diffracting a wall

(notes)

PART ONE  >>>  full text

1_001

OPEN FORM OF DRIFTING ANOMIC UNITS¹ 

THOUGHT IS AN IMAGE² 

SERIAL ACCUMULATION³ 

The photograph presents merely the possibility of meaning⁴ 

seeing, not seeing as, enables knowledge to grow⁵     

when to read an image - or a series of images - narratively? when to read them paraTactically? and when to read them iconographically?⁶

spatialized media become thoughtful⁷   

can the narrative and the other-than-narrative exist simultaneously in the same shot, creating a kind of stroBe-effect?⁸  

1_002

iconic propagation of self-organizing thought⁹ 

the sea always exceeds the limits of the frame¹⁰  

the essayistic form in the sense of an ongoing, inquiring search¹¹ 

supreme semantic sign¹²   

aspiration to concreteness¹³  

essayist work does not primarily aim to document realities but to organize their complexities¹⁴  

language plays an important part but not a constitutive role¹⁵

the voice is not a rhetoric but like an open letter to be finalized in the viewer’s mind¹⁶ 

the word as event which grips the body¹⁷ 

thinking and motion brings about this cohesion of separable parts¹⁸ 

the oral part is important in that it tests the capacity to follow thought in motion¹⁹  

theory building through visual means²⁰  

what endures is what transforms itself²¹ 

interested in speed and slowness²²   

unconscious scanning and scattered attention (a critical one)²³

1_003

the speed and slowness of metabolisms, perceptions, actions and reactions, link together to constitute a particular individual in the world²⁴

slowing down the pace of knowing²⁵    

dis/continuity

   un/doing of²⁶   

technique of suspended judgement²⁷   

being is knowing²⁸          

the suspension of judgement is not a closure - it opens a space of the propositional²⁹        

reflection is inward, and mirrors sensation pointing outward³⁰     

no hierarchy between things and images, facts and commentaries, objects and ideas³¹   

what makes something present to our consciousness is the fact of its having been enriched by attention³²    

im schaubild erhält der innenraum des denkens eine aussenseite³³  

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intensification by involution/ folding/ layering³⁴ 

The proper name does not designate an individual: It is on the contrary when the individual opens up to the multiplicities pervading him or her, that hE or she acquires his or her true proper name³⁵

We can only know that we are having thought when we bring some specific event ‘inside’, but do something with it ‘outside’³⁶

to anchor the object in a ritual, in a temporally, socially and intersubjectively situated event³⁷   

to understand means to create a language that opens up the possibility of encountering different sensible forms³⁸ 

1_005

action-oriented internalization and compression³⁹

the anarchive is not documentation of past. it is a feed-forward mechanism⁴⁰ 

material traces’ potential to trigger new processes⁴¹   

creative processes of formation and transformation dominated by performative rather than referential aspects⁴²

an aesthetics of presentation and process over one of representation and works⁴³

differentiating is a material act that is not about radical separation, but about making connections and commitments⁴⁴

‘collective imaginings’ - a shared desire for certain transformations to be actualized as a collaborative effort⁴⁵                                                                                               

PART TWO  >>>  full text

2_001

diffraction is a mapping of interference, not of replication, reflection or reproduction, of the effect of interference⁴⁶

difference as not opposed to sameness nor synonymous with separatedness⁴⁷  

a disruption of the binary⁴⁸

result is the process⁴⁹ 

subjectivation by interdependence in ecological systems⁵⁰

exercises in collective cognition⁵¹   

the subject as a consequence rather than a starting point of epistemic experience⁵²

Michel Serres’ analysis of a soccer game⁵³   

the subject as a privileged pivotal point of knowledge, truth and being⁵⁴

refuting the concept of an individual autonomy, the concept of intentionality, and the notion that the human body could be used and controlled like an instrument⁵⁵

an engagement with the field, in all its messy complexity⁵⁶

agencies don’t exist as individual elements⁵⁷

the local possibility of uniting the hybrid collective⁵⁸ 

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kollektive gefüge⁵⁹

a frame for things to appear and disappear⁶⁰

such inventive whole-body practices give rise to an extraverbal understanding by constructing living pictures that extend beyond the borders of the self⁶¹

flows of becoming by interaction with multiple others.

 A subject thus constituted explodes the boundaries at skin level⁶²

patching is a form of communicative action where two or more people and/or a variety of differentiated things must coordinate their agreement (disagreement)⁶³

patching as a form of communicative action⁶⁴ 

2_003

a scripted space⁶⁵   

not so much a practice in the sense of an art practice that’s ‘about’ something, about depicting something. It ‘s a series of practices or rituals oR performances that allow transformations to take place⁶⁶

cognition. four types of cognition.

   embodied, embedded, extended, enacted⁶⁷

democracy of experience⁶⁸ 

instead of conviction a plurality of voices⁶⁹ 

non-hierarchical learning⁷⁰

the possibility of an intervention of the artistic proposition within the common reality⁷¹

2_004

provisional territorialisation of questions and objects⁷²

structure of an event that can be entered bodily⁷³

make heard as a discourse that which had merely been heard as noise⁷⁴

2_005

the unconditionality that transcends boundaries⁷⁵

to position oneself as part of the audience⁷⁶

A process of trying and learning creative action, with no predetermined outcome or purpose At the centre of a communal activity⁷⁷

gesture works through bodily executed events⁷⁸

An expansion of thought through action, a model of freedom, not a question of the conventional accumulation of knowledge And aesthetic fertilization but a search for what occurs between things⁷⁹

spaces of action, in which new forms of knowledge and aesthetic experiences can be tried, and performative processes and unexpected encounters take place⁸⁰ 

ausübung von Freiheit⁸¹

das experimentieren ist nicht durchgangsstadium, sondern der eigentliche ort, an dem ich mich aufhalte⁸²

genuine experimental practice would have specific determinate aims, that’s how you open up things unto an unknown⁸³

improvisation as something rehearsed⁸⁴

intuition coming from practice⁸⁵

das wichtige ist die differenz⁸⁶

experiments as open-ended experiences, negotiated anew in each iteratiON⁸⁷

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