WELCOME TO THE NEW PARADIGM or THE CRISIS OF EVERYTHING EVERYWHERE A midwinter retreat, a modular molecular seminar with Everyone

the distructive character

Note (replying to a mailing list)

If the seriousness of the situation is not clear then a shift of one word can't change anything. What is important for a bunch of us is to understand that we don't want to replace the union leaders, or the expertize organizers, the "makers" of the student movement. What it is great and what we see every day in every corner of the world is that people are aware of the political and economic games played on their back. They recognize that the political situation-either called democracy, dictatorship, oligarchy etc- is all the way fabricated for the favor of capitalism's monstrosity and its expansion to every inch, every pore of our lives. Privatization expands to the calculation of our lives only perceived as numbers, the same with water, plants, seeds, animals and the DNA; if we are not able to talk about those issues in connection to the humiliation of the worker, the student and every profession then how we can expand our understanding of work without the power relations that entails? If we can't speak about the demolishing of money then how we are able to speak about life than survival? Words come only from the place of negotiation, manipulation when we call people "broader" audience, this is something that politicians always do, lawyers do, bureaucrats do, managers do, unions and organizers do; but our words must come from our mouths who we are amongst the people we are writing our texts- not for them but with them- and Seize the Empty Words and Speak about Life than Death.

Call for an open GA for ALL, Friday 11/11/2011, 7pm, Liberty Square

Call for an open GA for ALL, Friday 11/11/2011, 7pm, Liberty Square

The past weeks OWS has witnessed rapid bureaucratization and centralization of the GA. Specific working groups, most dramatically in the context of the Operations Spokes Council, have authorized themselves as the ritual keepers (via dogmatic facilitation/process/structure rules) of the movement. This has created confusion and ambiguity in the public discourse. It has prevented each individual from empowering himself/herself to create or act in the GA without being identified as a professional participant. We have seen money issues and organizational questions ruling most of the General Assemblies, while putting aside the reasons and frustrations that led to the occupation movement. This, inevitably, means schism between the ones who authorize and the ones who are here to participate.
We call for an open General Assembly for all.
We don’t ask permission from anyone to be imbued with that authority. We continue to learn from each other the possibilities of Direct Democracy.
Theses on Direct Democracy (open document):
Direct Democracy comes as a necessary imperative act that puts priority for a radical overthrow of the system of political representation, the State and the commercialization of everything. This social organism does not leave space for any kind of hierarchies, leaders, governors and political parties. It gives space to every individual to experience and practice politics and at the same time to be transformed within it. It is for all people, who experience the joy of personal initiative, of collective try, of solidarity, as well as, of love. All resources of our common life and the means to satisfy our common needs, cannot be but common, into the hands of society itself, which, with no need of any kind of mediation, decides an equal distribution of them, for all.
1. All space is open to everyone’s participation and it belongs to everybody.
2. The equal participation of everyone shapes the making of decisions, as well as the control of their application, both in the political and the economy field.
3. All necessary representations have strictly coordinating or executive nature and not mediating, representative or decisive character.
4. The existence of many local assemblies (in neighborhoods, municipalities, workplaces, schools of education, etc.) that communicate is the cornerstone of Direct Democracy. Participation in these assemblies is not occasional, but it is as responsible and regular as possible.
5. Communication between local assemblies creates a horizontal (non-hierarchical) network, which serves to coordinate the required theses and acts.
We want everything for everyone. We are history in motion.
Now is the time to overthrow all forms of authority.

Announcement Text on November 2nd, 2011 / Direct Democracy Working Group of OWS

Direct Democracy Working Group of OWS

Announcement Text on November 2nd, 2011

Direct democracy is used to describe the process and the unique character of our movement but we haven’t had any time to create substantive thoughts in that direction. The flux and the intensities of events have not allowed us a space, for thoughtful deliberative thinking on the importance of direct democracy.
There have been lots of actions but maybe we also need to think and shape future manifestations and activities of direct democracy.
Working groups in OWS are developing further the concepts of direct democracy without being able to expand our experience and knowledge of what that means, although practicing it.
What we create here in this square and in many other squares around the world is not just an ephemeral experiment. What we do today is the birth of direct political participation, passion for social engagement and happiness, passion for direct involvement to the commons. It is clear that political representatives are not anymore capable to create the political circumstances and to make decisions in our account. It is obvious that they make decisions for the benefit of the 1%.
All of us with our every day life interactions we demand direct democracy and we establish ourselves together as one person beside another person in political participation. This is a historical moment not only because it is beyond leaders and flags, but because we revolutionize our understandings of what politics is and what it can be.
Direct democracy takes democracy out of the corporate offices and the economic negotiations and political elites and brings it back to our lives and engagement. It is up to us then to direct it.
Direct democracy working group invites everyone to direct the participation process and allow its further continuation and growth. Through connection and communication with other international working groups (for example Syntagma square in Athens and Indignados in Spain) who are also discussing the concepts and understandings of direct democracy, we will expand our collective practices together.

1st NYC Anti-Authoritarian, Anarchists, Autonomists

1st NYC Anti-authoritarian, Anarchists, Autonomists
OPEN ASSEMBLY

Tuesday, November 8 at 8:00pm - November 9 at 4:00am


This is an open call for everyone that feels an affinity for this Assembly

* Oakland (report back?)
* Nov 10th West Goes Inside
* Nov 17th Call for General Strike


Points of conversation:

- Spreading different forms of occupations (how?)
- Mapping the city to our advantage
- Tactical coherence
- Towards the de-census of every GA
- Distribution of communication (twitter, facebook) and its conflicts
- Media and Livestream problematics
- Future events and calls


no journalists / no cops

NYC GA / Wall street Occupation

NYC GENERAL ASSEMBLY, WALL STREET OCCUPATION

NYC General Assemblies are an open participatory and horizontally organized process through
which we are building the capacity to constitute ourselves in public as autonomous collective
forces within and against representative politics, cultural death and the crisis of our times. NYC General Assemblies are a gathering of individuals, coming from various political, economical, ideological, cultural backgrounds. With our voices and our presence we share our problems, fears, ideas, dreams. The General Assembly is not a group. General Assemblies break through the idea of the political group by bringing together a variety of ideological patterns, old political procedures and test them in public, expose them, act upon them and transform them.There is no leadership, no representation, and no authority. We become political beings through our participation to the commons.

The process of the GA is already a fundamental action. To be able to make decisions together for a resolution, participation to an action and to have a gathering and a political conversation in the most policed city in the world is itself a political statement. NYC General Assemblies are actions that open space rather than producing polarizations. They create environments for everyone to have a unique and important role.

The General Assemblies is everyone. It is you who sees the limits of the politics of alienation, the cruelty of the economic regimes, cultural hypnosis and the standardization of every form of life for the benefits of the 1%

Who Represents You Replaces You

We are the 99%

On Sept 17th we occupied Wall Street. We have come together and crafted these principles of
solidarity, which are points of unity that include but are not limited to:

* Fighting for social, political economical and cultural FREEDOM & EQUALITY;
* Engaging in direct democracy;
* Exercising personal and collective responsibility;
* Recognizing individuals’ inherent privilege and the influence it has on all interactions;
* Empowering one another against all forms of oppression;
* Redefining how labor is valued;
* The sanctity of individual privacy;
* The belief that education, health care, transportation, culture, technology, information,
housing, nutrition and natural resources cannot be subjects of exploitation; and
* Endeavoring to practice and support wide application of open source.

The Occupation in Wall Street doesn't claim any responsibility or control for the spontaneous
initiatives, practices and direct actions taken by the people in the streets of NY.

The Occupation in Wall Street is not a metaphor. It is the coupling of politics and life that wasn't
even imagined a few months ago.

NYC General Assemblies is not a central political formation. It moves the bodies. Sometimes
gatherings split to exist in smaller units in the spaces of the metropolis and sometimes they
gather together again when it is needed. Who is able to predict what those bodies want and need and when? There can't be any leader or leading idea to this movement but only forces, forces of sentiment.

Coming soon.. in a square near you

Note: For video

• I lost my camera my keys the apartment.
  
• I'm under influential nets and affects.
  
• My phone is off for a week now and I can't find my love my smile and my cry.
  
• Do you like reality tv?
• My dreams are turning gray and green. The fluorescent dreams of a well tuned joy.
• Since I was born after the dictatorship I am searching for the tools to translate how I can place my self and what to do.
  
• Confrontation
• occupation,
  
• a party,
  
• the one to one meetings,
  
• to only take care of you and just forget macro expectations.
  
• It is the impossibility that created us.
  
• Stop work and meet us.
  
• We'll steal the wind and the wine and run to the edges.
  
• I'll meet you in an hour.

Sunday -- 07.31.11 -- For General Assemblies in Every Part of the World

Sunday -- 07.31.11 -- For General Assemblies in Every Part of the World

CONTENTS:
1. About Sunday
2. Some of Sunday's Contributors
3. First Resolution of the Direct Democracy Assembly in Athens
4. Conversation with Participants of the General Assembly in Athens 5. Conversation with Sabu Kohso about a post-Fukushima world
6. Useful Links

_____________________________
1. About Sunday

When: 1:00 pm - 5:00pm
Who: Free and open to all
Where: 16 Beaver Street, 4th floor
What: Meeting / Discussion

Attempt 1 : (to summarize this event into one line)
Anti-austerity/pro-democracy groups and individuals meeting at 16Beaver

Attempt 2 : A day devoted to exploring the inter-relations of recent global/local struggles through first-hand accounts

Attempt 3 : A day dedicated to create short-circuits in our imaginaries

Attempt 4 : (breaking the one line rule)

To attempt to recount the signs and cracks that have appeared over the last decade in the facade of the worlds of power would require a book length introduction. But one senses that in the midst of a crisis that has called into question the last 20 years of post-historical and
post-political proclamations, the last 7 months have catapulted humanity back into a global dimension of struggle and revolt.

One senses that at this juncture, in the midst of the revolutionary struggles across North Africa, the Middle East, and now the Mediterranean, there is renewed understanding of what non-representative politics can look like.

What does a democratic multitude look like? And how does it invent a new vocabulary for praxis? How does this general intellect, that has
strengthened over the last few decades, transform into political action?

On what grounds can this emergent politics be conjoined across disparate sites and struggles? How does one express solidarity with the events in Tunisia or Egypt, for example? How do those struggles and approaches get translated elsewhere? How were they put into play in Spain? And how did the events in Spain inspire a resurgence of political strategies in the most recent developments in Greece?

How do the euphoric dimensions of these successes hold up to the grim prospects of a post Fukushima reality? What can we learn about and from the nuclear disaster which has unfolded since March and are there
prospects to use some of this knowledge in our movements?

This Sunday is a special day at 16 Beaver, as we will be attempting to bring together reports on various struggles from North Africa, Spain and Greece, post-Fukushima Japan, and trying to connect them to contemporary struggles right here in New York and the US. The event comes together out of the interest of various individuals and groups here in New York to build upon some of these developments globally, learn from them, and put them into play here.

The event also takes place in the background of various calls to
mobilization, which include a call for a People's Assembly, in front of the bull near Beaver Street, on August 2nd, as well as a call to occupy Wall Street on September 17th, and an effort to mobilize an occupation in Washington beginning on October 6, 2011.

What can be learned from these global experiences within movements here in the US? This afternoon will begin with reports from various individuals speaking on behalf of struggles from specific international contexts and here in New York. Then we will proceed to open up to questions and allow a discussion to unfold.

As a part of the event, we conducted two conversations in preparation.

A few of the organizers of this event conducted an interview with a few of the participants of the General Assembly in Athens.

And we also recorded a conversation with Sabu Khoso about post-Fukushima Japan.

The recordings have been posted as a resource - especially for those friends who live in distant places but are nonetheless inspired,
concerned, and interested in these processes.

_____________________________
2. Some of Sunday's Guests

We are still in the process of confirming people who will be coming and speaking. And of course, we have no idea who will get this invitation and come. But we make an attempt below to give an idea of some people who will be joining us.

New Yorkers Against Budget Cuts
http://nocutsny.wordpress.com/

Antonio Poudereux Velasco lives in Madrid and has participated in the occupation of Puerta del Sol. He is a member of the World Extension Team created during that occupation. He will not speak in this event as a representative of neither that team or #acampadasol, but as an individual. He works as a sound engineer.

Georgia Sagri is an artist and non-employed activist. From early age she has been a member of the Void Network, a cultural, political and
philosophical collective in Athens Greece with the aim the radicalization of every day life, the participation to the emancipatory social struggles, the creation of social centers, self-organized autonomous spaces and the construction of situations in Public Space.

Sabu Kohso is an independent writer and translator, a native of Japan, living in NYC since 1980. He has written three books in Japanese on social movements and progressive culture of NYC in relationship with the
formation of urban space, as well as a book on the geographical and deterritorial lineage of anarchist thought across the world. He has also translated books by Kojin Karatani, Arata Isozaki (Japanese to English), David Graeber and John Holloway (English to Japanese). Being active for many years in establishing a global network of anti-authortaian movements in and out of Japan, Kohso is currently working on the blog Jfissures for the exchange of critical voices between the disaster stricken Japan and elsewhere.

Costas Panayotakis is Associate Professor of Sociology at the New York City College of Technology of the City University of New York. Originally from Greece, he has written many articles on Greece, been interviewed by radio and TV programs in the US and abroad and is the author of Remaking Scarcity: From Capitalist Inefficiency to Economic Democracy, which will be published this fall by Pluto Press.

Luis Moreno-Caballud is a member of the group/assembly Democracia Real Ya - NYC, which is part of the Spanish May-15 movement. He also researches and teaches Spanish contemporary history and culture at the University of Pennsylvania, in Philadelphia.

Larry Hales is a community activist and fighter. While living in Denver, Larry was one of the founders of Colorado United Communities Against Police Brutality, and an organizer of the Recreate 68 Coalition, organized to protest last year’s Democratic National Convention. In November 2007, Denver police broke into Hales’ house and arrested him on false charges arising from his giving shelter to a victim of police brutality who was out on parole. Months later and after a strong people’s campaign, the charges against Larry were finally dropped. Presently, Larry Hales is an organizer for the Bail Out the People Movement and the youth group Fight Imperialism Stand Together (F.I.S.T.), and a contributing editor with Workers World newspaper.

Doug Singsen is active in the movement against budget cuts in New York City and in the student movement against tuition hikes at the City University of New York (CUNY). He helped organize the National Day of Action to Defend Public Education on March 4, 2010, the Day of Rage Against the Cuts on March 24, 2011, and the recent Bloombergville
occupation. He is a member of New Yorkers Against Budget Cuts and the International Socialist Organization and is a PhD student in the Art History Program at the CUNY Graduate Center.

Mohammed Serbout was born and raised in Morocco from a working family, went to school and studied hard in order to have a better future, but the reality is there are no chances left there, so he decided to participate with the youth in changing the status quo of the actual regime...

Yotam Marom is a member of the Organization for a Free Society and the New Yorkers Against Budget Cuts Coalition, and has been active in the
anti-austerity struggle in New York City, most recently through the Bloombergville occupation. Yotam is a co-founder of Without Walls - a democratic, social-justice oriented educational collective - and has experience in communal living. He is also a writer and musician.

_____________________________
3. First Resolution of the Direct Democracy Assembly in Athens

For a long time decisions have been made for us, without us.

We are workers, unemployed, retirees, youth, who have come to Syntagma Square to fight and struggle for our lives and our future.

We are here because we know that the solutions to our problems can come only from us.

We call all residents of Athens , workers, unemployed and youth, to come to Syntagma Square , and all of society to fill the public squares and to take life into its own hands.

In these public squares we will shape our claims and our demands together.

We call on all workers who are going on strike in the coming days to show up and remain in Syntagma Square .

We will not leave the squares until those who compelled us to come here go away:　

Governments, Troika (EU, ECB and IMF), Banks, IMF Memoranda, and everyone that exploits us.　 We send them the message that the debt is not ours.

DIRECT DEMOCRACY NOW!

EQUALITY - JUSTICE - DIGNITY!

The only struggle that is lost is the one that is never fought!

_____________________________
4. Conversation with 'Some of the Participators of the General Assembly of the Direct Democracy in Athens'

This conversation is an attempt to open up the process of the General Assemblies taking place in Athens on Syntagma Square, like an engine, in order to understand how it developed, and how it works. It touches on the problems they have faced, the barriers of having fixed ideological agendas, the question of restricting media access, of formulating respect, creating the form for a new political speech, drawing lots, voting, making resolutions, taking collective actions, establishing different thematic groups, working groups, allowing conflict and arguments, constructing a non-representative political agency, avoiding demands, ….

For listening to the conversation, please visit:

http://sduk.us/conversations/072511_greece_assembly.mp3

_____________________________
5. Conversation with Sabu Kohso about a post-Fukushima world

This is an attempt to speak with Sabu Kohso, a writer, translator from Japan, living in New York. Since 3-11, Sabu has been working with others to run and maintain jfissures (jfissures.wordpress.com) one of the few websites to attempt to translate pertinent texts into and from Japanese related to Fukushima and connecting it to a global context. This is an impromptu conversation which took place in preparation for Sunday's event. Sabu tries to speak about his own relation to what has happened in Japan, the reflections and fissures within Japanese society, the potential questions which emerge from that experience, and how they might also connect to other historical experiences of struggle in Japan.

For listening to the conversation, please visit:

http://sduk.us/conversations/072711_sabu.mp3

If you are interested in reading some recent texts from Sabu, please read:

Notes for Understanding What is Happening in Japan
http://th-rough.eu/writers/kosho-eng/notes-understanding-what-happening-japan

Fangs Hiding in the Green -- Impressions of Post 3/11 Japan
http://th-rough.eu/writers/kosho-eng/fangs-hiding-green-impressions-post-311-japan

_____________________________
6. Useful Links

http://amesi-dimokratia.org

http://takethesquare.net/

http://www.facebook.com/#!/event.php?eid=174935459243842

http://www.facebook.com/#!/event.php?eid=144937025580428

http://october2011.org/

__________________________________________________
16 Beaver Group
16 Beaver Street, 4th fl.
New York, NY 10004

for directions/subscriptions/info visit:
http://www.16beavergroup.org

TRAINS:
4,5 Bowling Green
R,W Whitehall
2,3 Wall Street
J,Z Broad Street
1,9 South Ferry

Note: Thursday July 28th, At the Grand Openings Return of the Blogs, MOMA

July 28th
At the Grand Openings Return of the Blogs, MOMA

There isn't so much going on today. The lounge with the
leather sofas and the left overs from past events perhaps are here to
point out some kind of process. I call it the vip community lounge.
the planks blogging the blogs so none can really read them. the
security is here. mostly the security. The hypnotized visitors. The
tickets are moving around. Recognize the tempo of screen saver and
stay for a while to watch. Promotion. Sam's signature. I look how they
raise their heads to look at the balloons. Museum. The security
doesn't let people to sit on the sofa and watch the video. Confusion.
Seems that the sofa is part of the installation and no one can sit on.
Good job.

Live Portfolio 2007-2011

Live Portfolio
Saturday, July 23, 2011, 3:00 p.m.- 6:00 p.m., MOMA, The Donald B. and Catherine C. Marron Atrium, second floor.

Georgia Sagri makes a live mix-tape of performance pieces she has presented in NY from 2007-2011. Invited by Sagri a group of friends develop a code ouji demonstration while her brother and activist Tasos Sagris will be answering questions about the current uprising in Greece, addressed by everyone present.





It is the making of the portfolio, its format, its banality of duration by adding the real and the live, like the leaking juices of fresh fruits, sticky fingers, too much nature, smelly and weird. The sounds of pain/ the cracking of fear/ the whispers of pause/ the abominable posture/ hand/ arm/ neck. The expression of the remembering of an incident but not the incident itself. Is that possible? Squeezed among some languages you know, you pretend you know, you want to know. Scratch it, suck mediations, which that could be a type of mimesis. Doing from directions coming from elsewhere. Rather unexpected than improvised. There is no 'as if'. It is the design of the portfolio. Making portfolio and forgetting portfolio. This was only a draft, some other things will come up and you will be noticed. The power point presentation will be totally and extremely burst with lying. "I wasn't expecting something different." Of course nothing will be placed in the correct chronological order. Are you accusing me of narcissism Apple > ?
"I love my i-phone." The i-pad portfolio and the fingernails' padpads on the keypord. Work in the mid of the summer and wonder what social class is. Hot is slow. Touch, skin and the right jeans. As always at the corner with the smoke in the mouth. An electric cigarette. The taste of look. How she moves her eyes when she is trying to be convincing, and how she stretches her neck every time she

Note

Crazyembarrasing
Superuncomfortable
Mindheartfuck
She is allergic to authority and carrots

W.I.P for Women In Prison and Work In Progress (First Episode)

W.I.P for Women In Prison and Work In Progress (First Episode)


The head turns. The arm touches the ground, stopping violently. Movement comes out of the speakers. It starts from zero on the timeline and leads to the end of the loop, its beginning.

Is it the machine that’s in question? Do you obey? Do you try to exist within it, against it, around it? The machine--machina in ancient Rome, mechane in ancient Athens--is still what we call the apparatus of war, all the weapons bought and sold, used and lost during battle: the armor, the gas masks, the Molotov cocktails, the cybernetic networks, prohibitions, negotiations, settlements and the camps (office camps, party regulations, yoga memberships, etc). It is the theater and its apparatus: the entertainer's tricks and special effects, the lights going on and off, the curtains opening and closing, the fake blood, the props and costumes, the fluorescent paint on the masks that pin down the characters, the strings that hold ex-machina gods up in the air ready to turn various histories upside down whenever they settle, finally, for just a second on stage. It is the dubbed sound in Italian Spaghetti Westerns, the actors counting “one, two, three, four, five” instead of speaking sentences. It is Pier Paolo Pasolini adding sound to the film while editing the recorded images. It is Godard's subtitles, his obsession with texts on film and the way he reduces cinema’s speed. It is Roberto Rosellini's remote control gadget for zooming in and his preference for working with amateur actors. It is Maya Deren's cuts and the way she worked with film exposure. It is Jacques Tati’s mime routines, his micro-gestures and their connection to comedia de l'arte.

The machines of theater and the machines of war: they are interchangeable.
“How did it go?”
“Was it successful?”
Machine and tool are one and the same.

There are a million ways to compose and re-articulate a smile, a cry, and the hand holding a glass. A million ways to rehearse and present a cry, a smile, and the hand holding a glass in real time.

They are modules: “the principle behind the distribution of breaks and intervals.”

There is no representation, only presentation and the analysis of the symptom’s mechanisms existing at the moment of the performance.

The tool I use in the performance is my female body. I was born with that body. I could resist it. I could change gender for the performance or pay other people to perform for me. Instead, I insist on presenting myself as I am. The female body with its texts, imagery, history, pain, criticism, revolt. With my female body I can do the gestures of a man and be that. I can be the lion and the fish and the tree and the woman again, another woman perhaps, another posture. I can't pretend I am a non-smoker but I can look like I am a non-smoker. I can't hide my rotten teeth but I can smile in such a way as to camouflage them. That is what I have, simulations.

The women in prison told me that they have learned the techniques and the sensitivities of the State. They told me: “You must move from one point to the other and then back and forth without end.” I do what they told me in their letters. Is it cinema, then, and not performance? It is the war of the war machine, but not the war machine alone. The architectural plans, the social definitions, the prisons, the schools, the asylums, the houses, the offices, the pavements, the public spaces with their park security. It is life under the constant control of the structural, behavioral and moral architects, with their pose of authority and calculated plans. And then there are the ideal citizens, the syncopated rhythms among thousands of them on the streets.

During a riot, though, different politics arise. There are expectations of change, forgotten demands, and the repressed imagination of the lower class. What does it mean to pretend to be a citizen? What does it mean to shout phrases that you don't believe in? What does it mean to shout together with a group of workers? Who are you when you are doing that? Are those your machines of survival your survival kits? Were you born with them or did you just get used to them as you grew up? The Father, the Mother, the Teacher, the Emperor and How am I to obey? When is the right moment to put up the poster and when is the time to go home? Do I want to go to my place or do I want to live at our home?

This is not the end of the text.


Georgia Sagri, New York, 2011





The performance W.I.P (First Episode) was presented as part of the exhibition Skin So Soft, organized by Josh Kline at Gresham's Ghost, 401 Broadway, NY, 6/22/2011, photo by Linda Norden

what I understand that you suggest about space of ease

As far as I can understand what you suggest by space of ease in connection to friendship could be habitus, but maybe we want to avoid the sociological connection of this word. We can use the word's origin which is hexis (έξις in greek) which means possession or disposition (διάθεσης in greek) power to use. The actual translation tends to be too pragmatic which suggests something that could be forcefully learned and then easily forgotten. I think Aristotle's refers to this notion as a having but it is always very controversial of how it is perceived this having. For how I understand it, is a topological, potential and formal term, but when we refer to it in relation to something else outside of himself then it is more as a state of action. An act can be good or bad and that's i think why friends are crucial. Because a friend for good that includes pleasure and benefit but it is not only one or the other, will express the good or bad of your act of the having. Isn't then space of ease the space of friendship that is cultivating truth? Certainly urgency isn't a pleasant feeling but in a moment of urgency wouldn't be urgent for something to be addressed ? For example if I feel sad because something needs to be said, happen, change, I need to say it. If that saying is articulated in a clumsy way it is because perhaps we haven't created a space of ease, space of comfort and pleasure where we don't feel like criminals as you said or we don't feel in survival and I think we both agree on that: I don't want to make you feel bad but I want you to feel free to address the good or the bad of the having.

x
g

David Hammons Toy

100%ad (sleep cat)

The advertisement 100% (sleep cat) was created in March 2010 and was hosted for six months at the site of the publication company 100%. Georgia Sagri as the advertising girl, the producer and the crew of her advertisement company, used here smiling styles and voice temperatures of 80's advertisements.

http://burntbookmobile.wordpress.com

http://www.occupiedlondon.org/cairo/

Note- Yesterday and Today

Yesterday a new labor law passed urgently from the Greek parliament. It annules several fundamental labor rights as we knew them in Greece for decades.
For example:
- Each business can make a special contract-agreement with it's own workers, paying them less that it is required by the contract-agreement between businessmen and trade unions of workers of a whole sector. Practically the agreements between businessmen and trade unions of each sector are annuled. Practically there will be unions only (apart from the general confederation, of course) at a level of each single enterprise (where the workers are fewer and less powerful, than the total of workers in a whole sector of economy). This will have an immediate effect at wages in the private sector.
- The provisional period of work is raised from 2 months to 12 months, 1 year. That means that a boss can fire a worker after 1 year without giving him any redundancy pay.
And several other harsh neoliberal changes both at the private and the public sector.

So after London and Rome, today, in Athens, Greece, at the General Strike, we had wild clashes between protesters and police.

They are maybe the wildest clashes since the "troika" lenders (IMF, European Commission, European Central Bank) took over the control of the economy of the country, this spring, because of the debt crisis. Although the participants in the demonstration were probably less, the clashes were harsher than those at the 5th of May demonstration (when 3 employees of a bank were accidentally killed by rioters).

Molotov bombs were thrown to the anti-riot policemen guarding expensive hotels, close to the parliament. Similar attacks occurred in many places in the center of Athens. 2 police motorbikes were destroyed. An ex-minister (of the opposition right-wing party that ruled from 2004-2009 and destroyed the economy, while changing the statistics to deceive the people and the E.U.) was beaten (video) (photo) by people who saw him in a street in the center of Athens. Workers and anarchists, returning from the demonstration, tried to occupy the offices of the General Confederation of Workers (which is controlled by well paid professional "tradeunionists" affiliated to the ruling "socialist", but extremely neoliberal party), but were prevented by the anti-riot policemen.

The police made extensive use of chemical gases. (bought by Israel). Lots of people have been beaten.

Till now we don't know the exact number of people arrested and injured.

You can see some images and videos here:
http://athens.indymedia.org/front.php3?lang=el&article_id=1237676

http://www.babylonia.gr/index.php?option=com_k2&view=item&id=1296%3A%CF%80%CE%B1%CE%BD%CE%B5%CE%BB%CE%BB%CE%B1%CE%B4%CE%B9%CE%BA%CE%AE-%CE%B1%CF%80%CE%B5%CF%81%CE%B3%CE%AF%CE%B1-15-%CE%B4%CE%B5%CE%BA%CE%AD%CE%BC%CE%B2%CF%81%CE


These were the second clashes of this week. Residents of Keratea, an area outside Athens, are clashing with anti-riot policemen for 4 consecutive days, protesting against a new waste dump in the area. Not only molotov bombs but also gunfire (at the air) was reportedly used by the local residents. The Greek Police for the first time made use of a water-cannon vehicle.
Some photos ot these clashes here:
http://athens.indymedia.org/front.php3?lang=el&article_id=1236686

Meanwhile scores of prisoners are on hunger strike in Greek jails because of the conditions there.

One @ http://www.sotoso.org/a/a/imgboard.htm

I was not offended when you looked at me and I realized that there was no one in my place to look at you back. I comprehend. Seriously, I have strange feelings about the different wars that are going on in the universe and I am ready to take some action, very serious action. No jokes. This is not some kind of whatever mechanism that you find in a shopping mall or you fish from the pockets of extremely annoying weirdos while they’re sleeping. Flowers in the middle of the unspeakable, caramelized news behind curtains in front of other curtains and all of them become layers and some kind of onions that all my friends talk about; it’s over for my cup of tea. It is empty talk. We got used to talking with our fingers or pretending that if I wink, you will get what I mean, but I want you to get something and if you think this is a problem then you have an issue, which a dentist can take care of. First of all it is about the dogs. Something went wrong with the dogs in the mastermind cities and all of them have their own leashes. The parks are brighter, too many lights to keep any secrets, the smoking is not permitted and all of us we have one particular something to take care and especially ourselves. Then, I missed all my friends in a well-established university. I’m bored and I don’t know why. I never have enough money to go up and down anywhere. The issue here is that no one, I’m telling you no one, is going to take care of you. Just think about it when you look at me;

Georgia Sagri

One

Opening and Performance Dec 11th 2010 8-10pm @ SOTOSO, Brussels http://www.sotoso.org/a/a/imgboard.htm

Note

Violence is not taken, is acted up at the moment of the oppression. In order to take it back you need to be a part of violence at the moment of the oppression. If you are not a part of it you are in a life in which you don't have any desire to take anything back.

Community in a state of civil war is a false community. What that means? It means that a subject in a state of civil war can’t be part of a community. A subject in a state of civil war will always be in a state of emergency. The community in a state of emergency is always formulated within the community for reasons of survival. There is a distinction then between the subject of survival and that of life. The subject inside the community for reasons of life is to create the conditions of forms of life and not the conditions of survival. Life forms are not waiting from someone to name them as such. So, in a way life forms only exist in the presence of non-identity. How we can talk about a political subject without identity? How we can name a party when there is no one to identify it as such? A community for reasons of life owns such complex regions that it will be hard for someone to give them a distinctive name. What would be then interesting here is not to focus on the question of name but how that community can maintain its complexity so no one will be able to name it. Complexity here is not a construction or a refusal of construction of an identity but the creation of life forms that can maintain their particularity. On the first book of Plato's Republic, Socrates says that injustice causes civil war and by a civil war even a single individual is incapable of achieving anything, because he is in a state of civil war and not of one mind; second it makes him his own enemy, as well as the enemy of just people. How then we expect the creation of community in the state of civil war? What kind of community that would be? Are we interested to examine, to follow strategies and to create community in a state of civil war when we know that even as singularities we are enemies of ourselves, even when we know that our communities will fall into patterns of survival by creating them in a state of civil war? Are we interested to imagine forms of life outside the environment that creates them? Is it useful to think of that ? why ?

civil war

humanity against economy
economy against technology
technology against nature
nature against the earth
earth against the galaxy.

The governmental politics is a construction. Construction is representation. In order to have something out of the state which is a stage of the image then we need to realize that the subject is part of that stage as well. The subject although in display must be able to create life forms. What is that outside the image? Is it creative to think outside of the image? What about virtual reality and telepresence ? It is interesting to consider cross-sensory explorations between stereo visual imaging and auditory dimension. After images. Thresholds. Physiological resonances. Acoustic spaces of felt sound phenomena, experienced eithersubliminally, or making recognizably direct physical resonances to the body. Composite mental images of immersion in space, as in stereo vision; direct physiological experience of an acoustic space, as distinguished from the perception of an acoustic space, aurally, as "image."

Those thresholds inside the image are images. The thing that makes them different is that they don't exist topologically and they are constantly changing dimensions and users. There is no separation between who is producing and who is consuming. Composition (production-consumption) throws a party every night and there will be soon no institution to prevent where, when and by whom this may happen.

Time issues might sound banal for some.

Real and symbolic become the same in this variety of praxis. Ideas become commons and exist in multiple spaces. Can still mathematics count the flow of those different spheres? Free mathematics, counting systems and pressure measures will be the next important concern.

Note

For rhythms

If you don't know the way

you can clap your hands and

figure it out.

Then maybe you can set

patterns.

Design

a song

Make a beat

loop it for millions of times

and sing words

Things you see around

Two snickers

A hug

The appliance electronic giants

and a backpack

You let the sound be

and you can just leave.

Note- I thank the city who

My friend Stefanos died and I thank the city that remains the same. I can walk on that corner we talked this dream and argument and I can stay there for a while and it won't be so hard to say bye.

why are some people hot in clothes? - for Stefanos only-

wHY aRE sOME pEOPLE hOT iN cLOTHES?

animal nudity are not going to address this issue, instead they are
going to celebrate the once (scantily) dressed kelly lebrock this
saturday at cakeshop. a FREE concert for ALL ages with 25 bands being
all geeky and amazing. at the strike of midnight get ready to
experience "weird science" as you've never seen it before with sounds
provided by hells hills.
the international KELLY LEBROCK'S bday invitational w/ 25 bands, each
playing 10mins.

animal nudity coming on stage at 10.50pm.
see full lineup at
http://www.cake-shop.com/calendar/calendar.php?year=2007&month=03

animal nudity currently consist of stefanos tsigrimanis (guitar) and
performance artist par excellence georgia sagri (cello). the two of
them have never played together before and have vowed to destroy any
evidence of their upcoming performance so that they can claim the same
thing for future events. they are both theoretically entrenched in the
concepts of amnesia and improvisation. expect nothing less.

cakeshop
152 ludlow st.
kelly lebrock bday celebration, sat 3/24, 8pm - midnight

cAPITALIZATION kILLED tHE lOWERCASE sTAR

set yr alarm clocks, mark yr calendars, tattoo yr forehead if you will: animal nudity at club midway, next thursday, 4/26 at 9pm.

ear-splintering moments of ritualistic silence and sprawling improvisatory excess for guitar/cello/voice.

animal nudity are stefanos tsigrimanis (guitar) and georgia sagri (cello, vox). they promote forgetfullness and they advocate the institutionalization of sesquipedalian verbiage as the next step towards amnesia. they like reading and being read. expect nothing less.

a video of their last performance can be found at: www.myspace.com/animanudity

club midway, thursday 4/26

25 avenue b, btw 2nd and 3rd

$5

sean mccaul, 10pm

animal nudity, 9pm

top down, 8pm

animal nudity's final appearance for this year at one of nyc's most celebrated dens of iniquity: siberia.

guitar/cello/vox+freemprov+coordinated+randomness+amnesiac+differentiation

a video of a recent performance of theirs can be found at www.myspace.com/animanudty.

animal nudity, 10pm

siberia

356, w40th st,, btw 8th and 9th

$8, 21+ w/ID

Exodos- 13/9/2010

The demand is made by the movement of the mirror reflecting the parliament, the city, the passers by and the faces, the buildings' details and the streets.

Note -exit, virtuosity and revolution: the political theory of exodus, Paolo Virno

"Nothing is less passive than flight. The "exit" modifies the conditions within which the conflict takes place, rather than presupposes it as an irremovable horizon; it changes the context within which a problem arises, rather than deals with the problem by choosing one or another of the alternative solutions already on offer. In short, the "exit" can be seen as a free-thinking inventiveness that changes the rules of the game and disorients the enemy. One has only to think of the mass flight from the factory regime set in motion by the workers of North America halfway through the nineteenth century as they headed off to the "frontier" in order to colonize low-cost land. They were seizing the truly extraordinary opportunity of making their own conditions of departure reversible."

ok, but is it possible to act as if you are outside the action? how can you construct action already being outside of it? To depart from, means that you are already part of something or you are somewhere that you depart from. The possibility of the action of exit cannot create space which you can depart from. The question is who makes the space that you depart from. Is it the same one who makes the space and he/she departs from it? Is it a different kind of departure when it is a space of your creation or someone else's ? When is the right time of departure when the space you have made it's already made as a space of exit?

Note

we want to be part of a conversation. i don't want to be part of any conversation. it is not about i tell you something and then you buy it or sell it at the end. it is about you tell me something and then i sell it at the end. it is not about closed dialogues. it is only about closed dialogues. as artists we can't still think we are out there just to sell our stuff. as artists we are out there to sell our stuff. collaboration is just simple as that. collaboration is complicated and tiring and by the way i hate this word. collaboration is beyond ego, creativity is owned by everybody and not only from creative people. collaboration is only about ego and creativity well we are going too far. you have to get over yourself and stop assuming you are some genius and that everybody is an idiot and you have to collaborate with everybody, with peers, with people you have no common language, with groups coming from different cultures and fields. i don't want to collaborate with anyone and you are an idiot. art can't be outside of the conversation and artists can't still think of themselves as special people. i am more special than you think i am, do you want a kiss? reality runs faster than any artist's idea. reality doesn't exist anyway, do you want a kiss? i can't waste more time to think of another art-project, i prefer to participate in terms of reality not art. Buy all my wasted time and i will not care if you participate or not.

Note

Landscape with Diogenes, Nicolas Poussin, c. 1647, Oil on canvas, 160 cm x 221 cm, Musée du Louvre, Paris

"According to one story, Diogenes went to the Oracle of Delphi to ask for its advice, and was told that he should deface the currency, and Diogenes, realizing that the oracle meant that he should deface the political currency rather than actual coins, traveled to Athens and made it his life's goal to deface established customs and values." The difficulty of the prophesy to Diogenes lies in the fact that the alter of the currency, refers to the change of the political currency and state currency but also to the actual face of the coin. With the current socioeconomic chaos seems that the prophecy is solved because the currency has no face anymore. Economy acts out through fiat money, let it be done money. Money counts time and only, time of exchange, time of investment. The central image on the coin doesn't exist, the superior face is gone and we don't believe in it; and if we have any memories or symptoms of belief they count nothing. We are sure now, more than any other time that capital exists in its own world, in its own time, acting out capital. Diogenes was a living example of another possible political currency but he didn't amend the face of the actual coin, the currency itself. I wonder at the current political and economic situation without thinking the "coin's" altered symbolic, material and representational state we will end up talking and acting politically although there is something more drastic to be done. In order to alter the political currency we need to think of it in connection to the changed currency. We cannot distinguish those two. If the face is already destroyed then our work is to make time, separate of the entropy of capital and political examples.

Note - The Open, Man and the Animal by G.Agamben

"..Every environment is a closed unity in itself, which results from the selective sampling of a series of elements or "marks" in the umgebung*, which, in turn, is nothing other than man's environment. The first task of the researcher observing an animal is to recognize the carriers of significance which constitute its environment. These are not, however, objectively and factically isolated, but rather constitute a close functional- or as Uexkull prefers to say, musical- unity with the animal's receptive organs that are assigned to perceive the mark (Merkorgan) and to react to it (Wirkorgan). Everything happens as if the external carrier of significance and its receiver in the animal's body constituted two elements in a single musical score, almost like two notes of the "keyboard in which nature performs the supratemporal and extraspatial sympony of signification", though it is impossible to say how two such heterogenous elements could ever have been so intimately connected.."

*the environment-world that is constituted by a more or less broad series in which we see a living being moving

GOLD, 2010, Athens

Gold hath these Natures: Greatnesse of Weight; Closeness of Parts; Fixation; Pliantnesse, or softnesse; Immunitie from Rust; Colour or Tincture of Yellow. Therefore the Sure Way, (though most about,) to make Gold, is to know the Causes of the Severall Natures before rehearsed, and the Axiomes concerning the same. For if a man can make a Metall, that hath all these Properties, Let men dispute, whether it be Gold, or no?

Note of 2007 / HYMBRO, 2007, performance, installation, video, sound, Fisher Landau, NY

HYMBRO / Featuring: Eric Angles, Ronnie Bass, Kerstin Bratsch, Mira Dancy, Debo Eilers, Allison Katz, Adele Roder, Davis Rhodes, Sara Stracey, Nic Xedro

The installation stimulates a company’s booth. The performance tendency is to use and connect two notions, which underline the big crash of the 30’s and the oil crisis at the end of the 70’s in order to come up with a new character that corresponds to those two but at the same time formulates it’s individual need at the present moment. The installation consists of a small concrete stoop that is two steps high, an 8’ vertical wooden panel, a table and a chair. The panel, table and chair are painted light green. This installation is intended to provide the space for several actions and characters to exist. The main character first presented the fictitious company HYMBRO during the opening of the 2nd year MFA show at the Fisher Landau center for the Arts. This character was a sales person who was 'as if' hired by the company HYMBRO to expand and sale time. The following is the sells person’s script: We expand the time There is no visual there is only time And we expand it for you, with you We know it We all know it That there is no visual There is only time And we expand it For you With you I know it You know it We all know it That there is no visual There is only time Who expands the night Expands the time And we do it For you With you We expand the time Inspired by musical cinema of the 30s, punk attitudes of the late 70s, and selling gestures of Wall Street, I composed a series of movements that were mostly focused on the hands. The sales person’s slow clapping could signify the expansion of time. A fast repetitive movement of one finger could signify a sale. During the performance the action was split into two parts. The first was of the character producing music and recording the predominant lines of the script. The second aspect consisted of the composed song looping as the character moved about the installation with gestures and rhetoric of sales. As the performance progressed, the monologue became more assertive of the company’s aim and philosophy. Some aspects of the speech began to loop in the recording as well. During the performance the character would reposition a video camera, recording details of the set and cropped images of the particular repetitive actions and hand signals. This documentation was edited with textual graphics and was later used as a promotional video for HYMBRO. It was projected on to the standing wall of the HYMBRO installation and played throughout the duration of the exhibition and consequently during the other performances.

First is the idea of exchange and how this idea can take various forms starting from a symbolic exchange, to a wishful function of commodity, to the absolute abstraction. Marx noted that money, liberated from the metal in the form of paper currency becomes a pure sign. “Scientific reflection” gave rise to an information technology that enabled the abstraction of the money sign even beyond paper; in becoming software that can be sold over and over again, the concept itself becomes currency.
Second is making up a word, which will signify, a company without character, and that will be the fiction of this project as I ( hired by the company) will be responsible to find its character.
Third will be to create a set or a meeting point where those activities of investigation will take place.
Fourth will be to make notes and come up with a final element or conclusion of this research, which it may happen during the process of the whole event.

The third section, which is the visual aspect of this project, is an installation that includes stairs made out of concrete, a panel that it will function as a place of display/projection and a table where several operations of recording, reading and making of music for the actions will be produced.

1930
stock market crash
1973
Oil crisis
2007
'whatever' crisis

Minute
Story telling
The steps
Why asking to receive a tiny object, tiny friend’s object
Make up a story for them
It’s almost impossible to ask
Possessed by the gesture and the object itself
Making of a story
What is reminding me
Wim Wenders
When the world looses its storytellers
It looses its childhood
A child’s play
The moment that something is signified as such then it becomes this, and it’s real.
IS This work about reality, realities?

Probably is a stupid idea, when you follow a specific strategy over another form, the possibility of coming up with something that stands for its own is almost impossible.
Through constant observation and then reconsideration
there are more than one plans in any structure
In order to come up with something that will effect those different plans and reformulate the structures, understand them, read them
What kind of stories/objects you can bring to the world?
Unmonumental, at the New Museum, a show of the pedestal. Again a reminding of an ended history. Being at the archeological museum Props of the no-revolution Hugging from the ceiling To paint is to touch the touch. How much effort your gesture has?
How much do you want to make a move? Probably there is not only showing up of technique (what performative is) of the constant tourism, the consumer of 9,99 cent shops
Material has lost its effect.
And really doesn’t matter
Are there any Politics of action?
Arendt’s point, crucial to understand how human freedom is experienced and can be preserved is that there are two fundamental types of thinking about politics, of defining politics. On the one hand, you can think of politics as government, domination of some people (one or a few or many) over other people, requiring the threat or use of violence. On the other hand you can think of politics, as the organization or constitution of the power of people have when they come together as talking and acting beings. Here her emphasis is on preserving the peoples’ power in a constituted government: potestas in populo
For the concrete steps
The between space of building’s front steps
Not yet public
Not yet private
I would think that as a mode
The front steps is a meeting place where any kind of situations exist between public and private is the opportunity to wait to watch to hear
To imagine Imagination is possibilities Hope is a word that I like to think of
No more comments

NEW TASTE
NEW FRESH
NEW WAYS

Can I tell
Can I be with you, a minute
Can I talk a language when comes to
Action?
Instant action
The Hysteric

Voice
The voice

YES

The objects I received for the making of the performance are not for display.
They function as propositions. The making of a company. HYMBRO, no meaning word, as all companies it will underline what kind of gestures the subject, the character has this ready made subject, at the steps, will have.
Artaud’s idea of language on the stage:
The code language and the musical notations in order to compose symbols that will be precise and immediately legible. The idea of attitude, the gestures can be found in those objects.
A piece of paper with lines, forms and colors can inscribe a way of moving fingers or saying a word a tone higher or lower.

Similarity, the ten thousand and one facial expressions captured in the form of a mask.

Correspondences

Different extensions
The painting, the miniature, the gesture, the action, the singing, the lights
We are not free and the first thing that theater can teach us is first of all, that.

I asked for contribution.
I don’t want any other text than the text that has already given to me.
Those miniatures are texts.
The instant translations are also part of the text.
They are made for this translation and it was about time.

I will agree at this point with Kaja Silverman's statement on analogies. An analogy that is not logical but ontological relationship. Its not a correspondence from 1 to 2 but a correspondence to one thing with another thing. It can involve two things together in an ontological kinship, or overwhelmed similarities.

The objects base
And the platform
The story is before

SUKU LIVE 12/6/2010

PRESS RELEASE by SUKU

DON'T TAKE KINDNESS FOR WEAKNESS

INTO THE LIGHT
INTO THE FIRE

WELCOME YOU
TO THE CAMP

SUKU
ARE SU AND KU
BUT YOU ARE JUST YOU

PianoWhale

Note- Pier Paolo Pasolini

No desert will ever be more deserted than a house, a square, a street where people live one thousand nine hundred and seventy years after Christ. Here is solitude. Side by side with your neighbor, dressed by the same department stores, clients of the same shops, readers of the same newspapers, viewers of the same TV shows, it is silence. There is no other metaphor, for the desert than everyday life: and its silences are internal. It is one blessing of peace. But peace is not always better than war. In a peace dominated by power, one can protest by refusing to exist(...) (p. 35-36)

Note

I hate vampires

Lately there have been bunch of them around

I don't mean to be aggressive but

Sometimes it just happens

I don't believe in the spirituality 

Of anyBody

I am not vegetarian either

I was once 

and it felt I was thinking too much

The body

is movement-image

Four dimensional

So, it is not flat

It is changeable 

It travels

And it

breathes

So, I don't need to exercise a lot

Copying

Miming

Writing again

From what it was written

Speaking again

From what it was said

And later finding something

to work with

With the facebook friends

Invisible qua visible in the moment

Surviving and vulnerable

As it can be

What its skin is able to sensor?

Urban environments 

Network communities

Exiles

Wars

From what the body is made of?

Holes

Abstract signs

Translations

Upon translations

Voice

Rhythms

Intensities

Pitches

Volumes

Speakers or microphones

Both

Center 

made by 

Its

Exits

Marina Abramovic Toy, 2010

Note to NY

Hello NY,

You look very very pretty today
I like the way you smell, some kind of a perversive sticky little thing in the air
and the trees are greener and the chicken ready to go
I like it here on the bench when i lean on the side and i catch a side of yours
returning home, one or the other, closer is a dog, further away a black bird
one's plastics left over, nails holding dirt

If you promise me you'll stay pretty i'll stay more

Note

When I use the I in my notes it doesn't mean that my notes are personal or refer to me.
Also, that I doesn't mean one I, my I and only. The notes are texts that carry a certain function because they depend on another text in order to appear. In comparison to any other form of written text the note can be found stuck on a fridge, it can sometimes be a doodle, one sentence, fragment of thought written parallel to a printed text inside a book, in a magazine, on a receipt, on a staple. Notes are peripheral texts that add, erase, make comments and file. The underlined text in a book is also a note. When you read and you exclude a passage from the whole by underlining it, most times you are using a pencil or a pen or these fluo markers which I remember liking when I was little, but at that time I was underlining everything. Anyways, similarly when I have a fragment written here, it is an underlined text taken from a book or a magazine or it is a text I found somewhere, maybe I can call it underline instead of note. Well, hm, I'll keep it with this name for now. The note name.

Note/ Guy Debord/ Howls for Sade (fragment)

Voice 2: We were ready to blow up all the bridges, but the bridges let us down.

Voice 1: Twelve-and -a-half-year-old Madeleine Reineri, who under the stage name "Pirouette" starred in the Alpes-Grenoble radio program Happy Thursdays, threw herself into the Isere River.

Voice 2: Mademoiselle Reineri of the Europe Quarter, you still have your wonderstuck face and that body, the best of promised lands. Like neon lights, the dialogues repeat their definitive truths.

Voice 1: I love you.

Voice 4: It must be terrible to die.

Voice 1: See you later.

Voice 4: You drink far too much.

Voice 1: What are childhood loves?

Voice 1: I knew it. And there was a time that I regretted it very much.

Voice 4: Whould you like an orange?

Voice 1: The beautiful breakups of volcanic islands.

Voice 1: In the past.

Voice 4: I have nothing more to say to you.

Voice 2: Once again, after all the untimely answers and the aging of youth, night falls from on high.

Voice 2: Like lost children we live our finished adventures.

Note/ if i was to make movements for this text i would love to be the door

1. Configuration of the Room Entrance

1.1 Entrance to the room is made more difficult by the need to negotiate six steps.

1.1.1 The steps lead 'upwards', to a 'higher' plane.

1.2 The door is located on the stairs (second step) This poses a further, but not the final, difficulty.

1.3 Blocked by the risers, the door only opens outwards, away from the stairway, much like those pivoting barriers, at certain border crossings that are set up against concrete blocks, so they can only open opposite the direction of travel.

1.3.1Opening the door forces one to take a step backwards, down on the first step

(p.92)

The Poetics of a Wall Projection
Jan Turnovsky

Note

When you are back lingering me from the point of question to the question mark I am out. Your ceiling demonstrates suffering and I can't stand watching it. I closed the door behind, it is the same morning. You are asleep and I am counting stars. Animals in diagrams, thinking ways of shrinking. Hold my throat/stab my back/squeeze my nipple/scratch my ear/bite my fingers/ lick my head/stand on your feet/fall down/ all/ tender kiss me/glue me on your chest and try elsewhere. This is how the night unfolds and now I only see the question marks.

There is no certainty, we are words; the closer i look at you, the further away you move, the closer you look at me the further away I move

Note

There is a particular thing I enjoy using only my portable computer or any random computer to make something. First of all I don't need to set up again and again a kind of a personal environment in order to focus. When I switch on my computer my environment is in front of me and it is waiting for me. When I use a random computer I can very easily set up an environment by uploading files from my hard drive, from dvds and documents out of my email account. On the screen I have folders, shapes and ideas. I don't need to go to any store, wonder around, searching for what I need and what it would be useful for me to use. Archives, articles, folders, staff in general are such a complicated thing. You need at least a permanent address to own shelves and a room to have pencils, folders with images and heavy duty books. But if you don't have specific address, if you don't find it appealing to work full time jobs to pay the rent and if work is not one of your favorites, maybe you just end up hung out here and there. The other day I went to the Pearl, the art store on Canal street, and I felt so confused. All this brushes and paints and things I didn't know why I had to get even one of them to use. There was this red pastel and it was another red beside it and then another and another. They looked so much the same the one beside the other and it didn't make to me any difference if they differ even a tiny bit as they were on the same shelf with the similar uniformed labeled template, it made me nervous even to watch them. Then, I thought well, in order to spend time with them and figure out their differences and how to use them, I had to either buy them or steal them; and then on top of that I needed paper and bla bla bla and I forgot why I needed to put those reds on a paper in the first place. I will do the test on a blank document see the differences and figure out how it does it and if it does something I will save it and keep it on one of my folders. Maybe, not necessarily soon, perhaps at a particular moment, it will become something.
Possible a copy, there won't be any bricks if you wonder what is behind the curtain, it might become three or four dimensional. It could be made out of a material which possesses fast appearances and disappearances. What kind of material would that be? Digitized signals, waves, electric colorful pigments of movement; and meanwhile, until my file will shift dimensions, I can choose to do nothing.