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The following page has been changed by ongoing text: http://wiki.apache.org/struts/ongoing_text ------------------------------------------------------------------------------ - [ What could be the problem with an exchange via text? + [ What could be the problem with our encounter on a text? It could be too fix; it could be exactly what we donât want our project to become. Letâs avoid the division in Concept and Process and letâs edit it as a wave of thoughts between you and me. We already have so much in our interstice. Letâs just show it as a flux or a flow. Thatâs the only way not to loose all the precious inputs we gave the project. We arrived from different ways and keep the diversity in order to enrich the organic structure and make our reciprocal activation not a simply death end. Letâs edit a text divided just by spaces and letâs forget the titles. Letâs edit a text that progress in all the interesting direction that we have already activated. The text is an object and the medium of writing has implications on how we think and on how ideas are produced. In order to this the text is one of the objects produced but not the only or final one. In order to develop what and how we think we have to find different approaches to every point we make. In this case the text is an ongoing dialogue, it is a process that not only goes forwards but also backwards, to the left and to the right, up and down and somewhere else. There will be questions and some answers, but also not fully expressed ideas. These aspects can continually be rewritten, completed or even erased ] - [ Iâm writing on confusion as a higher level of sensibility, Edward Lorenz and the Butterfly Effect ] - [ There is a postcard with a still from the Wim Wenderâs movie Alice in the Cities. On an unclear scene it is possible to detect the blond hair and the hint of a childâs body on the left side of the picture and a shadowed manâs figure on the right. I keep thinking about that space, that in between Rudiger Vogler and Yella Rottlander â the main character of the movie as well as the two entities on the postcards. With its absence, its endless possibilities of been fulfilled and its consequent productive confusion, this space simply embodies all the meaning of that human relation and, consequently, of the whole movie. It is on that unclear but still meaningful interstice that the concept of confusion as an extreme disorder seams to change value and reach a complex and productive signification. Itâs in this alternative place that confusion could be seen as higher level of sensibility ] - - [ Iâm writing a text on art as object in relation to history of art and in contrast with the idea of a window on the world ] + [ Iâm writing a text on art as object in relation to history of art and in contrast with the idea of a window on the world ]. - [ âThe text doesnât gloss the images, which do not illustrate the text. For me, each has been no more than the onset of a kind of visual uncertainty, analogous to that loss of meaning Zen calls a satori. Text and images, interlacing, seek to ensure the circulation and exchange of those signifiers: body, face, writing; and in than to read the retreat of signsâ. @@ -34, +30 @@ Itâs curious how he explains his first contact with the Japaneseâ language in everyday life. The confusion brought by an unknown language, unknown sign and unknown rumours, together with the efforts to understand the language throw the person â a stranger without any knowledge of the idiom â in an alternative place: itâs in that alternative place that we can talk about a higher level of sensibility. Confusion is something that puts the person inside the in between, in the interstice where everything happens and where a productive dangerous zones is created ] - [ Iâm writing on the Centre of Tokyo as a supreme interstice ] - - [ There is a poetry from Fernando Pessoa namely The King of Interstice that could be seen as a strong reference for our project: + [ There is a poetry from Fernando Pessoa namely The King of Interstice that could be seen as a strong reference for our project.: There lived, I know not when, never perhaps â But the fact is that he lived â an unknown king @@ -61, +55 @@ All think that he is God, except himself. That kingdom is the field of creation, the alternative place where itâs possible to detect a dangerous zone of thoughts. - That kingdom is the place of interests of an organic structure, is one of the hubs, one of the meaningsâ connector]. + That kingdom is the place of interests of an organic structure, is one of the hubs, one of the meaningsâ connector ] - [ Iâm writing a text on Hakim Bey and his idea of the no-go zone Hakim Bey is an avant-garde poet-philosopher whose work departs from the academic tradition, rediscovering mystery and magic as means of re-conquering joy of life and defeating boredom. About chaos: âCHAOS NEVER DIED. Primordial uncared block, sole worshipful monster, inert & spontaneous, more ultraviolet than any mythology (like the shadows before Babylon), the original undifferentiated oneness-of-being still radiates serene as the black pennants of Assassins, random & perpetually intoxicated. - Chaos comes before all principles of order & entropy, it's neither a god nor a maggot, its idiotic desires encompass & define every possible choreography, all meaningless aethers & phlogistons: its masks are crystallizations of its own facelessness, like clouds. Everything in nature is perfectly real including consciousness, there's absolutely nothing to worry about. Not only have the chains of the Law been broken, they never existed; demons never guarded the stars, the Empire never got started, Eros never grew a beardâ ] + Chaos comes before all principles of order & entropy, it's neither a god nor a maggot, its idiotic desires encompass & define every possible choreography, all meaningless aethers & phlogistons: its masks are crystallizations of its own facelessness, like clouds. Everything in nature is perfectly real including consciousness, there's absolutely nothing to worry about. Not only have the chains of the Law been broken, they never existed; demons never guarded the stars, the Empire never got started, Eros never grew a beardâ. ] - - [ Iâm writing a text on the idea of laboratory related to curating showing the differences within organisations ] + [ Iâm writing a text on the idea of laboratory related to curating showing the differences within organisations ] - [ The project considered as a tautology brings us to Wittgenstein. For Wittgenstein tautology is a key point to understand the structure of language and as a consequence the structure of reality. Tautology could be considered as an interstice: itâs exactly nothing and everything at the same time, emptiness becomes fullness and the way around. As Wittgenstein says: âtautology and contradiction are the limited cases of a language [â¦] of the combination of senses that form realityâ. @@ -80, +71 @@ For Wittgenstein tautology is a complete emptiness that at the same time is necessary to build an atomic and philosophical structure. When we take the idea of Tautology and emptiness to its extreme consequent then the interstice or meaningful emptiness stands at the basis of the understanding of reality and reality itself. According to this the emptiness can be considered as an alternative place where confusion could be seen as a higher level of sensibility and where production takes place. Ones erased the atomic approach the interstice remains. It is the place of creation and meaning ] - [ Iâm writing on the loss of control related to the position of the curator ] --------------------------------------------------------------------- To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
