BUBBLE SCORE SESSION #2

project

20-20 January 2016

bubble

PARTICIPANTS:

Robin, Arianna, Isabel, Juan, Ricardo, Esteban , Lilia, Yaari, Juan, Anouk, Brendan, Gerald, Varinia, Sana, Agnes, Luiza, Sofia, Aela, Christian, Lili, Nicolas, Thiago

P> Q >R

1)Varinia > Gerald> Isabel

2)Isabel >Yaari > Sebastian

3)Agnes >Esteban > Christian

4)Ricardo > Lili > Anouk

5)Yaari > Robin > Lilia

6)Seba > Ricardo >Nicolas

7)Arianna > Sana > Lili

8)Luiza > Lilia > Thiago

9)Anouk > Sebastian > Agnes

10)Christian > Aela > Aela

11)Esteban > Agnes > Yaari

12)Nicolas > Brendan > Gerald

13)Brendan > Thiago > Juan

14)Sofia > Luiza > Ricardo

15)Lili > Christian > Arianna

16)Aela > Varinia > Robin

17)Gerald > Juan > Varinia

18)Robin > Sofia > Brendan

19)Sana > Nicolas > Sana

20)Lilia > Anouk > Esteban

21)Juan > Arianna > Luiza

22)Thiago > Isabel > Sofia

QUESTIONS:

1)Varinia > Gerald> Isabel

Varinia, in your bubble performance of the second session, you used absurd while very simple verbal and body languages to describe casual physical phenomenons.

If you ever had to depart from there to invent a practice, would that practice be a pretext to use humour as a collective cement or absurdity as a way to challenge our relationship.s to truth? Or a critical practice of truth via humor?

2) Yaari on Isabel (reply Sebastian)

The density you’ve put our bodies in was a moment of tension between suffering and pleasure. a cis-archaeological-corporeal-structure.
(I liked to feel I trust you, your proposal, and the others present)
since you defined the task as an act which will help you to articulate a question…I would be interested to know why did you feel our bodies need to attain this physical contact of tightness and compression in order to ‘accept’ the material you offered? what was there is the two-layers-landscape that created the best state of receiving?

3) Esteban’s question to Agnes (Christian replies)

Dear Agnes
Watching your performance, I was very amused by how it was working; the deliberate choice of objects and the design of tasks developed a ‘lets not take this seriously’ kind of atmosphere that became at the same time an expectation of what the setup could engender. My questions are:

What do you think discovering the potentiality of absurdity can generate? What do mishaps as a tool reveal about the actions and the people that perform them?

I also thought this article of the aesthetics of failure might be of your interest

http://www.bussigel.com/systemsforplay/wp-content/uploads/2014/05/Cascone_Aesthetics.pdf

4) Lili question to the performance of Ricardo (replied by Anouk)

Remembering your „solo“ on the table yesterday, I have many questions. Two most prominent ones are as follows:

1) were you part of the audience, so us, during the „table dance“?

(I found it a nice setting you chose – a bit elevated, in the midst of us, where a strip tease could take place, but instead of luring us into the escalating excitement and anticipation of the end, you have seduced us/me into cycles that kept bringing me back to the same spot. That enabled me to see you doing as well as performing)

2) through what other practical ways could you immerse yourself into the audience, while still performing something – I don´t want to say observe yourself performing, because I´d say the two are different – (a performer becoming part of the audience but still available as a performer, or performing the split I am mentioning)

Anouk’s reply with a performance. Here is the text written after the performance

What stays of my performance for the Bubbles score #3

I stand up and ask people to follow me to the space behind the mobile wall/ corner. I keep the general light shut. There is some light setting from the past, some yellow light from Pierre’s proposal and a blue light coming from the projector on the white wall. I like the coldness of the blue and the warmth of the yellow. I invite everybody to walk in the space for 30 seconds. Then, I ask us to stop and stand on place with the eyes closed. I invite peoples to experience my performance from where they are, from this random point of view. I start to move with my eyes closed and my attention on my skin. What is touching me? I say to people that they can open their eyes whenever they want. I keep my eyes closed. I move in order to give sensation to my skin. I am touched by my clothe, by the air. I am gliding into space, I am not disturbing it, I am air, I am light. Am I visible? Can I feel myself? Can I sustain the lightness, the almost non-perceivable sensation? Do I still exist? I continue moving with my attention on my skin. I open my mouse to say : “ A friend of mine told me that the skin is the most external layer of the brain and the brain the most internal layer of the skin.” Depth is surface, surface is the depth. While travelling, I encounter a body, a person. The back of this person is caressing my hand. Soon after, another person. I wonder what they feel. Do they like the caress? Now, I know that some people are standing close to each other. It is darker here. I imagine that I am close to a wall. I say another thing. Why do I want to speak? Isn’t my physical presence enough? I want to share my subjective experience. Do I want to talk about subjectivity? Is my tactile experience communicative? Can we share a tactile experience? I say: “ in Chinese medicine the skin is associated to the function of the lungs, so to the respiratory system. Lungs and skin are similarly porous.” I am interested in porosity. Sometimes I am not porous enough, sometimes it’s too much. Too much porosity can arm. Can I close my skin? Can something that does not exist be armed? I am somewhere else now. I melt down to the ground. The light is yellow behind my eyes lids. The floor touches me. I think: “ there you are again. “ It is difficult to sustain verticality when my eyes are shut. I encounter a vertical object covered with thick fabric. It is a leg. I let it touch my arm. My whole arm adapts to its form, its texture, its temperature. It let the leg anchor itself; it penetrates the first layer of my skin. Now, I am an outgrowth, a parasite, a mushroom on a tree trunk. My left leg is a bit bent and floats in the air, parallel to the arm on the tree trunk. I say ‘ lets’ see if I can maintain my attention of my skin with my eyes open”. I open my eyes. I see. I let the image touch my retina. I turn my head and see the face of someone looking at me with a really soft open face. I am happy to see that my dance is affecting her. I am glad to see that to be affected by the environment can affect it in return. Receptivity is an action. A revolution? Presence. I maintain my position and talks again:” the gazes are touching me”. I only move my head and see where I am. I say “ The light ….”, the alarm rings. END.

5) Robin asking Questions to the performance of Yari (to be replied by Lilia)

Sorry can’t believe I’m doing one of these long questions but I am:

Yari I found your performance kind of fascinating in that the position you took was so ambiguous. By assigning someone else to find you a lover you abdicated responsibility but at the same time were very clear about what you didn’t want – so there was a move towards community, or transindividuality but a constant reclaiming of the position of decision maker- if this was intended to illustrate the ambiguity or impossibility of the question ‘how to realise the idea of Love and life and building a community” then it was effective.

Less clear to me was the talk of falling in love not as an outward act but more as an an internal movement of falling back into the self. I think the ‘falling’ in ‘falling in love’ is unspecified in its direction, neither in nor out or rather potentially either, but I do think it does refer to the fact of doing it with, you ‘fall in love with’ so there is an action that’s an attempt to share, which you again did in your search for a lover. But I feel by treating your search for a lover with such a pragmatic and ’throw-away’ attitude you were attempting to question the desperation and commodification of a contemporary attitude towards ‘falling in love’ but this didn’t quite come off because of the lack of investment (even a momentary one) took the desperation out of the act. For me it became too blasé and what could have been desperate (even with a coating of indifference) became Irony, and Irony, for me, only succeeds in detaching us from the question. I think we may be consuming fast and without much thought but I think we certainly are ‘desperate’ in our search, driven by the the idea of somehow becoming whole , completing ourselves through the other. For me this desperation brings up the Lacanian idea of a desire that has no object …”simply the wish to perpetuate itself ad infinitum, in the dialectical movement from one signifier to the next signifier, between things but also the movement itself, the metronymic slippage from one object to the next. The desire in the gaze of the other, the pure desirousness, the looking itself. The lost object, the thing that was once conceived as part of the self becomes the other, the ghost of the original which never was”.

This refers back to another point you bought up which was the idea of time, the arrow of time, and whether it produces language or the other way around. I lost the connection a bit here but I thought it well illustrated in the Tinder apps arrow system, though I didn’t quite get the connection between language and ecstasy. Here I I thought of Terence McKenna’s book ‘Food of the Gods’ where he talks about language coming out of the experience of ecstasy induced by our historically symbiotic relationship to Psychedelics, and how our quest for reproducing this experience of ecstasy is the driving force behind our addictions to ‘Love’, ‘materiality’ and any substance or object of desire.

Finally about the performance at the end when you didn’t seem to want to illustrate or answer further, a sort of refusal. I found this very intriguing and wondered whether it related to this pre-self consciousness, pre-history moment, when we didn’t have language.

So my question for you is twofold:

What do you think the relationship between language, love and addiction is?

How can the refusal to speak be an act of radical change?

6) Sebastian > Ricardo > Nicolás

Through substances containing certain subjects, we witness the emptying and deformation of being. How would you fill an empty body? What will you put inside of an empty body?

7) Sana Asks Arriana , Lili replies

I should say that I really like your performance and the text. They fully work together and complete each other.

You text amazingly takes me back and forth in time. From memory to contingency, from nostalgia to the uncertainty of future, from childhood to maturity…

What impressed me a lot was that in chapter three which abstractly illustrates future in front of my eyes, you create a poetic world wrapped in fantasy. The world you are waiting for is a mysterious one in which magic is possible. Thus, you beautifully transform the fear to hope and desire by passing through consciousness.

I doubt if I have any question around the text but as a clue for Lili ‘ reply I want to discuss this: if the body can make a bridge between memory and future!

8)Luiza > Lilia > Thiago

The body is a bridge

We were mingled and at the end of our individual arms each of us held a cray. Underneath the cray there was a paper, a black paper. We couldn`t see well. We functioned as a blind octopus, gesticulating our tentacles on the flat surface, engaged in discovering the possibilities of that moment.

What kind of imaginary that situation brought to you? And what kind of politics you think it generates?

9)Anouk > Sebastian > Agnes

Considering the depth of the ecological crisis, what does our world need more: sacralization or profanation*? Or none of both? And why?

* According to Roman law, objects that belonged in some way to the gods were considered sacred or religious. As such, these things were removed from free use and trade among humans: they could neither be sold nor given as security, neither relinquished for the enjoyment of others nor subjected to servitude. Sacrilegious were the acts that violated or transgressed the special unavailability of these objects, which were reserved either for celestial beings (and so they were properly called “sacred”) or for the beings of the netherworld (in this case, they were simply called “religious”). And if “to consecrate (sacrare) was the term that designated the exit of things from the sphere of human law, then “to profane” signified, on the contrary, restoring the thing to the free use of men. “Profane,” the great jurist Trebatius was therefore able to write, “is, in the truest sense of the word, that which was sacred or religious, but was then restored to the use and property of human beings.” (Giorgio Agamben, What is an apparatus?)

10) Christian > Aela > Aela

Give an exemple on how sound plays in the process of letting the subject narrates itself !!!

11) Esteban > Agnes > Yaari

dear esteban,

one day after your proposal I read this lines which made me think of the interaction of chairs and the relation between them and the sound:

“… in a world where things are continually coming into being through processes of growth and movement – that is, in a world of life – knotting is the fundamental principle of coherence. It is the way forms are held together and kept in place within what would otherwise be a formless and inchoate flux” (Tim Ingold, The Life of Lines)

how do relate to making and unraveling knots?

12) Brendan questions the performance of Nicolas (replied by Gerald)

Nicolas

I liked your performance with your machines. or perhaps rather, your machines performance with you.

Frankensteining ” This is not what i programmed! “

I felt like you created a back door vortex into a neo-world, somewhere between a human dimension (a reality governed by humans) and a computer dimension (one governed by machines), with both exerting their desire for expression and autonomy. This shifting of dimensions illustrated by the time sequence that slowly twists into a distortion as it counts down and out … A humorous space where languages miscommunicate and everything is caught in a loop of failure and sense/nonsence. To quote my first filmmaking professor, “The only thing you can count on with technology is that it will fail”.

This makes me question, in regards to working with technology:

Imagine, everything is done properly, everything should be working just fine, it has operated smoothly this same way 99 previous times, there can be no possible accounting for any possible error, but yet – the unforeseeable happens – meltdown. Can this fouling up, this failure actually be a sign of artificial life? A sign of these objects, these machines exerting a kind of free will?

https://www.youtube.com/watch?v=mvLgvychb18

Rather than answer this deeply speculative question for me, I was hoping to ask you if you could, with all your tools, take us even deeper into this neo-world that I described and was performed for us, so that as a group we could consider its implications as we embody the in-between dimension. Can you create the conditions for the allowance of this A.I. to surface in our laboratory ?

13) Brendan > Thiago > Juan

I liked very much the presence of the mundane in your mythical
discourse: your god is a cleaner, not so comfortable with his
equipment.

But you also present us a world where the creator wants back
everything he once gave/offered/created. The cruelty of this figure
reminded me of Kronos and Shiva, gods of the destruction. Shiva, as
far as I know, is also responsible for creating new worlds while
destroying everything, through this dance called Tandava.

What is the importance of destruction in your practice? What are you
currently digesting?

14) Luiza to Sofia (reply Ricardo)

In your performance not only gesture but also sound was very important. When we sounded our book’s names (in both cases) there was an intersection and we created something new: noise. But in the first part noise was a cumulative fragmented information – we couldn’t get and weren’t supposed to get each other’s book’s names – and in the second part it was the thing, our thing – the book.

noise, in music, uses “non-musical” sounds as well as mechanisms of distortions, feedback, manipulation, duration, residues… What could you say is the role of noise in your work, and even, more specific, in the creation of a character?

15)Lili > Christian > Arianna

While experiencing you performance this question came to mind: How is it ever possible be intimate when you constantly have to (reach the surface to) breath?

16) Varinia asks Aela and Robin replies

In an exercise of trying to think in a science fiction mode, i.e in regard to what the future has in store for us, concerning the question of subjectivity v.s objectivity: if the notion of accessing ourselves – as specific and particular human beings that are aware of an interiority – is still a possible one, how would that be after the engineering of a brain that matches sense and form in such a way in which subjectivity is completely aligned with objectivity, giving end to subjectivity ?

Robin Replies with the movie Transnistria

17) Juan about Gerald reply Varinia

My question is an image….

18) Sofia’s question to Robin (reply Brendan)

Dear Robin,

I really appreciated the sound-experience I had with your proposition. After a while I was really affected by the task you gave us. It was as if the space and the cup had become one, making me doubt if reality had shifted… I checked and it hadn’t. :) Then, the voice of my partner became focused on the back of my head, and I could hear the position of the source of the voice (the mouth) quite clearly because of the cup. Usually sound is more spread out… but this time it seemed to stay in one point. I could hear the sentence: “Soy el punto negro que anda/A las orillas de la suerte” (I am the black point that walks the shores of chance). Esteban’s voice was focused in one point in space and talked about a black point… coincidence… ?… I felt like reality had shifted. I was left with an enigma: What is the black point that walks the shores of chance?

Hugs,

Sofia

19) Sana > Nicolas > Sana

Dear Sana

Thank you for sending me the text again! Listening at it once was definitively not enough. It’s nothing linear. I needed to listen it in layers, line by line, dive vertically into it and open the cracks in personal labyrinth this text. Each sentence seems to sediment over the next and covers it’s meaning with a new world. There is – in fact – a confusing distance between each sentence and I’m due to find my world to bridge between them.

In your text, territories belong to a time – or timeless – dimension. Somewhere out of time and time in itself. But not only this, territories seem – by being wrapped in a time – to belong to an emotional dimension – a dimension of which I’m filled. And not only that, territories are moving elements, they march on our flesh, as if in a parallel universe our spacial consciousness would be obsolete.

And not only that, time seems to be a multiplicity of unsynchronized parallel universes (desires).

When I am the hour

you play days or years

When you said that I was starting to doubt, wether you ever were interested at all in bridging over the borders? It seems, that you accept the border as a game – cold as it is. You’r hours, I’m years, no need for synching.

Yet, there is a horizon of every territory: somewhere on the line something changes. The question of ‘touch’ is coming up: is touch ‘connection’, or ‘revelation of difference’? Is there something like an absolute zero point of the border’s frigidity? An absolute one way? What happens when you cross that line? And when would you know, you see the border form the other side?

I don’t know if it is possible to spatialize this question or if it remains in dimensions we don’t know.

20)Lilia > Anouk > Esteban

Dear Lilia, you are asking this question in your text: “If one is not ready for change can change happen?”. Then what is it for you to be ready?

21) Arianna on Juan (reply Luiza)

the first two words you use in your text are

Two

ABYSMAL

I was actually impressed by that.

The coexistence of two elements. But:

is it one, repeated? is it that one is the copy of the other? were they born at the same time, from the same material, or..?

what’s the relationship between the two?

2 + 0 = 2

0 + 2 = 2

1 + 1 = 2

1 + 1 + 0 = 2

1 = 1

2 = 2 ..

I read the relationship between the 2 as being the ABYSMAL.

You wrote it like that, in capital letters.

It sounded like a character from an epic tale – a hero, or the character from a cartoon.

the ABYSMAL. I see it wearing a mask, almost like Tiger Mask.

It is a wrestler.

I imagine a wrestling match –

between you and the work of art;

between a work of art and its copy (if such a thing as a copy exists at all);

between the work of art and its other, whatever that is;

between 1 and another 1..

The abysmal, in this perspective and in my view, is also what happens between 2 facing each other,

next to each other, close but never enough;

parallel, not reachable from each other’s perspectives..that which escapes the cumulative.

The abysmal is an in-between:

that which is never reachable as a full state of being, of inhabited presence.

It is being as the state of passage.

It is

a hiatus, a longing,

a bit like sehnsucht.

What happens in this wrestling match?

22) Isabel asks Thiago to be responded by Sophia:

Thinking on irony again… on the irony that appears in the bubble that you proposed and the position of vulnerability, an “un-apparently presence” a “non-acknowledged little thing” yet so strong at the same time… A human-animal rhythmically gatecrashing through the restricting laws of “civilization”… that still speaks of a witty quality of human beings. My question to you is: What is more anima-Listic, to know or not to know?

REPLIES:

10) Christian > Aela > Aela

Hello, Ladies, gentlemen and others…

Tonight I am gonna give you an inter-galactic waltz lesson !!!

Waltz was born in germany, in the late eighteens century ! It was first considered as the most sexual dance ever in opposition with group dance practice such das menuet… A dance in which one partners are allowed to touch each others and even more to enter in rotation together !!!

Waltz is a three times tempo dance ! Giving this specific rhythm of each beat waiting for the next one…and in between : the void, the intergalactic void !!! Every beat resonates and exhausts its sound waves into that void till the next beat and so on !!! Here it is about gravity, relativity or if you prefer Attraction !

Every beat creates a circular deformation of space-time exactly like the sun does ! This geometrical deformation of space-time is what makes the earth and other planets turning around it : our galaxy and the universe itself are a gigantic inter-galactic waltz !

Every beat enter in vibration with your inner body, activating your deepest organs… causing your deepest orgasm…

In every waltz there is this little breath… the beat goes down..it is disturbed by the apparition of an asteroid coming closer to the attraction field…it is called a balade, a walk… or if you prefer a little flirt… It is just a breath…soon, the rhythm starts increasing again and the movement of love goes back again to its rotation !!!

To love is to dance waltz and to dance waltz is to be individually universal !!!

11) Esteban > Agnes > Yaari

I was “reading” Esteban’s performance as an encounter: sound that piercing a specific changeable landscape.

in light of & in response to that, through Agnes’s question i did a training in my materials

a dance

when we attend the forest as an entity which is constantly coming into being, the forest becomes a poem-body.

the forest, as an entity, is a whole, that is larger then the sum of its parts.

through processes of growth and movement, it is Alive. every Possible of its Potential is in its practice.

the forest is a structure while it is an essence.

a poem, is a whole, greater then the sum of its parts, a Thing that practices Life due to its formation.

its nature is a function but also an Experience.

the poem, is a vessel, for life to dwell.

language is finite and endless at the same time.

there, is a forest. it has a form. but since it practices itself as a body, it articulates as language.

a network of visible and invisible organs, frequencies, intervals, that manifests itself through exercising communication between its performances and the latent.

the forest is an oral teaching, of the movement of final towards infinity.

it is a place of divinity, where singularity succeeds to participate in intimacy, due to its becoming in contact.

this, operates as a system of encounters, where every intension is already a working. every encounter is an event of knotting and unraveling. singularities penetrating each other, permeable for each other, while also, at the same time, remaining different from, and ‘other’ then, themselves.

like the poem, the forest passes through its own borders while Art-iculating. like the poem, it declare itself, on its edges. in order to be, it reads itself and recalls itself continuously.

it is a membrane, reacting to the events, that registered in, and making of, its flesh.

to think the forest in that sense, is to think the light piercing the thicket and meets itself on a trunk. the bush’s ravel as space of cavities for the wind to transfigure. it is to think the earth absorbing dead-vegetal-bodies to feed the live ones. it is to understand the mushrooms as a speech conductor. the animals, as a touch transmuting a limit into energy.

the forest IS.

in its own time.

the poem-body is a coherent order of becoming. by coming into being-in-contact it accedes and resists to inner and outer data while simultaneously produces it. as an operative structure, it calls, in its own time, to itself, and speaks, maybe strAngely its events.

the forest as a poem-body is an oracle.

15) Lili > Christian > Arianna

1) We step inside the outline of a circle placed on the floor.

We form a huddle.

2) We can lay on each other’s bodies. Try to find a comfortable position, where you can close your eyes.
Ease down your head, your arms.. your body parts onto the ones of the others close to you.

3) Feel your breath
and try to feel the breath of the person who’s closer to you.

4) Now, reach with one of your hands the surface of another body.
Keep your hand there. Try to feel the quality of the body material that your hand is touching.
How would you take care of that material?

5) With your hand – the hand that is touching another body – make one gesture to take care of that body material.

18)Robin > Sofia > Brendan

KEYWORDS: exchange, protocols, stacking, Landscape, fear, sharing, blackapple, gemini, trance, Ambience, locomotion, circle, subterraneous, strict minimum, brainwashing session

REPORT:

The key words remind me of ‘ The Return’. I have watched this film several times and it is still discovering for me.

Andrey and his younger brother meet their father after many years of his absence. They set off for a fishing trip and end up on a remote Island. The father who is essentially a stranger becomes more mysterious when he starts looking for a box buried somewhere on the Island.

As the movie opens, the brothers are testing their fears jumping in the river from height. This is a threshold to what we see later.

Arianna’s performance made me remember this film. Gerald was also talking about discovering the landscape and the body which is one of the main concepts in the same film. Thus, I think watching this film could be a report from my point of view.

https://www.youtube.com/watch?v=_BMve_sq-o4

project

BUBBLE SCORE SESSION #3

27-27 January 2016

TreatisePage134

PARTICIPANTS:

Nicolas, Sofia, Brendan, Nicolas, Christian, Sana, Arianna, Esteban, Thiago, Agnes, Juan, Seba, Anouk, Luiza, Pierre, Robin, Yaari, Aela, Lili, Lilia

project

BUBBLE SCORE SESSION #4

3-3 February 2016

project

BUBBLE SCORE SESSION #5

12-12 February 2016

PARTICIPANTS

Isabel, Arianna, Lilia, Agnes, Sebastian, Sofia, Aela, Mala, Esteban, Robin

project

BUBBLE SCORE SESSION #6

12-12 February 2016

SESSION #6

PARTICIPANTS
Luiza, Robin, Bredan, Lilia, Mala, Juan, Christian, Sofia, Arianna, Sana

project

BUBBLE SCORE SESSION #7

24 February 2016

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PARTICIPANTS:

Sofia, Christian, Aela, Gerald, Lilia, Lili, Sana, Nicolas, Luiza, Varínia, Robin, Brendan, Mala

project

BUBBLE SCORE SESSION #8

2-2 March 2016

tumblr_o0lfsuIgyw1qe6mn3o1_540

PARTICIPANTS:

Sana, Mala, Sofia, Christian, Agnes

project

BUBBEL SCORE SESSION # 9

9 March 2016

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PARTICIPANTS

Sofia, Sana, Chris, Agnes, Mala, Aela, Varinia, Arianna, Isabel, Lili, Robin, Lilia

project

BUBBLE SCORE SESSION #10

23-23 March 2016

PARTICIPANTS:

:QUESTIONS BY:

REPLIES BY:

KEYWORDS:

REPORT:

performative publishing, research center

lilia mestre ScoreScapes

31 December 2016

As associate program curator for the first four months of 2014, 2015 and 2016 my focus was and is on how systems of interaction in the arts contribute to the production (process? creation?) of knowledge, first of all in the educational context and consequently, in my belief, in other social environments. I take these systems as scores that, when followed rigorously, demand the implication of individual engagement and resources in a much needed share-ability within a system of production and observation. In the act of giving attention to one’s own work, to the other’s work but also to the group and its context, the ecological and social aspects of art making are reflected and expanded. The inter-subjective bound takes place beyond the art works and practices themselves but in the act of paying attention, of observing and being observed.
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