[...]ture, “her work” was mysteriously created
--> both the court and the phone call are mystic producers of the subjectivity of the artist dead or alive [#this needs more investigation]

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

boundary-making practices in our shared struggling world
the idea that art “starts” and “stops” somewhere
zeroing the artworks ecosystem

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 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”?

questions of: essence (in art), subjectivity production, protection,



with Vincent

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

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

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

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

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

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

the architecture and flag of BOZAR plus his notion of design, are they interesting and necessary ways of forming kinship and properly distanced history?

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



with Olga

regards of the question “what are an artwork's boundaries?” and it's intersections with documents, lists, and reports

for Olga:
document = evidence
research = mourning
(mourning as the passionate and demonstrative activity of expressing the state of loss or deprivation of a certain object for a certain subject, and demand for its revival or memorialization)

what is the feeling of the document?

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

putting the narrative into proper sleep
casting the names

-artist has turned herself into a mnemonic device --> suggesting “amnesia” as her context
-artist has become a reminder and (therefore) her audiences have become memorizers

(question of) memory and remembering --> the idea of ‘literal remembrance’ in her performance, re-membering, literally bringing back the “members” of the Kurt Jooss company into the present of her audiences
-the problem with her remembrance is that “there is something that is important to remember” regardless of the person/subject who remembers

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 [for world peace?]) in a sense her subject of research remains unresearched, her values unevaluated, her moral settlements settled

how can she become interested in decomposing her research-bodies of The Green Table?
can we remain critically ethically responsible in thinking about the “meaning and message” of our subject of study and still be able to decompose it in interesting serious ways? (yes yes)

questions of: thinking, reminding, remaining,



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

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

is document today a mere effect of technologies of inscribing?

why we are not talking about “file”?
(---> go to the ontology of evidence and files in X-Files TV series)

is ‘file’ the bedrock of reading today?

document assumes, constructs and promises its own labor of reading
? document is that which reads as referent, truthful, evident, economic value, , ,



Femke, with multiple understanders of the blended, blending world

the question of the metaphors of the body

manuality
manual understanders

for her “the point of origin” is at stake? --> the “ground” is at once desired and disarticulated for the sake of an idea of situatedness --> politics of positioning

placement, world, Dasein, fall

in CG bodies are articulated in differential vectors, not “grounds” --> does she want to ground the body?

she was mobilizing the metaphors of: body, ground, falling
how is she falling? in which historically contingent practices of grounding is she grounded, building her discourse?

ontology of the variable --> (question of the) figure of variation
her work with the partners of crime, getting in the front line and frontiers of CG working and practical metaphors

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Sofia's textual machine, switching between binary values of faire contract --> staying with the polar syntax of ‘you’ and ‘them’
-how the rotating axis of her machine is able of creating breaks in the syntax of the contract?
-(for her machine: “understanding = an act of application”) --> how new forms of *understanding* could change the ways we might achieve fair societies? and not merely changing the order of sentence to visualize and objectification of unfairness and precariousness of the employment economy, in the exegesis of the writen contract. what would it mean to install an understander (taking a risk), for Sofia, and not a reversal syntaxer (making aware)?
-employer and the employee as different “species” with their different “natural” tendencies to fuck with one another? --> zero-sum game
-the question of symbiotic relatedness (--> psychoanalysis) =/=? contractual relatedness


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to emphasis on the contingent and the contextual

the process of becoming researcher (of science and technology studies : inquiry into the politics and practices of knowledge-making)

vignette (sketch, a brief literary description, narrate scenes from familiar activities)

the question is not ‘how can we care more?’ (as predetermined set of affective practices) rather: **what happens to our work when we pay attention to moments where the question of ‘how to care?’ is insistent but not easily answerable** (‘care’ as an analytic or provocation)
-Kenney


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