rising or breakdown (Copy)
pathways of physical presence (Copy)
translation of punctuate (Copy)
those who will (Copy)
who moves (Copy)
on heaven’s surface (Copy)
truth of the Gods (Copy)
verbes / substantives / adjectives (Copy)
the names (Copy)
the infinite inversion (Copy)
our movements of love (Copy)
maybe (Copy)
different strategies (Copy)
(wordfields I) (Copy)
name it (wordfields II) (Copy)
pure nakedness (Copy)
score (Copy)
between the points (Copy)
... (Copy)
in-between (Copy)
the truth lies within the points (Copy)
our own volition (Copy)
the same with names (Copy)
sense / sensuality (Copy)
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 nic
follow the traces (Copy)
identify the coordinates (Copy)
connect the coordinates (Copy)
perforation of the invisible (Copy)
write to perforate
write to define the volume
knowledge of the grammatical structure (Copy)
movements of the human body (Copy)
process of producing sense (Copy)
the text of our existence (Copy)
co-relations between the thing / the subject and the observer (Copy)
defining individual rules (Copy)
first the field of grammar (Copy)
second the field of pre-given intentions (Copy)
interact with the manifested elements (Copy)
move ourselves in relation to (Copy)
concept of Relational Art (Copy)
1b enlarged, segmented and reassembled segments in a size of 594 x 840 mm
traces we have to follow (Copy)
2b / detail I
2c / detail II
building rows (Copy)
repeating and scaling the movement (Copy)
adding volume / chiaroscuro (Copy)
5b adding volume / chiaroscuro detail I
5c adding volume / chiaroscuro detail II
5d adding volume / chiaroscuro detail III
repeating and scaling / second version (Copy)
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 (Copy)
8b second version / detail I
8c second version / detail II
the drawing which I used (Copy)
9b the drawing detail in chiaroscuro I
9c the drawing detail in chiaroscuro II
facial expression in linear construction (Copy)
10b facial expression II
10c facial expression III
10d facial expression IV
facial expression in chiaroscuro (Copy)
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 (Copy)
colours of the narrative (Copy)
stepping down the stairway (Copy)
relation to the light I (Copy)
II (Copy)
III (Copy)
a shifting and transitory window (Copy)
an inappropriate extension I (Copy)
II (Copy)
III (Copy)
IV (Copy)
following the colours I (Copy)
II (Copy)
III (Copy)
nature inserts colour into the grammar I (Copy)
II (Copy)
"untrue things is the proper aim of Art" I (Copy)
II (Copy)
something else we cannot name (Copy)
only coordinates can be a subject of truth (Copy)
art is an event of extending (Copy)
in front of our eyes (Copy)
a product which produces desire (Copy)
we talked about a lot (Copy)
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 (Copy)
2.2
the whole texture (Copy)
knots / which are creating an inextricable web (Copy)
the pressure of inner values (Copy)
significant as a prototype (Copy)
a more or less perfect prototype (Copy)
to do / to be (Copy)
some kind of a point zero (Copy)
seducing the one which we pretend to love (Copy)
9.1
take our course (Copy)
10.2
in relation to ourselves (Copy)
11.2
11.3
writing / reading your own text (Copy)
12.2
12.3
the body of Christ is dead (Copy)
we have to step back (Copy)
we are continuously switching (Copy)
the elements of the respective topology (Copy)
composed by an „I“ (Copy)
1st the bodies / 2nd the names (Copy)
we must make decisions (Copy)
8b
systematic of perceptual construction (Copy)
9b
9c
to give a name to what happens (Copy)
the shape consists of uncountable varieties (Copy)
the most important question (Copy)
connections and knots of our notations (Copy)
Yes, make decisions! (Copy)
making decisions without values (Copy)
a result of designing (Copy)
3.2
an active part of the text of the world (Copy)
we do not need a comparison of right or wrong (Copy)
5.2
the necessity of the text (Copy)
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? (Copy)
how movements and colour can be related to each other? (Copy)
the primacy of the expansion of colours (Copy)
a narrative will be included (Copy)
the synapses of the individual narrative (Copy)
9.3
how the personal experience is to be objectified? (Copy)
10.2
10.3
how to produce a topology (Copy)
11.2
11.3
11.4
11.5
11.6
there is just one reality: the incomparable real of the text (Copy)
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 (Copy)
noli me tangere (Copy)
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
2.3
2.4
reveal the grammatical structure: (Copy)
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
turne into so called „word-fields" (Copy)
2.8
2.9
movements / colours / materials (Copy)
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 in
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 (Copy)
iteration and recursion (Copy)
how the objectivization should be manifested (Copy)
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 (Copy)
4.5
Method (Copy)
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 th
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 (Copy)
5.6
5.8
Result (Copy)
horizontal lines (Copy)
vertical lines (Copy)
curved lines (Copy)
3b
3c
3d
interwoven horizontal and vertical lines (Copy)
build by the lines between coordinates (Copy)
the rhizomorph structured topologies (Copy)
7b
7c
writing and reading (Copy)
8b
creating whatever (Copy)
9b
making something readable (Copy)
10b
10c
functionality seems to be immortal per se (Copy)
11b
let an intention become real (Copy)
12b
12c
12d