[...]to ="trms">different lived experience
="lsts lst1">•="trms">interested in the ='strcls'>*labor of knowl="trms"nttrm="knowledge,Knowledge">edge-work='strcls'>* (in collective digital flesh life)
="lsts lst1">•="trms">interested in shifts in topology (the ongoing reworking of bodily boundaries of each of our research practices)
="lsts lst1">•


TERMINOLOGY='lgc'>:

='strcls'>*="trms">articulation-work='lgc'>: the labor necessary to make ="trms">technologies fit together seamlessly

='strcls'>*diversity-work='lgc'>: a kind of work in which we learn about the damage we cause, and of how “causes” are understood as “damage”

='strcls'>*librarianship='lgc'>: a work that hooks up people with their ="trms">technologies

="large lg2" stl="font-size:112%"> ='strcls'>*="trms">data abstraction='lgc'>: a ='strcls'>*="trms">technique of isolating='strcls'>* (the parts of your mini-="trms">language that deal with) how ="trms">data/info objects are ‘re="trms">presented’ from (the parts of your mini-="trms">language that deal with) how ="trms">data/info objects are ‘used’ (='lgc'>-='lgc'>='lgc'>--> i addressed this in my ="trms">fable workshop in a totally ="trms">different ="trms">epistemology)

='strcls'>*model='lgc'>: your object de="trms">composed into ='strcls'>*computational compound objects='strcls'>* (each with their own time-varying local state variables)

(re="trms">presentation of ="trms">data and control over ="trms">data='lgc'>:)
='strcls'>*modular='lgc'>: localized part of the ="trms">system that are produced by the perception of the ="trms">system
='strcls'>*objective='lgc'>: viewing a large ="trms">system as a collection of distinct objects. concerned with how a computational object can change and yet maintain its identity
='strcls'>*streamous='lgc'>: information that flow in the ="trms">system. its evaluation is delayed. in="trms">finite ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list

="large lg10" stl="font-size:100%"> ='strcls'>*="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">data='lgc'>: machine-="trms"nttrm="already,spread">readable persistence statements

='strcls'>*digital ="trms">interface='lgc'>: discrete object of your “research problem” that refers to something outside the cri (outside the digital model)

='strcls'>*topology='lgc'>: a (proposed) body-plan to investigate ="trms">questions of ='strcls'>*connectivity='strcls'>* and ='strcls'>*boundaries='strcls'>*, in order to find out what remains invariant as a result of transformation. this will direct us to propose (well-intended but not tested) ='strcls'>*transversal objects='strcls'>*.
to be able to propose='lgc'>: in the culture of each pad='lgc'>+participant='lgc'>+research what connects and joins, what delinks and disconnects.


PRACTICAL='lgc'>:

we want to find out how cri's “filter” ="trms">translates its politics into ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">data
and
what happens in linking the ="trms">symbolic space of ="trms">data-model to the (="trms">relational, procedural, emotional) qualities of the rese="trms"nttrm="search">arches of participants

we will work on the block's opening week feedbacks and process them in this diagram='lgc'>:
feedback ='lgc'>='lgc'>--> quasi object ='lgc'>='lgc'>--> structured knower ='lgc'>='lgc'>--> ="trms">data
(or ="trms">technically='lgc'>:)
semantic in flux ='lgc'>='lgc'>--> persistence statements ='lgc'>='lgc'>--> object re="trms">pository ='lgc'>='lgc'>--> identifiers

(Tuesday, Wednesday, and Thursday are spent on the creation of “quasi objects”)

i propose some (well-intended but not tested) ="trms">internal ="trms">categories='lgc'>:
="lsts lst1">•stickiness
="lsts lst1">•="trms">zoom
="lsts lst1">•cheat
="lsts lst1">•persistence
="lsts lst1">•repetition
="lsts lst1">•vulgar

(i will describe them later)

and these ="trms">categories produce three topologies='lgc'>:
="lstsrd">1. ramp
="lstsrd">2. nest
="lstsrd">3. skew

(this is a maneuver to replace the ="trms">question of ‘strategy’ to ‘topology’, the first act of making quasi-objects)

="large lg10" stl="font-size:111%"> ramp='lgc'>: sequential, one dimensional, ‘sliders’
nest='lgc'>: fractal, serializable, arborescent, ‘comments’
skew='lgc'>: ="trms">verb-active, streching, ‘2D field color picker po="trms">inter’

each is “queryable” in ="trms">different ways and propose ="trms">different difficulties
each of them addapted from an existing ="trms">technologies (range sliders, commenting, color pickers)
each embeds one of='lgc'>: colors, doings, values

slider='lgc'>: marking everything with decimals
comments='lgc'>: hypertextualizing
field picker='lgc'>: sp="trms"nttrm="already,spread">reading
='lgc'>}='lgc'>='lgc'>--> they are all milieu-makers

ramp ='lgc'>='lgc'>--> arc of necessity
nest ='lgc'>='lgc'>--> mosaic divisions
skew ='lgc'>='lgc'>--> chromatic/luminous effect (of mixture)


and also='lgc'>:
="lsts lst1">•to address (in a longer term) how ="nms">apass performs analysis and ="trms">prioritization of its own service de="trms">finition='qstn'>?
="lsts lst1">•to address (in a longer term) ="trms">historical/cultural ="trms">specificities of ="nms">apass
="lsts lst1">•to address aspects of ="nms">apass's exceptionalism (its characters, colors, doings, values)

="large lg1" stl="font-size:124%">

REPORT='lgc'>:

="frds scrmbld">Geert
="trms">zoom / biger picture
perform a ="trms">zoom
="frds scrmbld">Geert and Michael knowl="trms"nttrm="knowledge,Knowledge">edge ="trms">zoom-level
="frds scrmbld">Geert's strech-work
which cheats
vulgar='lgc'>: direct, ='lgc'>=/= suffisticated, ='lgc'>=/= nice(in a classical sense), ='lgc'>=/= institutional ="trms">code ='lgc'>[='lgc'>='lgc'>--> a cheat='lgc'>], everyday, good taste, context='qstn'>?!!
sug="trms">gested topology='lgc'>: skew ='lgc'>--changed='lgc'>='lgc'>--> nest (tow branches answering yes and no to='lgc'>: “is he cheating='qstn'>?”)

="frds scrmbld"nttrm="Leonardo">Leo
stickiness ='lgc'>~ residual (left overs of impression), we couldn't find little objects, litte stickies
="trms">zoom is tooooo wide, mega="trms">categories, “fermentation” is a ="trms">different ="trms">zoom level
cheat ='lgc'>='lgc'>--> perception/intention, value of non-doing ='qstn'>?, ‘order is cheat’, ritual ='lgc'>='lgc'>==> heal/cope
vulgar='lgc'>: ritual of popular knowl="trms"nttrm="knowledge,Knowledge">edge, ='lgc'>=/= ="trms">social acceptence, ="trms">communicating emotional needs, guilt on behalf of the vulgars,
sug="trms">gested topology='lgc'>: skew (with 4 axioms='lgc'>: negativity, ="trms">positivity, passivity, ritual)

="frds scrmbld">Caterina
sticky='lgc'>: difiicult to remove ="trms">categories, dirty, quality of ="trms">trape, almost negative, like honey as an ="trms">intermediary sticky for other objects to become sticky
="trms">zoom='lgc'>: Latina candition macro, ass rincles micro, herself, change of lens is what ="trms">matters not the ="trms">zoom level, the macro of the term culture itself
cheat='lgc'>: against the rule of ="trms">community/aggreement, always cheating the ="trms">system, against the game, bad ="trms">relation to the game, lazy ="trms">relation, faking='qstn'>?
vulgar='lgc'>: ordinary, insultive, perjurative, of the “people”, (="frds scrmbld">Geert='lgc'>:) a marking always coming from above, what television does='lgc'>: non-actual ='lgc'>+ ="trms">spectacle, (="frds scrmbld">Elen='lgc'>:) immoral, not o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal, not elegant, thinking in terms of the ‘same’, group forming, non-individual, twards mass formation,
sug="trms">gested topology='lgc'>: nest

="frds scrmbld">Eszter
polarized lense
confusion / being confused is ‘cheating’
stickiness absent
sug="trms">gested topology='lgc'>: nest (with two branches='lgc'>: naive ='and'>& political leader)

="frds scrmbld"nttrm="Godard">Goda
nothing sticks anymore therefor we go to swamp to stick to relevant objects
swamp as archive (refuge from the capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list) ='lgc'>=/=='qstn'>? cheat
constructing ‘bad example’ (='qstn'>?) ='lgc'>='lgc'>--> role model
="trms">zooming in losers of capitalism
X-ray kind of lens into the opacity of swamp
(her) treasures in the swamp ='lgc'>[='lgc'>='lgc'>--> ="trms">epistemological buried objects='lgc'>]
criticizing how capitalism ="trms">zooms for her irrelevant objects
buffoon ='lgc'>='lgc'>--> vulgar
sug="trms">gested topology='lgc'>: skew (the skew is a plain around the ="trms"nttrm="knowledge,Knowledge">edges, gets deeper in the middle, and a narrow way up in the center='lgc'>: the exit)

="frds scrmbld">Elen
="trms">presence of the working of subconscious ='lgc'>==provokes='lgc'>='lgc'>==> etymology
very sticki “hell yea!"s
affirmative, sometimes ="trms">technical knowl="trms"nttrm="knowledge,Knowledge">edge
something sold (“self”) with something ="trms">morphic on it (“apparition” or ‘surat’ in ="trms">farsi)
sug="trms">gested topology='lgc'>: ramp

="large lg14" stl="font-size:132%"> ="frds scrmbld">Hoda
cheat='lgc'>: sharp radical formation, playing ambiguity
totalizing vision lense (“if then all...”)
“because i asked i could feel”
anti-psychological
sug="trms">gested topology='lgc'>: ramp

="frds scrmbld">Katinka
makeover slider
vulgar='lgc'>: makeover show, e-bay
statements not touching her, something else is sticki object='lgc'>: ="trms">sympathy='qstn'>?
slider='lgc'>: stack
sug="trms">gested topology='lgc'>: ramp (makeover)

="frds scrmbld">Nassia
stick='lgc'>: something bodily, heat, sweat, property of objects
="trms">zoom is the op="trms">posit of body
gaze inside ='lgc'>+ anatomy
cheating='lgc'>: on people negative / on ="trms">systems ="trms">positive
sug="trms">gested topology='lgc'>: ramp

="frds scrmbld">Laura
osmotic='lgc'> = french kiss
administered (by machine) body
the good example
beauty is invested in...
the (unchanging) core of the cuttle-fish
popular='lgc'> = vulgar
sug="trms">gested topology='lgc'>: skew (regimented floor plan)

="frds scrmbld">Maurice
cheat ='lgc'>='lgc'>--> ="trms">joker, fool
cute='lgc'>: getting off the leash of institution
bear b="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurs what...
“but I am just...”
bribe economy ='lgc'>='lgc'>--> honest and human
sug="trms">gested topology='lgc'>: nest

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='lgc'>[title='lgc'>]
archives of open desire

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

='at'>#drawing exercises in built environment (with Sizek ='lgc'>+ Mathews https://culanth.org/fieldsights/1542-="trms">methods-for-many-="trms">anthropo="trms">cenes-with-andrew-s-mathews)
="lstsrd">1. pick a charismatic building/statue/object on your built environment, and draw a form of it, inviting to identify details of the object that reveal aspects of its ="trms">history or use today
="lstsrd">2. compare drawings and use the drawings to tell ="trms">stories about the object and its use or importance to life in that environment
="lstsrd">3. invite to reflect on the ways that drawing infrastructure can reveal processes at multiple temporal and spatial scales

discussion ="trms">questions/="trms">writing ="trms">response ="trms">questions='lgc'>:
="lsts lst1">•Which features of the structure stood out, and what do these sug="trms">gest about the processes of its creation and use='qstn'>?
="lsts lst1">•How has its infrastructure changed over time, and how are these changes evidenced in the built form itself='qstn'>?
="lsts lst1">•How does your structure relate to others in its immediate vicinity, and in what ways do ="trms">relationships between structures help reveal ="trms">social ="trms">relations='qstn'>?
="lsts lst1">•What traces of ="trms">past events are embedded in infrastructure or its ="trms">memories, and how can we render these traces ="trms">present='qstn'>?

drawings has to do with the incompleteness of knowing and re="trms">presenting
indeterminacy at ‘the same time’

(='qstn'>?in which locations you can get a good) human ="trms">response to='lgc'>:
="lsts lst1">•slow processes (soil, geology, plant form)
="lsts lst1">•fast processes (plant seasonal behavior, weather, human ="trms">responses to all of these things)

='strcls'>*drawing as structured ="trms">wondering/wandering='strcls'>*

="large lg10" stl="font-size:135%"> use of the ='strcls'>*dramatic='strcls'>* as ="trms">method ='lgc'>='lgc'>--> to entertain multiple ="trms">worldviews
to maintain irreducible complexity and to recenter ="trms">historical processes as central to understanding contemporary politics
(="trms">history and drama)
="prgrph">-facts as enacted and performed before audiences (='lgc'>='lgc'>--> tradition in ="trms">science and ="trms">technology)

='strcls'>**knowl="trms"nttrm="knowledge,Knowledge">edge is always performed, ="trms">staged, and enacted='strcls'>** ='lgc'><='lgc'>== ='mywrk'>my work on ="nms">ajayeb

how to tell the dramatic ="trms">stories

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

notes from ="frds scrmbld">Sofia's seminar on documentation

the ="trms">questions i brought home with ="frds scrmbld">Kobe='lgc'>:

the ="trms">ontological ="trms">relationships between law and art, who protects who='qstn'>? what protects protection='qstn'>? ='lgc'>='lgc'>--> which ="trms">material discursive practices make the ="trms">ontological boundaries of “protection”='qstn'>? (specially today investigating this term is more urgent in a ="trms">world saturated with toxic ="trms">vocabularies of security.) the figure of protection transforms the subjects of knowl="trms"nttrm="knowledge,Knowledge">edge and knowability ='lgc'>='lgc'>--> look at how the judge was talking about art

(="trms">question of) the production of subjectivity (of the judge himself as an active knowing ="trms">agent and the dead-master as the phantasmatic place-holder of meaning)
this is related to='lgc'>: (="trms">question of) ="trms">responsibility and individuality ='lgc'>='lgc'>--> influences and efforts of the work. two ="trms">interesting moments of genesis occurred='lgc'>:
="lstsrd">1- in the court “his work” (Beuys) was mysteriously created
="lstsrd">2- also when Olga got a phone call from the ministry of culture, “her work” was mysteriously created
='lgc'>='lgc'>--> both the court and the phone call are mystic producers of the subjectivity of the artist dead or alive ='lgc'>[='at'>#this needs more investigation='lgc'>]

(="trms">question of) the production of significance and ="trms">difference
look at the speech-acts of the judge in the case of Beuys. which nuances of ="trms">difference are generated, estated, established, and propagated='qstn'>? we can study every syllable of the judge's speech-act. the judge goes from one ="trms">fable to another='lgc'>: ="trms">fables of significance, ="trms">fables of influence, ="trms">fables of impression, etc.

boundary-making practices in our shared struggling ="trms">world
='thdf'>the idea that art “starts” and “stops” somewhere
zeroing the artworks eco="trms">system

when is the moment (or how the moment can be marked) that the judge becomes able to say “OK, I don't know.” or “I am opinionated about this art. Let's bring an expert.”
and beyond that, I am ="trms">wondering, like that judge, when myself standing in front of an artwork (or any work) how i am able to say “I have an opinion, or, I don't know”, “i need expertise in order to look at this”='qstn'>?

="trms">questions of='lgc'>: essence (in art), subjectivity production, protection,



with Vincent

(='qstn'>?what was the) notion of “everything is kept here” in his work

(='qstn'>?why and how) his ="trms">storytelling was all about design ='lgc'>='lgc'>--> his ="trms">stories of ="trms">responsibility and factuality
how and why in our artistic practices, production of ="trms">responsibility and factuality is hold in the terms and services of design and designer that is busy with building enhanced and efficient ="trms">communication ="trms">networks ="trms">historically rooted in the ="trms">geometries of ="trms">modernist project='qstn'>?

(='qstn'>?what is the artist's) busy-ness with design ='lgc'>='lgc'>--> related to the fathers of correction (='qstn'>?) and proper address

who (and why) wants to look at which ="trms">past with lenses and ="trms">geometries of the violent grids of the forefathers of ="trms">modernist design='qstn'>?
='lgc'>='lgc'>--> ="trms">ontology of document='lgc'>: an artifact with a ="trms">specific layout and design

design has to do with the proper address (='qstn'>?) which is (always) about the proper witness (='qstn'>?)
(in the case of Vincent) do you agree with the amerindian know-how that “a good designer is a dead designer”='qstn'>?

(='qstn'>?what was the) proper ="trms">affect of ="trms">history (that his work was creating)
through the ="trms">aesthetic of old and antique video projectors his colonialism belonged properly to the ="trms">past ='lgc'>='lgc'>--> (="trms">question of) the production of the proper witness

the architecture and flag of BOZAR plus his notion of design, are they ="trms">interesting and necessary ways of forming kinship and properly distanced ="trms">history='qstn'>?

Vincent “knew” his distance to the ="trms">past (='lgc'>='lgc'>--> do you smell a problem='qstn'>?)
in which clock he is looking at time='qstn'>? which time machine he is handed to or placed in='qstn'>? who/what is making his time model='qstn'>?
also, which segment of your practice is temporalized='qstn'>? this means also which part of your practice stands out of time='qstn'>?



with Olga

regards of the ="trms">question “what are an artwork's boundaries='qstn'>?” and it's ="trms">intersections with documents, ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists, and reports

for Olga='lgc'>:
document='lgc'> = evidence
research='lgc'> = mourning
(mourning as the passionate and de="trms">monstrative activity of expressing the state of loss or deprivation of a certain object for a certain subject, and ="trms">demand for its revival or ="trms">memorialization)

what is the feeling of the document='qstn'>?

='strcls'>*document is a ="trms">story that (usually) silences other ="trms">stories='strcls'>*
where our powers to provoke care (could/should) come from (if not from document/evidence)='qstn'>?
is document (in its form and feeling) the best way we have at our disposal to provoke the care of the generations='qstn'>? ...to mark each other with the mark of the care='qstn'>?

putting the ="trms">narrative into proper sleep
casting the names

="prgrph">-artist has turned herself into a mnemonic device ='lgc'>='lgc'>--> sug="trms">gesting “amnesia” as her context
="prgrph">-artist has become a reminder and (therefore) her audiences have become ="trms">memorizers

(="trms">question of) ="trms">memory and re="trms">membering ='lgc'>='lgc'>--> ='thdf'>the idea of ‘="trms">literal re="trms">membrance’ in her performance, re-="trms">membering, ="trms">literally bringing back the “="trms">members” of the Kurt Jooss company into the ="trms">present of her audiences
="prgrph">-the problem with her re="trms">membrance is that “there is something that is important to re="trms">member” regardless of the person/subject who re="trms">members

indisputability of the Green Table for Olga
the artist has chosen to protect The Green Table's meaning and message (due to her political and ethical commitments ='lgc'>[for ="trms">world peace='qstn'>?='lgc'>]) in a sense her subject of research remains unrese="trms"nttrm="search">arched, her values unevaluated, her moral settlements settled

how can she become ="trms">interested in de="trms">composing her research-bodies of The Green Table='qstn'>?
can we remain critically ethically ="trms">responsible in thinking about the “meaning and message” of our subject of study and still be able to de="trms">compose it in ="trms">interesting ="trms">serious ways='qstn'>? (yes yes)

="trms">questions of='lgc'>: thinking, reminding, remaining,



="frds scrmbld">Sofia's documentation
she asks “what is document today='qstn'>?”
="prgrph">-what was document yesterday (that is not anymore today)='qstn'>?
="prgrph">-how the ="trms">agency and meaning of docu is (or is not) mutating in time='qstn'>?='strcls'>*
="prgrph">-what is beyond the ="trms">question of documentation and preservation='qstn'>? ='lgc'>='lgc'>--> ='strcls'>*durational ="trms">aesthetics='strcls'>*
="prgrph">-is document a limited way of asking ="trms">questions about what we do and our ="trms">relationship with time and duration='qstn'>? ='lgc'>[you never know what the ="trms">present brings into the future.='lgc'>]

what art cannot say that document can='qstn'>? “truth”='qstn'>?
when truth was invented where was document standing='qstn'>?

="large lg3" stl="font-size:112%"> is document today a mere effect of ="trms">technologies of inscribing='qstn'>?

why we are not talking about “file”='qstn'>?
(='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to the ="trms">ontology of evidence and files in X-Files TV series)

is ‘file’ the bedrock of ="trms"nttrm="already,spread">reading today='qstn'>?

document assumes, constructs and promises its own labor of ="trms"nttrm="already,spread">reading
='qstn'>? document is that which ="trms"nttrm="already,spread">reads as referent, truthful, evident, economic value, , ,[...]