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<div id =title><b>UNDECIDABILITY</b></div>
<div id = symbol>U</div>
<div id = buttons>
<a href="../">HOME</a> &nbsp;&nbsp;&nbsp;&nbsp;
<a href ="fulltext.html">ORIGINAL ESSAY</a>&nbsp;&nbsp;&nbsp;&nbsp;
</div>
<div id = wrap style = "border: 1px solid; position: absolute; z-index: initial; top: 110px; width: 33%; height: 375%; margin-left: 27%; "></div>
<h1 id = intro>
A logic of ‘and… and… and…’ as opposite to the logic of ‘either… or…’ that seems to rule reality.</h1>
<div id = leftintro>In this page I present my artistic response, weaving the romantic context of undecidability in the original essay with immaterial labour. The original essay talked about the significance of imaginations and
multiplicities in artistic practice.<br>I contemplated whether these actually encompass intangible activities. <br>Artists think, imagine, read, write, discuss, etc...
Thus I reacted with my own narratives how the notion is entangled with such <a href="../UNDECIDABILITY/#emoji"><b>immaterial labours</b></a>. It is expressed with the <b>‘and...and...and’</b> format, which was mentioned as a key logic of how the undecidability works in the original essay. <br><br><img src = "image/w.png" style = "position:relative; top: 10px;"> : parts of original essay<br> <img src = "image/b.png" style = "border: solid black 1px; position:relative; top: 10px;"> : my voice<br><br><span style = "font-family: 'Avenir'; color: black; font-size: 10pt; text-shadow: 1px 1px blue; margin-left: 2%;">TEXT</span> : important keys for my voice<br><br>The parts of the original essay were selected through Python NLTK(Natural Language ToolKit) function.<br><a href = "fulltext.html">Original contribution: Silvia Bottiroli<br> Original artist response: Jozef Wouters</a> Reinterpreted by Nami Kim</div>
<div id = relevantext><br>
<div id = voice style = "background-color: black; color: white; font-family:'Avenir'; font-size: 14pt; position:absolute; display: inline-block; margin-left: 25%; top: 5px; padding: 5px; border: 1px solid; box-shadow: 5px 5px blue;"><b>Imagine that you are an artist now.</b></div><br><br>
<b>MULTIPLYING THE VISIBLE</b>&nbsp; <span style = "font-size: 10pt;">(From p.3 in the original essay)</span><br>
The main concern that he brings forth lies within the relation between contemporary culture and imagination&nbsp;: the risk to definitely lose, <a href="../HOPE/#media2"><div class = sy>H</div>&nbsp;&nbsp;&nbsp;in the overproduction of images</a>, the power of bringing visions into focus with our eyes shut and in fact of “thinking in terms of images.<br>
(...) In his fifth memo, he subsequently focuses on &nbsp;<div class = sy>R</div>&nbsp;&nbsp;&nbsp;<a href="../RESURGENCE">multiplicity</a> as a way for <div class = sy>M</div>&nbsp;&nbsp;&nbsp;<a href = "../--/">literature</a> to comprehend the complex nature of the world that for the author is a whole of wholes, where the acts of watching and knowing also intervene in the observed reality and alter it. Calvino is particularly fascinated by &nbsp;<div class = sy>P</div> &nbsp;&nbsp;&nbsp;<a href = "../PRACTICAL_VISION/">literary works</a> that are built upon a combinatory logic or that are readable as different narratives. The lecture revolves around some novels that contain multiple worlds and make space for the readers’ imaginations.
(...) Therefore, let’s think visibility and multiplicity together, as: a multiplication of visibilities. They are traits specific to artistic production and define a context for the undecidable, or rather for undecidability, as the quality of being undecidable.<br>
(...) Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real' world.
We might stretch this line of thought a bit further and propose that art’s <div class = sy>P</div>&nbsp;&nbsp;&nbsp;<a href="../TENSE">potentiality</a> is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us. A strategy that is capable of producing different conditions of visibility. Embracing what we are capable to see but also <p>think and imagine, to fantasise and conceptualise;</p> and bringing into existence different configurations of public spaces,
<div class = sy>L</div>&nbsp;&nbsp;<a href="../LIQUID/">collective subjectivities</a>, and social gatherings.
<br><br><br><br>
<div id = "emoji" onclick="changeText(this)"><b>Chap1: Think and imagine, fantasise <br>and conceptualise</b><span style = "font-size: 9pt; color: white; font-family: 'Avenir';">&nbsp;&nbsp;(Click to read)</span></div>
<br><br><br><br>
<b>ACTUAL AND POTENTIAL WORLDS</b>&nbsp; <span style = "font-size: 10pt;">(From p.4, 5)</span><br>
In fact, undecidability is a specific force at work that consciously articulates, redefines, or alters the complex system of links, bounds, and resonances between different <div class = sy>M</div>&nbsp;&nbsp;&nbsp;<a href="../--/">potential and actual worlds.</a><br> (...) In fact, if something is possible when it contains and under certain terms performs the possibility of its actualisation, a world is potential when it can maintain its <p>potentiality</p> and never actualize itself into one actual form.<br>
In particular, the potentiality generated by undecidable artworks is grounded in a logic of addition and contradiction that is specific of art. A logic of ‘and… and… and…’ as opposite to the logic of ‘either… or…’ that seems to rule reality.<br><br><br>
<div id = "emoji2" onclick="changeText(this)"><b>Chap2: Potentiality</b><span style = "font-size: 9pt; color: white; font-family: 'Avenir';">&nbsp;&nbsp;(Click to read)</span></div>
<br><br><br><br>
<br>Artworks are places where contradictory realities can coexist without withdrawing or cancelling each other out.
(...) Here, spectators are invited to enter the work’s fictional world carrying with themselves the so-called real world and all their other fictional worlds; a space is created where all these worlds are equally welcomed. The artwork may then be navigated either by only choosing one layer of reality, or by continuously stepping from one world to another– different dimensions are made available without any form of hierarchy or predicted relations. Such dynamics seems to occur in <p>performative</p> works in particular, as the contemporaneity of production, consumption, and experience that is typical of performance intensifies the possibility of undecidable links between different realities.<br><br><br><br>
<div id = emoji3 onclick="changeText(this)"><b>Chap3: Performative</b><span style = "font-size: 9pt; color: white; font-family: 'Avenir';">&nbsp;&nbsp;(Click to read)</span></div>
<br><br><br><br>
<div id = emoji3_p></div>
<b>A MULTIPLICITY OF GAZES</b>&nbsp; <span style = "font-size: 10pt;">(From p.7, 8)</span><br>
An undecidable artwork is, in other words, a site where different and even contradictory individual experiences unfold and coexist, with no hierarchical structure and no orchestration.<br>
(...) What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a <div class = sy>A</div>&nbsp;&nbsp;&nbsp;<a href = "../ATATA/">multiplicity</a> of gazes and of forms of <p>spectatorship</p> that also coexist one next to the other without mediating between their own positions and points of view. <div class = sy>P</div>&nbsp;&nbsp;&nbsp;<a href="../PRACTICAL_VISION/">The multiplicity</a> of gazes produced and gathered by undecidable artworks does not compose itself into a community, as there is no ‘common’ present. <br><br><br><br>
<div id = emoji4 onclick="changeText(this)"><b>Chap4: Spectatorship</b><span style = "font-size: 9pt; color: white; font-family: 'Avenir';">&nbsp;&nbsp;(Click to read)</span></div>
<br><br><br><br>
<div id = emoji4_p></div>
(...) <div class = sy>O</div>&nbsp;&nbsp;&nbsp;<a href = "../OTHERNESS/"> The kind of collective body</a> that undecidability produces could of course be seen as an image of a possible or future societal structure, but it is rather an enigmatic subject: it is not there to actualize itself but to keep being a sheer, glimmering potentiality. Indeed, as a practice of undecidability, art produces a collectivity, a future time, and an elsewhere, but <div class = sy>E</div>&nbsp;&nbsp;&nbsp;<a href="../ECO-SWARAJ">does not claim any agency over them</a>. <br>
(...) Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. Nevertheless, acknowledging it as specific to art, and thus as a means without ends, seems to better protect the inner nature and the intact potentiality of a quality that does not make itself available for any use and <div class = sy>L</div>&nbsp;&nbsp;&nbsp;<a href = "../LIQUID">does not serve any agenda</a>, but stays <p>autonomous</p> and operates by creating its own conditions all over again.<br>(...) Through the combination of the encounter between undecidable art, multiplicity of gazes, and a curatorial dimension a condition of existence is produced that is intrinsically and utterly political. As it is, with Samuel Beckett’s words in The Unnamable, about being “all these words, all these strangers, this dust of words, with no ground for their settling”.<br><br><br><br>
<div id = emoji5 onclick="changeText(this)"><b>Chap5: Being autonomous as art</b><br><span style = "font-size: 9pt; color: white; font-family: 'Avenir';">&nbsp;&nbsp;(Click to read)</span></div>
<br><br><br><br>
<div id = emoji5_p></div>
<div id = emoji6 onclick="changeText(this)">
multiplicity <b>and</b> works <b>and</b> author <b>and</b> reality <b>and</b> multiplicity <b>and</b> wholes<br>
imaginations <b>and</b> alter <b>and</b> works <b>and</b> imaginations <b>and</b> lecture <b>and</b> imaginations<br>
potentiality and fact and place and worlds and Nevertheless and conditions<br>
subject and forms and nature and modes and forms and gazes<br>
alters and is and keep and is and detached and glimmering<br>
</div>
</div>
<div id = ch1_p><b>MULTIPLYING THE VISIBLE</b>&nbsp; <span style = "font-size: 10pt;">(From p.3 in the original essay)</span><br>
The main concern that he brings forth lies within the relation between contemporary culture and imagination&nbsp;: the risk to definitely lose, <a href="../HOPE/#media2"><div class = sy>H</div>&nbsp;&nbsp;&nbsp;in the overproduction of images</a>, the power of bringing visions into focus with our eyes shut and in fact of “thinking in terms of images.<br>
(...) In his fifth memo, he subsequently focuses on &nbsp;<div class = sy>R</div>&nbsp;&nbsp;&nbsp;<a href="../RESURGENCE">multiplicity</a> as a way for <div class = sy>M</div>&nbsp;&nbsp;&nbsp;<a href = "../--/">literature</a> to comprehend the complex nature of the world that for the author is a whole of wholes, where the acts of watching and knowing also intervene in the observed reality and alter it. Calvino is particularly fascinated by &nbsp;<div class = sy>P</div> &nbsp;&nbsp;&nbsp;<a href = "../PRACTICAL_VISION/">literary works</a> that are built upon a combinatory logic or that are readable as different narratives. The lecture revolves around some novels that contain multiple worlds and make space for the readers’ imaginations.
(...) Therefore, let’s think <span style = "border-style: double; color: black;">visibility</span> and <span style = "border-style: double; color: black;">multiplicity</span> together, as: a multiplication of visibilities. They are traits specific to artistic production and define a context for the undecidable, or rather for undecidability, as the quality of being undecidable.<br>(...) Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real' world. We might stretch this line of thought a bit further and propose that art’s <div class = sy>P</div>&nbsp;&nbsp;&nbsp;<a href="../TENSE">potentiality</a> is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us. A strategy that is capable of producing different conditions of visibility. Embracing what we are capable to see but also think and imagine, to fantasise and conceptualise; and bringing into existence different configurations of public spaces,
<div class = sy>L</div>&nbsp;&nbsp;<a href="../LIQUID/">collective subjectivities</a>, and social gatherings.</div>
<div id = emoji_p>For me the birth of multiplicity and visibility in my artistic practice is derived from immaterial activities. Before stepping into production, <br>I need my own daily rituals to get into emotions.<br> They are not really tangible. <br>For instance, I need to have a 🚿 to refresh myself. <b>And</b> I need a cup of ☕.<br> Then I may want to get some 🔆 <b>and</b> water my 🌱. <b>And</b> I smoke 🚬 to contemplate mixed ideas, <b>and</b> 🖌 them on a note, <b>and</b> make a 📞 to my colleague to randomly discuss..<br>
</div>
<div id = ch2_p><b>ACTUAL AND POTENTIAL WORLDS</b>&nbsp; <span style = "font-size: 10pt;">(From p.4, 5)</span><br>
In fact, undecidability is a specific force at work that consciously articulates, redefines, or alters the complex system of links, bounds, and resonances between different <div class = sy>M</div>&nbsp;&nbsp;&nbsp;<a href="../--/">potential and actual worlds.</a><br> (...) In fact, if something is possible when it contains and under certain terms performs the possibility of its actualisation, a world is potential when it can maintain its <p>potentiality</p> and never actualize itself into one actual form.<br>
In particular, the potentiality generated by undecidable artworks is grounded in a logic of addition and contradiction that is specific of art. A logic of ‘and… and… and…’ as opposite to the logic of ‘either… or…’ that seems to rule reality.<br><br><br></div>
<div id = emoji2_p>I 📝 how my ideas will be <i>actualised</i> in reality.<br><b>And</b> I'm aware the pictures in my head might not literally be emobodied in the end.<br><b>And</b> still, they are just beautiful as the way they potentially exsits.<br>Hmm..let me just organise all the ideas into a pad with 💻. I wear 🎧 , because there are noises outside. <b>And</b> I grab a cup of 🍵<b>and</b> go deep in 💭 with my 😬 face.<br>(...) I look at a ⏰ . Time has been imperceptibly passing. It's not grabbable."</div>
<div id = ch3_p>Artworks are places where contradictory realities can coexist without withdrawing or cancelling each other out.
(...) Here, spectators are invited to enter the work’s fictional world carrying with themselves the so-called real world and all their other fictional worlds; a space is created where all these worlds are equally welcomed. The artwork may then be navigated either by only choosing one layer of reality, or by continuously stepping from one world to another– different dimensions are made available without any form of hierarchy or predicted relations. Such dynamics seems to occur in <p>performative</p> works in particular, as the contemporaneity of production, consumption, and experience that is typical of performance intensifies the possibility of undecidable links between different realities.<br><br><br><br></div>
<div id = emoji3_p>What if I translate my idea into the <i>performative</i> work? Is that absurd? Umm, why not!?<br>I may sit on the stage, <b>and</b> make still 🧘 movements, <b>and</b> could give some poetic guidance to 👨‍👨‍🦳👩‍🦱🧕 , involving them into the moment. <b>And</b> I will see how 👨‍👨‍🦳👩‍🦱🧕 will be reacting, <b>and</b> performing along together.<br>Okay, let me see a 📅 ... I think I gotta 📧 to Nikki who is a coordinator in the theater.<br><b>And</b> I'm curious how it will actually taking place. <br>So unknown... <b>And</b> I go deep in 💭 again. <br></div>
<div id = ch4_p><b>A MULTIPLICITY OF GAZES</b>&nbsp; <span style = "font-size: 10pt;">(From p.7, 8)</span><br>
An undecidable artwork is, in other words, a site where different and even contradictory individual experiences unfold and coexist, with no hierarchical structure and no orchestration.<br>
(...) What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a <div class = sy>A</div>&nbsp;&nbsp;&nbsp;<a href = "../ATATA/">multiplicity</a> of gazes and of forms of <p>spectatorship</p> that also coexist one next to the other without mediating between their own positions and points of view. <div class = sy>P</div>&nbsp;&nbsp;&nbsp;<a href="../PRACTICAL_VISION/">The multiplicity</a> of gazes produced and gathered by undecidable artworks does not compose itself into a community, as there is no ‘common’ present. <br><br><br><br></div>
<div id = emoji4_p>Okay, today is the day of my performance. <br><b>And</b> I need to communicate with the coordinator before it. She asks me : <i>How bright should the 💡 be?</i>, <b>and</b> <i>In which angle should we 🎥 your work?</i>, <b>and</b> <i>Do you want me to give 👨‍👨‍🦳👩‍🦱🧕 instructions about being 🔇 in beginning?</i><br><b>And</b> I answer <i> Like a proposal that I 📧 you, <br>I want low 🔅, <b>and</b> I want you to 🎥 from the center point, <b>and</b> yes, it'd be nice if 👨‍👨‍🦳👩‍🦱🧕 can stay a bit silent in the beginning. That's it. <br>I don't want to put further instructions.</i><br></div>
<div id = ch5_p>(...) <div class = sy>O</div>&nbsp;&nbsp;&nbsp;<a href = "../OTHERNESS/"> The kind of collective body</a> that undecidability produces could of course be seen as an image of a possible or future societal structure, but it is rather an enigmatic subject: it is not there to actualize itself but to keep being a sheer, glimmering potentiality. Indeed, as a practice of undecidability, art produces a collectivity, a future time, and an elsewhere, but <div class = sy>E</div>&nbsp;&nbsp;&nbsp;<a href="../ECO-SWARAJ">does not claim any agency over them</a>. <br>
(...) Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. Nevertheless, acknowledging it as specific to art, and thus as a means without ends, seems to better protect the inner nature and the intact potentiality of a quality that does not make itself available for any use and <div class = sy>L</div>&nbsp;&nbsp;&nbsp;<a href = "../LIQUID">does not serve any agenda</a>, but stays <p>autonomous</p> and operates by creating its own conditions all over again.<br>(...) Through the combination of the encounter between undecidable art, multiplicity of gazes, and a curatorial dimension a condition of existence is produced that is intrinsically and utterly political. As it is, with Samuel Beckett’s words in The Unnamable, about being “all these words, all these strangers, this dust of words, with no ground for their settling”.<br><br><br><br></div>
<div id = emoji5_p>My performance has been just done. It was quite a day. The moment when 👨‍👨‍🦳👩‍🦱🧕 naturally came into the performance, it finally had undecidable multiplicity.<br><b><i>And</i></b> I've just got 💵. As I <b><i>and</i></b> the coordinater approved, it is 700e. I 💭. 'How come has this cost been decided?'Does this amount of 💵 is compensation by social approval for my unseen labour?<br>I had &#9749; <b><i>and</i></b> 🚬<b><i>and</i></b> 📝 <b><i>and</i></b> 💻 <br><b><i>and</i></b> 💭 <b><i>and</i></b> 📧 <b><i>and</i></b>🧘<br> These are indeed undecidable.<br></div>
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chap2.innerHTML = "You've got some pictures in your head.<br>They aren't emobodied in reality yet, but you seem excited somehow.<br> Because potentiality of the pictures are infinite.<br> They are fluid <b>and</b> ungrabbable.<br> As if they are like :<br>☁️ <b>and</b> 🌫<b>and</b> 🌈<b>and</b> 🌊<b>and</b> ☄...<br>You grab a 🖊 <b>and</b> start to 📝 all the scenarios on a note <b>and</b> wear 🎧 to listen to 🎶 to get into emotions, <b>and</b> read some 📚 for inspirations <br>These might not be considered as so called <i>productive</i> <b>and</b> <i>efficient</i>. But still they are a signficant source of your work.";
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chap3.innerHTML = "Imagine that you will experiment the potentiality through a performance. For you ⏱ <b>and</b> 💭 <b>and</b> 👁 <b>and</b> 👃<b>and</b> 👄 <b>and</b> 🦵 <b>and</b> ✋ are all materials. Now you are on the stage <b>and</b> moving your body as itself is your artistic langauge. <br>How does the every single movement prove its value?<br> What you're producing is an object, but rather moments <b>and</b> emotions. <br>Although you cannot display them on a shelf in a shop, you still make something. <br> You inspire 👨‍👨‍🦳👩‍🦱🧕 <b>and</b> their impression is the very value of your work.";
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chap4.innerHTML = "You may not directly feel direct effect <b>and</b> influence that your performance have.<br>This is because what 👨‍👨‍🦳👩‍🦱🧕 purchased from you is emotions <b>and</b> time <b>and</b> thoughts.<br>Despite of the invisibility, you need to be proud of what you've done. <br> The 👨‍👨‍🦳👩‍🦱🧕 got energy <b>and</b> inspiration,by being there. With such eneregy they will make ther lives more lively <b>and</b> dynamic.";
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