index

1. NOT_index
   the oficial 3rd block "les belles infidèles"
   03 September 2019
   posted by: Caterina Mora
   case of: Caterina Mora
   

   Block curated by Nicolas Galleazzi called   here the link 

    

   Openning week

   I didn´t prepare this presentation, I was exhauted. The day of my presentation I did the interview for the Pdh. The jury made me a very good question: "which Translation theory are you busy with?" 

   I started to look into that.

   In parallel, I was convinced about continue working on transtalion, but I asked myself: what I am producing with translation? Another "system"? What is doing the repetition of ballet history telling? And the genealogy of reggaeton? 

    

   [gallery columns="1" size="medium" link="none" ids="9215,9216,9217"]

    

    

   The 13th I had a  mentoring session with one of the person who changed my life/practise. The same person which whom I realised that translation were more important for me than just something temporary. She transforms me. 

   The 13 th May 2019 emerged TRT                                Transversal Research Training 

    

    

   Half Way Days

   A first essay focus on methodology.

   Transoceanic reading --> the aim of this practise question how do we access to reality, how do we inform each other.

                                           Is looking for transunderstanding of transrelationships.

   

   The exercise --> (by two) : read at news from your context // share it // try to find relationship (or imagine it)

    

    

   Another residence

   Unlearning Center // Friburg

   Three experiences:     

   -1-  Practising change of roles (I use to be a "follower") and here I am guiding Nicolas.

    

   -2- Training TRT

   Two dance courses focus on these pairs: touch and be touched // look at and being looked // resist and rest

   -3- The adoptee --> How can the one being seen influence how to be seen?

    

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

   In parallel, I was living in a.pass, practising, repeating, enjoying apass time, 

    

    

   End presentation - PAF (in the church)

   Sharing/exposing/defending/confronting TRT       

   [gallery columns="1" size="medium" ids="9240,9241,9242,9243,9244,9245"]

    

   Here you can find excerpt of the script

   For the newcommers. We can´t find PAF in Wikipedia.               (Diego, querés cebar mate?)

   This presentation is my End presentation in PAF. It symbolizes many finals. Because study in apass was a dream. It was a dream change completely of context. It was a dream built discourse and practice in relation to another context and again comeback to my home context. So this final of the APass times is for me also the final as student in Europ, the final of use Apass technology,  apass spaces, apass budget, apass mentors, apass travels, apass cooking together, apass talking together, apass openning half and end week, apass cleaning together. And I was very anguished or sad because this end. And then Nicolas told me that maybe I could see that as a start. Immediately I could remember my psychoanalyst saying me the same thing when I was preparing my travel to come here. He used to tell me: 

   • Acabar para empezar.    // Projection: if I cry please cry with me or just wait. I will stop-    Comme dans toute relation sexuelle

   • End. Final. Finish to start. Para empezar, commencer.
   • apass changed me. apass modifies me, apass transform me (I am reapiting this from my second block).            Grand écart 
   • TRANSVERSAL RESEARCH TRAINING is a device that serves to conceive my artistic practice. It is an umbrella with transversal tools.
   • Transversal à  is busy with issues that go through or cross different practices.
   • The transversal things are linked to problematize power structures, conditions of production (entertainment, shift north-south),                     questioning authorship, problematizing the way of relate to reality. Those concepts intersect in the training.
   • Training à is looking at endurance process engaging art/life. As any training, is linked to a way of face knowledge in process education. As any training, is looking for preparing and contextualizing practice focus on elasticity, concentration, balance and  coordination of different task.
   • Research à this word is so full of meaning. It seems like the word “research” gives to the frame of “Artistic Research” another status. More powerful, more legitimated, as the word “art” wasn´t enough or wasn’t already legitimated. So, that´s why TRT is also busy with the critic of the device called Artistic Research. I am here in front of a paradox: I am engaging with TRT as a device to do Artistic Research that is also criticizing the device of Artistic Research. Esto acarrea un gran peligro, this brings me to another problem, that I will address later.
   • Inspired by migration for privileges, TRT is a fiction in which I believe. And that is why we are in a church, because religions are fictions in which we believe. Somehow, TRT is my religion and it preaches confrontation between high and low culture thought translation. 

   • TRT has an Ecosystem of methodologies à  "more diversity more stable", interdependence, respect symbiosis practise (or plant) -territory, non-hierarchy, is bringing the ghost, or at least, it is inviting others. This methodology is based on transactivity practise: transoceanic reading  / Training transession / Trust in nothing (rest) / Translation addressing gender (exchange of role) in dance / Transdocument

   • Let´s say that TRT is looking at the FUTURE, is looking for the future, is looking through the future. It is trying to prepare better conditions for my work. What are the RESEARCH needs?

   • It offers services in the “transtructure". Services as the thinks that provides utility (satisfaction) to the consumer. In the literal understanding of intangible services offered by people. TRT offers the following services: method / piece / body practise/ a way of engage information.                                   And transtructure in Marxist terms. All of us are aware of difference between superstructure and infrastructure? Ok sorry Marx I don´t want to simplify you. Superstructure and infrastructure  - Just in order to simplify this, let´s imagine that infrastructure is the base of a house and superstructure is the roof. I am using now the same schema that we use to study Marxism.                Projection: the marxism house for explanaition (..........................)   infrastructure and structure (...)

   • But how did I arrive to this? So for the ones who don´t know too much what I did, I prepare this resume that summarizes all the key words or the important things and concept which I was busy with. - La gran pregunta es: qué persiste?   Trough those key words we can see some persistence --> Presentation of THE Artistic Research by Google Translator VOICE please listen HERE

   • Artistic research -->   You (-.............................) white and pretentious, wealthy middle class, coffee adict, MAC consumer, residences dependient, travelling all the time in the same little continent. This is for you, even tough is incomplete, bastard, super cheap. Because I think you need perreo: enterteiment mamita. Si necesitas reggaeton dale, sigue bailando mami no pares, acercate a mi pantalón dale, vamos a pegarnos como animales. Muevete a mi ritmo siente el magnetism. Feel the magnetism. You, symptom of artist going to legitimation in academia. I am so busy with you. I am so in love with you. I love you x4. Why? Because you gives us power. And power is so fantastic. Power makes thinks beauty. And beauty leads violence. And all of you, artistic research, you are so incredible amazing.   

   • I am so stuck in this obsession  / Everything is dark now - Everything is dark now - its blank its blank -You can comment This is the think - Responder sexy body Sexy body RESPONDER x 2  - This is from another old good song. YOU. Slippery, elitist, contradictory, indefinable. Why I am so addict to you? / You are afraid to travel because it contaminates. You are creating phd and a lot of position for what? You have the challenge of modify academia and what are you doing for that? Nothing, you are doing nothing. You are reproducing the same patriarchal standard of virility. Orden y progreso. Order insubordination submission.   subject object subject object  subject object subject object

   • I want to catch you, I want to get you, I want to be as you. I bless you here with a new name --> I will call you: ortgasmic research

   • Seductive, I must admit that I am so scared. Scared of not being heard by you, of not enter your circuit. Ortgasmic research: what happens if you don´t love me? 

   • And why this is so untranslable?                                Projection: the untranslable are motors, not obstacles     Temps de flèche
   • Affects of TRT --> (..............................................) Feed back is coming / Gracias

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

   A  FEED-BACK "emu", conmovido, casi sin palabras.

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

    

    

   End communication note:

   I choose to re-used the performance that I did at Kanal. That ´s why the presentation is called:

   "Pa-küru: 47 minutes of a bastard cheap lecture performance". 

    

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

   Interesting references: Donna Haraway last book / Marie Bardet about translation / Katie Briggs: This little art / The new code of conduct by Feminist Movement of Tango in Argentina / Sarah Amed (video) On complaint / Karen Barad: Transmaterialities / Sherry Simon again. 
2. Newsletter March 2017 13 November 2017
   posted by: Kristien Van den Brande

   a.pass proudly invites you to its homebase for a cluster of talks, discussions, screening and performance-essay with special guests Edward George, Laurence Rassel, Fabrizio Terranova and Sina Seifee. on March 8-9-10 @ a.pass, 4th floor
   SCREENING & PRESENTATION BY Dr EDWARD GEORGE THE LAST ANGEL OF HISTORY Wednesday March 8th (7.00pm-10.00pm)
   The Last Angel of History is a groundbreaking video-essay from the 1990s that influenced filmmakers and inspired conferences, novels and exhibitions. Black Audio Film Collective’s exploration of the chromatic possibilities of digital video is embedded within a mythology of the future that creates connections between black unpopular culture, outer space and the limits of the human condition. Interviews with esteemed musicians, writers, and cultural critics are interwoven with the fictional story of the “data thief,” who must travel through time and space in search of the code that holds the key to his future. Edward George, writer, researcher, presenter of this ground breaking science fiction documentary, will present and discuss the film and its themes of music, Diaspora, science fiction, and its engagement with Afro futurism. Dr. Edward George is a founder of Black Audio Film Collective (1982-1998), the multimedia duo Flow Motion (1996-present), and the electronic music group Hallucinator (1998-present). More information and subscription: here
   TALK BY LAURENCE RASSEL STITCHED & SPLIT HOSPITALITY #6 in Book Club Series Thursday March 9th (10am-1.30pm)
   Cultural worker Laurence Rassel has long ago diagnosed the vacuity of artistic practices when its formats of knowledge-production are not 'situated’ in an ecology of art that encompasses social and psychological factors. Paradoxically she considers fiction as a paramount tool to achieve that goal. Laurence Rassel will address the notion of ‘Radical Hospitality’ by revisiting some of her past curatorial operating principles and practices developed in Fundació Antoni Tàpies in Barcelona. Her science and fiction approach in Stitch and Split is an early exemplarity of hybrid curatorial practice that steers towards a politics of imagination-as-critique and alternative forms of life and work ‘invented’ in common. Laurence Rassel is a Brussels based cultural worker who acts as curator, teacher, organizer. She is currently the director of ERG (École de recherche Graphique). From 2008 to 2015 she was the Director of Fundació Antoni Tàpies, Barcelona, an institution created in 1984 by the artist Antoni Tàpies to promote the study and knowledge of modern and contemporary art. From 1997 to 2008, Rassel was member of Constant, a Brussels based non-profit association and interdisciplinary arts-lab that advocates free software, copyright alternatives and (cyber)feminism. More information and subscription: here
   TALK BY FABRIZIO TERRANOVA POLITICS OF SPECULATIVE FABULATION #7 in Book Club Series Friday March 10th  (10.00am-1.30pm)
   In this talk/reading session, Fabrizio Terranova revisits a recent text by Donna Haraway, “Sympoiesis - Symbiogenesis and the Lively Arts of Staying with the Trouble” and presents the different projects he is involved in where activism, speculative fiction and pedagogy merge. "We need new types of narratives and techniques. Stories that reclaim the earth and the commons that capitalism has stolen from us. Stories that invite us to take up and create trans-species sensitivities, trans-matters vitalities and trans-cerebral unrests. And it’s not enough imagining them, these stories have to be made and experienced." Fabrizio Terranova is a film-maker, activist, dramaturge, and teacher at ERG (École de recherche Graphique) in Brussels, where he launched and runs the master’s programme in Récits et expérimentation/Narration spéculative (Narrations and experimentation/ Speculative narration). Terranova is the author of Josée Andrei, An Insane Portrait, an experimental documentary. He is also a founding member of DingDingDong – an institute to jointly improve knowledge about Huntington’s disease. He has recently published “Les Enfants du compost” in a publication edited by Isabelle Stengers and Didier Debaise : Gestes spéculatifs (Les Presses du réel, 2015). Terranova directed a documentary/film on/with Donna Haraway – ‘Donna Haraway: Story Telling for Earthly Survival’. The film will be presented at the end of March 2017 in Brussels within a series of conferences with and around Donna Haraway. More information and subscription: here
   PERFORMANCE-ESSAY BY SINA SEIFEE AN ANIMAL ESCAPE CASE #7 in Book Club Series “Special event” Friday March 10th (2.30am-3.30pm)
   The essay-performance plays with some standards​ of cross-species identification according to an Indo-Iranian mode of subjectivity and Sina Seifee own animal-findings in contemporary Tehran. We zoom in what the idea of "wilderness" withholds in technologically mediated stories and rumors that populate domestic life of this neighborhood. Through fairy-tale associations the lecture investigates operative non-understandings in old and new threads of cosmology that formulate reciprocity and being-with of the mediated non-humanity and investigates the cases of failed collaboration between species. Sina Seifee is an interdisciplinary artist working in the field of computer art, writing, drawing and performance. He is involved in research and work on technology, narrative, globalism, and intercultural mythologies. More information and subscription: here
   The Book Club Series during 'Trouble on Radio Triton'
   During the Book Club a.pass invites engaged practitioners (Sol Archer, Peggy Pierrot, Laurence Rassel, Fabrizio Terranova…) for a series of reading sessions, talks and discussions about their efforts to create conditions for imagining otherwise. The series is initiated by Pierre Rubio and realised in collaboration with some of a.pass’ artist-researchers. For the most part Book Club is scheduled on Thursday mornings and are open to the public. Trouble on Radio Triton (Jan-March 2017) is the name of the current a.pass block curated by Pierre Rubio. It is a ‘Sci-Fi terraforming mode of attention’, a metaphoric multipolar dispositive that challenges our abilities as artist-researchers to ‘render our world habitable again’. Far from proposing innocuous escapism in a false paradise of disembodied utopia, the dispositive seeks to invent and activate political potentialities of artistic research through an immersion in different types of (speculative) fiction. Check here for more about the current a.pass-block.
   Save upcoming dates:
   March 14-15: The Tea Party (workshop by Helena Dietrich) March 16: Book Club #8 : Accelera.pass! (with Vandevelde & De Raeve, cur. by Sébastien Hendrickx) March 17: Book Club #9: “On language as such” (with Caroline Godart, cur. by Marialena Marouda)
   a.pass tel: +32 (0)2 411.49.16 email: office@apass.be web: www.apass.be

    
3. lecture
   postgraduate program
   a.pass Basics workshops
   Book Club
   Trouble on Radio Triton
   Book Club #7 Politics of Speculative fabulation Book Club Series / Fabrizio Terranova
   28 February 2017
   posted by: Pierre Rubio
   a.pass
   10 March 2017
   

    

    

   Book Club #7 with Fabrizio Terranova

   Politics of Speculative Fabulation

   March 10th - 10am-1.30pm

    

   In this talk/reading session, Fabrizio Terranova will revisit a recent text by Donna Haraway, “Tentacular Thinking” and talk about the different projects he is involved in where activism, speculative fiction and pedagogy merge.

    

   "We need new types of narrative", once wrote Haraway (1). We follow in her tracks. Indeed we need new types of narrative and techniques. Stories that reclaim the earth and the commons that capitalism has stolen from us. Stories that invite us to take up and create trans-species sensitivities, trans-matters vitalities and trans-cerebral unrests. And it’s not enough imagining them, these stories have to be made. And even making them does not suffice, it is necessary to learn how to fabulate what concerns us, what we are confronted with, that is to say, to venture into narrations and cosmologies that can welcome these sensibilities, vitalities and crossing unrests. Fabulating is indeed a new kind of construction, at least for those who seek knowledge and in our opinion, fabulations are those narratives that dig interstices in our world, queering and manipulating it in a more than imaginary take off’s until sparking new attachments and forcing the investigation to be reopened, so that we may once again explore this forsaken territory, which did not seem to deserve even a bit of our attention. Fabulating is an act of repopulating which will no longer be trapped by the limited question of True and False. Stuttering the real, launching the orderly sabotage of the categories of thought, enlarging the spectre, bringing out connected and baffling new worlds, deploying them by triggering desires for the possible and shifting a too well described overwhelming World. Finding tricks, playing, tirelessly returning to our practices, affirming the necessity of new ways of telling and experiencing these worlds, is what we must learn to do.

   Fabrizio Terranova

   (1) D. Haraway, “Primatology is Politics by Other Means”, 1986

   
   
   

   Fabrizio Terranova, who lives and works in Brussels, is a film-maker, activist, dramaturge, and teacher at erg (École de recherche graphique) in Brussels, where he launched and runs the master’s programme in Récits et expérimentation/Narration spéculative (Narrations and experimentation/ Speculative narration). Terranova is the author of Josée Andrei, An Insane Portrait, an experimental documentary that was turned into a book published by Les Editions du souffle. He is also a founding member of DingDingDong – an institute to jointly improve knowledge about Huntington’s disease. He has recently published the article “Les Enfants du compost” in the a publication edited by isabelle Stengers and Didier Debaise : Gestes spéculatifs (Les Presses du réel, 2015). Fabrizio Terranova directed a documentary/film on/with Donna Haraway - 'Donna Haraway: Story Telling for Earthly Survival'. The film will be presented at the end of March 2017 in Brussels within a series of conferences with and around Donna Haraway.

    

   https://vimeo.com/188121629

   https://www.youtube.com/watch?v=zFGXTQnJETg)

    

    

   Fabrizio Terranova’s cinematic choice, a pseudo-realist but discretely fictional one, corresponds very precisely to the mode of presence that makes this portrait a model of integrity. Neither taking over nor offering a neutral opinion, it is a device that constrains Haraway no more than it constrained Josée Andréi, the subject of his first, admirable film, but leaves them to use their own mode of being honest and entrusts in the work of the image the responsibility of turning this recorded document into a co-created documentary work. I am profoundly grateful to this director for knowing how to use his talent, his intelligence and his sensitivity to serve what will be a real transmission of intelligence and emotion. I would also like to emphasise the exceptional confidence that he was able to inspire in Haraway, whose recorded lectures are so far all we know about her, allowing her to give free rein to a “thought” live.

   Isabelle Stengers

    

    

   Book Club #7 with Fabrizio Terranova

   March 10th - 10am-1.30pm

   Participation to the costs : 5 euros

    

   at 2.30pm, an essay-performance will follow Fabrizio Terranova's presentation.

   "An animal escape case" by Sina Seifee

   https:///www.apass.be/book-club-series-7-an-animal-escape-case/

    

    

    
4. postgraduate program
   workshop
   Untouchable/Unacceptable/Intangible
   SIX DEGREES OF SEPARATION 23 March 2015
   posted by: Nicolas Galeazzi
   Peter Stamer / Luanda Casella
   29 June 2015
   03 July 2015
   

   In 1969, the American psychologist Stanley Milgram designed a study to explore if two randomly selected individuals, strangers to each other coming from different American states, are nevertheless connected by acquaintances in between. Starting the test in Kansas/Nebraska, linking people to one individual in Massachusetts, the experiment suggested that an individual knows of any target person only by six degrees of connecting steps: Mr X from Kansas knows someone who knows someone who knows someone who knows someone who knows someone who knows Mrs Z, living in Massachusetts. Even though this experiment showed some flaws in its methodological design, it seemed to prove a fascinating idea which the Hungarian author Frigyes Karinthy had already carried out in his fictional essay ‘Chains’ in 1929. In this text the writer even suggested that the population of the whole planet, not just from a region in the United States, was closer together than it had ever been before: “We should select any person from the 1.5 billion inhabitants of the Earth - anyone, anywhere at all - and, using no more than five individuals, one of whom is a personal acquaintance, one could contact the selected individual using nothing except the network of personal acquaintances.”

   What Karinthy and Milgram were dealing with is now known as „The Small World Problem“, a popular research method, especially in times of immaterial communication or social networks like facebook, trying to merge mathematical parameters of statistics with marketing tools to improve accessibility to one’s consumer behaviour. And yet, the thought is fascinating: that everyone of us is connected with anyone on this planet of now 7.5 billion inhabitants, regardless of race, cultural background, continent, religion, age. Next to the political implication of such a thought this idea provides us with a resourceful generator for stories, narratives, fictions about human beings and their lives.

   Six Degrees of Separation is based upon the desire to create contemporary storytelling formats in which we explore fiction in shared narrative practices - narratives without a centre plot, but composed of biographical fragments, travel experiences, random encounters, figments of imagination - and maybe very little resolution. We believe that the world is full of stories, told ones and concealed ones, voiced ones and mute ones. Stories that we fantasize are not less true; digging them out and rendering them audible creates a multiplicity of narratives which form a large tapestry of events, a patchwork of textures, interwoven in such a fashion that they somehow may exist on the verge of being. Using a mixed media apparatus (Google Earth; Skype; Google Docs, Facebook, Twitter, etc), we will go through different storytelling exercises focusing on the construction of evasive, critical, imaginative narratives in order to create a common imaginary in the end. So what is it that holds the world(s) together?

   References/Literature: Sophie Calle: Exquisite Pain and other writings; George Perec: “Life – A User’s Manual”; “Species of Spaces and other pieces”, Alfred Hitchcock: “Rear Window”; ‘The Phantom of Liberty’, film by Luis Bunuel, 1974; ‘Street Scene’ by Bertolt Brecht; ‘Theatre of the Oppressed’ by Augusto Boal; ‘Phone Booth’ (film) by Joel Schumacher.

    

    

   Biographies:

    

   Peter Stamer works as director, dramaturg, mentor and curator in the field of contemporary theatre and performance. In his projects he is mainly interested in the potency of bodies and their potential for language. His performance and theatre projects, realized all over Europe, also led him to China, Egypt, USA, or Israel. His recent works include a.o. The Path Of Money, a documentary/theatre/installation on a travelling banknote through China; the performance For Your Eyes Only on story telling and blindness; or The Big Event 1 – 3, a documentary theatre play on the assassination of John F. Kennedy (with toxic dreams). Lately he has been working on the international building-performance-project A Future Archeology within which spatial structures in Berlin, Vienna, and Cairo were to be built during five months in 2013. He just finished the New York phase of the project 26 Letters to Deleuze on the Abcédaire of Gilles Deleuze for EMPAC in Troy/New York.

   (www.peterstamer.com)

    

   Luanda Casella is a Brazilian writer and storyteller, living and working in Belgium since 2006. Her research focuses on the ways individuals relate to narratives in order to create a sense of identity, to form their opinion of the world, and ultimately to protect themselves. As a writer she's interested in magic realism and in all forms of prose where fictional elements are incorporated in the narratives with the same relevance as real facts — strongly believing that fantastic attributes given to characters and settings give us the freedom we need to address the often phantasmagoric social realities of our history. In her performance work she's concerned with finding techniques to produce hypertext fiction on stage. In other words, to expose the audience to an experience of co-authorship, where viewers are engaged in making intellectual and emotional associations to the completion of the story. In the context of the storytelling format "live-book" — an interaction of spoken word and live jazz music — she connects the experiences of 'reading' to that of 'watching a jazz concert' and builds (with prose) a space for free interpretation. Extremely influenced by plastic theatre, her stage narratives are enhanced by the use of paratextual material — in the form of video projections of written content, maps, objects, costumes and props — suggesting purely poetic truths.

   (www.luandacasella.com)