[...]f what i ask, other states of body, what is mark? --> culture/context specific
*Seba: finding the best questions in beauty is about learning pronunciation, the issue of pronunciation instead of questioning (or their merge?), (statement/question) --> doubt --> postponing an immediate answer (“but before you answer...”) --> death of question
*Esteban: not to do: impose an answer, not triggering in the other, expecting an idea of an answer
*Arianna: deep truth involved, process, point of passage (the axis of child traverses your axis) what you say to the other is a container
*Joke: question --to--> invitation, creating the invitation
*Pierre: posting a problem is not about general sentences, it is about finding new relations in the existing fabric of the world, problematizing our intuitions into problems, therefore it is important to have the “?”
*Sina: remembering beyond history

--------[how can we enter something and not enter it at the same time?]
*Thiago: nonpresence <--> thinking, without body?!
*Aela: is about the question of distance and inside/outside, by practicing openness, it is about when something enters ‘you’
*Sana: physical-presence =/= imagination (mental activity ~= dream) {She needs to see Miyazaki}
*Roger: 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
*Maarten: no! enter =/= not-enter, research depends on definitions
*Juan: layers of realities are involved, it is about expanding the consciousness by charming it into 90% presences, theater gives a yes/no quality to the question of entering, actors, stage as Dystopie of presence
*Xiri: yes! this is often the case, we are between 2nd-chances and being-torn-apart

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

...................................

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

the words locked to certain meanings----lock is another word for lure, a key and lock seducing each other, we can check its mechanics


three interesting objects from apass’ environment:
-opposite
-omen
-alarm



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

(or is about joke, alternatives, and maybes)


a mouthful: as much as a mouth will hold. : a word, name, or phrase that is very long or difficult to say. : something said that has a lot of meaning or importance.



interdisciplinary exploration of


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


...................................

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

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

...................................

to bring our needs and lures towards each other
bring my lure to the table (that thing which i can't stop following)

who/what are you pregnant with?

(that is what you are proposing)

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


serious joking / joking seriousness [Haraway]
joke/jest/gesture
a space of play --> where ideas come in to being
(story of ‘or’. is it where the original joker came? using or instead of and)
(there is no ‘or’ in nature!? what are the earlier forms of or that we can trace in cave paintings or tool makings?)

**if you don't take my idea seriously i will be utterly incomprehensible**

crafts-person for the building of lures of propositions --> ‘abstractions’
(abstraction is fragile and can hold worlds together)


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


what animates us rather than what civilizes us



(to Shabnam:) to ‘mourn with’ rather than ‘mourn about’
(-about =/= -with)
(structure of mourning)


to break in the philosophical and biological headquarters (and steal their stories, their abstractions, etc.)
exchanging and sharing instruments and languages



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?


critique is an art that tangles with what you are proposing
(like an octopus in a lure)

...................................

stories that can interrupt death (of our time, anthropocene, etc.)
(example of biology-story into culture-story: (1) ladder of evolution --> progress (2) sperm/egg story --> gender performance)

to change stories so that they are more livable
we live stories

to make mistakes as fast as possible


...[...]