[...]apita="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

="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)

="large lg2" stl="font-size:111%"> ="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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='lgc'>[title='lgc'>]
archives of open desire

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='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

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

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

="large lg1" stl="font-size:140%"> 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.

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'>--> 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'>?

="large lg3" stl="font-size:112%"> (='qstn'>?what is the artist's) busy-ness with design ='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'>--> ="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'>--> (="trms">question of) the production of the proper witness

="large lg4" stl="font-size:110%"> 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'>--> 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

="large lg5" stl="font-size:154%"> 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 [...]