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    • Change Log of Common Things 14 September 2016
      posted by: Nicolas Y Galeazzi
    • 14 September 2016
    • 04 December 2016
    • case of: Nicolas Y Galeazzi
    • Change Log of Common Things

      Our individual researches are the basic material for the work in a block.

      This page is a log board for tracing the canges and alternations of every item* that has be brought in to the common space as a common research good.

      Every research is present in form of a careful selection of three items that han be declared as common good for the duration of this block.

      • One item from your research that you can define as a resource for yourself and others. Resource are things that transform when we use them!
      • One tiem that you declare as a tool. Tools are things that we use in order to transform other things.
      • One item the describes a ‚gap’ in your research. Gaps than, are not-things: Gaps are consciously or unconsciously ignored or desired elements in the field of our researches.

      Everyone engaging in this block - participants, mentors, but also people from beyond a.pass and public - will treat, change and transform this material. The collection of these items is the base of our commons and is further developed and investigated in the Fridays Open Session. The gathering of items in that space is be under constant transformation. This transformation shall be documented on this page.

       

      * the term 'item' is already an alternation form 'element', an the things were named before. It is likely, that we will change this terminology throughot the course of the block.

    • 14449020_251669665234609_1836486306565858688_n

       
       

      This resource is offering online correspondence with few of my friends.
      However decides to use it, will contact my friends under my own name - LILI.

      This will be supported by FB page "LILIth", impliying that another resource is an online identity many LILIs will construct - Lili1st, Lili2nd, and so on, therefore Lili-th. Whoever wants will become an administrator of the page.

      Instead of reaching my friends through their individual email addresses or facebook profiles, they will, just like we, be gathered under one FB page "Plötzlich hab' ich Freunde" (translates "Suddenly I have friends"), having same possibilities on that page. This is due to their own decision whether they also want to engage in constructing a single voice talking to LILIth and therefore use the correspondence from the mentioned page, or converse with you, LILIth from their private profiles.

      It may sound complicated to understand who is "granted" what access where - the point is that a communication begins between the two sides LILIth and LILIth's friends with no distinction in who is on which side - constructing a new voice and transforming the relation between the two;  I also take part and will actually commence with the very first contact!

      A lot more interests, curiosities, experiments and expectations to be mentioned, but let's see how it goes, correspondence and profile construction is welcomed to be used for whatever LILIth would have used it for - personal, research-related, ..anything...or everything that you will find out LILIth's friends respond to!

    • I.

      I am the wall - waterfalls. I actually want to be distant from the walls. I don't know where I originate, but I know where I finish. I directly fall onto the ground. I spread a bit, but not too much - not to disturb the center of the space. 

      I am clear, and I don't want to touch the dirty walls. 

      I am the margins. I am hidden, and I need to be so to be able to blossom afterwards. I am there, I am invisible. I am a thin long continuous line - like a snake. I can be dangerous, but I am necessary. 

      I am the nail polish sculpture. I am open enough to receive, but not too much. I am disgusting for the outside. Repulsive. I gather the waters that spill from the ceiling. The unwanted, unwelcome waters come to me, to be contained. They are actually clear waters then. 

      _____________________________________________________

      II.

      (following is best to be read form the back: word by word; 'I'm'  and 'I'll' are to be taken as one word)

      I’m the Dancing:
      I’m nervous but I don’t move. I want to get out here but I’m everywhere. I’m in everything, watching myself from millions of perspectives. I’m the potential. I see myself lying sitting standing. there is things to change! I’m just there, immobile. I’m nervous.

      I’m the black hole:
      I’m the black hole that is still black. I’m in front, I’m dark, I’m the source of curiosity, and I’m entropy. I’m at service of your imagination and I’m all those un-captured memories that got lost in the space. Black hole, whole of stuff that can inspire your imagination. I eat everything.

      I’m the horizon of the possible:
      do you hear me, I’m explosive!
      Do you like me, I’m in love
      do you think of me, I’m never there where you think
      do you want me, you’ll never catch me.
      do you kill me, I’ll dance!

       

      ************************************************************

       

       

    • ------------------------------------------------------------------------------------------------------------------------

      ---------------------------------------------- WRITING SERVICE ----------------------------------------------

      ------------------------------------------------------------------------------------------------------------------------

      • Please encircle up to five keywords across all categories, or add new keywords in the space provided, then hand this page to the writer.

      Language:
      ENGLISH / DUTCH / FRENCH

      Method:

      LAPTOP / NAIL-POLISH / PEN & PAPER / TYPEWRITER

      Style and Form:

      ACADEMIC / ADVERTISEMENT / ANGRY RANT / CYNICAL / DIARY ENTRY / FAIRY TALE / FREE ASSOCIATION / FREE VERSE / INSTRUCTION LEAFLET / LETTER OF RECOMMENDATION / MANIFEST / MYSTICAL / MYTH / ODE / OPTIMISTIC / PERSONAL CORRESPONDENCE / PESSIMISTIC / POETRY / PRAGMATIC / PROSE / RATIONAL / RHYME / ROMANTIC / THEORETICAL / .................... / ................... / ................ /

      Content:
      209 / ATTENTION / BELL / BOX / CONFLICT / CYBORG / DIARY / DISPOSITIF / DOCUMENTING / CAMBIO DE CERRADURA SIN LLAVE CARE / CLAPPERBOARD / CORRESPONDENCE / DECLARATION / DESK / EMBODIMENT / EXCESS / FRAMING / FRIDAY / GENERICALY SPECIFIC / GOD / HAND-EYE COORDINATION / INVISIBLE / LIGHT / LIGHT THEREMIN / LILITH / LOCATION / LOVE / MD-RECORDER / MIRROR / MOIRRRE / MOVEMENT / NAIL-POLISH / NON-DUALITY / NON-UNDERSTANDABLE / OPENLY CONCRETE / PASSAGE / PERSONAL / POETRY / POLITICS / PRACTICE / RECALL / RECORDING / SCORES / SELF / SPACE / SOUND / TEXT / TEXTING / THE HOLE CAMERA / THEORY / THE SELF / THIS SPACE / TRANCE / TRANCE TEXTING / TYPEWRITER / VERGENCE / VISIBLE / ..................... / ................ / ..................... / ................ /


       

      HAVE YOU EVER WONDERED WHAT YOU AND YOUR MIRROR IMAGE HAVE IN COMMON?

      -ARE YOU LOOKING FOR A WAY BEYOND FLATNESS ?-

      TRY OUT OUR NEW FRIDAY SESSION – SEE YOURSELF THROUGH THE CHAOTIC LENS OF A FLUCTUATING SELECTION OF CONTEMPORARY POOR

      RETURN TO YOUR PROJECTED LIVE KNOWING THAT A REVOLUTIONARY SYSTEM OF COMMONING WHAT WAS ONCE PRIVATE IS SO COMPLICATED IT WILL NEVER HAPPEN DURING YOUR LIFETIME. WATCH GROWN UP PEOPLE DO WEIRD THINGS YOU DONT UNDERSTAND AND FEEL HOW LIVE COULD BE WAY MORE COMPLICATED THAN YOU EVER FELT. IT IS EASY!

      FIND PEACE AGAIN WHEN YOU LOOK INTO YOUR MIRROR

      FREE TOOLS AND RESOURCES PROVIDED TO FILL YOUR GAPS

      WARNING: ALL FOOD SERVED WILL BE VEGETARIAN – NO REFUNDS


       

       

      SUBJECT: 01101100 01101001 01101100 01101001 01110100 01101000
      CREATION DATE: 0 – 134064h.

      HUMAN ACCES CODE: L I L I T H

      MANIFESTATION:

      subject breached non-dual protocol by applying nail-polish __subject stated 'I got Friday on my mind / I could be your Fairy / Baby / Let's embody across all categories / your SELFSPACE or mine / let's become invisible / doesn't that sound fine?'
      SOLUTION:

      __recommend increase testosterone dosage during next TRANSE fase __removal of excess SELFSPACE __thorough cleaning of the optic fiber passages __removal of the other


      - APROVAL OF NCH DIVISION REQUIRED -





       

    •  

      Written translations of videos capturing the body movements and gestures of my mum taking care of the domestic environment. 

      These written translations take the form of poems/scores - set of instructions, sequences of movements.

       

      23 September 2016

      I start the translation of the written translation into a dance choreography.

      I invent the movements and I try to remember them during the same session. For that I practice what I invented right afterwards, repeating small bits of movements time after time, while trying to add something each time I repeat the sequence. I test the memory of my body in sparkles of joy. I try to build up fluidity and spontaneity of the body starting from a condition of constraint and given instruction.

      During the act of translation, I notice how high is the normative strength of choreography.

      In the practice both of the care taking gestures that I can reconstruct in my memory through the reading, and in the dance movements I am doing now, the wrists play an important role. I sense how they could be considered the site for tuning (regulating, adjusting) the degree of care one applies through the gesture.

       

      30 September 2016

      This second time I enter the resource, I am transforming my first experience and experiment into a commitment.. into a sustained practice.

      While addressing this resource, I in fact realize I am also working on the gap `practice`. 

      It is very difficult at first to cross the threshold of the space of the body, the space of the practice, trusting the letting go of the thought-processes where I am immersed. 

      After a week passed, I want to test my memory of the choreography by directly diving into it, without reading the written score of instructions.

      As during the first time of this try out, there is a video camera as an external device to record my movements and verify my memory from an outside source of documentation. It is also a tool through which I aim at observing my body position, the orientation of it in the space, and how to work on composition.

       

       

       

       

       

       

    • IMG_1327

      The Theremine is a chaotic instrument that make the re-doing impossible. It uses the lack of electronic precision as a generic rule to create singularities. It is a tool to experiment and notice the small changes which occur in identical gestures.

      WP_20160930_027

      A conversation with Theremin, who has been declared a cyborg, and later on a poem for Theremin.

    •  

      Observation: for each scores, observing changes that occure at a body, psychical, emotional and imaginary level. Weight, tension, focus, gaze, scale, feeling of enlarging/shortening, solid/fluid, unique/multiple, colours, emotions, image, association,...

      Heart:

      • feeling the heart beat through inner focus: fingers, hands, feet, temples,...

      • start laid down, try to feel/hear your heart beat where it reveals itself clearly, look for less obvious place where you can feel it, change position and do it again.

      • Start sitting cross-legged, relax your upper body and let your neck and more of your body oscillating according to your heart beat.

      • place your hand under your jaw to feel your heart beat with your fingers.

      • Reproduce the heart beat in live with your voice

      • move another part of your body on the rhythm of your heart beat

      • bend your knees on your heart beat

      • jump on your heart beat

      • by two: place your hand under the jaw of the partner, and do the same scores as above

      • move/dance on the rhythm of your heart beat, with or without helping technology (stethoscope,...)

      Vibrations :

      • alone: produce sounds with your voice (changing the tone and volume) and try to localise them, by feeling/following their vibrations, in your body.

      • By two : one partner is producing the sound and the other is localising it helping him/herself with hands or other body parts

      • By two : back to back, together or one at a time, the partners produce sounds and localise them within their bodies.

      • move/dance following the body parts that naturally resonate with the produced sound

      • move/dance resisting to follow the body parts that naturally resonate with the produced sound.

      Narration :

      • declare out loud a specific statement and feel what this declaration is doing to your body, physically, emotionally.

      • declare out loud a specific statement and repeat it while moving. Feel what that does to your body and how the movements are created through this declaration.

      • declare out loud a specific statement and repeat it while changing its shape, tone, speed, volume, emotion with which it is declared.

      • authentic speech : talk without caring about the meaning of your speak, just follow your mood

      Time:

      • stay in one position for a long period of time (to be determined) till you start noticing subtle changes in your body, tension of the muscles, pain, focus,...then change position and do t again or just start moving slowly.

      • Gaze at an object in the space and observe how your perception is changing with time, how your awareness of your look change and your acknowledgement of the object itself start changing too.

      Listening:

      • multidirectional listening: listen to all sounds of your surrounding environment (down, up, right, left, front, back, far, close) with the same intensity. Don't focus on any of them, but try to hear them, to let them enter your hear equally.

      • Intimate listening: turn your gaze on the inside and listen to the sound produced by your body (heart, breath, digestive system,...)

      • in/out: mix the two previous scores and listen to the inside and the outside with the same intensity of presence in your mind

      • group listening: picture that you connect your ear, your listening to the one of the other in the group and try to hear what and how they hear.

      Blind:

      • blind your eyes or keep them closed for several hours and act normally, move, walk, eat, sit, talk,... and notice how your other senses get increased.

      • By two: both blind their eyes and then connect to each other through one body part and start moving, trying to tune within the partner and to reproduce the same movement. One will be leading and the other one following. Change role without opening eyes.

      • Deaf dance: move/dance, trying to make as less noise as possible.

      Grimaces :

      • make grimace in front of a mirror. Change the speed and the intensity going from one grimace to another. Notice the emotional change within you.

      • Make grimaces in front of a mirror and expand them to your entire body. Be attentive to the different tension, emotional changes,...

      Breath/tone :

      • start breathing normally then go for producing a tone but keep it there. Don't go for it entirely, just stay on the threshold between breath and tone.

      • Start producing a sound and then go for changing it. The same way, don't go entirely for the change, stay on the threshold.

      • Tone/grimace: in front of a mirror, produce a sound (tone or breath or whatever) and expand the physical consequence of it in a grimace and then expand it to the body. Then change tone, or change grimace or tension in the body and see how the three of them are relating to each other.

      • Choose a point in the space. Breath in and scream at it with a specific emotional aim that you've chosen before: love scream, rage scream, hate scream, melancholic one, sad one,...

      • produce a sound and repeat it; Try to hear it and to produce it the same way again and again. See how your perception of it is changing and how you get used and unused to it.

      07/10/2016

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      By two : back to back, together or one at a time, the partners produce sounds and localise them within their bodies”.

      We started from this “back to back” score and then we implemented it following our body and the divers discoveries we made. We choose to tune, to produce the same tone, which allowed us tu feel more clearly the vibrations produced by our own voices. The low frequencies were easier to feel because of their location in the chest when the higher pitch, resonating only in the skull can't really be transmitted from one body to another. Although the higher pitch vibrations are easier to sense if producing through humming...the closed mouth and then your skull itself works as an inner sound box.

      The next step of this experience was to come up with a score that could help us to extend in our bodies the vibrations produced by our voices. To do so, we decided that one of us would lay down on its back and produce a tone out loud, and would try to keep this tone unchanged while the other would manipulate its body : lifting up, pushing, pulling, displacing it.

      • Sum up of one partner's experience : subtle changes of the tone according to the manipulation of the body. To push or pull on member changed the tension of the entire body, affecting the position and the tension of the diaphragm, that is then affecting the production of the tone by making it louder, lower or affecting the pitch. Notice that after this subtle change, it is always possible to come back to the original tone (the chosen one) although it is sometimes uncomfortable, a feeling of having to force myself to produce a less natural tone. After a while, it seems that the body and the mind starts to understand the inner process of those slight changes and starts to anticipate the change, by producing a different tone when the body manipulation didn't happen yet. The movement of pulling the lower part of the body (the legs) spread down the vibrations (almost reaching the pelvis area and modifies the basic tone towards a lower one. I assume it does so because of pulling down and relaxing the diaphragm. The more we are relaxed, the more the vibrations can spread and extend to the entire body.

      • Sum up of the other partner's experience : to manipulate the body produces variations in my feeling of gravity and according to the intensity of those changes of gravity, the initial tone fluctuates. It happened that some tiny manipulations cause a sensation of dizziness and this very sensation also affects the tone itself. It seems that the emotional state of the person also affects the tone that is being produced (when one anticipates the dizziness that is to come or anticipate the touch, or the manipulation to come). When the neck and so the throat are manipulated, the voice casts off and is followed by a strong feeling of dizziness. It seems that this specific area is a physical as emotional knot that can be unfolded through voice mixed with specific manipulation.

    • 16.09.2016

      Practices for perceiving a common space
      to start with

      1. Enter a space, and first listen. -  Tune your focus to the sounds in that space. Tune your focus to the sounds beyond that space. Tune your focus to the sounds of your self . Make a sound - and listen.

      2. Close your eyes, visualize in front of your inner eye how you saw the space the last time, or how you imagined it before you kew it. Open your eyes and juxtapose this image onto what you see now. Walk bit around.

      3. Walk around, feel the space, touch some surfaces, enjoy them - or not, feel the floor, feel the walls, feel the dimensions, feel the distances, the distances of your body. Feel the things. Feel time passing.

      4. Imagine yourself as an object in that space. There are things in relation: the floor is a thing in relation to a thing on the floor. These things are in relation to the walls (that are things). Time is a thing in relation to the things - and of course you as well you are one of those things, in that space of relation. Have a look at them. Have a look at the relations. they are in change.

      5. The things are there. No need to own them. You have access. They respond to you as much as you respond to them. What does it mean to make yourself accessible to the ‚things‘ in this space.

      6. Close your eyes. Position yourself within these relations. Visualize in front of your inner eye how you saw the space when you entered. Did your perception of the space change?

      7. Open your eyes and shake your body.



      This space:  a note
      This space is available to you. It has been made available using institutional tools. Convincing the tax society to pay the rent (to pay someone who legally is entitled to own that building). Layers of societal, cultural, political and legal contracts formed through history cover the availability and the allowance to do our experiments - to a certain degree. The institutionalization of the procedure to make space free for a specific intent has obvious consequences. It forms our intent as much as we can form it. a.pass tries to take this as much as possible as a dialogue with the institutional demands and tries to stretch and bend them.
      Of course this stretching and bending has an impact: we are within a system. We willingly decided to be within.
      There is a city around this space. The city, the society, has other demands then the institutions. We are in experimental dialogue with those demands as well - and institution like ours always translate form institutionally governed demands to societal and personal demands. The translation can be used critically, constructively and subversively on all those levels; the institutional, the societal and the very personal. Changing the narratives, as Kate put it.


      This space is dedicated for common use, and for the next three month everything in it as well. What does that mean? How and to what degree does this change the narrative? How does it effect and affect us as a group and as individuals, and can we translate this altered narrative to the outside?

      My resource is my body in that space, and in relation to the commonality of that space and all, and everyone that is in it. In order to excavate, activate it as a common resource I would like to propose the practice described above. 

      (16/09/16) acting like a God, i suddently wanted to change the whole space, but my gradioseness didn't bring me very far. I only changed the tools-table to another location.  Also after wondering around the space trying to get familiarized with what was there, i took all objects which materiality appealed to me, and i placed them in a collage-like playground. Anouk finished it later with the actions she performed on it.


      16.09.2016

      applied the respurce on as a tool on that litle realm:

      Thanks for providing it! Surrounded by everyones concentration, I set myself free to performe without showing, just play! creating my space, in the space. excavaiting my own resource in a gap of someone else. Think its a gap, wasn't even aware the surce of the gap. Just enjoyed playing in it and exprloring my resource throug my body.

    • common thing - 5


      16 September 2016: Added set cards from the Declaration tool: 
      Playground / Battlefield

      Developed a score: Lie down on the self / Push your ear against it / Listen to the sounds above the self with one ear / Listen to the sounds below with the other / Listen to the wood ; the shelf ; the self ; in between

      16 September 2016

      The self's trip

      144fedd53f_93611_empreinte-dinosaure-ninu-mayu-wwwsucrelifecom

      vesuve-eruption-79-fig16

      tumblr_nh3ilzP1JP1u1je7co1_500

      Belphegortv02

      distant_black_hole_440

      a new "no self" is born

      common thing - 38

      common thing - 43

    •  

      Lay (under the table)

      Take your time to Feel gravity effect from skin to viscera, blood included…

       

      Then you are a territory

      Ring the conflict bell 

       

      Listen to the anecdote/story

      Browse your body feelings during the anecdote

       

      Recall the story as if it's set in your body.

      Share your embodyment.

    • Hi, look through me. See how it looks like to be seeing yourself doing it.

      Use me as a camera to view the commons. See how time slows down and reverses when you take the time to stop doing and start observing.

      Use me to see time in reverse: clean dishes gotten dirty reverse into cleanness, cups spread out on the table gather again in one container, dishes pile up inside the sink. 

      Use me to catch the making of coffee and tee, the arranging and cleaning of the commons, the taking care and the maintenance.

      The economic mind-set and mode of production sets in motion a cycle that needs re-production work to sustain it. Care-work is a space-time making which often has the traits of being repetitive and cyclical itself. It often consists of laying the grounds for, of preparing for something, and in so doing it takes place before, after or around the `main` event. 

      For the economic mode of production, care-work is both marginal and necessary. 

      It is by shifting the camera to the margins that something starts to vibrate. 

      By embodying the camera and taking the position of the observation, the body-camera also becomes a focus of attention, teasing the violence embedded in the acts of `capturing` and `releasing`.

      The spaces of production and re-production, of activity and receptivity,  get expanded and welcome other modes of work and existence.

       

       

      14.01.2016

      The tool has got company. 

      Based on a discussion between Zoumana and Nicolas about the mode of existence of a radicaly Open Space we developed an other frame that shuts light on a specific action or set. 

      Report from the discussion:

      What is the mode of existence of an open space?

      How concrete can the Open be? Open to what? Open from where? Open to whom? How is it possible to understand a mode of existence if you you can not / don’t want to answer these parameters?

      Can we talk about a 'mode' in the open space or is that already too closing? What kind of specifications does an open space need in order to be openly accessible?

      Entering the open space you always will bring an other habitat with you. That habitat will be in communication with the habitat of the open space. Potential, or unavoidable misunderstandings will appear.

      If you don’t feel what the habitat is you become careful. A habitat can be exclusive if you don’t understand it. If you then don’t feel the ground it will be difficult to develop a practice. It always will feel alien to practice within your old habitat.

      In the open, the open you do not understand yet, everything appears magic!

      Magic is improvisation and speculation,

      Improvisation as a corporal speculation.

      How to let the “angle pass”?

      What is the potential of that magic? The stage has a lot of this magic! It is a speculative alteration of the habitat ...

      What are the conditions that I allow myself to enter the open?

      The stage gives those conditions.

       

      Transformation of the tool:

      In the discussion it appeared, that we need a simple framing stage for magic alterations of the proposed habitat. 

      Haitat - 1

    • sony_mzn510_high

       

       

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      This has been (mis)used as an apparatus for encountering the common space...used as a player instead of a recorder, due to a misinterpretation of the function of the object itself, it allows one to enter the common space as an individual first. Listening to music - in that specific case medieval french music – with the two earphones on, cutting the individual from the rest of the hearable space.

      Then by removing one earphone, that came with the wish to share more, to put more in common by sharing the music with someone else, it moves the integration of the individual a bit further towards the common. By keeping one earphone unused and one used, the process of self-integration in the common space starts to evolve causing little physical encounters – the user of that tool starts to feel the need to interact physically, through touch and smile with it's surrounding.

      The next phase is to remove the two earphone but to keep the device in hand, so to open up even more to the space while keeping feeling safe thanks to the device that reminds the user of its individuality or the specific state he/she was in while listening to the music in the first place. This phase causes a free ride to do whatever in the space, not really knowing how, what or why...the user of the recorder start to just interact with the space itself...as if the moves in the space, the sound the user produces was a continuity of the music he she was listening to.

    • 16.09.2016

      common thing - 1

      openly concrete / generically specific:

      Is it about balancing or confronting?

      Is it paradoxical or integrative?

      Never found the right track, yet.

       

      30 September 2016

      WP_20160930_002

      All words that signified a 'being' (you, I, him, demon, God, spider etc) were removed from the text, and used to talk, first to the theremin and later to talk to Fred.

       

    • 16.09.2016

      This tool approaches a loose idea of 'Pattern Language'

      http://commonsabundance.net/docs/a-pattern-language-for-protecting-and-growing-the-commons-as-paradigm/#Why_a_Pattern_Language

       

      Use it to:

      a. name tings temporarely

      b. give a context a discourse temporarely

      Use it by:

      a. placing a setcard somewhere

      b. writing or drawing (signing) with the white or black choak marker

      c. wiping out someone elses declaration

      d. adding new setcards into the box.


      16 September 2016: flipped through the setcards provided by the declaration tool. I placed several of them with some of the Gaps / Resources / Tools in the room.

      Setcard placed by the tool itself: How to enter the common sphere when you have yet to clarify, define your own practice?

       

       

    • common thing - 2

      The world created by thought, the world of words, language, and concepts, is the world of opposites: ‘Up and down’, ‘this or that’, ‘inside and outside’, ‘right and wrong’, ‘black and white’, ‘true and false’, ‘positive and negative’, ‘me and you’ and so on. The world of words, language, thoughts, concepts, is a dualistic world of apparent opposites. But, in reality, do opposites exist? What we are really pointing to when we use the word ‘non-duality’ is something that goes beyond all of these mind-made opposites. But how can we talk about something that goes beyond opposites, when even our attempt to talk about non-duality is dualistic? So, what the word non-duality actually means is really very difficult to describe or put into words. In fact, you could say it’s impossible. For we are not talking about non-duality as opposed to something called duality, we are not talking about pro-duality as opposed to anti-duality. In fact the non-duality we speak of is not the opposite of anything. This is impossible to understand logically or rationally. To see what is being spoken of, we must go beyond our ordinary way of thinking and seeing.

      ‘Non-duality’ is actually a translation of the Sanskrit word ‘Advaita’, which simply means ‘not two’ and points to the essential oneness (wholeness, completeness, unity) of life, a wholeness which exists here and now, prior to any apparent separation. It’s a word that points to an intimacy, a love beyond words, right at the heart of present moment experience. It’s a word that points us back Home. And despite the compelling appearance of separation and diversity there is only one universal essence, one reality. Oneness is all there is – and we are included. What we are really trying to do when we say ‘non-duality’ is point to life as it is right now, before the appearance of concepts and labels; before thought creates a world of things: table, chair, hand, foot, fear, me, you, past, future. What is life before thought? Can we even talk about that? Is it possible to capture non-duality into words?”

      Jeff foster

      http://www.lifewithoutacentre.com/.


      16 September 2016: Added set cards from the Declaration tool: 
      All togetherness / illusion ?
      The speech act: / Declaring something as a tool / as resource / The act: / translate something into a tool or a resource

    • common thing - 28

      I am a dancer, a performer, a teacher, a researcher and a shiatsu practionner. Since I have encountered the work of Lisa Nelson in 1999, my dance practice shifted from exercising the body to exercising the attention. Now, I see the body as a vehicle for the attention and its dance a reflection of its state of awareness.

      I am currently leading a research on poetic, polyphonic and multi modal dance documentation. I am researching on poetic documentation because “Poetic experience” is my core interest, be it in the form of a dance, a text, a film, an object, a situation or a document. I love the definition that Georges Bataille gives to “the poetic” in ‘The inner experience’: “The poetic is the familiar dissolving into the strange, and ourselves with it. It never dispossesses us entirely, for the words, the images (once dissolved) are charged with emotions already experienced, attached to objects which link them to the known.”

      The poetic is the familiar dissolving into the strange… This kind of shift happens for me in the studio when, for example, I spend some time looking at things and people around me. Suddenly, everything is beauty; the old piece of bread crust that lies under the table becomes the most incredible sculpture and people around me are composing the most exquisite choreography. Nothing has changed but I see it differently. Everything is organized, in order, at the right place. “The poetic” happens when I pay attention to details so for me. Attention is what makes the ordinary extra-ordinary; It is a door to poetic experience.

       

       

      16 September 2016

       

       

      attention in the freezer

       common thing - 61

       

       

      !!!

      note: attention disappeared

      date: unknown

       

       

    • common thing - 7

      15 September 2016

      The act of telling personal story can very easily be a political act, but that does not make it a political story.
      How can you transform a personal story into a political one? Can it be both, 1+1=3, and, or, not? 

      List of encircling keywords: framing, perspective, communication across worlds, across different state of minds, paradigm shifts, reversal, being with, language as the force that constructs reality, ...


       

      16 September 2016:
       2_circle_venn

    • common thing - 18

      16----09----2016

      IMG_1270

       

      IMG_1275

      IMG_1281


       

      23-09-2016

      IMG_1317 IMG_1316 IMG_1315 IMG_1314 IMG_1313

       

       

      23 -09 -2016

      The typewriter revolution

      Richard F. H. Polt is a professor of philosophy at Xavier University. He has written about and translated works by Martin Heidegger. Polt is a typewriter enthusiast active on the Typosphere[1] and former editor of the quarterly ETCetera publication about manual typewriters.

       

      Richard Polt, the author of The Typewriter Revolution, talks about the growing interest in typewriters, what they are doing with them and why: https://www.youtube.com/watch?v=0TcKYEnA-PU

      intzrview of Richard Polt: https://www.youtube.com/watch?v=HTe6d23zBjg

       

      I transcribed the beginning of  the audio recording of my  first mentoring session with Femke .

      I want to add it to "the breathing archive".

      I usually transcribe audio recordings with my computer.

      It took the whole session to transcribe few minutes of the conversation.

      There where a lot of obstacle on the way.

      I like mistakes and obstacles on the way.

       

      IMG_2435

       

      IMG_2440

       

      IMG_2433

       

      IMG_2431

       

      IMG_2434

      30/09/2016

      Type writting performance score:

      The typewritter is placed on a  heavy table.

      The performer drags the table in the room, consciously making a lot of noise.

      She looks for a "good place to start".

      The "good place to start" is an usual place to typewrite.

      The performer types standing.

      She transcribes a conversation that is recorded on her phone.

      She mesures her action with the cicada candle.

      She smells the cicada candle burning as she listen to the sound of her action.

      Sometimes she stops typing and listen to the room.

      When she feels it's a "good moment", she resituates the table.

      She drags it again to another unusual place, for example, too close to someone. 

      She can leave the table to check what other poeple are doing around, grab a coffee or go to the toilet.

      She sometimes engages with the practice of others.

      She sometimes stays behind the table as a spectator.

      As she does not want to destroy the plastic dance floor that she secretely hates,  she places the table on a wool blanket.

      She drags the blanket  and pay attention to re situate the table in between the plastic dance floor and the wodden floor.

      She wants to make sure that dance can happen anywhere in the space, especially in the margin.

      She wants to make sure that her actions can be seen as dance.

      She lays on the blanket half under the table and listen to the recording with the eyes closed.

      She leaves the blanket and let the audio play alone.

       

       

       

       

       

    • common thing - 29

      15 september 2016

      This resource is Text. This Text was inspired/produced by my love life during the summer of 2016.
      It is not all and every piece of text that originated because of love this summer, it's a first selection.
      More might be added during the course of the block, or not. I can be asked for clarification about the Text;
      But I'm not obliged to answer. The Text as they are here, can be used in any way you see fit.
      There are no digital versions available. Exit strategies for transformed (parts of) Text must be talked through with me.

       


      16 September 2016: Added set cards from the Declaration tool: 
      What kind of tradition do we need today? / What kind of ceremony do we need today? / what kind f representation of togetherness do we need today? / What kind of common intimacy do we need today?
      Re-thinking the made dominated institution / economy as a masculine practice
      Love as institutional practice?
      Emotional attachment / belonging, possessing, owning, appropriating, claiming, responding, adding, developing, ...


       

      ----------16------09-------2016------------------------------------------------------------------------------------------------------------------------

      IMG_1276

      IMG_1270

       

      IMG_1274IMG_1280

       

      IMG_1273

       

       

       

       

       

       

       

       

       

       

       

       

       

       

       

       

       

       

       

       

       

       

       

       


       

       

      common thing - 9

       

      common thing - 3

       

    • GAP: poetry 15 September 2016
      posted by: Xiri Noir

       

      ------------------------------------------------------------------------------------------------------------------15--09--2016-------------------------

       

      ----Poetry--as--another--way--of--thinking--in--terms--of--political--actions-------------------------------------------------------------------

      ----Thoughts--as--activism-----------------------------------------------------------------------------------------------------------------------------

      ----How--to--think--poetic-----------------------------------------------------------------------------------------------------------------------------

       

       

      common thing - 10

       

      ---------------------------POETIC-------RIOTS--------------------------------------------------------------------------------------------------------

       


      16 September 2016: Added set cards from the Declaration tool: 
      Ongoing process / ongoing procession

    • 1381651_10151998408842704_1370033622_n 12243068_942313905852760_7010578700487608203_n IMG_1182 IMG_1183 IMG_1260

       

      16-09-16

      <3 <3 <3

       

      IMG_1269

       

      16.9.2016

      -tried to use beauty product to make something ugly

      -realized it is not easy to male

      -not easy to make "ugly"

      -identified my gap - excess

      -started making ugly christmas cards prematurely

       

      16 -09 -2016

      a new "self" is born

      common thing - 38 common thing - 43

    • toolcommon thing - 25DSC07089

      16/09/2016

      The mirror's trip

      The mirror is resting on my belly, It goes up and down with breath.

       

      miroir + soleil 41-copie-96

       

      The mirror becomes a marocan tea pot.

       

       

      bell_jar_reflection_stranger

       

      It multiplies

       

      liz-west-our-colour-reflection-designboom-02

       

       

       

      I put it on the grass carpet

       

      mirror-glass-broken-lake-impact-by-erik-johansson

      Then I don't see anymore

       

      tumblr_nh3ilzP1JP1u1je7co1_500

      I imagine that it faces the entrance of the studio. No body enters.

       

       

      someone is drawing a hairy manratures

      no someone is making music

       

      It is a field of hight grass

      I become a monkey

       

      042116_cm_gelada-monkey-free

       

      126816116-wheat-cultivation-wheat-field-wave-wind

      there is a wall, hummmmmmmmmmmmm

      a very organic wall

      images

      DSC_0157-webi can't resist i need to touch

      it is impossible to leave

      it has to be sudden

       

    • common thing - 23

       


      23-09-2016

      IMG_1329 IMG_1328 IMG_1325 IMG_1324 IMG_1323

      IMG_1317 IMG_1330

       

      meditation on logic and the exhaustion of meaning

      the cards create their own logical system following the logic of a dream. intuition builds a system of cards that is neither random nor certain.  in practice logic appeared to be something very fragile. some logical connections depend on millimeters, a little movement of a card could shift a line of relationships and disrupt the just created relational meaning.

      IMG_2410 IMG_2411 med1 IMG_2421 IMG_2422 IMG_2423

       

    • common thing - 26

      23 September 2016

      After the bell was rung, recollection of the conflict took place in the way prescribed by instructions: bell-ringer laying down in a comfortable position started to listen to the conflict-teller who was sitting close by.

      Intimacy of the recollection has been an issue at stake: how personal the telling should have been, how enriched by details, how place and time concrete.

      Arising from these issues, a modification of the tool happened:

      The verbal recollection of the conflict was followed by the switching of the roles. The conflict-teller re-told the story by turning it into a fairytale, so that transformation of the energy took place from a narrative structure of first degree to a different configuration/design of the story.

      IMG_1318 IMG_1319

      To trace the experience, a conflict-meter chart was drawn and left on the spot.

      IMG_20160923_122424

       

       

       

    • 16.09.2016

      Practices for perceiving a common space
      to start with

      1. Enter a space, and first listen. -  Tune your focus to the sounds in that space. Tune your focus to the sounds beyond that space. Tune your focus to the sounds of your self . Make a sound - and listen.

      2. Close your eyes, visualize in front of your inner eye how you saw the space the last time, or how you imagined it before you kew it. Open your eyes and juxtapose this image onto what you see now. Walk bit around.

      3. Walk around, feel the space, touch some surfaces, enjoy them - or not, feel the floor, feel the walls, feel the dimensions, feel the distances, the distances of your body. Feel the things. Feel time passing.

      4. Imagine yourself as an object in that space. There are things in relation: the floor is a thing in relation to a thing on the floor. These things are in relation to the walls (that are things). Time is a thing in relation to the things - and of course you as well you are one of those things, in that space of relation. Have a look at them. Have a look at the relations. they are in change.

      5. The things are there. No need to own them. You have access. They respond to you as much as you respond to them. What does it mean to make yourself accessible to the ‚things‘ in this space.

      6. Close your eyes. Position yourself within these relations. Visualize in front of your inner eye how you saw the space when you entered. Did your perception of the space change?

      7. Open your eyes and shake your body.



      This space:  a note
      This space is available to you. It has been made available using institutional tools. Convincing the tax society to pay the rent (to pay someone who legally is entitled to own that building). Layers of societal, cultural, political and legal contracts formed through history cover the availability and the allowance to do our experiments - to a certain degree. The institutionalization of the procedure to make space free for a specific intent has obvious consequences. It forms our intent as much as we can form it. a.pass tries to take this as much as possible as a dialogue with the institutional demands and tries to stretch and bend them.
      Of course this stretching and bending has an impact: we are within a system. We willingly decided to be within.
      There is a city around this space. The city, the society, has other demands then the institutions. We are in experimental dialogue with those demands as well - and institution like ours always translate form institutionally governed demands to societal and personal demands. The translation can be used critically, constructively and subversively on all those levels; the institutional, the societal and the very personal. Changing the narratives, as Kate put it.


      This space is dedicated for common use, and for the next three month everything in it as well. What does that mean? How and to what degree does this change the narrative? How does it effect and affect us as a group and as individuals, and can we translate this altered narrative to the outside?

      My resource is my body in that space, and in relation to the commonality of that space and all, and everyone that is in it. In order to excavate, activate it as a common resource I would like to propose the practice described above. 

       

      (16/09/16) acting like a God, i suddently wanted to change the whole space, but my gradioseness didn't bring me very far. I only changed the tools-table to another location.  Also after wondering around the space trying to get familiarized with what was there, i took all objects which materiality appealed to me, and i placed them in a collage-like playground. Anouk finished it later with the actions she performed on it.


       

       

      16.09.2016

      applied the respurce on as a tool on that litle realm:

      Thanks for providing it! Surrounded by everyones concentration, I set myself free to performe without showing, just play! creating my space, in the space. excavaiting my own resource in a gap of someone else. Think its a gap, wasn't even aware the surce of the gap. Just enjoyed playing in it and exprloring my resource throug my body.





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