[...]ition ='lgc'>[="trms">categories of the traditional, of the subsistence food (ma'ash معاش), of the enacting of a culture in view of tourist public,='lgc'>]
="lsts lst1">•managed belongingness


In Jean ="ppl">Genet's portrayal of dusk (quoted by Minh-ha 1996:101-102), he captures the ambiguity of this ="trms">transitional time in the expression ‘entre chien et loup,’ between dog and wolf, that is, a time of day when one cannot be distinguished from the other, and he also describes it as ‘the hour of ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphoses when people ‘half hope, half fear’ that a dog will become a wolf’ (our emphasis). This quotation exemplifies the ambiguously ‘unheimlich,’ ='lgc'>[...='lgc'>]


="large lg2" stl="font-size:111%"> security is never secure enough


Jesus knocks at your heart's door


(="trms">history's or pig's) happy ending


absence of ambivalence (in ="trms">animals)

conditions of ad="trms">mission ='lgc'>-='lgc'>='lgc'>--> artistic, sexual, ="trms">natural ='strcls'>*selections='strcls'>*
tickets to power-holding cliques that control the resources


phantoms of non-destruction
or
phantoms of ‘constructed adequately’


pausing dogs
mixed messages
who is wanted for dinner='qstn'>?
the moment when the message is finally received ='lgc'>='lgc'>--> tech, magic, ethic, ="trms">morph

="trms">poetic ="trms">historiography

pivotal ="trms"nttrm="already,spread">reading of ancient Greece ='lgc'>='lgc'>--- out of day-dream fantasy


='lgc'>[="ppl">Rickels='lgc'>]
='strcls'>*beauty is ="trms">interested in action
(pure) beauty re-lingering on primary ="trms">narcissism, that's why beauty must be administrated, in proper doses.

(my) ="trms">animal-findings and fairy-tale as="trms">sociations

if dogs ="trms">communicate through their trainability cats redirect lines of ="trms">communication through play. the dog waits and watches, the cat looks and looks, which when is your turn to be looked at, can be therapeutic or unnerving.

meeting the cat half-way



='lgc'>[="ppl">Ingraham='lgc'>]
the house, passed over in ="trms">history, brings with it a great many d="trms"nttrm="danger,stranger">angers
architecture (never touches the object) is enchanted with object discourse
...all of us have been asked to “="trms">instrumentalize” architectural ='lgc'>[or art='lgc'>] theory ="trms">according to a particular building
="trms">material given a structure

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Q ='and'>& A ='qstn'>?, ="trms">interactivity, swarovski party, servants and robots ="trms">interacting with foreign bodies ='lgc'>='lgc'>--> feeling at home='qstn'>? ex="trms">cited... ='lgc'>='lgc'>--> disco without bouncers and borders without border check, spaces you can seamlessly in and out, labyrinthine

="large lg1" stl="font-size:129%"> i am generating some ="trms">vocabularies
parsite and parasitical, not all of them are predatory like the wolf



(Karen ="ppl">="ppl">Barad)
With all mirroring practices, biomimcry has built-in optics on the ="trms">geometry of distance from what which is other.


(="ppl">I="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigaray)
surprise (to be new)='lgc'>: not yet assimilated or disassimilated as known
our attention to that which is not yet (en)="trms">coded

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(something to consider, regarding the pigs and wolf ="trms">story, also an ="trms">interest for performances that happen in closed space;) there is a standard account that says ‘="trms">interiors’ and ‘="trms">interiority’ are linked, that the ="trms">articulation of ="trms">interior physical space enabled the development of certain kind of (initially bourgeois European) sense of subjective life='lgc'>--as something sheltered and enclosed.
='lgc'>=/= ="trms">interiority (subjectivity) is linked to the exterior ='lgc'>[="ppl">Sennett='lgc'>]

O='lgc'>-- still in the 15th century (when sex and sleeping was not ="trms">veiled under curtains) there was no cor="trms">relation between ='thdf'>the notion of privacy and the ="trms">interior
O='lgc'>-- in the mid 18th century (among European bourgeoisie) a new ideal of domesticity appeared which ="trms">dictates a new ="trms">interior space ='lgc'>='lgc'>--> separate room separate functions, segregation of domestic activities
O='lgc'>-- ="ppl">Rousseau='lgc'>: in the shelter of private domestic space subjectivity is set free (='lgc'>='lgc'>--> a ="trms">different kind of subjectivity (one which guards the self, something to be protected from the outside) is enabled by the development of the division of labor in ="trms">interior space) ='lgc'>[this is not merely architectural, it is also something about the clothing people wore='lgc'>: wearing ="trms">different clothes in family or in the realm of str="trms"nttrm="danger,stranger">angers. houses became warmer='lgc'>]

(="ppl">Simmel's) “="trms"nttrm="disturban">urban subjectivity”='lgc'>: street physical over-stimulation ='lgc'>==> wearing a mask, you show nothing to people, you are not there. and behind this mask there is the feelings you are having, and these sensations behind the mask are your subjectivity.
it is a reaction to being exposed to ="trms">difference and complexity
the subject is divided='lgc'>: neutral on the outside / stimulated in the inside

(i don't want to become a camera)
observe (without ="trms">interacting)
observational cruising
='lgc'>[the standard account:='lgc'>] ="trms">interiority ='lgc'>~= reflexive detachment, reflexive withdraw

="trms">social media and exteriority

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="ppl">Sennett, “3rd ="trms">world” SPeCo62Mz2Q ='lgc'>: condition in which centralized space or distributed ="trms">communication ="trms">networks are missing
="prgrph">-a public space that is officially organized
='strcls'>*parks='lgc'>: open space that are reserved for the public='lgc'>: “where informal economy wants to be but is banned”

="large lg3" stl="font-size:111%"> ='strcls'>*public space='lgc'>: (='at'>@="frds scrmbld">Selma on st.open project)
(21st century) ="trms">modern thought ='lgc'><='lgc'>-- ='strcls'>*two traditions of thinking about public realm='lgc'>:
="lstsrd">1- as a dialogical condition (of exchange, of political engagement) ='lgc'>='lgc'>--> ="ppl">Arendt ='and'>& ="ppl">Habermas; ='lgc'>-='lgc'>='lgc'>-->='lgc'>{a ="trms">communicative im="trms">material space='lgc'>} ='lgc'>: “more talk ='lgc'>==> more agreement, common understanding” ='lgc'>='lgc'>---='lgc'>[dialogic ='and'>& im="trms">material='lgc'>]
="lstsrd">2- as a space of ="trms">spectacle ='lgc'>='lgc'>--> (goes back to 19th century) ="ppl">Baudelaire's ‘individual passers-by’ watching something on the ="trms">fold (='lgc'>='lgc'>--> ='lgc'>[old ="trms">Greek idea of ="trms">spectacle:='lgc'>] “un="trms">folding of ="trms">narrative.” a ='thdf'>bad idea of ‘how people should be physically in space’ for example, a landscape architect that creates a scenography in a park ='lgc'>==> a witness in a s="trms">cene, watching as ="trms">spectator from out of a ="trms">situated identity in the ="trms">world), (not so new) ="trms"nttrm="disturban">urban sensibility and ="trms"nttrm="disturban">urban subject ="trms">matter; criticized by ="ppl">Guy ="ppl">Debord; ='lgc'>-='lgc'>='lgc'>-->='lgc'>{a theater with performers and ="trms">spectators, a very physical understanding of public space, ='lgc'>='lgc'>---='lgc'>[dramatic ='and'>& ="trms">material='lgc'>]='lgc'>}

="lstsrd">3- in="trms">="trms"nttrm="cluster,club">clusive ='lgc'>=/= ="trms">integrative
many of the ="trms">differences (culture, class, ="trms">religion, etc) that cities contain can't be reconciled ='lgc'>-='lgc'>='lgc'>--> how can I talk to you and not pressing a point of ="trms">integration, rather in="trms">="trms"nttrm="cluster,club">clusion='qstn'>? (where people feel provoked to ="trms">integrate, ="trms">integrieren, an inherently passive condition)
="prgrph">-always more parallel activities that don't form a ="trms">spectacle only but are also productive
='lgc'>='lgc'>---='lgc'>[in="trms">="trms"nttrm="cluster,club">clusive ='and'>& ="trms">synchronous='lgc'>]

='strcls'>***(in the public realm='lgc'>:) ="trms">integration ='lgc'><~='lgc'>-> ="trms">spectacle

public spaces must be much smaller ='lgc'>=/= gigantism of dramatized power of the politics in large scale public places
small ='lgc'>==> intensity (='lgc'>='lgc'>--> this i learned from Julia as well, create small spaces to show our art-works to each other, the intensity of that moment generative of desire)

="large lg4" stl="font-size:112%">
(most public spaces have been designed by powers that want to use the very size of the public space as way to ='strcls'>*dramatizing their own power='strcls'>*)
="lsts lst1">•public space inspired by power
="lsts lst1">•public space inspired by wealth
="lsts lst1">•




="large lg5" stl="font-size:114%"> the “stop” as an architectural project itself (='at'>@="frds scrmbld">Selma)
we argue, in our project st.open, that there should be many activities going on at once in public space, that public space should be ="trms">synchronous, productive as well as ="trms">spectacular

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='strcls'>*the way we concentrate has a deeply ="trms">historical character='strcls'>*
="ppl">="ppl">Crary

looking at opera or television or driving,
we are in a dimension of contemporary experience that requires that we effectively cancel out or ex="trms"nttrm="cluster,club">clude from consciousness much of our immediate environment

="ppl">="ppl">Crary='lgc'>: how western ="trms">modernity since the 19th century has ="trms">demanded that individuals define and shape themselves in terms of a capacity for “paying attention”='strcls'>*** ='lgc'>='lgc'>--> disengagement from a broader field of attraction for the sake of isolating or focusing on a reduced number of stimuli

='lgc'>{ our lives='lgc'> = disconnected patchwork of stats ='lgc'>}='lgc'><== ="trms">dense and powerful remaking of human subjectivity in the West over the last 150 years

the so-called crisis of subject dis="trms">integration is diagnosed as a deficiency of “attention”

attentive norms and practices ='lgc'>==> ="trms">modern distraction


imperative of concentrated attentiveness within the disciplinary organization of labor, education, and mass ="trms">consumption
='lgc'>+
ideal of sustained attentiveness as a constitutive element of a creative and free subjectiv[...]