diffracting a wall





PART ONE  >>>  full text










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  





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





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    



   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  




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 





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




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 





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 




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





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





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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