[...]ferent ="trms">zoom level
cheat ='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'>--> 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'>--> ="trms">epistemological buried objects='lgc'>]
criticizing how capitalism ="trms">zooms for her irrelevant objects
buffoon ='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

="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

="large lg2" stl="font-size:110%"> ="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'>--> ="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'>--> honest and human
sug="trms">gested topology='lgc'>: nest

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="large lg1" stl="font-size:116%">
='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'>*

use of the ='strcls'>*dramatic='strcls'>* as ="trms">method ='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'>--> 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'>--> 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'>--> 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'>--> 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'>--> 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.

="large lg3" stl="font-size:112%"> 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,


="large lg4" stl="font-size:110%">
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'>--> 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'>--> related to the fathers of correction (='qstn'>?) and proper address

="large lg5" stl="font-size:148%"> 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'>--> ="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 Vin[...]