1. The story of getting a visa

Biometric enrollment appointment 'unless you are bio-exempt'.

Face and body becoming Data.

 2. A cage of information

Meaning of capture: submission to mathematical formalism.

What are aesthetics of biometric data analyses?

How do you make diagrams of data analyses (heavy) and mimic faces from them?

'Face-cage' got its name not only because of its look, but also because it has been designed primarily to make arresting easier.

When you make those perfect biometric calculations (which are supposed to fit the face) they are not precise and quite painful. Masking in relation to politics does not mean only to cover. Masks are symbols of collective identity. What in the facial politics of now a face has to been exposed?

3. Body as a thread

What kind of decision can be made by security, while someone's body is being scanned? Why have airport technologies, video broadcasting, etc., been designed to look like multimedia art installations?

Airport security as a side for romance. 

Is security check really sexy? 

But what happens in the situation when you not pink or blue? Are we still 'OK'?

The capturing of a body on the scan has been automatically gendered. Transgender person is detained as a thread, qualified as a danger.

Understanding of vision – vision that does not scan, but rather see the embodiment. What is the informatic of domination?

4. Informatic opacity

'We clamor for the right to opacity everyone.'

Opacity is not identity politics. It stands against the idea of universal models.

Transparency = biometric captures.

Informatical opacity is an onto-tactics practice of anty-normativity, both liberating and precarious at the same time. Can those technologies be violent? How do certain forces come and force us to make our bodies transparent?

5. The outside

Opacity can be used as another term for the outside.

The outside = the outside of capture. What is outside of networks?

The paranote: networks today become a key model for organizing the social. Paranote (the term comes from neuroscience) defines a space the networks leave uncovered.

Abstracting the body can also be liberating.

thinking about the mode of being of plants. what plants are, or what we are. beings among other beings. just like here. now. inside a structured environment. are we growing while listening? I ask myself these questions as a way to understand the dynamics implicit in inhabiting a museum knowing that we are educated to become little capsules that receive, contain and generate. just like here. now. I attempt to convey a message, trying to share thoughts and ideas that rise in the moment. truth is I can't avoid but feel moved and consequently less able to use words in logical order so as for others to be able to grasp their meaning. this is a screen. hard floor. dark walls. and we are talking about skin, about touch, about energy.

becoming less, Michael Marder notes, instead of becoming more. what is then growing and becoming? how to learn from plants? what is the relation of matter and energy? inseparable he remarks. inseparable I repeat. considering this, then why not to become less as a way to stop the destruction that is presently happening all around us. hidden obscure essences, Michael Marder adds, making a reference to phenomenology, are not what this discipline tries to access. it rather looks at appearances as everything is already there. visible. communicating.

particles – feel it?

any curvature that we might fall

                        into is washed away by

a space-time-continuum

that moves

endlessly

how far can concepts of time and space take us? opening oneself up to other modes of life. constant flux. new forms. oh, shapes! shapes that take form in a continuum. we, as shapes, in a permanent flux of energy. dreams about a non-violent energy. dreams of an energy that doesn't devastate what it touches but rather nourishes it. to listen to other modes of existence. why to cling on to inflexible systems of thought that are preventing life itself? as us, truths are in permanent change.

#Phenominology #Philosophyofvegetableslife #Questionofenergymodeofbeingplants #Becomingmore=definitionofgrowth #Foodtoy #Arewereadyformore? #Theneedforreduction #Becomingmorebybecomingless #Increasingextension #Bookenergydream #Petroleumgascompany #Learnfromplanthowtoliveanethicallife #Quantityofenergy #Treehasbeenchoppeddown #Aristotlevegetalmatteritself #Thedream #Whatislive? #Ifvegetallifeisaplatformoflifethenitopensupanotherformofliving #Therightforplants #Raiseeyesbrown #Theoneastheother #Itisagardenwithinagardenwithinagarden #Dynamite #Exposingenergythatcanbereleased #Intergradeindeath #Meaningandassentofenergy #FossilfuelCompany #Cleanenergy #Nonviolentenergy #Futurevspresent #Nothingnew #Doplantsdream #Yesplantdreams #Listeningtothesilencevoiceoftheplant

Is it a movie / a silent movie / a spoken silent film / an opera / a theatre play / a fairytale? Just as with the 'H' in her ohpera, she asks us to pay attention to what has remained, for so long, unheard.

A black box like any other, with a large screen.  A cinema:

a cosmovision / a musical / an interlude

...

Buenos Aires. Paris. Sao Paulo.

Plaza dos de Mayo, Le Halles, Plaza Colón, Parque Ibirapuera, Place Vendôme, Reserva Costanera, Venarey-Lès-Laumes.

Debord, Agamben, Benjamin, Wolman.

33 songs.

Cristóbal Colón (or a monument to him) has been dismantled / a man called Julián told us. He's proud. The material was very good and the sculptor was an important Italian artist. Julian's ancestors too were italians. 

Jump from Argentinan's past to the present / and back. To go through spiritual life, to the cinema / and back again. From the pueblos indígenas to the European descendants.

La Casa Rosada (The State House) appears in the foreground, Colon's monument in the background. The dictatorship era manifests itself in the cracks: in the building's fissures, or in the monument's fissures.

 H

… – OHPERA – MUET – … [… – MUTE – OHPERA – …] is a film and a document of an experience signed on ‘the date of 9 July 2016’ dealing with ‘places’ and languages: those that are to be abandoned, those to be retaken, those to be dreamt about, those that are most secretive. The discussion revolves around spaces and places of History, constructions and demolitions, such as the removal of the statue of Colombus in Buenos Aires in 2014 among others. It also engages stories and storytellers, female narrators for whom there is often no space, so that space has to be produced.

‘In this film there may be a double fissure: that of a cinema which lives not only by images (in fact, as the film takes place, little by little we do not make the distinction between the “imageless” on-screen texts and the “moving images” anymore) and that of a humanity in search of a different route to the one that has already been laid out for us.’ – Lisson Madelpech.

Day 3 of Becoming More is convened by Emily Pethick and Leire Vergana and DAI Roaming Assembly # 14, and introducted by director of DAI Gabriëlle Schleijpen. The day includes presentations by Alejandra Riera, Zach Blas, Michael Marder, and Silvia Maglioni and Graeme Thomson.

1. Jameson: ‘The future will be qualitatively different from the past.’ McKenzie says that this idea of a qualitative difference is distinctively modern.
2. […] the paradox is that second nature actually comes first. (Virno something, modernity) 60s: era of possibilities; 70s: confusion —> problem of ecology.
3. ‘Eternal Capitalism’ —> maybe there is a future, but it is someone else’s. ~~ ThirdNature (turbulent information); technics of time. 
4. ‘In third nature all of the futures are already happening all the time.’ BIG DATA. BIG DATA CENTRES.
5. Walmarts don’t sell things, they handle information. 
6. Science knows how old the universe is. /\/\/\/\/\/\/  11:15 | ‘There is no ecology’ – Someone, maybe Nietzsche.
7. ThirdNature shows us that nature is not homeostatic.
8. SystemScience(simulate the world through computation); ‘It is a rather paradoxical modernity in which we’re living.’
9. “Qualitative novelty will be the least of our worries.”  
10. ———/\/\/\/\/\/\/\/;:;:;:;:;:;:;:.,-‘“‘-,.,-‘“‘-,.,-‘“‘-,.,-‘“‘-,.,-‘“‘-,.,-‘“‘-,.,-‘“‘-,.
11. 11:18 | 2nd Paradox, showing up in financial instruments. Temporality with multiple possible time threads (!) [Wow, imagine that!]
12. The 2nd Paradox, McKenzie states, is that geological time shows up in financial time. ‘Survivalism is now a market niche.’
13. To read: The Peripheral by William Gibson. Warmly recommended by McKenzie. -:-
14. ——— 3rd Paradox, ‘It is time to build a knowledge apparatus that […] builds capacity for liberal forms of […] nurtures them as an enabling myth.’
15. METADATA. 
16. SI: Constant (NewBabylon); ‘One of the greatest accelerationist works of our time.’ McKenzie is currently working on […].
17. 11:25 | [There’s certainly a lot of men running the accelerationist game.] 
18. P O S S I B L E   W O R L D S; ‘[…] Slowing the rotation of the Earth.' || 'No affective measures we’re taken to [………] doom.’
19. […] Constructivism. Rodchenko. 
20. T e r r a F o r m; SpaceColonization (Huxley) – Eugenetics. Human :|: Dogs. Dogs(smell), Bee(duty), Barnacle(), —> PossibleWorlds(Human(?));
21. I n H u m a n i s m. 
22. Fig. 39. Trevor Paglen, Last Pictures, 2010; ‘Further elaboration of 3rd (inhuman) nature’ == future.
23. ‘Last paradox: only by becoming inhuman, the human will endure.’

Diedrich

The dreamer as a producer in brackets of possibilities.

1. The dreamer always wants more.

2. When I dream; I dream about you.

3. I was dreamed. 

4. Aesthetic of dreaming. 

5. The dream becomes a responsibility. 

6. No reproduction – no storage.

Is passive reception as important as active production? 

7. Feminine dream.

Feminine – the wish to look to be beautiful and to be loved.

8. Forever, forever! 

9. Shamanism vs. transformative practices.  

10. Media specificity of non media. 

Marina Vishmidt

Art and its value in relation to labour.

The fear of the future is a fear of a presence. 

 Who owns the future?

What's the concept of the History?

What is the fear of the Future?

Who fear the Future?

What is the goal of speculation? 

Is reality reproducted or speculative?

Is fear of the Future fear of the History?

What are fantasies of future?

Does art fear the Future? 

Can art reinvent the Future?

Still from In Dreams from the Blue Velvet (by David Lynch)

In Dreams by Roy Orbison

A candy colored clown they call the sandman
Tiptoes to my room everynight
Just to sprinkle stardust and to whisper
Go to sleep, everything is alright
I close my eyes then I drift away
Into the magic night I softly say
A silent prayer like dreamers do
Then I fall asleep to dream
My dreams of you

In dreams I walk with you
In dreams I talk with you
In dreams you're mine
All of the time with you
Ever in dreams, in dreams

But just before the dawn
I awake and find you're gone
I can't help it, I can't help it if I cry
I remember that you said goodbye
It's too bad that all these things
Can only happen in my dreams
Only in dreams
In beautiful dreams