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    • "Milieus, associations, sieves and other matters."

      "Ensemble of problematisations composing a processual environment. A metastable milieu in crisis, which evolves by shifting to new dimensions out of a series of confrontations with and temporary resolutions of problems. The basic grid is one of a series of self organised interactive events intersecting with a series of theoretical study days and a series of advanced forms of feedback." (May-August 2018, curated by Pierre Rubio)

      During my first block I spend most time trying to understand in what kind of environment I ended up and to learn the lingo. Besides that, it was urgent to reformulate my research question that come out of my practise.

      C.R.I. I

       

      The block was activated by C.R.I.'s (critical research interfaces) which raised questions about what does your research open up or makes you see and how does it function as a dispositif (from Foucault). For the first C.R.I. I stacked all the materials, from coffee cups and wall segments to research objects from other participants on one big pile in the middle of the room. I invited all my colleague to come the next day with a very simple task, walk around the pile with me sitting on top. Every time somebody completed a full circle I would read up one 'act' that composed the pile, and if somebody activated the horn, I would start over again from the beginning. After more 90 minutes they managed to walk all the 123 circles around me without stepping on the horn.

      C.R.I. II - A 40kg likable object to carry around

      During a day at ZSenne artlab we were invited to make a small scale C.R.I. for which I introduced my likable object that was filled with 40kg of sand. My request for the group and visitors was simple, please carry the thing and don't put it down!

       

    • block 2018/II
    • NOT_index
    • 1st block - ... starting to speak in English
      10 August 2019
      posted by: Caterina Mora
    • case of: Caterina Mora
    •  

      [embed]https://gph.is/2y38zRI[/embed]

      (this gift is made with images of the block)

      Before to start: Excerpts from my application     // Investigation purpose (2017)

      Title: Derivatives around the construction of “the Latin imaginary” in Brussels context

      Abstract

      This work takes the reflection as a topic concerning “the Latin imaginary”[1] in Brussels context. As a starting point, it considers “the Latin imaginary” as a construction which is imagined by people who perceive themselves like “Latin people”, in terms of Imagined Communities. The aim is to study how this imaginary is composed of images, desires and motivations depositories that move around in the plot of signs in semio-capitalism.

      The questions that give rise to this project are: how is “the Latin imaginary” constructed? Which signs are reproduced by this construction? How are Latin bodies perceived in Brussels context? And how is it possible to make artistic operation on this imaginary?

      Description 

      (...) First block: field work and theoretical tools

      Regarding theoretical tools, it is worth mentioning that “the Latin issue” is analysed taking into account the concept of Imagined Communities by Benedict Anderson. As a matter of fact, his work pays attention to the concept of nation, his definition is used here to talk about the “Latin Imaginary Community”. In relation to that, Anderson propounds that “it is imagined as a community, because, regardless of the actual inequality and exploitation that may prevail in each, the nation is always conceived as a deep, horizontal comradeship” (1983: 7). This description is useful to think about the imaginary shared with others in terms of community.

      Considering this, the field work relative to “the Latin imaginary” is focused on sign production in the current context of semio-capitalism. In this way, a study of the concept by Franco Berardi (known as Bifo) is carried out; he defined semio-capitalism “when informational technologies make possible a full integration of linguistic labour with capital valorisation” (2009: 149). In other words, when all acts of transformation could be substituted by information and the work process is based on signs combination. Bifo says that economy incorporates factors like instability and indefiniteness when valorisation depended on language, and “in turn language incorporates economic rules of competition, shortage, and overproduction” (2009: 149). Therefore, semiotic overproduction has consequences in the economy and in the psycho-sphere, due to acceleration of perception, which generates a dis-sensitization in bodies, and becomes pathologies and psychotropic drugs dependence. One of the possible ways for facing these symptoms is to go back to the question about body perception on others. In relation to this, the author proposes that “in order to experience the other as a sensorial body, you need time, time to caress and smell. The time for empathy is lacking, because stimulation has become too intense” (2009: 85).

      Finally, as a theoretical mention, contributions that promote and accompany these questions are taken into account transversely in relation to "the Latin imaginary”. On the one hand, the perspective of "internal colonialism", which refers to the reproduction of the colonialism towards the interior of the ex-colonies and which takes as a reference the centres of power in the North-Hemisphere (Gonzalez Casanova: 2015). On the other hand, the heteronormativity existing in the perception of the sexed bodies and the stability of the gender, which depends on the alignment among sex and gender (Butler: 1990).

      [1] Due to the absence of a more appropriate terminology to translate “lo latino”, it was chosen the phrase “the Latin imaginary” owing to its relevance in relation to the imaginaries.

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

      1st Block, curated by Pierre Rubio called MILIEUS, ASSOCIATIONS, SIEVES AND OTHER MATTERS…, here the link 

       

      Openning week

      It was the first time I explained this project in English, I learned by heart most of my presentation. As you can see in my application, I started looking at the stereotype construction of Latin-imaginary through two concepts: semio-capitalism and imaginary communities. I was busy with how reggaeton videos and specially Despacito framed a stereotyped way of look at "latiness". 

       

      Half way days  --> LONGER CRI and POCKET CRI

      -- Half an hour of latiness, or... or...

       

      Pocket CRI - Zsenne GALLERY
      1 min to arrive at the location (Place Jardin des fleurs near to Szenne Gallery)

      4 min to propose / choose / set up               

      Invitation 2 people to reproduce as much as possible one of the screenshot of Despacito. They chose between 4 options.

      If people don't want to appear, there were many options to be far away of the camera. It will not be public.

      Caterina bring some stuff in order to help in the reproduction and makes them indicate consent to publish photos of the participants .

      THOSE PHOTOS are only public for documentation. 

      [gallery size="medium" columns="2" link="none" ids="9025,9026,9028,9029,9030,9032,9034,9036,9038,9040,9041,9042,9043,9044" orderby="rand"]

       

       

      Longer CRI
      Session II

      Invitation à The only proposition was bring Latin clothes.

      Morning brunch at my home in Ixelles. Invitation to do this parallel activities --> 

       

      People were at the garden of where I live.

      It was a sunny day. 

      They marked in maps different places related to latin culture. 

      Here some pics

      [gallery columns="2" size="medium" ids="9052,9055,9057"]

      In my room: 

      - I showed the song that I did and the lyrics. Here you can listen here [audio mp3="https:///www.apass.be/wp-content/uploads/2019/08/Reggaeton-I.mp3"][/audio]

      Here you can follow the lyrics

      Reggaeton 1 - My EDITION 
      Hello
      ton ton ton reggae ton ton ton This is a monologue, Mono mono monolo
      Gasoline Gasoline    We like don't like gasolineeeee

      I see dark hair   I see gold jewelry I see sun olive oil I see shiny skin   I see barbecue
      I see god

      And so far from god x3                  I am so stuck in this Latin body My hips

      Everything is dark now x2 its blank its blank You can comment
      This is the video Responder sexy body Sexy body RESPONDER

      short skirts skin shorts short skirts skin shorts large breasts shake shake

      short skirts skin shortsshort skirts skin shorts flat belly the motorcycle

      subjects objects x5

      or you just don't care

      Maradonna was fantastic but I love Messi love Messi Messi"Arriba arriba andele andele"

      Sexy ultimate sexy sexy ultimatelatino/latina
      gasoline spreads

      i find your spanish difficult to understand x2

      I like being latina I enjoy the fantasy of it.Is coolIs not coolIs Colonialists...ooooh

      Give me more gas x2
      This doesn't work, to be or to be, no sound, confused by the media acteur!Yes yes yes yeaaaaah
      I don't know about reggaeton
      I don't know about lyrics

      order insubordination submission
      I think the second video has some problemsnow I understand sorry KI can see it only in white without any images,is it the same for the others? x3

       

      - After, I asked apass people to choose a part of the lyrics and make a short video with that. They could recognize the lyrics that they wrote, or to choose one prhase. They had to create a movement for that. They shotted each other with the explanation and they could include the clothes. They gave me permission for internal use.

      From those videos I did another song. People were strefull because of the task of the camera. They name an anxious problem in my research and in the way that I was producing.

       

      --

      End presentation - PAF

      I explained the CRI. I sang both songs and exposed my problems. I said that I was doing a circular mouvement, because I was stereotyping all my view. At that moment, I was trying to understand who I am in the research. That´s why I presented the animal "Yaguateré". I presented the Reggaeton 2 with a an edited a video which has images of apass participants. I prefer to not pubic this video and the lyrics of the Reggaeton 2.

      Lyrics of Reggaeton 2 

      The body is a problem. We are busy with its problems // make sure that we have all the details // she flies // magical realism of South-America

      Fly movement

      Through imitating movement that I think they are latin but I can not really continue doing like this // I have a serious lack of knowledge of latin culture // I don't know anything that is latin-american 

      I guess.  Start // she give me this hat // C´est ca? C´est ca?

      You are completely disarm, freedom, you don't need to protect your body. // You feel good in it, you feel bbq. Leisure time. // body is so a costume, is difficult to get rid of. //  to lie down I chose and try to move without moving. 

      Latino stereotype,I think is not. // Not only because of the latino people // 

      “The hand of God” is Maradona scored against England. // I bought in Mexico, it has Jesus on it. // 

      catholicism and the imagery // To me is super latin // Shiny and synthetic. 

      Over commodify presentation of latino culture. // I am not sure.

      Gaze is on the back, someone enjoying it.  // knees are flexed, the pelvis is moving back and forward quite fast, // Breast, shoulders, from the left to right, fors coming movements. // Looking in the eyes // is active, seduces. // excites // excites // sexual desire

       

      I could recognize this big problem in my first Block. In Adva´s words: ‘ you stereotype me by asking me to stereotype you’. That´s mean that I was stereotying others.

      Somehow, I fell into my own trap.

      [gallery columns="2" size="medium" ids="9065,9066,9067,9068,9069"]


      I recognize this potentialities of this block, that are potentialities as inputs for transformation:

                                             The "trauma" → caused by necessity to answer, give, produce → the "conditions" of the experiments

                                             Obscenity: how to show the body (connected to media)

                                             In which sense do I want to talk? → stereotype way or not?

                                             Problems of images: how can I expand more, open, and not restrict them?

                                               What is Latin for me, NOW? → SUPER excellent question to continue

                                            What is doing the "the art of super identification"?

                                            The power role of being able to see and be seen --> what is producing the objectification?

                                           Reggaeton genealogy: resistance rythm from Puerto Rico. "Reggae in SPANISH" (important) / perreo is coming from                                                  Afro-descendient dispora (persecuted, silencED, acallada). --> how this can appear in the research?

        

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

      Important readings: the book about Reggaeton (Rivera and others, Duke Press University); BDSM approach (Freud; Barthes; Pat Califia; Foucault), decolonial theory (Silvia River Cusicanki). 

       

    • research center
    • seminar
    • workshop
    • block 2018/II
    • Parallel Parasite
    • The Way of the Anarchive a residency with Erin Manning in the frame of parallel parasite
      11 May 2018
      posted by: Lilia Mestre
    • Zsenne ArtLab
    • 18 June 2018
    • 29 June 2018
    • case of: Lilia Mestre
    • The Way of the Anarchive

       

      The Way of the Anarchive

      What resists the archive?
      How does that which resists cast itself forward?
      What kinds of traces, smudges, residues does it leave, does it create?
      How can we value that which does not register, but makes a difference?

      A processual engagement with the anarchic share of experience will allow us to develop techniques for attuning to that which resists capture. In a paradoxical move, our work will be to give it the breadth and force of an appearance. This appearance, conceived as a minor gesture, will be curious about that which sparks in the interstices of experience in the making.

      With a.pass associate researchers: Sina Seiffee,  Adrijana Gvozdenovic, Sara Manente, Lilia Mestre, Nicolas Galleazzi. a.pass (ex)participants: Marialena Marouda, Eleanor Ivory Weber, Xiri Noir and Pia Louwerens Guests: Erin Manning, Brian Massumi, Adva Zakai, Alex Arteaga, Miriam Hempel, Nikolaus Gansterer, Silvia Pinto Coelho, Tamir Etin, Halbe Kuipers, Nico Dockx, Veridiana Zurita, Petra Van Dyck and Lea Dietschmann,  ...

      SCHEDULE

      • WEEK 3 (18 -24 June) - The two weeks of The Way of the Anarchive are radically open: together we will work to create vacuoles of time through which the infraperceptible will begin to resonate. From 12:00-16:00 you will find us at Zsenne, in and around. But time folds, so don't be alarmed if 16:00 becomes 19:00 - you never do know what time can do! In the evenings most days there is an open conversation.

      • Monday 18 > The Way of the Anarchive

      • Tuesday 19 > The Way of the Anarchive 19:00 Encounter with Erin Manning

      • Wednesday 20 > The Way of the Anarchive

      • Thursday 21 > The Way of the Anarchive  19:00 Encounter with Nico Dockx: Every Archive Hides Another Archive

      • Friday 22 > 13:30-16:30  Miriam Hempel > The Meaning Of — an exploration of alternative perspectives

      • Saturday 23 > Visit DETM (Don't Eat The Microphone) In Psychiatrisch Ziekenhuis Dr. Guislain. GENT with Viridiana Zurita, Petra Van Dyck and Lea Dietschmann (closed session)

        WEEK 4 (25- 30 June)

      • Monday 25 > CRI’s (a.pass post-master sharing practices day+ feedback)

      • Tuesday 26 > The Way of the Anarchive  19:00  Encounter SenseLab and SOL

      • Wednesday 27 > The Way of the Anarchive  19:00  Encounter with Alex Arteaga:  “de-archiving. A framed dialog”

      • Thursday 28 > The Way of the Anarchive  19:00 Encounter with Erin Manning and Brian Massumi - Cryptoeconomy of affect

      • Friday 29 > The Way of the Anarchive

      • Saturday 30 > Nikolaus Gansterer (Translecture) CANCELLED (due to inoperative meniscus)

       

       

       

       

       

       
    •  

       

      Milieus, Associations, Sieves and other matters

      some orientation guidelines

       

      Today, to the question ‘what is technoscience?’ the answer is: it is the medium of knowledge. Just as technology is not the instrument of science but its epistemological framework, so it is not the instrument of our communication, but our medium of meaning. Everyone seems to admit today that we are inhabited by our habitat, built by our niche, processed by our technical environment, which is neither external nor peripheral, but inherent to our being and to all meaning. Now it seems obvious that it is one and the same milieu that surrounds and separates us, and that which crosses and connects us, but this environment has become technical. The co-birth of humans and technology means that the latter is both our medium (the midpoint through which individuals maintain each other) and our environment (our space-time). The technical environment perfectly illustrates the idea that our environment or what surrounds us is actually in our midst (au milieu de nous). That technology is both our exteriority and our interiority, our cage and what takes us away from it. How, in an artistic research environment, do these ontological, ethical and political contemporary concerns resonate?

       


      Proposal


      Composing a processual environment, the block consisted in a sequential ensemble of collective dispositives that were proposed to be appropriated, interpreted, developed and problematised by the artists and researchers. A metastable milieu in ‘crisis’ which evolved by shifting to new dimensions out of a series of analyses and temporary resolutions of problematics linked with the artists and researchers’ projects considered as technologies.

      The basic structure was an arrangement of 1-self organised interactive events intersecting with 2-a series of three theoretical study days and 3-a series of advanced forms of feedback.

       

       

      Organisation / Trajectory

       

      1. Twenty two self-organised interactive events of different dimensions : the C.R.I.’s
      (from May 31st to July 19th)

      The acronym C.R.I. stands for Collective Research Interface. The researchers were invited to compose and propose participatory events that one could identify as shareable practices out of/around/through their individual researches. Instead of qualifying -and reducing- simply the object by ‘collective practice’ or ‘workshop’, the name ‘Collective Research Interface’ produced momentary shared interstitial spaces between different scales (private, public, cultural, social, personal, artistic, aesthetic, political and so on…) and enabled and supported a certain mode of attention, the one of technical mentality. Experiencing with this mentality was possible as the mode of production of the C.R.I.’s followed a principle of compositionality. The performativity and meaning of the C.R.I’s, as complex technical ensembles, were determined by the meanings of their constituent parts and the modes of relating/assembling used to combine them. A structuring loop was formulated : invent, invite, do, participate, share, document, discuss, reflect, problematisatise… and back again. The researches were not only presented but organised into shareable dispositives, that then were described, analysed, filtered driving the attention to their resonances in term of constructions and modes of assemblages. Their technological qualities.

       


      2. Three theoretical study days

              a/ The diagram and the residual (June 12th)
      The program visited the artist residency project ‘Villa Blanche’ within the Solvay Parc in Brussels with Martino Morendi (philosopher-hacker-activist) and Pietro Fortuna (philosopher-artist). The day was articulated around the tension between two conceptual outlines, two proposals that sketched complementary or opposite modes of understanding reality. The diagram, as the systematic representation of a set of relations between elements, where logics, organicism and industrial engineering converge in the effort to govern and organize these relations and the residual, as the irreducible part that remains beyond one's hunger to explain and describe, that recedes and escapes any attempt of organization and rationalization.
      United if only by their distance from the subject-object mode of disclosure, Martino Morandi and Pietro Fortuna oriented us through a series of ‘objects’ like an elegy by Rilke, passages from von Uexküll and Agamben, a bourgeois villa, a tree, a giant Olmec head made of stone, the Solvay ammonia-soda process ... and a series of readings of objects related to every researcher’s art and research.


              b/ on Participation (June 17th)
      The program visited the project ‘Precarious Pavillon #1 - Don’t eat the microphone’ -an artistic project initiated by Veridiana Zurita and Petra Van Dyck, curated by Michael Vandevelde and co-produced by Vooruit- happening in the garden of the Psychiatric Hospital Dr. Guislain in Ghent.
      The study day was dedicated to the critique of participatory art and ideas of participation. Don’t Eat the Microphone represented for us a grey zone where we could think but also be challenged in our certainties about the nature and function of participation. Currently focused on the development of the Collective Research Interfaces and exploring the value of several modes of participation, we wanted to problematise the issue(s) in a problematic environment.             
      What is participatory art? What does it mean to participate?
      What are the relations between participatory art and utopia?
      Which kind of public space and social fabric participatory practices do (and do not) produce? What are the relations between participatory art and communicative capitalism?
      What is participation-as-injunction the diagram of? Is it still possible not to participate? Is it still possible even to imagine non-participation? How to foster (non) participatory arts and (un) communicative thus militantly collective aesthetic educations of possibilities? After a phase of various reservations expressed about the optimistic rhetoric accompanying collaboration and participation, could we now be entering a new phase of a practical re-invention of participation?
      This tentative list of problems and questions guided our study day displaced in the frame of Don’t Eat the Microphone. We read some Hal Foster , Chat Rooms / some Claire Bishop, Artificial Hells / some Yves Citton, Ecology of Attention / some Derek R. Ford and Tyson E. Lewis, On the freedom to be opaque monsters, and discuss in various ways our doubts on participative art with the curators of ‘Don’t eat the microphone’ project and the patients of the psychiatric hospital.


              c/ Poieien (July 14th)
      Invited by the summer program to structure a day around concerns traversing researchers and artists when thinking about methodologies and their politics, Bojana Cvejic, then-curator of the research program at p.a.r.t.s., guided the group of researchers and artists through a critical reflection that she currently conducts on methodologies, opposing practice and action to poiesis. During the encounter with the researchers of a.pass, she proposed two points of entry: how poetry pierces through other mediums than text and poiein, as in how to make, compose, form... more than do and act... a kind of thought that arises from within, or close to, artistic practice that in turn becomes an instrument of looking past art. She accounts for it by “poetics”, using the term to emphasise the productive power of thought as opposed to the genre of interpretation that classifies specimens of kinds. Bojana Cvejic shared that poetics entails engagement with art in imaginary and speculative senses that ‘theory’, tout court – in the way that it has become the superstructural element of art production in capitalism – no longer enables.
      The participants did map out their imaginary around their matters of concern, read some texts and discussed with Bojana.

       

       

      3. Three 'Sieves' proposed by three human 'analogous algorithms'

      The aim of these three advanced modes of feedback named ‘Sieves’ -performed by three ex-a.pass researchers identified as 'analogous algorithms'- were to create conditions that could define practices of creative feedback experimentations on artistic researches envisaged as technical dispositives to investigate how each rhetoric of presentation and its digestive techniques could be expressed in terms of data model (Sina Seifee in May), in terms of recipes and cook books (Gosie Vervloessem in June) and in terms of idiotic practice (Vanja Smilianic in July)

       

              a/ Sina Seifee / Filters
      The basic question of 'Filter'  was : what happens when linking the symbolic space of data-model to the (relational, procedural, emotional) qualities of the researches of participants? The work started with working on/with the feedback material produced during the block’s opening week and processing this material in diagrams. The proposal centred on the notion (and practice) of topological analysis to investigate questions of connectivity and boundaries, in order to find out what remains invariant as a result of transformation. This did direct us to construct ‘transversal objects’ actualising what connects and joins, what delinks and disconnects in the culture of each participant researches.

      some documentation of the process here

       

              b/ Gosie Vervloessem / Vision and Digestion
      The protocol was to bring one’s research and start to think about the taste of it, the way it could move through one’s intestines and try to visualise the tools and methods one would use to transform one’s questions into a dish. How to boil down questions, how to crystallise the background dramaturgy of researches? As a way of documenting the symposium, Gosie proposed to write  the recipes of the ‘dishes’ and to edit the cookbook out of the ‘digested’ researches.

       

              c/ Vanja Smilianic / Idiotic Mandala attacked by a parasitic octopus
      The Idiotic Mandala  -indicating a weird circular configuration with a centre that radiates outward into compartmentalised areas deranged by the unvited presence of a creeping octopus-  asked to switch off one's rational thinking and opened it up to wandering and wondering. The practitioners were invited to introspectively transform the Vicious Circle ( sad passions at work disguised as set of tools and technologies that became behaviour patterns in one's research) into the Virtuous Circle (creating a universe in which idiots are able to act)

       

       

       

      Milieus, Associations, Sieves and other matters

      some justifications

       

              Thematics, Research questions, approaches, potentials, methodologies, relevance

      In response to a proposed frame given by a.pass coordinator and research center curator Lilia Mestre to structure the block in relation to the Senselab concepts and practices, postmaster program curator Pierre Rubio choose to design entry points to different set of practices and theoretical notions accessing a central theme for Senselab and him, the one of technical mentality. A few years ago SenseLab published a special issue of Inflexions ‘Simondon : Milieux, Techniques, Aesthetics’ and Brian Massumi’s lenghtly interview ‘Technical mentality revisited’ was published in Parrhesia. Rubio, since 2010, regularly revisits Simondon’s texts in relation to his practice as artist/dramaturge and observes the growing interest for the french philosopher's ideas in the academic and artistic fields. He curated an a.pass block in 2014 -'Milieu(s)'- that problematised some aspects of technical mentality within a collectively constructed ephemeral public school dispositive.  The possibility of considering artistic researches trajects and projects as technical objects and experimenting with technical mentality seemed to be relevant for this block especially in the vicinity of Senselab's residence invited by a.pass Research Centre within the 'Parallel/Parasite' project.

       

      -A poly semantic space to activate problematisations and progressive resolutions through concretisation

      -The individual CRI’s as case studies of non-autonomous technological open objects

      -Constructivism, technical mentality and artistic research

      -Simondon and artistic research : a promising diffractive equation

      .

      ... to be continued...

       

       

       

       

       

       





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