporal ="trms">priority which we must undermine='lgc'>]
="prgrph">-="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listening ='strcls'>*before='strcls'>* speaking
="prgrph">-“We hear ="trms">language speaking” (="ppl">Heidegger); a non-organic speaking; ="trms">language is not ="trms">="trms">equipped with organs of speech='qstn'>? (="ppl">Avital)


="trms">serious ="trms">joking / ="trms">joking ="trms">seriousness ='lgc'>[="ppl">="ppl">Haraway='lgc'>]
="trms">joke/="trms">jest/="trms">gesture
a space of play ='lgc'>='lgc'>--> where ideas come in to being
(="trms">story of ‘or’. is it where the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal ="trms">joker came='qstn'>? using or instead of and)
(there is no ‘or’ in ="trms">nature!='qstn'>? what are the earlier forms of or that we can trace in cave paintings or tool makings='qstn'>?)

='strcls'>**if you don't take my idea ="trms">seriously i will be utterly incomprehensible='strcls'>**

="trms">crafts-person for the building of ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lures of pro="trms">positions ='lgc'>='lgc'>--> ‘abstractions’
(abstraction is fragile and can hold ="trms">worlds together)


where Europe comes from='qstn'>? (woher kommst du='qstn'>? i am born in, i am born in, ...)


what animates us rather than what civilizes us



(to ="frds scrmbld">Shabnam='lgc'>:) to ‘mourn with’ rather than ‘mourn about’
(-about ='lgc'>=/= -with)
(structure of mourning)

="large lg3" stl="font-size:110%">
to break in the philosophical and biological headquarters (and steal their ="trms">stories, their abstractions, etc.)
exchanging and sharing ="trms">instruments and ="trms">languages



="large lg4" stl="font-size:111%"> this is about building something that is ‘good enough’ to get you through...

these practices doesn't necessarily produce ‘separate entities’ (indivis)
am i fantasizing creating a monolithic structure of ideas='qstn'>?


critique is an art that tangles with what you are proposing
(like an octopus in a ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg5" stl="font-size:115%">
="trms">stories that can ="trms">interrupt death (of our time, ="trms">anthropo="trms">cene, etc.)
(='thdf'>example of biology-="trms">story into culture-="trms">story='lgc'>: (1) ladder of evolution[...]