rising or breakdown
But why Orion rushes to withdraw
from the sky?
And why does the night
shorten its course?
Why the dawning day
(proclaimed by the morning star)
has increased his
radiant light faster than usual
from the lightened
sparkling water?
Is it the rising or the breakdown
of Orion?
pathways of physical presence
because of
our being broken up
from the night (the finished)
+ the day (just as lost)
from one point to another
(its reversal / pausing /):
for only the selection
of those who shine brighter
are closer to us /
touching each other,
flowing towards each other,
deeper in the pathways
of our physical presence
translation of punctuate
every truth is a point
of perforation / punctuation
punctuate
/ unterstreichen
/ interpunktieren
/ (mit Satzzeichen versehen)
those who will
like love
the archers / are blind
the archers / are those
who will /
perforates / set points / show truth
punctuate
who moves
how to draw a line
from one point
to another point?
the lover
is the one / the singularity
/ who moves by himself
on heaven’s surface
just one
always the same point
/ puncture
but shifted in time
by this
space emerges
/ the grammatical structure arises:
recognizable as Orion;
a lifeless person on heaven’s surface
(that's me!)
punched in the pre-given truth of the divine space
truth of the Gods
we assume
this is the given reality
/ in time and space
no chance to escape
but forced to fulfill in order to stay
as long as possible
/ within the truth of the Gods
/ within the favour of the Gods
verbes / substantives / adjectives
to do so / to stay in
truth and favour
we have to stay in the movement
which are conscripted by the names
/ verbes
/ substantives
/ adjectives
given by the highest power
but about the / truth
/ favour
/ names
the names
like love
the archers are
/ blind
instead of thinking about
/ the truth
/ the favour
/ the names
the infinite inversion
they are throwing their arrowheads towards the heaven
in order to learn
that heavens surface is filled
with an endless number of points
(we only can recognize an endless number
of the infinite inversion
from black to white / white to black;
this is what the perforation
sequentially shows)
that every point of perforation
is filled
by the same truth
we have to name anew again and again
our movements of love
the event
of giving every truth
anew its name
is what we call sense
so
we have to draw a line
from point to point
in order
to define what can be named
by our movements
of love
maybe
the archers are
/ the lovers
/ the poets
/ the artists
(otherwise they are something else…)
maybe
/ the designers
/ the craftsmen
anyhow all those / who are willing and able
to move / following the impulses of being moved
by the unnamed truth
towards a nameable sense
different strategies
we use different strategies
to denude the grammatical structure
in order to realize
the signs of the alphabet are absolutely naked
and the space between them equally empty
(wordfields I)
the signs are building rows
of pure emptiness
which we cannot bear
in not one case
name it (wordfields II)
the bare emptiness
forces us to fill the space between
in order to be able to name it
to fill the nothingness
with names
pure nakedness
seeing both at the same time
the pure nakedness
of the grammatical structure and the names
(inseparably interwoven
with all the mater around us; the things –
the spaces and the objects with which
we are interacting)
brings out pure sensuality
score
in this sense (in the sense of meaning)
every work of art or design
is both; a material thing and a score
to make the sensuality of our moving from one
to another point come alive
between the points
as those
who want to be imbued
by the endless connections between
the self (of all of us)
and the subjective being (of each of us)
we have to accept the pure emptiness
within the grammatical space
between one point and another
...
on the other hand
only what is empty can be filled
(oh my God! nothin but
a ridiculous and useless calendar motto…
we shouldn’t go on like this!)
in-between
/ disconnect
/ divide
the elements / points / perforations
of the constellation
of Orion (for example)
in order to find
the nothingness
the truth lies within the points
the truth may lie within the points
(by their undoubtable position to each other)
but by the nothingness between the points
we got the freedom
to be independent of any sense
our own volition
and so we did not got
only the permission
but much more the necessity
to connect
the perforated truth
in order to create sense / sensuality
(the affection of the senses
we call aesthetics)
only of your own volition
the same with names
and we do the same
with our names
with every denotation / connotation
in relation to
our subjective manifestation
of truth
sense / sensuality
so we see
a name belongs to everything
that is placed in a relation
in order to produce
a sense / sensuality
so
names / words / sentences are parts
of a score / a text
done by ourselves
to design
the sense of our physical existence
von Punkt zu Punkt
–
(beiderseits des Himmelsäquators)
in der Nacht ein Liebender
–
Orion / der wie die Bogenschützen
blind die Zeit in tausende Stiche zerteilt / dass er zugleich mit mir
–
der Sehnsucht erlag einen Namen zu tragen
wüsste ich’s nicht besser hätte ich gedacht
–
dass Du mich gerufen hast
follow the traces
1
follow the traces
of what is between the one and the other thing
–
(every thing is made of
the in-between between the
points / perforations / coordinates
(of the perforated nothingness))
–
which are measured
by the movement from
one coordinate to the other
by which the volume involuntarily occurs
and will be visible
and valid as a manifested movement
for a longer or shorter period of time
identify the coordinates
2
our first task is
to identify the coordinates
–
the points / perforations / coordinates
are always given
–
we have to make them visible
–
making the coordinates visible
is identical with
showing the basis of the grammatical structure
and the associated rules of what we call
truth
identical with the unmovable positions of
the identified coordinates /
–
(by the way:
a truth without any sense)
connect the coordinates
3
our second task is
to connect the coordinates
according the grammatical rules
/ by straight lines
/ technical lines
without any hint to a movement
but only by construction finite row
of densely crowded points
–
so we can say
also the line claims truth
(because every point of the row
is doubtless needed
to connect the coordinates)
perforation of the invisible
4
you remember
/ what we said:
the total black or the total white
(of our sheet
or the sky at night)
is an inseparable connection
of uncountable points
seated unimaginable closely
and that in some way every visible point is
a perforation of the invisible
/ inseparable totality
(of the nothingness in black/white)
write to perforate
write to define the volume
knowledge of the grammatical structure
5
already for the first task
we need
the knowledge of the common grammatical structure
i.e. the rules of the universal valid grammar
(in the meaning of the Greek:
[τέχνη] γραμματική [technē] grammatikē
„[art/technique] of writing“)
in order to identify the coordinates
movements of the human body
6
„art/technique of writing“
is to be understood
as the technique of identifying
and combining the coordinates / perforations
according the possible
movements of the human body
in order to create a notation
(a score) which will produce sense:
the text of our existence
written and told by the movements
–
from one body to another
(from the body /
the bodies with the things / within the space)
process of producing sense
7
in the
/ process of producing sense
/ the ext of our existence
writing and reading take place in one
–
the sense which will be produced within this
process is not meant to unveil
a pre-given meaning
by correctly defined coordinates
(this will produce a common truth but
neither an individual nor
a collectively existential sense!)
the text of our existence
co-relations between the thing / the subject and the observer
8
the process starts with the already defined
co-relations between the thing / the subject and the observer
(you, me, we)
the co-relations can only be realized
by the determination of the coordinates /
–
for example the co-relation
between a chair and the one who wants to sit down /
the coordinates of the grammatical structure
of sit-down fixed by the movement of the body
–
for example the co-relation
between a pencil, a sheet
and the one who wants to draw or write /
–
the coordinates of the grammatical structure of
drawing or writing
are fixed by the movement of the body
defining individual rules
9
the first task has to be performed
by a precise observation and documentation
of what we have observed
(the co-relations between the thing
/ the subject
/ and the observer)
–
the second task has to be performed by
defining individual rules
of combining the observed coordinates
according the universally valid grammar
first the field of grammar
10
the observation will take place on two fields / levels:
/ first the field of grammar / structure / formal coordinates
/ second the field of pre-given intentions / meanings / history
–
the pre-given (or strived) intentions are inscribed
in the mode of meaning and history
into the things / the subject as well as into the one
who observes
second the field of pre-given intentions
interact with the manifested elements
11
so by fulfilling the second task
(defining individual rules
of combining the observed coordinates)
the intentions / meanings / historical purposes
will inevitable be erased
on the surface of the things and the subjects
/ will be subdued a de-denotation or de-connotation /
–
but in the background of our perception
they are still active as a set of references
/ now not decisive anymore
but to be seen as possible parts of the text
which we will write
/ design by following only the movements
between the things
by our ability to
interact with the manifested elements
(coordinates: shapes: volumes)
move ourselves in relation to
12
the rule of interacting
with the manifested elements (coordinates: shapes: volumes)
which is named „method“
we have to define according our personal way to
move ourselves in relation to
the universal valid grammar
concept of Relational Art
1a
our intention
by making art / design is
to produce desire / lust
–
to do so:
define your own method /
clarify the given conditions
a concept of what is called
Relational Art
(also its social and cultural conditions)
–
written on a double-page A4
1b
enlarged, segmented
and reassembled segments
in a size of 594 x 840 mm
traces we have to follow
2a
our desire / lust is
to remain in the tense / the tension
/ between our intention
and the object (of our intentionality)
–
this tension has to be ordered in rows
according the compositorial rules
of grammar and volume
(extent, degree, scale, magnitude
(importance, meaning, significance,
signification, concern))
-
these traces we have to follow
in order to let the poetical narration
of our intentional lust become real
by itself
2b / detail I
2c / detail II
building rows
3
in order to achieve our intention
(remaining in-tension)
we are building rows
of the elements
(of the materialized intentions)
–
every element
consists of perforations / points
connected by straight
and curved lines (straight according the shortest way
from point to pont /
curved according the movement of the body
/ eyes
/ head
/ chest
/ arm
/ hand-wrist
/ fingers
–
i.e. defining the topological space
by deconstructing the Euclidian space
and arrange the elements
anew
by building rows
in a size of 840 x 1188 mm
repeating and scaling the movement
4
about how we have succeeded
or failed
with our intentions
(mostly combined with stupid
rhetorical conclusions about the reasons
and matching / not less stupid
moral considerations)
this is the way we have learned to read
the rows
in a rhetorical or moral sense
in other words
as a fable, parable or allegory
but now we reject the pre-given task
and instead of fulfilling
we define our own episode by stepping
into an open process of designing
-
repeating and scaling the movement
adding volume / chiaroscuro
5a
every element is a body
(no matter how big or small it may be)
/ a hull, fuselage, trunk, hulk, torso
(substance, essence, texture, gut)
an element within a space
/ a space recognized by the chiaroscuro
/ light and dark
–
adding volume / chiaroscuro
5b
adding volume / chiaroscuro
detail I
5c
adding volume / chiaroscuro
detail II
5d
adding volume / chiaroscuro
detail III
repeating and scaling / second version
6
repeating and scaling
second version
–
as soon as we are forced
to leave our well known intentions
(those of the Euclidean space
which strive for a perfect ordering system)
we get afraid to fall back
into a childish or cosmic chaos
7a
draw after the drawing
7b
detail I / figure
7c
detail II / interior
7d
detail III / figure within interior
7e
detail IV / maybe a landscape
draw after the drawing second version
8a
draw after the drawing
second version
–
art / design =
to arrange the childish
/ cosmic chaos
again and again anew
according the compositorial
necessity of our desire
8b
second version / detail I
8c
second version / detail II
the drawing which I used
9a
the drawing which I used
to draw after the drawing
9b the drawing
detail in chiaroscuro I
9c the drawing
detail in chiaroscuro II
facial expression in linear construction
10a
facial expression in linear
construction
by using only charcoal
and liquid glue or lacquer
–
what happens within the face?
in relation between
/ torso
/ arms
/ hands
/ legs
/ feet
10b
facial expression II
10c
facial expression III
10d
facial expression IV
facial expression in chiaroscuro
11a
facial expression in chiaroscuro
by using charcoal
liquid glue and paper collage
11b
the face
/ the range of facial expressions
which may change from one second
to the other
is inseparably colligated
to our intentions
/ that we could fail
/ that we'll maybe successful
how to proceed
11c
facial expression in relation
to the memory
(when I was a student)
–
how to proceed?
–
intention is
/ to follow the traces
(for example Georges Jacques Danton
/ Gerog Büchner / Lenz)
/ to finish all the needed studies
(for to extend the relational space between
Ungaretti / Saba / Garcia Lorca / Celan
the spaces in-between
in their dimension of grammar and volume
as well as of sexuality, society and politics)
until the end of July
–
„Indifferently he moved on;
the way did not matter to him,
up or down.“
Georg Büchner, Lenz
colours of the narrative
1
on my way back to Danton’s death
/ Georg Büchner
/ Lenz
/ walking on the head
/ along the highs of the woods
the traces will involuntarily led to
the colours of the narrative
stepping down the stairway
2
the head / the cold
/ the wind on her face
the sound of her feet
stepping down the stairway
all this – and everything else –
not only
has its own colour
it’s made of colours
relation to the light I
3
the colour is caused by
the movement of the material in
relation to the light
II
III
a shifting and transitory window
4
Marcel Proust tells in „Swann’s Way“:
„Someone had indeed had the happy idea
of giving me,
to distract me on evenings when I seemed
abnormally wretched,
a magic lantern,
which used to be set on top of my lamp
while we waited for dinner-time to come;
and, after the fashion of the master-builders
and glass-painters of Gothic days,
it substituted for the opaqueness of my walls
an impalpable iridescence,
supernatural phenomena of many colours,
in which legends were depicted as on
a shifting and transitory window.“
an inappropriate extension I
5
that something is coloured says
it is swollen (from Old English geswollen
/ past participle of swellan)
in the meaning
of an inappropriate extension
II
III
IV
following the colours I
6
so every narrative is an inappropriate
extension of what refuses its assigned coordinates
by following the colours
to become visible
II
III
nature inserts colour into the grammar I
7
in nature every colour is related
to lust or danger
this is the way we use colour too
or vice versa
„Life imitates Art far more than Art imitates Life“
/ says Oscar Wilde in
„The Decay Of Lying – An Observation“
/ in other words:
nature inserts colour into the grammar
of evolution
by adapting directly to the art
II
"untrue things is the proper aim of Art" I
8a
Oscar Wilde:
„Art
/ never expresses anything but itself.
/ All bad art comes from returning
to Life and Nature
and elevating them into ideals.
/ Life imitates Art far more than
Art imitates Life
It follows as a corollary that external
Nature also imitates Art
/ Lying, the telling of beautiful
untrue things
is the proper aim of Art.“
II
something else we cannot name
8b
The first and the last of all possible
lies is colour
–
we assume there is a colour
but in fact there is nothing
but the reflection of
something else we cannot name
only coordinates can be a subject of truth
9
Wilde is talking about the lie
in relation to what is right or false
in its very basic dimension
of the position of the points
or perforations
/ as we have learned; only the points
/ the perforations,
/ the coordinates can be a subject of truth
(by the way: therefore
sciences alway try to refer
to the relationship of points
in a mathematical way –
no matter which subject should be researched
and systematically defined)
–
but in terms of the truth
of the perforations
the lines in between and the volume
/ the movements
/ the colours
/ the materials
(which bloats itself from line to line)
are always a lie
art is an event of extending
10
so we see, neither colour nor narrative
(which is not to be told without the volume
(except the colour also the movement
and the material of words))
own values
that can be set as false or true
(these values are only those
of the mathematical dimension of the grammar)
–
rather
art is an event of extending
the present
by writing signs and fulfill them
with their respective volume
in front of our eyes
11
an event (or incident) is something
that’s taking place
in front of our eyes
(or better to say: in front of our face
/ recognizable by our senses)
–
incident
= the relation between an edge
(of the geometrical shape) / a line
and one of its endpoints
–
incidence matrix
= the incidence matrix of a graph
is a matrix whose rows are indexed
by vertices of the graph
and whose columns are indexed by edges
(seen from the logic of grammar;
how the Euclidian static establishes
within a topological space)
a product which produces desire
12
all in all for to design an event
/ the process of design
(whose result will be a product
which produces desire / lust)
we need the triad
/ the structure made of points and lines
/ the colour
(and the related volumes
of movement and material)
/ the names (captions
/ cutlines from words)
–
now we can think about
giving a name to the subject
/ we are working on
/ to ourselves
we talked about a lot
1
there are three fields
(interconnected)
we have to be aware of
in terms of any kind of designing
(it may be so called artistic work
or in terms of
scientific or social design)
–
1st the field of grammar
(which we talked about a lot)
–
2nd the field of volume
(we can’t talk about it without
the knowledge of grammar)
1.1
–
3rd the field of intentions
/ relations
/ courses
/ history
(like the subject takes its course
from intention to history)
1.2
1.3
the whole web / texture
2
if we combine these fields
by directing the respective elements
of each field
to achieve a valid composition
(of whatever kind)
involuntarily the text
/ narration
/ notations
/ participation
of what is (i.e. of the whole web / texture)
will occur
2.2
the whole texture
3
now let's take a closer look at the field of
/ intentions
/ relations
/ individual and common history
–
obviously our intension is focussed
on social intercourse
(or to say it
from the perspective of designing
there is a very natural desire
of every author / artist
/ and so on
to be published
which has nothing to do with success
fame or status
it is much more about
being a part of the whole texture
by the text you have knotted)
knots / which are creating an inextricable web
4
if you repeat the process
of creating intersections
by following the lines (which are
building intersections
by their way from point to point)
by freehanded drawing
knots / which are creating an
inextricable web / will be the result
–
so we can say
that the World Wide Web is an access
to the two-dimensional surface
of the multi-layered texture
of our the presence and remembrance
of our staging /
for years we have seen how the Web
will be adapted
to the paradigm of a functionality
that rules itself
the pressure of inner values
5.1
the functionalization
of the www
is a strategy that is very easy
to observe
it does not operate primarily
with external restrictions
but much more with
the pressure of inner values
of social intercourse
–
„In order to engage in
social intercourse
one must identify the other individual
to be significant.“
significant as a prototype
5.2
–
significance is a value
that results from competition
be more significant
means to be more successful
–
but success – in what way?
be significant!
but what is the function of
being significant?
significant as a prototype!
a more or less perfect prototype
6
we have only one possibility
of being immortal
by becoming an ideal signifier /
that means
a more or less perfect prototype
of power
/ beauty
/ health
= social success / status
= prototypical significance of functionality
to do / to be
7
let’s start
with the pressure of functionality
(or come back to it)
in which everyone has
its undeniable position
/ name
/ task
(in relation to the ideal signifier
/ perfect prototype)
and our desire is to find out the
/ the meaning of that
to which we are forced
/ to do
/ to be
some kind of a point zero
8
by this let’s start
to think about intercourse
that we assume
this kind of acting is
beyond all functions
but in fact it’s
the core of it
–
I would say
in the way we use to do it
/ just do it
by being plugged in
(into some kind of a point zero)
we are constructing
invisible threads
around ourselves to ensure
our position
within the Euclidean grid
of functionality
seducing the one which we pretend to love
9.1
every time by conquering
/ capturing
/ seducing the one which
we pretend to love
we fulfill the core of function:
stay away from
weakness and loneliness!
proof to be
/ strong
/ beautiful
/ healthy
to say it simple:
to be the best choice
so we have to decide
/ how to stick ourself
into ourselves
9.1
take our course
10.1
so we see
how social and any other kind
of intercourses are deeply interwoven
/ 1500, „acquaintance by frequent
or customary intercourse“
from converse (v.).
/ 1610s as „conversation, familiar discourse“
/ 1749, „intimate intercourse, fellowship“
from inter- „between“
„communion“ / „converse“
/ 1771 a euphemistic shortening of
sexual intercourse with
/ intercourse in its sense
„social contact and relations“
–
so we can say
to become significant we have
to take our course
10.2
in relation to ourselves
11.1
significant
in the sense
I am here in relation
to you /
seen from the position
of the self (i.e. the position of designing) /
of what we both are
in relation to ourselves
11.2
11.3
writing / reading your own text
12.1
your significance
is not bounded
on any prototypical functionality
of being significant
but only on your will and ability
to move by yourself
in order to create the composition
of our common texture
/ the topological itself
by writing / reading
your own text
12.2
12.3
the body of Christ is dead
1
about a reference
that we can not
hide from
in contradiction to
the reference
of functionality
we examined
in the last lecture
2
the body of Christ
is dead
what’s left is
the grammatical structure
of becoming a vivid
extension again and again
inseparably connected
to a text
/ texture
/ of our narrative
our perception is constantly changing
we have to step back
3
so for a moment
we have to step back
to observe the structure
of grammar
and how the volume
(in other words
the vivid extension)
is enclosed within
we are continuously switching
4
as you can see
we are continuously switching
between
/ grammar
/ volume and
/ narrative
this is how the process
of composition
is taking place
the elements of the respective topology
5
to find a reference
for what
we are doing
it is undeniable needed
to compose
the elements of
the respective topology
anew
–
to do so first we have to
/ de-compose
/ de-construct
the elements according to
the grammatical rules
composed by an „I“
6
so
to discover our reference we must
examine the co-ordinates
/ perforations
of the grammatical structure
which will lead us
to the narrative
/ of the relation between ourselves
and the world
which is to be found as a text
/ texture
composed by an „I“ (for example
Hans Holbein the Younger)
in relation
to a „You“ (for example
Jesus of Nazareth)
1st the bodies / 2nd the names
7
the coordinates / perforations
can only be extracted
from only two topologies
/ 1st the bodies
(natural as well as artificial ones)
/ 2nd the names
(words, numbers and formulas
which give an idea, how to
count and name
/ the topological elements
/ the constellations
/ the respective topos)
we must make decisions
8a
in order to read
the grammatical structure
we must make
decisions about the question
how to
/ dissect the structure
(from point to point)
/ arrange the dissected elements
anew
8b
systematic of perceptual construction
9a
to be able to work
this way
we must have a closer look at
the systematic
of our perceptual construction
/ the ability to identify
the coordinates of the interactions
between the different objects
9b
9c
to give a name to what happens
10
to perceive something
generally means
to transform the elements and their
expectable movements
into a score (row of signs
/ words
/ numbers)
in order to give a name / formula
to what happens
–
we never perceive
a single topos
but always a more or less complex
topology (i.e. a grammatical
combination of elements)
the shape consists of uncountable varieties
11
our perception
is divided into
/ the undeniable truth of perforations
/ the multiplicity of shapes /
the shape consists
of uncountable varieties
(beyond true or false)
of the volume- / the colour-
expansions
the most important question
12a
the most important question
in designing
is not related to
/ the true
/ the beautiful
/ the good
but much more
to the reality of
what we are perceiving
connections and knots of our notations
12b
and how
our perception is constantly
changing
with every repetition
of what we are
realizing (with every depicting)
and by this the connections
and knots of our
notations are inter-woven
into the texture
Yes, make decisions!
1
Yes, make decisions!
sure, but in what context?
compared to what?
–
it seems
that we need a comparison
about
what's right and what's wrong
to be able to make
a decision
making decisions without values
2
designing is the art of
making decisions without
values
of what is right or wrong
as pre defined by the Euclidean
classification system
–
otherwise
we would only produce
copies of what claims
to be
/ the true
/ the beautiful
/ the good
a result of designing
3.1
this is the reason why
we can not stick to
any idea
–
a pre-given idea
in the sense of
a result of designing
(what has to be
achieved with the process
of design)
can not be anything else
but a bad copy of a world
imagined
as a perfect one
3.2
an active part of the text of the world
4.1
instead of fulfilling the idea
of a perfect word
the process of designing
is a journey
in order to discover how
the world actually is constructed
(in it's grammatical dimension)
–
/ by this we will be
an active part
of the text of the world
(as Badiou says: „…being an
active part of the consequences
of a local event“)
–
/ by this we produce the sense
of what we call reality
(„Try to make it real - compared
to what?“)
we do not need a comparison of right or wrong
5.1
within the process
of designing
we do not need a comparison
of right or wrong
–
what we need is the knowledge
of how to proceed
and of the possible relations
in order to step ahead
from one decision to the next
5.2
the necessity of the text
6.1
every decision has
its reason
–
the question is:
is the reason given within
functionality
(whether we are aware
of it or not)
or is the reason to find within
the necessity of
/ the text
/ the narrative
/ the language itself and by this
/ within the grammar?
6.2
7.1
what do we have to do
to determine the difference?
–
Nothing else but to observe
the perforations
intersections and angle-points
of the grammatical structure
of the topology we can respectively
identify
how movements and colour can be related to each other?
7.2
then we have to trust
this grammatical structure
according to which
every body (also ours)
is build by
letting our perception rule
of how to connect the points
of the structure:
graphically fixed
or simply in our memory
that means
the connections
will be done by
the involuntary movements
of our bodily perception
how movements and colour can be related to each other?
8.1
as soon as the points
are connected
and the geometrical construction
is added by a volume
of movements
we are asked to decide:
/ how to proceed with the movements?
/ how movements and colour
can be related to each other?
/ what colour to choose?
/ derived from what?
/ which shapes should become
more concrete?
the primacy of the expansion of colours
8.2
we have also to decide
/ to continue with the primacy
of elaboration the movements
or
/ the primacy of elaboration
the shapes
or
/ the primacy of the expansion
of colours
a narrative will be included
9.1
in any case
a narrative will be included
– explicit or implicit
– in case of an explicit
narrative inclusion
we additionally have to decide
/ which narrative signs
(of bodies, spaces, things)
are to be found within the shapes?
the synapses of the individual narrative
9.2
/ which are
the synapses
of the individual narrative
(synapses in terms
of potential connections
between
the coordinates
/ perforations of the observed
topology and the coordinates
/ perforations
of personal experience)
–
/ how to elaborate the shapes?
maybe by delineating
again and
again until the narrative
elements will occur?
9.3
how the personal experience is to be objectified?
10.1
also to define
the needed reference
we must make a lot
of decisions:
/ how the personal experience
is to be objectified
intellectually?
/ according which referential
object we have to proceed?
10.2
10.3
how to produce a topology
11.1
how is the reference object to be
identified
in its historical
/ scientific
/ sociological
/ political dimension?
–
how to produce a topology
in which everything
/ grammar
/ volume
/ narrative
is interwoven?
11.2
11.3
11.4
11.5
11.6
there is just one reality: the incomparable real of the text
12.1
it seems
that all the decisions
will be made
according
functionality or narration
–
but actually
functionality and narration
are not comparable!
–
so our attempt
to make it real -
and the question given by this:
"compared to what?"
are telling us;
there is just one reality:
the incomparable real of the text
/ the texture
/ the narrative
12.2
12.3
functionality
is not an alternative reality
(it’s not a reality at all!)
but a part of the method
to make the text / the texture
a reality
12.4
12.5
question about a phenomenon
1.1
Topos / Object
(= the object of the artistic exploration)
=
/ object of daily use
/ space (or place)
/ person(s)
the interacting of those
–
or already narratively manifested /
notated in a cultural media:
picture / literature / movie /
theatre / music / dance
and so on
–
both – the Topos / Object or its
narrative manifestation / notation –
are derived from a Meta-Theme;
a question about a phenomenon /
a process (of a social, political,
economic, ecological, philosophical,
religious or educational
aspect / demand / problem)
noli me tangere
1.2
in relation to this lecture
–
/ the Topos / Object is:
„The constellation / composition
of the object’s elements
(of the topology) in general
and how the user / viewer interacts
with them / constitutes itself!“
–
which – regarding to the existential
conditions of each of us –
can be shown very clearly
by the tension between the text /
depicting of
„the dead christ“ and
„noli me tangere“ and the narrative / poetical
constellations (for example by Garcia Lorca)
which deconvolve in between
1.3
1.4
1.5
–
/ the Meta-Theme is the question
„How to teach art + design
in an appropriate way
according to the demands of our time!“
2.1
Structural Analysis
(of the respective object / topos)
/ Impulses / will be fixed as
/ Coordinates / within which the
/ Volume (movement, colour, material)
/ will expand
–
the Structural Analysis delivers
the elements for the design-process
and the clues for
the methodical proceeding
to using the elements
2.3
2.4
reveal the grammatical structure:
2.5
2.6
in relation to this lecture
–
/ the Structural Analysis shows
„There are only two possibilities
to reveal the grammatical structure:
–
1. extracting the coordinates
from the two or three-dimensional
object / topology by
segmenting the angleand
anchor-points and intersections
and connecting them anew
according the physiological or
technical construction of the
formation process
of the object / the topos
turne into so called „word-fields"
2.7
–
2. extracting the coordinates
and their already given connections
from the grammatical construction
of the written language
/ turned into so called „word-fields" /
i.e. from the gestures and movements
related to the grammatical structure of
the human body as
the primary language-tool“
2.8
2.9
movements / colours / materials
3.1
Intention
= can only be defined
by executing the process from
exploring the grammatical
coordinates
in order to fill it with suitable volumes
(movements, colours, materials)
which leads involuntarily
to the intentionality of the narrative
3.2
–
so we must distinguish between
/ the collective intention and
/ the individual intention
and by the same time we have to define
/ how both fields of intention
are connected to the
generally valid references and relations
/ how both types of intentions interact
in the design process
3.3
–
from this now we are able to derive
our individual
/ Theme
/ Core-Question
3.4
in order to be able to write notations
3.5
in relation to this lecture
–
„my intention
(as the one who is giving this lecture)
is divided into three aspects
1. to show you how the process of
creating design or art works
and by this
2. to show it to myself
in order to be able
3. to write notations / narrative
/ text which are parts of the whole texture
of inter-related events /
adventures
(in sense of the definition Giorgio Agamben
has given to the term)
iteration and recursion
3.6
–
notations / narrative / text
are not only interwoven
into the different structures of time
but also brings forth
the notated time-structure again and
again by which we are able
– within the linear readable time –
to participate again at the events /
the adventures in repetitions
and differentiations
effected by the re-occurrence
of the physically shifted iteration
and recursion“
how the objectivization should be manifested
4.1
Manifestation / Objectivization
now we posses all the needed elements
and informations
to describe precisely
how the objectivization should be manifested
i.e. which object / topology
(in its two or three-dimensional form
/ in its presentation within
space and time)
should be realized
and how this has to be done
–
the object may be
graphic-design,
drawing, painting, photography,
movies, interior-design,
fashion-design and so on
4.2
–
the object may be
graphic-design,
drawing, painting, photography,
movies, interior-design,
fashion-design and so on
4.3
I refer both to Structuralism as well as to Mannerism
4.4
in relation to this lecture
–
„What I am called upon to do because
of my history (as part of
the common history on all the different
social, political and cultural levels)
are so called panel paintings.
–
I refer both to Structuralism as well
as to the Age of Mannerism
– in its wide range of architecture /
interior-design / fashion-design /
sculpturing / drawing and painting.“
4.5
Method
5.1
Method
= how the intention
by using of the results of
the structural analysis
is to be manifested / to transform
into an object / topos
5.2
–
in order to use the visual /
material elements
which are the result of defining,
separating and re-connecting
the structural coordinates
(i.e. to in order to realize the
object / topos)
a suitable method must be
found individually
5.3
–
/ the methodical proceeding has to be
derived from the exploration
– of the grammar (construction of the shape)
– of the volume bound in it
– of materiality
/ by focussing on the instructions
which are given by the
performative dimension of the verbs
and the descriptive
material dimension of the adjectives
5.4
–
by a method which is individually developed
the possibilities of an individual
language / expression is becoming more
and more noticeable
all measurement-systems we are used to work with
5.5
in relation to this lecture
–
„The method I started to elaborate
eight years ago
is based on circle matrix which
includes and combines
all measurement-systems we are
used to work with
/ average body dimension 180 to 180 cm
(with sideways outstretched arms) /
/ constellations of the stars
(for example Orion at the winter sky) /
/ space (cardinal directions / longitude and latitude) /
/ time (morning, midday, evening, night /
hours of the day) /
/ 24 basic letters of the alphabet /
/ musical structure of the twelve tone system /
/ different colour-circles
(for example according to Itten) /… “
5.6
5.8
Result
6
we are still working on it…
horizontal lines
1
the horizontal
lines of the linear time flow
which we describe as
„finiteness“
vertical lines
2
the vertical
lines of the ideational time
which we describe as
„immortality“
curved lines
3a
the curved
lines of the circling time
which we describe as
„remembrance“
3b
3c
3d
interwoven horizontal and vertical lines
4
the interwoven
horizontal and vertical
lines of the rhizomorph time
leaps
which we describe as
„narrative“
5
in order to achieve
immortality
the finite time
– moving in horizontal
direction –
must be adapted to a goal
which exceeds
the horizon
to an infinite vertical
build by the lines between coordinates
6
actually
the respective space
of our reality is
build by the lines between
coordinates
(according Jean-Luc Nancy
the only thing
we can call the truth)
which do not own
any horizontal or vertical
orientation
the rhizomorph structured topologies
7a
we need the linear time flow
to write and read
the rhizomorph structured
topologies
of what can be read as the text
of our narration
7b
7c
writing and reading
8a
writing and reading
means
the way we perceive ourselves
/ in between the coordinates
/ hold by the coordinates
/ creating with our movements
the lines
of the horizontal
or vertical orientation
8b
creating whatever
9a
writing and reading
(or in other words:
creating whatever) is
the way we try
to let our intentions
become real
9b
making something readable
10a
writing is based
on the functionality of
making something readable
and vice versa
–
so
functionality
is the tool to realize
an intention
within the linear time flow
10b
10c
functionality seems to be immortal per se
11a
functionality does not possess
any volume
–
so
functionality for itself is
/ beyond living or dying
/ beyond the linear time flow
or the rhizomorph time leaps
–
so
functionality seems to be
immortal per se
11b
let an intention become real
12a
the difference between
/ funktion and
/ grammar
–
we can say:
grammar is the general valid
programm in order to
let an intention become real
–
functionality
is the variable usage
12b
12c
12d