'I think a basic thing is to re-use archived material in new contexts and in never-ending experimental forms. Showing and testing will definitely lead to new humanities, and to new learning practices that are bound to be collective in all kinds of environments. I am sure that this is going to be a strong path in the future - to let artistic-research processes feed directly into knowledge-production.'

Gravity Defied #   3 Trisha Brown Man Walking Down the Side of a Building (1970)

'I must open the little trap-door



                        and let out these linked phrases

in which



    I run together whatever happens,



                                        so that instead of incoherence



          there is perceived

                        a wandering thread,




                   lightly joining one thing to another.' 

'Although it's very simple,



I like the idea that if you want to see the whole city,



you need to focus on parts of it'

'In connection with the assemblage, its important to think of what a non-representational map of an assemblage can be. I am thinking of this also in relation to the idea of a movement profile a map that singularizes a Territory, instead of representing it—a Territory which is made of occasions of experience, rather than objects.'

'For dance to move the political beyond arrested development, its knowledge of how bodies are assembled, of how space and time are configured, of how interconnections are valued must be made legible beyond the ends of choreographic endeavor ... [w]hat moves us beyond existing conditions and constraints usually consists of finding a way between obdurate oppositions that threaten to subsume the imagination of generative and fluid socialities.'

—Randy Martin, A Precarious Dance, a Derivative Sociality, 2012

'I was talking about the growing textures of mould and thickness (of breath/air) in relation to design and dense spaces'

Urban Acupuncture ... .. . .   .     .

'The rocks which had been misty and soft hardened and were marked with red clefts.'

'So, the potential is of course to make ourselves different encounters with places, practices and materials for activation (or interaction) and by that slowly building up our anarchival collective memory'

'petite pluie verticale qui larmoie, tisse de l'eau, faufile l'air, hérisse d'aiguilles les canaux planes'

…In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars; in all the Land there is no other Relic of the Disciplines of Geography.

On Exactitude in Science

Jorge Luis Borges, Collected Fictions, translated by Andrew Hurley.

'Now there is this gulping ceremony with my mother,

                     this hand-shaking ceremony with my father;

now I must go on waving,

                       I must go on waving,


            till we turn the corner.' 

'Some gestures require a simultaneous witnessing, and some do not. This is not to thrust us strictly into the domain of performance, however, but rather to suggest that metabolic transfer and its archiving may at times be incompossible.'
(Gad Fleischwitz, 'Art and Ecology', p.69)

By preventing intermediaries from abolishing those who precede them and those who succeed them, we increase the series of coexistences. If the philosophers were right, we would generate more space than time through mediators' movements. History, as some claim, has perhaps ended. If so, coexistence is starting. The end of modernization – and of its miserable and last avatar: conservation in museums – does not mean the end of Paris.


—Bruno Latour & Emilie Hermant, Paris: Invisible City, 1998

A n a r c h i s t G a r d e n e r


We focused particularly on the question of what constitutes a collective beyond disciplinary or subjective boundaries and asked ourselves through which techniques we can make this quality felt for others.

'How can we use the notion of fabric to bridge


between the textural and infrastructural, material and

symbolic' material and perceptual etc.' 


We decided to engage in a process of conceptual and material experimentation. Conceptually, we were asked ourselves if in-formation as a process of forming might lead to a practice sensible to immediacy. We brought materials like dirt, cut-up maps, light/projection, fabrics, and paper starting to play with the space we were given. Working over the period of two days, leading up to our public workshop, we followed our individual tasks of layering, projecting, tracing, and sieving. We ended up in a dense situation of material relations. After the event, we asked ourselves, if we actually had collaborated. We realized we had not communicated much in language but followed our material experimentation as a mode of collective activation.

Within the collective notions are reiterated in multiple potential relational dynamics. For example, the broader context of Immediations often initiates a practice of close reading in order to activate concepts that are collectively sharable.


Concepts as well as felt experiential qualities become intense as we sieve them through various material and media milieu such as our presentation at the Adapt-r conference. The expressive potential of the conceptual milieu in the process of material and media iteration is a dynamic feeling with. The collective emerges in the openness to feeling with the milieu, which moves with material, media and gesture in flux. This more-than-human emergence with the collective foregrounds a collective becoming that is not pre-defined by existing disciplines or categories but instead arrives at specific intensities in-the-making. Herein lies the radical ethics of the collective milieu in the movement of expression.


“tracing lines” became a way of investigating and exploring textures of light or dirt. Layering hanging textiles entered a relation with the projector, altering the image content while dust made the air thick. The collaborative process becomes a way to trace lines of different intensities in their immediate occurence beyond the paradigm of direct mediation.

'Populate (from the classical Latin popula\re), like precarity, has a double and internally antagonistic etymology: it refers to both the action of laying waste or bringing ruin to a country, and to the process of peopling or inhabiting a domain. Valuing the ways in which we are linked together without being one, that we share certain sensibilities of moving together without needing to model or imitate someone, opens conceptions of sovereignty as self production that just might serve as a momentary realization of the future in the present.'

—Randy Martin, A Precarious Dance, a Derivative Sociality2012