[...]architecturally phallically ="trms">positioned='lgc'>: in the center, on the top, wrapped around the body, and so on.)

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='lgc'>[="nms">apass opening week 08.05.2017, (my ="trms">response to) what is “artistic research”='qstn'>?='lgc'>] artistic research is a fancy way of transforming your “weird feelings” about the ="trms">world into an “inquiry,” so to say, and at the same time resist to be faithful to standard accounts of what counts as a “="trms">serious knowl="trms"nttrm="knowledge,Knowledge">edge claim.” So it in="trms"nttrm="cluster,club">cludes a lot of messy thinking-feeling, ="trms">embodied practices, ="trms">affects, ="trms">poeticity, semi-="trms">scientific work, magic, ="trms">data collection, mutative ="trms">interpretative ="trms"nttrm="already,spread">reading, forgetting things, detours, rituals, dead-ends, ="trms">writing under the influence of scarce foreign obscure philosophies, ="trms">literary ="trms">drugs, and boldly using ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors from ="trms">different disciplines of “study” that one can find. So, on the one hand, it is a term, invented to indicate a “fluid ="trms">modern personality” within a turn in humanity studies that opens up to ‘what an artist al="trms"nttrm="already,spread">ready knows’ or ‘what an artist is allowed not to know’ within their ="trms">specific ="trms">historically ="trms">situated set of tools. And, on the other hand, it indicates an important shift in the education of art, in which the attitude of the artist changes='lgc'>: instead of making things into a “resource” for artistic creation, rather making things into a “topic.” That means a whole new set of ="trms">relationalities and new forms of attention need to be learned and cultivated, which were ="trms">historically often absent in the education of art.


="large lg2" stl="font-size:110%"> ="prgrph">-i want to bring a circus inside ='lgc'>{='lgc'>='lgc'>--> within='lgc'>}
="prgrph">-my business still with ="trms">aesthetics (my own image) (="trms">narcissistic stuff...)
="prgrph">-to show up as a guy, castrated and very advanced (='lgc'>='lgc'>--> you can only come up castrated unless you are extremely advanced, ='at'>#="nms">harem stuff)
="prgrph">-i am trying to come forward with all the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor and ="trms">rhetorics available to me

the death score

="frds scrmbld"nttrm="Leonardo">Leo correcting his proper name in my mouth. (sig="trms">nature='lgc'>: master of your name ='lgc'>='lgc'>--> master of your house)
="frds scrmbld"nttrm="Leonardo">Leo named his future projection='lgc'>: “Empathos="trms">cene”
='lgc'>[sometimes your name is the first doorkeeper (as in ="ppl">Kafka'a Turhüter)='lgc'>]

="frds scrmbld">Eszter's ‘what is there as an obstacle to the freedom of man (='qstn'>?)’ (="trms">question marked by me)
='lgc'>='lgc'>--> the spatial ="trms">gesture of the ‘stop’ (='at'>#="frds scrmbld">Selma)

="frds scrmbld">Maarten's version of confusion (stated by himself) is due to that='lgc'>: the messianic horizon is essentially confusing (='qstn'>?)
his auto="trms">poiesis and cognitions

="frds scrmbld">Nicolas's notion of “leaking” has to do with marginal non-textual non-accounted-for moments that bleed in absolute non-contractual and non-appropriable event='qstn'>? (the so-called moment when we show things to each other)
="lsts lst1">•his ‘climate of creativity'='lgc'>~~~_='lgc'>[what does ‘criticism’ mean for him='qstn'>?='lgc'>]
="lsts lst1">•when he says “="trms">gesture,” is he accessing ‘="trms">gesture’ having an uncalculable ="trms">semiotic value ='lgc'>=/= ‘performance’ that can be ="trms">measured in economical terms='qstn'>? ='lgc'>[but, what kind of consequential work is ="trms">gesture doing='qstn'>?='lgc'>]
(="frds scrmbld">Nicolas's order of inquiry and discovery)
(='lgc'>='lgc'>--> what is at stake is how do you locate the effects of your work. for ="frds scrmbld">Nicolas it is locate at the “sides” ='lgc'>[which is al="trms"nttrm="already,spread">ready problematically pre="trms">positioned outside of him='lgc'>] ='lgc'>--="ppl">Ahmed='lgc'>='lgc'>--> ab object can be ="trms">affective by virtue of its own ='strcls'>*location='strcls'>* ='lgc'>[...='lgc'>] and the ='strcls'>*timing='strcls'>* of its appearence)
='lgc'>[the ‘image of the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid’ in his ="trms">presentation='lgc'>]

="frds scrmbld">Kristien's chart='lgc'>:
="trms">questions ='lgc'><='lgc'>='lgc'>--> ="trms">symptoms
answers ='lgc'><='lgc'>='lgc'>--> openings
="trms">past ='lgc'><='lgc'>='lgc'>--> diary

="large lg1" stl="font-size:140%"> for ="frds scrmbld">="frds scrmbld">Lilia='lgc'>: ="trms">apparatus='lgc'> = score
for ="frds scrmbld">Eszter='lgc'>: ="trms">apparatus='lgc'> = preparation ='lgc'>{='lgc'>--='qstn'>?='lgc'>='lgc'>--> everything depends on the ways we prepare='lgc'>}
for ="frds">Sina='lgc'>: ="trms">apparatus='lgc'> = (chaotic/strange) attractor
for ="frds scrmbld">Hoda='lgc'>: ="trms">apparatus='lgc'> = negative feelings
for
for
(other non-="ppl">Agambenian notions of ="trms">apparatus='lgc'>: ="ppl">Katie ="ppl">King's, ="ppl">="ppl">Barad's, ="ppl">Wark's)
='lgc'>[="ppl">Agamben still thinks of structure in ="ppl">Euclidian terms, pre-chaos theory and fractal ="trms">geometry of (non)equilibrium. thermal chaos and dynamic ="trms">system theory has changed the ways we think about global/local stabilities, discontinuities and noise. ="trms">sym="trms">poiesis is another one.='lgc'>]
="prgrph">-with ‘="trms">apparatus’ what is at stake='lgc'>: flow of energy, order, waste, transformation,

="frds scrmbld">Vladimir's tether on disambiguity

="frds scrmbld">Elen, adding her own wheels to the flow(s)
and putting a stick/spoke in a rolling wheel (of others='qstn'>?) ='lgc'>[her saboteur trends, چوب لای چرخ (='lgc'>=/=='qstn'>? kharab-kari خراب کاری), what is chub lay-e charkh for her='qstn'>? vandalizing the discourse of others='lgc'>]
="prgrph">-the famous vandal of wikipedia with the recursive name “-on wheels” (Willy on Wheels, adding “on wheels” to the title of every single page, using the move function of Wikipedia='lgc'>: renaming the existing title ='lgc'>==> moved to another namespace, without changing the base title)
="prgrph">-like myself, her saboteurs are critically not ="trms">symbolic nor ontic, rather sometimes ="trms">epistemic, or better, ="trms">ontologic='lgc'>: they don't vandalize the “thing” itself, but the “="trms">nature of the properties” that constructs that thing for us
="prgrph">-rocket sculture (what does it mean for her='qstn'>?)


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='lgc'>[the ="trms">question of inevitability of ="trms">anthropical view='lgc'>]
there is no final answer to a kind of ="trms">question but a lot of answers
through inhabiting a figure you are ="trms">crafting you find yourself addressing a set of problems
="trms">agency='lgc'>: liveliness of artifacts (='qstn'>?). there is some kind of liveliness that is both human and nonhuman
the kind of ="trms">sociality that joins two ="trms">categorically separate mode of ="trms">agencies, is a ="trms">sociality that constitutes both ='lgc'>='lgc'>--> the ="trms">interaction of humans and machines produced both ='lgc'>=/= unilateral action
(my whole point or ="trms">joke, with the bow and arrow was that the arrow of index finger does not move in one way.)
='lgc'>[='lgc'>=/= another mode that comes to mind is when your intimacy making leads always to yourself, getting laid, ="trms">literally. that is when your concern becomes only you and someone, sexually ="trms">interested ='lgc'>='lgc'>--> economically, and you don't concern the ="trms">sociality of your people with each other. ='at'>#="trms">techno-capital singular subjectivity ='at'>@='lgc'>='lgc'>--> this is super relevant for ="frds scrmbld">Sven, maybe='lgc'>: how one becomes ="trms">interested, invested, and ="trms">skillful in provoking ="trms">interesting ="trms">socialities for friends and peers='lgc'>--and not only for oneself='qstn'>? creating, inciting zones of connectivity='lgc'>]
="prgrph">-='lgc'>[it was not accidental that the ="trms">rhetoric of ="trms">drugs came up with ="frds scrmbld">="frds scrmbld">Lilia when I sug="trms">gested the attention to ="trms">anthropos ='lgc'>='lgc'>--> what figures human and otherwise was for her the subject of ="trms">drug-induced ="trms">rhetoric of mind-alteration; (this is the ="trms">anthropos of the Enlightenment Europeans and classical Greece talking='lgc'>:) “in order to get rid of me you must take ="trms">drugs!” ='at'>#="trms">fable/_ ='lgc'>='lgc'>--> being sober(='qstn'>?!), ="trms">anthropos becoming, human ="trms">nature, common sense, ="trms">="trms">empiricism and ="trms">interpretation are at stake here='lgc'>]
="prgrph">-='lgc'>[another thing was the label of “="trms">animal” that was passed around as a form of mock, instead of provocations for more conversation, I was stupefied. ='lgc'>--how can we go on together and not render each other commitments nonsense='qstn'>?='lgc'>]


“point of view” is an important ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor


='at'>#in ='mywrk'>my work in ="nms">apass i am working on descriptive practices ='lgc'>[="trms">poetics of ="trms">animal description, ="trms">histories of nonhuman inscription, etc.='lgc'>] to learn to name latent (and therefore emergent) ="trms">ontologies, to name ‘what we are doing in new ways,’ which are hard to name. (also refusing not to name the violences of others and yourself. to reckon the ="trms">nature and scope of the erasures we do in our works.) ='prcnt'>% why do you think that is important='qstn'>?
='at'>#and my shift of attention to peer's works is about that='lgc'>: our domain of practices must make claim on each other ='lgc'><== we inhabit ="trms">differences together (='lgc'>='lgc'>--> attention and work on='lgc'>:) ‘local ="trms">category abstractions’ (how do we talk and make each other feel our subjects of ="trms">interest in ="nms">apass for example) ='lgc'>='lgc'>--> (the cumulative, as="trms">sociated and sensed) ="trms">routines, ="trms">gestures, and (="trms">inter)surfaces of our everyday life in ="nms">apass, as a group of rese="trms"nttrm="search">archers, that don't necessarily align ='lgc'>==> ="trms">worlding comes from these things.
='lgc'>[attunement ='lgc'>=/= argument='lgc'>]


="large lg3" stl="font-size:110%"> the name of the ="trms">world is “detail”


='strcls'>***="trms">translation (essentailly imperfect) is the very condition of signification ='lgc'>='lgc'>--> ="trms">trope is the very condition of ="trms">language

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="large lg4" stl="font-size:111%">
don't be docile bodies or innocent bystander, do what you have to do to constitute your courage
all i am saying is that='lgc'>: it is not clear what the destiny of art (or of anything) is

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perhaps what i am trying to learn='lgc'>--with ="nms">apass, ="nms">ajayeb, ="trms">writing, ="nms">harem, etc='lgc'>--is to ask what do i need='lgc'>--which ="trms">skills, abilities, or ="trms">literacies='lgc'>--to become ="trms">="trms">equipped to share the experience of the habits of the ="trms">world (of ="nms">ajayeb) that i am discovering

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="frds scrmbld">Luisa='lgc'>: “the visual (side)effects of [...]