<bigmedium> Words have the power to shape reality. Wor(l)ds for the Future is a set of map making tools to reimagine and collect wor(l)ds and to republish an everchanging atlas. We invite you to delve into the materials and traverse the texts in any way you desire: by cutting and pasting the printed matter, or by unravelling the texts online. The choice is yours. You can reconstruct images and reinterpret words, to create Wor(l)ds for the Future.<br><br>
<bigmedium> Words have the power to shape reality. Wor(l)ds <br>for the Future is a set of map making tools to re-imagine and collect wor(l)ds, and to re-publish an everchanging atlas. We invite you to delve into the materials and traverse the texts in any way you desire: by cutting and pasting the printed matter, or by unravelling the texts online. The choice is yours. You can reconstruct images and reinterpret words to create Wor(l)ds for the Future.<br><br>
<bigregular>This project is a republication of Words for the Future (2018), a multivoiced series of ten booklets. In the 2020 version, XPUB (Experimental Publishing) students from the Piet Zwart institute reinterpret the original material through methods such as annotating and prototyping in Python (a coding language we used to analyse text as texture). The ten booklets were cross-examined and mapped in order to find interconnections and links.<br><br>
<bigregular>This project is a republication of <i>Words for the Future</i> (2018), a multivoiced series of ten booklets. In the 2020 version, XPUB (Experimental Publishing) students from the Piet Zwart institute reinterpret the original material through methods such as annotating and prototyping<br> in Python (a coding language we used to analyse text<br> as texture). The ten booklets were cross-examined and mapped in order to find interconnections and links.<br><br>
We approached this project through the perspective of cartography. Alfred Korzybski wrote: "The map is not the territory". In other words, the description of the thing is not the thing itself. The model is not reality. Cartography always entails a selection and transformation of properties of a complex reality that affect the way maps – partial views of reality – are deciphered and received. With this notion in mind, we created a mapping to highlight our individual explorations and interpretations using a language of symbols created to represent our understanding of the original material of Words for the Future.<br><br>
We approached this project through the perspective<br> of cartography. Alfred Korzybski wrote: "The map is <br>not the territory". In other words, the description of the thing is not the thing itself. The model is not reality. Cartography always entails a selection and transformation of properties of a complex reality that affect the way maps – partial views of reality – are deciphered and received. With this notion in mind, we created a mapping to highlight our individual explorations and interpretations using a language of symbols created to represent our understanding of the original material of Words<br> for the Future.<br><br>
A map could relate to something that no longer exists. It could also relate to something that does not yet exist. Maps could be seen as fictions therefore, as spaces for the imaginary.<br><br>
A map could relate to something that no longer exists.<br> It could also relate to something that does not yet exist. Maps could be seen as fictions therefore, as spaces for the imaginary.<br><br>
Join us to un-map and re-map an infinite amount of potential constellations of tomorrow, and to navigate speculative wor(l)ds which holds the capacity to bleed into the very fabric of our shared grounds.
Join us to un-map and re-map an infinite amount of potential constellations of tomorrow, and to navigate speculative wor(l)ds which holds the capacity<br> to bleed into the very fabric of our shared grounds.
Permission is hereby granted, free of charge, to individual, group(s), and non-profit organization(s), obtaining a copy of this project, to use, copy, print, modify, merge, distribute, and/or sell contents or copies of the project, in whole or in parts, subject to the following conditions.</p3>
Permission is hereby granted, free of charge, to individual, group(s), and non-profit organization(s), obtaining a copy of this project, to use, copy, print, modify, merge, distribute, and/or sell contents or copies<br> of the project, in whole or in parts, subject to the following conditions.<br></p3>
<br><br>
<p3><h2>We encourage you to: </h2>
<p3><h2>We encourage you to: </h2>
• Introduce the project to your neighbours, friends, family, etc;<br><br>
• Introduce the project to your neighbours, friends, family, etc;<br>
• Translate the contents into other languages;<br><br>
• Translate the contents into other languages;<br>
• Create new dramaturgies (structures, stories, worlds) from the contents;<br><br>
• Create new dramaturgies (structures, stories, worlds)<br>
from the contents;<br>
• Extend this license, as long as the kinship, commercial use<br>
and attribution conditions remain in force.<br></p3>
• Extend this license, as long as the kinship, commercial use and attribution conditions remain in force.</p3>
<br><br>
<p3><h2>Kinship:</h2>
<p3><h2>Kinship:</h2>
Kinship implies co-relations between Wor(l)ds For The Future and further distributions which will potentially be made.
Kinship implies co-relations between Wor(l)ds For The Future<br> and further distributions which will potentially be made.<br><br>
If you want to republish and re-distribute the content, verbatim or derivative, we ask you to send us a copy. By copy we mean a copy of the republished content. For instance, if it is a print or a physical object please send it to XPUB/ WH4.141 t.a.v. Piet Zwart Institute/ WdKA/ Rotterdam Uni. Postbus 1272 300 BG Rotterdam, NL. If it is a file please send it to pzwart-info@hr.nl /attn: XPUB cc. If it is a change in a cloned git repository of the work, please send a patch so we can archive it in a branch. Which means, if you clone or download our git repository<br> ( https://git.xpub.nl/XPUB/issue.xpub.nl/src/branch/master/13 ) to modify the project files, we ask you to send us the modifications so we can archive them as well.</p3>
If you want to republish and re-distribute the content, verbatim or derivative, we ask you to send us a copy. By copy we mean a copy<br> of the republished content. For instance, if it is a print or a physical object please send it to XPUB/ WH4.141 t.a.v. Piet Zwart Institute/ WdKA/ Rotterdam Uni. Postbus 1272 300 BG Rotterdam, NL.<br> If it is a file please send it to pzwart-info@hr.nl /attn: XPUB cc. <br> If itis a change in a cloned git repository of the work, please send a patch so we can archive it in a branch.<br><br>
Which means, if you clone or download our git repository (https://git.xpub.nl/XPUB/issue.xpub.nl/src/branch/master/13) <br>to modify the project files, we ask you to send us the modifications so we can archive them as well.<br></p3>
<br><br>
<p3><h2>Commercial use:</h2>
<p3><h2>Commercial use:</h2>
Commercial use is only permitted if no profit is derived. Said differently, you can sell copies of the work only to cover the costs of the distribution, printing, production, needed to circulate copies of the work. We are asking you to be transparent about such expenses.</p3>
Commercial use is only permitted if no profit is derived.<br> Said differently, you can sell copies of the work only to cover the costs of the distribution, printing and/or production, needed to circulate copies of the work. We are asking you to be transparent about such expenses.<br></p3>
<br><br>
<p3><h2><h2c>A</h2c>ttribution:</h2>
<p3><h2>Attribution:</h2>
The above copyright notice and this license shall be included in all copies or modified versions of the project. Any re-publication, verbatim or derivative, of the contents must explicitly credit the name(s) of the author(s) of WORDS FOR THE FUTURE, as well as those of the author(s) of WOR(L)DS FOR THE FUTURE. This attribution must make clear what changes have been made.<br></p3>
The above copyright notice and this license shall be included in all copies or modified versions of the project. Any re-publication, verbatim or derivative, of the contents must explicitly credit the name(s) of the author(s) of WORDS FOR THE FUTURE, as well as those of the author(s) of WOR(L)DS FOR THE FUTURE. This attribution must make clear what changes have been made.</p3>
</div>
</div>
@ -572,7 +596,7 @@
• Louisa Teichmann<br>
• Louisa Teichmann<br>
• Floor van Meeuwen<br>
• Floor van Meeuwen<br>
</p3><h2>Tutors:</h2><p3>
</p3><h2><h2c>T</h2c>utors:</h2><p3>
• Manetta Berends<br>
• Manetta Berends<br>
• Aymeric Mansoux<br>
• Aymeric Mansoux<br>
• Michael Murtaugh<br>
• Michael Murtaugh<br>
@ -592,16 +616,21 @@
<p3><medium>Martin Foucaut</medium> Republishing response: ATATA, Design department </p3><br><br>
<p3><medium>Martin Foucaut</medium> Republishing response: ATATA, Design department </p3><br><br>
<p3>Curated and edited by Nienke Scholts, in collaboration with Veem Huis for Performance, designed and printend by THE FUTURE printing & publishing: www.nienkescholts.com/words-for-the-future<br><br>
<p3>Curated and edited by Nienke Scholts, in collaboration with Veem Huis for Performance, designed and printed by Studio The Future: www.nienkescholts.com/words-for-the-future<br></p3>
<brut>🡢</brut> <italic>Practical Vision</italic><p2> Moses Kilolo (Jalada), Klara van Duijkeren & Vincent Schipper (The Future)</p2><br>
<brut>🡢</brut> <italic>Practical Vision</italic><p2> Moses Kilolo (Jalada), Klara van Duijkeren<br>
& Vincent Schipper (Studio The Future)</p2><br>
<div><spanclass="titlebottom">WOR(L)DS FOR A FUTURE is a re-publishing project compiled by the first year students and mentoring team of the Master programme Experimental Publishing (XPUB) of the Piet Zwart Institute, Willem de Kooning Academy, as part of the Special Issue project #13. The project aims to explore the re-publishing of the publication series Words for the Future through the students' discursive and artistic responses to the original collection.<br></span></div>
<div><spanclass="titlebottom">WOR(L)DS FOR A FUTURE is a re-publishing project compiled by the first year students and mentoring team of the Master programme Experimental Publishing (XPUB) of the Piet Zwart Institute, Willem de Kooning Academy, as part of the Special Issue project #13. The project aims to explore the re-publishing of the publication series Words for the Future through the students' discursive and artistic responses to the original collection.<br></span></div>-->
<symbol>L</symbol>	<italic>Liquid</italic><br><p2><br>This symbol represents a perpetual state of flux between information and ideas.
<br>
<br>
<symbol>L</symbol>	<italic>Liquid</italic><br><p2><br>This symbol represents a perpetual state of flux between information and ideas.
The output transforms into input that flows in self-sustaining circularities, thus, shaping a series of dynamic feedback loops to create new meaning.</p2>
The output transforms into input that flows in self-sustaining circularities, thus, shaping a series of dynamic feedback loops to create new meaning.</p2>
<br>
<line>——————————————————————————————</line>
<br><br>
<br><br>
<line>————————————————————————————</line>
<br>
<symbol>O</symbol>	<italic>Otherness</italic><br><p2><br>Shaped as a small, autonomous community, with its specific identity. Small communities could be developed close to each other, but only on the same strip of land. If they’re adjacent they build a network to share resource and culture.</p2>
<symbol>O</symbol>	<italic>Otherness</italic><br><p2><br>Shaped as a small autonomous community with a specific identity. Small communities could be developed close to each other, but only on the same strip of land. If they’re adjacent they build a network to share resource and culture.</p2>
<br><br>
<br>
<line>——————————————————————————————</line>
<line>————————————————————————————</line>
<br><br>
<br>
<symbol>P</symbol><italic>Practical Vision</italic><br><p2><br>Practical Vision symbol sets a series of communication skills: when two Practical Visions watch theirself they create translations between different languages. A Practical Vision attempts to protect past and future cultures and works through organic and inorganic networks.</p2>
<symbol>P</symbol><italic>Practical Vision</italic><br><p2><br>The Practical Vision symbol sets of a series of communication skills: when two Practical Visions watch themselves they create translations between different languages. A Practical Vision attempts to protect past and future cultures and works through organic and inorganic networks.</p2>
<br><br>
<br>
<line>——————————————————————————————</line>
<line>————————————————————————————</line>
<br><br>
<br>
<symbol>E</symbol>	<italic>Eco-Swaraj</italic><br><p2><br>Self-decision making in an eco community is what Eco Swaraj is about. This symbol could be seen as a flower, people holding hands, a thought before a decision is being made.</p2>
<symbol>E</symbol>	<italic>Eco-Swaraj</italic><br><p2><br>Self-decision making in an eco community is what Eco-Swaraj is about. This symbol could be seen as a flower, people holding hands, a thought before a decision is being made.</p2>
<br><br>
<line>——————————————————————————————</line>
<br><br>
<br><br>
<line>————————————————————————————</line>
<br>
<symbol>H</symbol>	<italic>Hope</italic><br><p2><br>This symbol illustrates the destination of Hope, written by Gurur Ertem. The author considers it as a solution
<symbol>H</symbol>	<italic>Hope</italic><br><p2><br>This symbol illustrates the destination of Hope, written by Gurur Ertem. The author considers it as a solution
to overcome the darkness in our present and future life.</p2>
to overcome the darkness in our present and future life.</p2>
<br><br>
<br><br><br>
<line>——————————————————————————————</line>
<line>————————————————————————————</line>
<br><br>
<br>
<symbol>U</symbol>	<italic>Undecidability</italic><br><p2><br>As undecidability embraces opend imaginaries and multiplicities, the symbol was inspired by fog, the nature element.</p2>
<symbol>U</symbol>	<italic>Undecidability</italic><br><p2><br>As undecidability embraces open imaginaries and multiplicities, the symbol was inspired by fog, a natural element.</p2>
<br><br>
<br><br><br>
<line>——————————————————————————————</line>
<line>————————————————————————————</line>
<br><br>
<br>
<symbol>R</symbol>	<italic>Resurgence</italic><br><p2><br>This volcano depicts the legendary moment of long forgotten matter finally breaking through its suffocating covers, forcefully spilling out into the open with the heat of a thousand suns.</p2>
<symbol>R</symbol>	<italic>Resurgence</italic><br><p2><br>This volcano depicts the legendary moment of long forgotten matter finally breaking through its suffocating covers, forcefully spilling out into the open with the heat of a thousand suns.</p2>
<br><br>
<br><br>
<line>——————————————————————————————</line>
<line>————————————————————————————</line>
<br><br>
<br>
<symbol>M</symbol>	<italic>!?</italic><br><p2><br>This is a descritpion of !?: Et mi, voluptatum fugia voluptat.
<symbol>M</symbol>	<italic>!?</italic><br><p2><br>The symbol for !? simply shows the two punctuations marks fighting to represent the conflict expressed in the text.</p2>
Enet enturerum vendam, temolup taecatem cum iumendent, omnitibus et, conse pre doluptatem voloris doluptas audaepe rorepra dolorest optiaeri veliquam ex etur.</p2>
<br><br><br>
<br><br>
<line>————————————————————————————</line>
<line>——————————————————————————————</line>
<br>
<br><br>
<symbol>A</symbol>	<italic>Atata</italic><br><p2><br>atata’s symbol represents being in relation to ohers as an active act of reciprocity, It binds, connects and links beings.</p2>
<symbol>A</symbol>	<italic>Atata</italic><br><p2><br>Atata’s symbol represents being in relation to ohers as an active act of reciprocity, It binds, connects and links beings.</p2>
<br><br>
<br><br><br>
<line>——————————————————————————————</line>
<line>————————————————————————————</line>
<br><br>
<br>
<symbol>T</symbol>	<italic>Tense</italic><br><p2><br>Tense's symbol depicts the encapsulation of a subject inside a description. </p2>
<symbol>T</symbol>	<italic>Tense</italic><br><p2><br>Tense's symbol depicts the encapsulation of a subject inside a description. </p2>
<br><br>
<br><br><br><br>
<line>——————————————————————————————</line>
<line>————————————————————————————</line>
</p3>
</p3>
</div>
</div>
@ -678,8 +678,7 @@ Enet enturerum vendam, temolup taecatem cum iumendent, omnitibus et, conse pre d
<!--<span class="title">WOr(L)DS<br>FoR THE FuTUrE</span>-->
<!--<span class="title">WOr(L)DS<br>FoR THE FuTUrE</span>-->
<spanclass="title2">WOR(<symbol2>L</symbol2>)DS<br> FOR THE FUTURE</span>
<spanclass="title2">WOR(<symbol2>L</symbol2>)DS<br> FOR THE FUTURE</span>
<div><spanclass="bigitalic">This is your blank map for re-imagine and re-draw the future. Use the provided system of symbols and
<div><spanclass="bigitalic">This empty grid proposes a space for unbound curiosity; the kind that is about openness, wonder<br> and play. Use the provided symbols, tools and elements from the different words' explorations that you find within the publication, in order to imagine and draw (map) your Wor(l)ds for the Future.</span></div>
elements from the different words’ explorations to help you mapping new Wor(l)d.</span></div>
<body><divclass="nav"><h1><ahref="index_ori.html">Z<br>E<br>R<br>O</a></h1><pclass="navp"><ahref="zero.html"><buttonclass="button">∙</button></a><br><ahref="zero2.html"><buttonclass="button">∶</button></a><br><inputtype="button"class="button"value="⎙"onClick="window.print()"><br><buttonclass="button"><ahref="../"style="font-size: 14px;">☖</a></button></p><pclass="credit">Original Artistic Response<br> by Ogutu MURAYA<br> Reinpreted <br> by Euna LEE</p></div><divclass="printtit"><h1>Zero</h1><br>by Ogutu Muraya<br><br><br><br><br><br></div><div><spanstyle="font-family: faunei">Zero is zero but what else can it be?</span>
<body><divclass="nav"><h1><ahref="index_ori.html">Z<br>E<br>R<br>O</a></h1><pclass="navp"><ahref="zero.html"><buttonclass="button">∙</button></a><br><ahref="zero2.html"><buttonclass="button">∶</button></a><br><inputtype="button"class="button"value="⎙"onClick="window.print()"><br><buttonclass="button"><ahref="../"style="font-size: 14px;">☖</a></button></p><pclass="credit">Original Artistic Response<br> by <ahref="#muraya">Ogutu MURAYA</a><br> Reinpreted <br> by <ahref="#lee">Euna LEE</a></p></div><divclass="printtit"><h1>Zero</h1><br>by Ogutu Muraya<br><br><br><br><br><br></div><div><spanstyle="font-family: faunei">Zero is zero but what else can it be?</span>
@ -226,9 +226,16 @@ Zero is the look of silence, what needs to be said has been said, what is not sa
<b>Ogutu Muraya</b>
<b><aname="muraya"></a>Ogutu Muraya</b>
is a writer and theatre-maker whose work is embedded in the practice of orature. He engages the sociopolitical with the belief that art is an important catalyst for advocacy, for questioning our certainties, and for preserving stories often ‘misstold’ or suppressed in the mainstream. Ogutu studied International Relations at USIU-Africa and recently graduated with a Master in Arts at Amsterdam University of the Arts - DAS Theatre. He has been published in the Kwani? Journal & Chimurenga Chronic. His performative works & storytelling have featured in several theatres and festivals including- La Mama (NYC), The Hay Festival (Wales), HIFA (Harare), NuVo Arts Festival (Kampala), Spoken Wor:l:ds (Berlin), Globe to Globe Festival (London), Ranga Shankara (Bangalore), Afrovibes Festival (Amsterdam), Art in Resistance: Spielart (Munich), and throughout East Africa. He is a recipient of The Eric Brassem Exchange Certificate.
is a writer and theatre-maker whose work is embedded in the practice of orature. He engages the sociopolitical with the belief that art is an important catalyst for advocacy, for questioning our certainties, and for preserving stories often ‘misstold’ or suppressed in the mainstream. Ogutu studied International Relations at USIU-Africa and recently graduated with a Master in Arts at Amsterdam University of the Arts - DAS Theatre. He has been published in the Kwani? Journal & Chimurenga Chronic. His performative works & storytelling have featured in several theatres and festivals including- La Mama (NYC), The Hay Festival (Wales), HIFA (Harare), NuVo Arts Festival (Kampala), Spoken Wor:l:ds (Berlin), Globe to Globe Festival (London), Ranga Shankara (Bangalore), Afrovibes Festival (Amsterdam), Art in Resistance: Spielart (Munich), and throughout East Africa. He is a recipient of The Eric Brassem Exchange Certificate.
<b><aname="lee"></a>Abstract of web project</b>
Fascinated by “recognition of pluralism”, one of the solutions to approach Hope, 👩🏻🔧 made this website where you can experience this solution. To Ertem’s voice, the XPUB students add their own voices and further, various anonymous <spanstyle="font-family: faunei;">x</span> (maybe you, your neighbours or a dinosaur) participate in this digital journey.
<body><divclass="nav"><h1><ahref="index_ori.html">Z<br>E<br>R<br>O</a></h1><pclass="navp"><ahref="zero.html"><buttonclass="button">∙</button></a><br><ahref="zero2.html"><buttonclass="button">∶</button></a><br><inputtype="button"class="button"value="⎙"onClick="window.print()"><br><buttonclass="button"><ahref="../"style="font-size: 14px;">☖</a></button></p><pclass="credit">Original Artistic Response<br> by Ogutu MURAYA<br> Reinpreted <br> by Euna LEE</p></div><divclass="printtit"><h1>Zero</h1><br>by Ogutu Muraya<br><br><br><br><br><br></div><div><spanstyle="font-family: faunei">Zero is zero but what else can it be?</span>
<body><divclass="nav"><h1><ahref="index_ori.html">Z<br>E<br>R<br>O</a></h1><pclass="navp"><ahref="zero.html"><buttonclass="button">∙</button></a><br><ahref="zero2.html"><buttonclass="button">∶</button></a><br><inputtype="button"class="button"value="⎙"onClick="window.print()"><br><buttonclass="button"><ahref="../"style="font-size: 14px;">☖</a></button></p><pclass="credit">Original Artistic Response<br> by Ogutu MURAYA<br> Reinpreted <br> by Euna LEE</p></div><divclass="printtit"><h1>Zero</h1><br>by Ogutu Muraya<br><br><br><br><br><br></div><div><spanstyle="font-family: faunei">Zero is zero but what else can it be?</span>
<formname="myform">
<formname="myform">
<pclass="ta">Zero is <textareaname="inputtext"cols="44"rows="1"onKeyDown={this.onEnterPress}></textarea><inputtype="button"class="button2"style="color:#193bc4"value="✒"onClick="addtext();"></p>
<pclass="ta">Zero is <textareaname="inputtext"cols="44"rows="1"onKeyDown={this.onEnterPress}></textarea><inputtype="button"class="button2"style="color:#193bc4"value="✒"onClick="addtext();"></p>
<p>An apparatus that I have been working with since 2009, the Bütschli System, arises spontaneously from intersecting liquid fields – olive oil and strong (3M) alkali. This uniquely varied, yet predictable chemical recipe, produces lifelike bodies that spontaneously move, show sensitivity to their surroundings and respond to each other.<ahref="#fn4"class="footnote-ref"id="fnref4"><sup>4</sup></a> The strange, yet somewhat familiar images, symbols and behaviours that arise from the Bütschli system may be read as recognisable bodies and behaviours that arise from the tensions between interacting material fields at the edge of chaos. Yet they can be engaged and shaped by physical and chemical languages. For example, adjusting external factors that alter surface tension can induce specific movements like clustering; while changing internal factors such as adding salt solutions to the mixture, enables droplets to make sculptural formations. How these outputs are read or interpreted is established through juxtapositions against multiple <aclass="ties"style="font-size: 10pt;"href ="../HOPE/">H</a> disciplines such as prose poetry, science, and design notations.</p>
<p>An apparatus that I have been working with since 2009, the Bütschli System, arises spontaneously from intersecting liquid fields – olive oil and strong (3M) alkali. This uniquely varied, yet predictable chemical recipe, produces lifelike bodies that spontaneously move, show sensitivity to their surroundings and respond to each other.<ahref="#fn4"class="footnote-ref"id="fnref4"><sup>4</sup></a> The strange, yet somewhat familiar images, symbols and behaviours that arise from the Bütschli system may be read as recognisable bodies and behaviours that arise from the tensions between interacting material fields at the edge of chaos. Yet they can be engaged and shaped by physical and chemical languages. For example, adjusting external factors that alter surface tension can induce specific movements like clustering; while changing internal factors such as adding salt solutions to the mixture, enables droplets to make sculptural formations. How these outputs are read or interpreted is established through juxtapositions against multiple <aclass="ties"style="font-size: 10pt;"href ="../HOPE/">H</a> disciplines such as prose poetry, science, and design notations.</p>
<p>A human-scale example of this kind of experiment was held as a performance called “Temptations of the Nonlinear Ladder”<ahref="#fn5"class="footnote-ref"id="fnref5"><sup>5</sup></a>, which was performed at the Palais de Tokyo in April 2016 for the Do Disturb Festival. An environment was constructed using a black mirror with a reflective metal disc suspended above it which generated multiple interfaces between ground, water, and air. Circus artists explored these spaces, improvising connections between them while using their bodies as liquid apparatuses. The audience was invited to gaze into the reflective surfaces that episodically appeared through the performance space and - as if they were telling the future - bestow meaning on the images they observed. In this way, the radical human bodies were transfigured at interfaces where they acquired imminent meaning – becoming a language of flux.</p>
<p>A human-scale example of this kind of experiment was held as a performance called “Temptations of the Nonlinear Ladder”<ahref="#fn5"class="footnote-ref"id="fnref5"><sup>5</sup></a>, which was performed at the Palais de Tokyo in April 2016 for the Do Disturb Festival. An environment was constructed using a black mirror with a reflective metal disc suspended above it which generated multiple interfaces between ground, water, and air. Circus artists explored these spaces, improvising connections between them while using their bodies as liquid apparatuses. The audience was invited to gaze into the reflective surfaces that episodically appeared through the performance space and - as if they were telling the future - bestow meaning on the images they observed. In this way, the radical human bodies were transfigured at interfaces where they acquired imminent meaning – becoming a language of flux.</p>
<p>Similarly, Bütschli droplets also begin to reveal a world through a liquid perspective, conjuring new words, concepts, and relationships into existence. Such notations may enable us to inhabit spaces more ecologically, understanding how we may engage the infrastructures and fabrics that enable life rather than building mechanical objects for living in. Our apparatuses for inhabitation may acquire increasingly lifelike characteristics that extend the realm of the home and city into the ecosphere, where internal and external spaces are engaged in meaningful and mutual conversation. For example, a house may be able to recycle its water and metabolically transform waste substances into useful products . This is a pursuit of the “Living Architecture”<ahref="#fn6"class="footnote-ref"id="fnref6"><sup>6</sup></a> project and is envisioned as a next-generation selectively programmable bioreactor that is capable of extracting valuable resources from sunlight, wastewater, and air and then generates oxygen, proteins, and biomass. “Living Architecture” uses the standard principles of both photo-bioreactor and microbial fuel cell technologies, which are adapted to work together synergistically to clean wastewater, generate oxygen, provide electrical power, and generate useable biomass (fertilizer). The outputs of these systems are then metabolically ‘programmed’ by the synthetic bioreactor to generate useful organic compounds like sugars, oils and alcohols<ahref="#fn7"class="footnote-ref"id="fnref7"><sup>7</sup></a>.</p><br>
<p>Similarly, Bütschli droplets also begin to reveal a world through a liquid perspective, conjuring new words, concepts, and relationships into existence. Such notations may enable us to inhabit spaces more ecologically, understanding how we may engage the infrastructures and fabrics that enable life rather than building mechanical objects for living in. Our apparatuses for inhabitation may acquire increasingly lifelike characteristics that extend the realm of the home and city into the ecosphere, where internal and external spaces are engaged in meaningful and mutual conversation. For example, a house may be able to recycle its water and metabolically transform waste substances into useful products . This is a pursuit of the “Living Architecture”<ahref="#fn6"class="footnote-ref"id="fnref6"><sup>6</sup></a> project and is envisioned as a next-generation selectively programmable bioreactor that is capable of extracting valuable resources from sunlight, wastewater, and air and then generates oxygen, proteins, and biomass. “Living Architecture” uses the standard principles of both photo-bioreactor and microbial fuel cell technologies, which are adapted to work together synergistically to clean wastewater, generate oxygen, provide electrical power, and generate useable biomass (fertilizer). The outputs of these systems are then metabolically ‘programmed’ by the synthetic bioreactor to generate useful organic compounds like sugars, oils and alcohols<ahref="#fn7"class="footnote-ref"id="fnref7"><sup>7</sup></a>.</p><br>
<divstyle='text-align: center;'>IMAGE by Simone Ferracina<br><br><em>When life is considered through a liquid lens, it is no longer a deterministic, object-oriented machine but soft, protean, and integrated within a paradoxical, planetary-scale material condition that is unevenly distributed spatially but temporally continuous.</em></div>
<divstyle='text-align: center;'>IMAGE by Simone Ferracina<br><br><em>When life is considered through a liquid lens, it is no longer a deterministic, object-oriented machine but soft, protean, and integrated within a paradoxical, planetary-scale material condition that is unevenly distributed spatially but temporally continuous.</em></div>
<p><em>“Liquid life arises from out of a soup, smog, a scab, fire – where the incandescent heavens rain molten rock and alkali meets oil – a choreography of primordial metabolic flames. Amidst the reducing atmosphere of choking toxic gases, its coming-into-being draws momentarily into focus and recedes again. The unfathomable darkness of the Hadean epoch is reincarnated here. It is drenched in thick gas clouds, unweathered dusts, and pungent vapours, which obfuscate the light. The insulating blanket of gaseous poisons protects the land against the cruel stare of ultraviolet rays and ionizing space radiation, which spite the Earth’s surface. Out of these volatile caustic bodies, a succession of chemical ghosts haunts the heavy atmosphere. Here, imaginary figures, like those that appear in a fevered condition, split faint light around. They wander among the auras of turbulent interfaces and thickening densities of matter, scum and crust. Over the course of half a billion years, sudden ectoplasms spew in successive acts over the darkened theatre of the planet. Charged skies, enlivened by the ionic electricity of fluids and periodically lit with photon cuts, strike blows into the ground to begin the process of chemical evolution. Dancing under ionic winds electric storms scratch at the Earth and charged tendrils of matter stand on their end. Vulgar in its becoming, the blubber slobbers on biomass with carbohydrate teeth, drooling enzymes that digest nothing but its own bite. Energetically incontinent, it acquires a cold metabolism and a watery heart. Expanding and contacting, it starts to pump universal solvent through its liquid eyes, lensing errant light into its dark thoughts. Mindless, yet finely tuned to its context, it wriggles upon time’s compost, chewing and chewing with its boneless jaws on nothing but the agents of death. In its structural disobedience, the misshapen mass steadily grows more organized and reluctant to succumb to decay. Patterning the air, its fingers extend like claws, obstructing its passage between the poles of oblivion. Caressing itself in gratuitous acts of procreation, the daub offers contempt for the forces of disorder, and crawls steadily towards being.”</em></p>
<p><em>“Liquid life arises from out of a soup, smog, a scab, fire – where the incandescent heavens rain molten rock and alkali meets oil – a choreography of primordial metabolic flames. Amidst the reducing atmosphere of choking toxic gases, its coming-into-being draws momentarily into focus and recedes again. The unfathomable darkness of the Hadean epoch is reincarnated here. It is drenched in thick gas clouds, unweathered dusts, and pungent vapours, which obfuscate the light. The insulating blanket of gaseous poisons protects the land against the cruel stare of ultraviolet rays and ionizing space radiation, which spite the Earth’s surface. Out of these volatile caustic bodies, a succession of chemical ghosts haunts the heavy atmosphere. Here, imaginary figures, like those that appear in a fevered condition, split faint light around. They wander among the auras of turbulent interfaces and thickening densities of matter, scum and crust. Over the course of half a billion years, sudden ectoplasms spew in successive acts over the darkened theatre of the planet. Charged skies, enlivened by the ionic electricity of fluids and periodically lit with photon cuts, strike blows into the ground to begin the process of chemical evolution. Dancing under ionic winds electric storms scratch at the Earth and charged tendrils of matter stand on their end. Vulgar in its becoming, the blubber slobbers on biomass with carbohydrate teeth, drooling enzymes that digest nothing but its own bite. Energetically incontinent, it acquires a cold metabolism and a watery heart. Expanding and contacting, it starts to pump universal solvent through its liquid eyes, lensing errant light into its dark thoughts. Mindless, yet finely tuned to its context, it wriggles upon time’s compost, chewing and chewing with its boneless jaws on nothing but the agents of death. In its structural disobedience, the misshapen mass steadily grows more organized and reluctant to succumb to decay. Patterning the air, its fingers extend like claws, obstructing its passage between the poles of oblivion. Caressing itself in gratuitous acts of procreation, the daub offers contempt for the forces of disorder, and crawls steadily towards being.”</em></p>
<p><spanclass="special">Katabatic</span> flows are wind currents.</p>
<p><spanclass="special">Katabatic</span> flows are wind currents.</p>
<p><spanclass="special">Microbial Fuel Cell</span> is a metabolically powered apparatus that under anaerobic conditions, converts organic matter into electricity, fresh water and oxygen.</p>
<p><spanclass="special">Microbial Fuel Cell</span> is a metabolically powered apparatus that under anaerobic conditions, converts organic matter into electricity, fresh water and oxygen.</p>
<p><spanclass="special">Photobioreactor</span> is a system that uses the ability of micro-organisms to convert light and carbon dioxide into biomass, like sugars, alcohol and cellulose.</p>
<p><spanclass="special">Photobioreactor</span> is a system that uses the ability of micro-organisms to convert light and carbon dioxide into biomass, like sugars, alcohol and cellulose.</p>
<p><spanclass="special">Scrying</span> is reading the future against the present by using unstable images produced by reflective surfaces.</p>
-------------------------------------------------
<h2> _BIO </h2>
<p><spanclass="special">Rachel Armstrong (UK)</span> innovates and designs new materials that poses properties of living systems, that can be manipulated to form what she calls ‘living architecture’. Her research prompts a re-evaluation of how we think about our homes and cities and raises questions about sustainable development of built environment. Working in the emerging field of synthetic biology, Armstrong is at the forefront of hybrid scientific practices that seek to combine different sets of knowledge. Her pioneering work is focussed on re-opening space to the unknown, the invisible, and the unexplainable - as a way to re-engage with the present and re-enchant reality. Armstrong is Professor of Experimental Architecture at the School of Architecture, Planning, and Landscape at Newcastle University. She is a Rising Waters II Fellow with the Robert Rauschenberg Foundation (April-May 2016), TWOTY futurist 2015, Fellow of the British Interplanetary Society, and a 2010 Senior TED Fellow.<br>
<hrwidth="100%"size="8"align="center">
<h2> _BIO </h2>
<p><spanclass="special">Rachel Armstrong (UK)</span> innovates and designs new materials that poses properties of living systems, that can be manipulated to form what she calls ‘living architecture’. Her research prompts a re-evaluation of how we think about our homes and cities and raises questions about sustainable development of built environment. Working in the emerging field of synthetic biology, Armstrong is at the forefront of hybrid scientific practices that seek to combine different sets of knowledge. Her pioneering work is focussed on re-opening space to the unknown, the invisible, and the unexplainable - as a way to re-engage with the present and re-enchant reality. Armstrong is Professor of Experimental Architecture at the School of Architecture, Planning, and Landscape at Newcastle University. She is a Rising Waters II Fellow with the Robert Rauschenberg Foundation (April-May 2016), TWOTY futurist 2015, Fellow of the British Interplanetary Society, and a 2010 Senior TED Fellow.<br></li>
<spanclass="bottom">Otherness - <astyle="position: fixed; color:blue;"href ="../">Wor(l)ds</a> For The Future.<br>See <ahref="index.html">You, the Others</a> or go to <ahref="indexOG.html">the Original Contribution</a></span><br>
<h1>
<h1>
Islands for Alterity
Islands for Alterity
</h1>
</h1>
<divclass="dida2">
<divclass="dida2">
<p>Islands become an experience and a tool for understanding the world through the eye of the Otherness. <br><br> Trans-ocean explorations started in XV sec.and boosted by America’s discovery, have irreversibly changed the face of the world while affecting our perception of the “Other”. Otherness could also specifically describe how a dominant group could define other groups with less power, usually a dominant majority. <br><br> From the perspective of a map, the process of “Enlightenment” has been unreservedly redefined. Since its fruition, the drawn boundaries of the globe are made in a way as fluid and easy, as drawing some lines on paper during a phone call.</p>
<p>Islands become an experience and a tool for understanding the world through the eye of the Otherness. <br><br> Trans-ocean explorations started in XV sec.and boosted by America’s discovery, have irreversibly changed the face of the world while affecting our perception of the “Other”. Otherness could also specifically describe how a dominant group could define other groups with less power, usually a dominant majority. <br><br> From the perspective of a map, the process of “Enlightenment” has been unreservedly redefined. Since its fruition, the drawn boundaries of the globe are made in a way as fluid and easy, as drawing some lines on paper during a phone call.</p>
<p>With the same readiness, it has been eventually possible to erase the spirituality and identity of “other”, small, submitted cultures. When the necessity to represent the “new world” by this new, western-oriented perspective came up, it brought with it the geographical renaming of places the conquistadores were imposing on. Naming is political, too. These outsider-imposed names (exonyms) are not the names that the various people knew in their own language (autonyms). The name is attached to stories that help people make sense of their lives, while also helping to understand how people fought to protect their boundaries. The current islands’ names have long been erased due to the limitations affecting cartographic representations.</p>
<p>With the same readiness, it has been eventually possible to erase the spirituality and identity of “other”, small, submitted cultures. When the necessity to represent the “new world” by this new, western-oriented perspective came up, it brought with it the geographical renaming of places the conquistadores were imposing on. Naming is political, too. These outsider-imposed names (exonyms) are not the names that the various people knew in their own language (autonyms). The name is attached to stories that help people make sense of their lives, while also helping to understand how people fought to protect their boundaries. The current islands’ names have long been erased due to the limitations affecting cartographic representations.</p>
<p>Islands, for instance, are the only places where natural borders imposed by the water help to preserve local cultures from eventually-imposed boundaries. These are often followed by invasions; while making a privileged space for developing small and autonomous communities. <br><br>Sometimes centres of activity, residing on margins, the islands keep a hold onto an evocative force, even when they supposed to be only imaginary, as the example brought by Utopia by Thomas More (1516) would call back. Islands concretely represent the Otherness in its purest essence, while the Otherness finds in the Islands a flourishing soil to grow, remaining limited while still protecting, at the same time, their natural conformity. Islands become an experience and a tool for understanding the world through the eye of the Otherness. <br><br> In this Imaginary Atlas, Otherness is embodying various types of islands’ representations, which you can use to imagine and build new community-structures for the future.</p>
<p>Islands, for instance, are the only places where natural borders imposed by the water help to preserve local cultures from eventually-imposed boundaries. These are often followed by invasions; while making a privileged space for developing small and autonomous communities. <br><br>Sometimes centres of activity, residing on margins, the islands keep a hold onto an evocative force, even when they supposed to be only imaginary, as the example brought by Utopia by Thomas More (1516) would call back. Islands concretely represent the Otherness in its purest essence, while the Otherness finds in the Islands a flourishing soil to grow, remaining limited while still protecting, at the same time, their natural conformity. Islands become an experience and a tool for understanding the world through the eye of the Otherness. <br><br></p>
<p><imgsrc="Imageresearch/Otherness.Symbol.png"alt="Otherness"style="width:50px;height:auto"><br> In this Imaginary Atlas, Otherness is embodying various types of islands’ representations, which you can use to imagine and build new community-structures for the future.</p>
For The Future.<br>See <ahref="index.html">You, the Others</a> or go to <ahref="indexOG.html">the Original Contribution</a></span>
<br>
<h1>Islands for Alterity</h1>
<h1>Islands for Alterity</h1>
<divclass="dida2">
<divclass="dida2">
@ -10,6 +12,8 @@ With the same readiness, it has been eventually possible to erase the spirituali
Islands, for instance, are the only places where natural borders imposed by the water help to preserve local cultures from eventually-imposed boundaries. These are often followed by invasions; while making a privileged space for developing small and autonomous communities. <br><br>Sometimes centres of activity, residing on margins, the islands keep a hold onto an evocative force, even when they supposed to be only imaginary, as the example brought by Utopia by Thomas More (1516) would call back. Islands concretely represent the Otherness in its purest essence, while the Otherness finds in the Islands a flourishing soil to grow, remaining limited while still protecting, at the same time, their natural conformity. Islands become an experience and a tool for understanding the world through the eye of the Otherness.
Islands, for instance, are the only places where natural borders imposed by the water help to preserve local cultures from eventually-imposed boundaries. These are often followed by invasions; while making a privileged space for developing small and autonomous communities. <br><br>Sometimes centres of activity, residing on margins, the islands keep a hold onto an evocative force, even when they supposed to be only imaginary, as the example brought by Utopia by Thomas More (1516) would call back. Islands concretely represent the Otherness in its purest essence, while the Otherness finds in the Islands a flourishing soil to grow, remaining limited while still protecting, at the same time, their natural conformity. Islands become an experience and a tool for understanding the world through the eye of the Otherness.
In this Imaginary Atlas, Otherness is embodying various types of islands' representations, which you can use to imagine and build new community-structures for the future.
In this Imaginary Atlas, Otherness is embodying various types of islands' representations, which you can use to imagine and build new community-structures for the future.
</span><spanclass="bottom"> For The Future.<br>See</span><ahref="indexOG.html">the original Contribution</a> or go to <ahref="index_nouns.html">Text as a Map</a></span>
</span><spanclass="bottom"> For The Future.<br>See</span><ahref="indexOG.html">the Original Contribution</a> or go to <ahref="index_nouns.html">Text as a Map</a></span>
<spanclass="intro">
<spanclass="intro">
<h1>Please, notice: <br>Some of the original references to the people and places along the story have been erased to make space for your individual perspective. </h1>
<h1>Please, notice: <br>Some of the original references to the people and places along the story have been erased to make space for your individual perspective. </h1>
<spanclass="bottom">Otherness - <astyle="position: fixed; color:blue;"href ="../">Wor(l)ds</a></span><spanclass="bottom"> For The Future.<br>See </span><ahref="index.island.html">Islands</a><ahref="index.html">You, the Others</a><spanclass="bottom"> or go to </span><ahref="indexOG.html">the original Text</a>
<spanclass="bottom">Otherness - <astyle="position: fixed; color:blue;"href ="../">Wor(l)ds</a></span><spanclass="bottom"> For The Future.<br>See </span><ahref="index.html">You, the Others</a><spanclass="bottom"> or go to </span><ahref="indexOG.html">the original Text</a>
<h1>
<h1>
Otherness is<br><del>“Everything, beyond me.”</del><br> “Everything, including me.”
Otherness is<br><del>“Everything, beyond me.”</del><br> “Everything, including me.”
</h1>
</h1>
@ -80,6 +80,7 @@ There are many <span class="noun">ways</span> in which we confront <span class="
<p>
<p>
O<spanclass="noun">therness</span>, as I see it, is the <spanclass="noun">spark</span> of original <spanclass="noun">thought</span> and greater appreciation of <spanclass="noun">nature</span>, while the <spanclass="noun">sense</span> of <spanclass="noun">oneness</span> is the paradoxical <spanclass="noun">goal</span> of encounters with <spanclass="noun">otherness</span>. We need a sense of <spanclass="noun">oneness</span> of ourselves with <spanclass="noun">nature</span> to clearly see <spanclass="noun">otherness</span>, and we need <spanclass="noun">otherness</span> to build a more encompassing and panoramic <spanclass="noun">sense</span> of <spanclass="noun">self and oneness</span> with the <spanclass="noun">world</span>. Thoreau ignored <spanclass="noun">society</span> to know himself. Most of us ignore ourselves to be part of <spanclass="noun">society</span>. Thoreau eloquently expressed the loss that, being carried away by the <spanclass="noun">demands</span> of others and society, brings us to our <spanclass="noun">sense</span> of self. We think of <spanclass="noun">conformity</span> rather than our own unique <spanclass="noun">identity</span> and so blur who we are as <spanclass="noun">individuals</span>. Thoreau captured this well when he exclaimed that, “the one is more important than the million.” That is, it is only as we each individually appreciate our <spanclass="noun">oneness</span> with the <spanclass="noun">world</span>, <spanclass="noun">nature</span>, and the other as part of this <spanclass="noun">oneness</span> that we can achieve the best individual <spanclass="noun">life</span>, and thus <spanclass="noun">society</span>.
O<spanclass="noun">therness</span>, as I see it, is the <spanclass="noun">spark</span> of original <spanclass="noun">thought</span> and greater appreciation of <spanclass="noun">nature</span>, while the <spanclass="noun">sense</span> of <spanclass="noun">oneness</span> is the paradoxical <spanclass="noun">goal</span> of encounters with <spanclass="noun">otherness</span>. We need a sense of <spanclass="noun">oneness</span> of ourselves with <spanclass="noun">nature</span> to clearly see <spanclass="noun">otherness</span>, and we need <spanclass="noun">otherness</span> to build a more encompassing and panoramic <spanclass="noun">sense</span> of <spanclass="noun">self and oneness</span> with the <spanclass="noun">world</span>. Thoreau ignored <spanclass="noun">society</span> to know himself. Most of us ignore ourselves to be part of <spanclass="noun">society</span>. Thoreau eloquently expressed the loss that, being carried away by the <spanclass="noun">demands</span> of others and society, brings us to our <spanclass="noun">sense</span> of self. We think of <spanclass="noun">conformity</span> rather than our own unique <spanclass="noun">identity</span> and so blur who we are as <spanclass="noun">individuals</span>. Thoreau captured this well when he exclaimed that, “the one is more important than the million.” That is, it is only as we each individually appreciate our <spanclass="noun">oneness</span> with the <spanclass="noun">world</span>, <spanclass="noun">nature</span>, and the other as part of this <spanclass="noun">oneness</span> that we can achieve the best individual <spanclass="noun">life</span>, and thus <spanclass="noun">society</span>.
</p>
</p>
<p><ahref="index.island.html">Islands</a></p>
<p><imgsrc="Imageresearch/piraha.recordings.w.png"alt="Recording of a conversation between Pirahãs and Daniel Everett."></p>
<p><imgsrc="Imageresearch/piraha.recordings.w.png"alt="Recording of a conversation between Pirahãs and Daniel Everett."></p>
<p>
<p>
Thoreau’s <spanclass="noun">hut</span> Walden stands still as <spanclass="noun">light</span> in the <spanclass="noun">heart</span> of the <spanclass="noun">forest</span>, a small cabin where one can sit and think and read and wonder about the <spanclass="noun">reasons</span> for living. Jungle <spanclass="noun">nights</span> were this <spanclass="noun">light</span> in my <spanclass="noun">life</span>, as I sat around <spanclass="noun">campfires</span>, talking in a <spanclass="noun">language</span> that was so hard for me to learn. Albert Camus said that the biggest <spanclass="noun">mystery</span> of <spanclass="noun">philosophy</span> is why not everyone commits <spanclass="noun">suicide</span> when honestly contemplating the futility of <spanclass="noun">life</span>. As a possible <spanclass="noun">answer</span> to his own <spanclass="noun">question</span>, Camus in his <spanclass="noun">essay</span> The Myth of Sisyphus, held up poor Sisyphus [^2] as an <spanclass="noun">example</span> of a good <spanclass="noun">life</span>. Sisyphus, after all, had an <spanclass="noun">objective</span>, one that entailed a measurable daily <spanclass="noun">activity</span> that always ended in the <spanclass="noun">accomplishment</span> of getting that <spanclass="noun">rock</span> up the <spanclass="noun">hill</span>. But Thoreau <spanclass="noun">perspective</span> rejects Camus’s <spanclass="noun">analysis</span>. He saw no <spanclass="noun">reason</span> to count familiarity or predictability of social <spanclass="noun">life</span>, <spanclass="noun">foods</span>, or accomplishments as among the <spanclass="noun">goals</span> of <spanclass="noun">life</span>. They teach us little and change our <spanclass="noun">behavior</span> insignificantly. His <spanclass="noun">example</span> was that we learn most when we insert ourselves as <spanclass="noun">aliens</span> in new conceptual, cultural, and <spanclass="noun">social environments</span> (in his case, the <spanclass="noun">absence</span> of <spanclass="noun">society</span>). I am convinced that our lives become richer when they are less predictable. This is not to say that our <spanclass="noun">lives</span> are always predictable in the <spanclass="noun">absence</span> of the other. <spanclass="noun">Otherness</span> renders our <spanclass="noun">expectations</span> less fixed and requires more thinking, planning, and learning.
Thoreau’s <spanclass="noun">hut</span> Walden stands still as <spanclass="noun">light</span> in the <spanclass="noun">heart</span> of the <spanclass="noun">forest</span>, a small cabin where one can sit and think and read and wonder about the <spanclass="noun">reasons</span> for living. Jungle <spanclass="noun">nights</span> were this <spanclass="noun">light</span> in my <spanclass="noun">life</span>, as I sat around <spanclass="noun">campfires</span>, talking in a <spanclass="noun">language</span> that was so hard for me to learn. Albert Camus said that the biggest <spanclass="noun">mystery</span> of <spanclass="noun">philosophy</span> is why not everyone commits <spanclass="noun">suicide</span> when honestly contemplating the futility of <spanclass="noun">life</span>. As a possible <spanclass="noun">answer</span> to his own <spanclass="noun">question</span>, Camus in his <spanclass="noun">essay</span> The Myth of Sisyphus, held up poor Sisyphus [^2] as an <spanclass="noun">example</span> of a good <spanclass="noun">life</span>. Sisyphus, after all, had an <spanclass="noun">objective</span>, one that entailed a measurable daily <spanclass="noun">activity</span> that always ended in the <spanclass="noun">accomplishment</span> of getting that <spanclass="noun">rock</span> up the <spanclass="noun">hill</span>. But Thoreau <spanclass="noun">perspective</span> rejects Camus’s <spanclass="noun">analysis</span>. He saw no <spanclass="noun">reason</span> to count familiarity or predictability of social <spanclass="noun">life</span>, <spanclass="noun">foods</span>, or accomplishments as among the <spanclass="noun">goals</span> of <spanclass="noun">life</span>. They teach us little and change our <spanclass="noun">behavior</span> insignificantly. His <spanclass="noun">example</span> was that we learn most when we insert ourselves as <spanclass="noun">aliens</span> in new conceptual, cultural, and <spanclass="noun">social environments</span> (in his case, the <spanclass="noun">absence</span> of <spanclass="noun">society</span>). I am convinced that our lives become richer when they are less predictable. This is not to say that our <spanclass="noun">lives</span> are always predictable in the <spanclass="noun">absence</span> of the other. <spanclass="noun">Otherness</span> renders our <spanclass="noun">expectations</span> less fixed and requires more thinking, planning, and learning.
</span><spanclass="bottom"> For The Future.<br>See </span>
</span><spanclass="bottom"> For The Future.<br>See </span>
<ahref="index.island.html">Islands</a><ahref="index.html">You, the Others</a><spanclass="bottom"> or go to </span><ahref="indexOG.html">the original Text</a>
<ahref="index.html">You, the Others</a><spanclass="bottom"> or go to </span><ahref="indexOG.html">the original Text</a>
<spanclass="dida">The nouns, stripped of all context, are just nouns. Otherness presumes at least two terms of comparison. What defines the identity of you and others; of all things, both tangible and intangible, are the correlations between these things themselves. Meanwhile, the ensemble of all these connections continues regenerating the reality in which we live. <br><br>
<spanclass="dida">The nouns, stripped of all context, are just nouns. Otherness presumes at least two terms of comparison. What defines the identity of you and others; of all things, both tangible and intangible, are the correlations between these things themselves. Meanwhile, the ensemble of all these connections continues regenerating the reality in which we live. <br><br>
<p>There are many <spanclass="noun">ways</span> in which we confront <spanclass="noun">otherness</span>. <spanclass="noun">Strangers</span> are not always <spanclass="noun">people</span>. <spanclass="noun">Nature</span> is often a <spanclass="noun">foreigner</span> to most of us and we can learn by submitting ourselves to it. One <spanclass="noun">reason</span> that I annually read the American Henry David Thoreau's Walden, my favorite <spanclass="noun">book</span> in all of American <spanclass="noun">literature</span>, is that Thoreau was so articulately different from me. That is irrelevant to Thoreau's account of his year alone. His year was a brilliant <spanclass="noun">experiment</span>. Thoreau did not remain at Walden. He returned to take up a fairly boring <spanclass="noun">life</span> as a handyman in the adjacent <spanclass="noun">city</span> of Concord, Massachusetts. Yet, the <spanclass="noun">book</span> he wrote is full brilliant <spanclass="noun">observations</span> based on the <spanclass="noun">concepts</span> of American <spanclass="noun">Transcendentalism</span>: the <spanclass="noun">idea</span> that <spanclass="noun">people</span> and <spanclass="noun">nature</span> are inherently good and that they are best when left alone by <spanclass="noun">society</span> and its <spanclass="noun">institutions</span>. <spanclass="noun">Transcendentalism</span> implies that as we come to know ourselves and remove the otherness of <spanclass="noun">nature</span> by experiencing it with all our <spanclass="noun">senses</span>. That our <spanclass="noun">sense</span> of <spanclass="noun">oneness</span> with others, as embodied in that very <spanclass="noun">nature</span>, grows. Thoreau's <spanclass="noun">insights</span> into his <spanclass="noun">lessons</span> from <spanclass="noun">nature</span>– as the <spanclass="noun">stranger</span> - teach us about what it means to live as a <spanclass="noun">human</span>, to be independent, and to occupy a part of the natural <spanclass="noun">world</span>. Through Thoreau we encounter the <spanclass="noun">strangeness</span> of a solitary <spanclass="noun">life</span> in <spanclass="noun">nature</span>. <spanclass="noun">Oneness</span> with ourselves and <spanclass="noun">nature</span>– and the others that are strange to us but are, like us, just part of <spanclass="noun">nature</span>– requires slow <spanclass="noun">work</span> of <spanclass="noun">contemplation</span> and <spanclass="noun">experience</span> that at once embraces the <spanclass="noun">otherness</span> of <spanclass="noun">nature</span>. It demands working towards removing this <spanclass="noun">sense</span> of <spanclass="noun">otherness</span> and embracing it as part of the <spanclass="noun">oneness</span> that we seek with the <spanclass="noun">world</span> around us. </p>
<p>There are many <spanclass="noun">ways</span> in which we confront <spanclass="noun">otherness</span>. <spanclass="noun">Strangers</span> are not always <spanclass="noun">people</span>. <spanclass="noun">Nature</span> is often a <spanclass="noun">foreigner</span> to most of us and we can learn by submitting ourselves to it. One <spanclass="noun">reason</span> that I annually read the American Henry David Thoreau's Walden, my favorite <spanclass="noun">book</span> in all of American <spanclass="noun">literature</span>, is that Thoreau was so articulately different from me. That is irrelevant to Thoreau's account of his year alone. His year was a brilliant <spanclass="noun">experiment</span>. Thoreau did not remain at Walden. He returned to take up a fairly boring <spanclass="noun">life</span> as a handyman in the adjacent <spanclass="noun">city</span> of Concord, Massachusetts. Yet, the <spanclass="noun">book</span> he wrote is full brilliant <spanclass="noun">observations</span> based on the <spanclass="noun">concepts</span> of American <spanclass="noun">Transcendentalism</span>: the <spanclass="noun">idea</span> that <spanclass="noun">people</span> and <spanclass="noun">nature</span> are inherently good and that they are best when left alone by <spanclass="noun">society</span> and its <spanclass="noun">institutions</span>. <spanclass="noun">Transcendentalism</span> implies that as we come to know ourselves and remove the otherness of <spanclass="noun">nature</span> by experiencing it with all our <spanclass="noun">senses</span>. That our <spanclass="noun">sense</span> of <spanclass="noun">oneness</span> with others, as embodied in that very <spanclass="noun">nature</span>, grows. Thoreau's <spanclass="noun">insights</span> into his <spanclass="noun">lessons</span> from <spanclass="noun">nature</span>– as the <spanclass="noun">stranger</span> - teach us about what it means to live as a <spanclass="noun">human</span>, to be independent, and to occupy a part of the natural <spanclass="noun">world</span>. Through Thoreau we encounter the <spanclass="noun">strangeness</span> of a solitary <spanclass="noun">life</span> in <spanclass="noun">nature</span>. <spanclass="noun">Oneness</span> with ourselves and <spanclass="noun">nature</span>– and the others that are strange to us but are, like us, just part of <spanclass="noun">nature</span>– requires slow <spanclass="noun">work</span> of <spanclass="noun">contemplation</span> and <spanclass="noun">experience</span> that at once embraces the <spanclass="noun">otherness</span> of <spanclass="noun">nature</span>. It demands working towards removing this <spanclass="noun">sense</span> of <spanclass="noun">otherness</span> and embracing it as part of the <spanclass="noun">oneness</span> that we seek with the <spanclass="noun">world</span> around us. </p>
<p>O<spanclass="noun">therness</span>, as I see it, is the <spanclass="noun">spark</span> of original <spanclass="noun">thought</span> and greater appreciation of <spanclass="noun">nature</span>, while the <spanclass="noun">sense</span> of <spanclass="noun">oneness</span> is the paradoxical <spanclass="noun">goal</span> of encounters with <spanclass="noun">otherness</span>. We need a sense of <spanclass="noun">oneness</span> of ourselves with <spanclass="noun">nature</span> to clearly see <spanclass="noun">otherness</span>, and we need <spanclass="noun">otherness</span> to build a more encompassing and panoramic <spanclass="noun">sense</span> of <spanclass="noun">self and oneness</span> with the <spanclass="noun">world</span>. Thoreau ignored <spanclass="noun">society</span> to know himself. Most of us ignore ourselves to be part of <spanclass="noun">society</span>. Thoreau eloquently expressed the loss that, being carried away by the <spanclass="noun">demands</span> of others and society, brings us to our <spanclass="noun">sense</span> of self. We think of <spanclass="noun">conformity</span> rather than our own unique <spanclass="noun">identity</span> and so blur who we are as <spanclass="noun">individuals</span>. Thoreau captured this well when he exclaimed that, "the one is more important than the million." That is, it is only as we each individually appreciate our <spanclass="noun">oneness</span> with the <spanclass="noun">world</span>, <spanclass="noun">nature</span>, and the other as part of this <spanclass="noun">oneness</span> that we can achieve the best individual <spanclass="noun">life</span>, and thus <spanclass="noun">society</span>. </p>
<p>O<spanclass="noun">therness</span>, as I see it, is the <spanclass="noun">spark</span> of original <spanclass="noun">thought</span> and greater appreciation of <spanclass="noun">nature</span>, while the <spanclass="noun">sense</span> of <spanclass="noun">oneness</span> is the paradoxical <spanclass="noun">goal</span> of encounters with <spanclass="noun">otherness</span>. We need a sense of <spanclass="noun">oneness</span> of ourselves with <spanclass="noun">nature</span> to clearly see <spanclass="noun">otherness</span>, and we need <spanclass="noun">otherness</span> to build a more encompassing and panoramic <spanclass="noun">sense</span> of <spanclass="noun">self and oneness</span> with the <spanclass="noun">world</span>. Thoreau ignored <spanclass="noun">society</span> to know himself. Most of us ignore ourselves to be part of <spanclass="noun">society</span>. Thoreau eloquently expressed the loss that, being carried away by the <spanclass="noun">demands</span> of others and society, brings us to our <spanclass="noun">sense</span> of self. We think of <spanclass="noun">conformity</span> rather than our own unique <spanclass="noun">identity</span> and so blur who we are as <spanclass="noun">individuals</span>. Thoreau captured this well when he exclaimed that, "the one is more important than the million." That is, it is only as we each individually appreciate our <spanclass="noun">oneness</span> with the <spanclass="noun">world</span>, <spanclass="noun">nature</span>, and the other as part of this <spanclass="noun">oneness</span> that we can achieve the best individual <spanclass="noun">life</span>, and thus <spanclass="noun">society</span>. </p>
<ahref="index.island.html">Islands</a>
<imgsrc="Imageresearch/piraha.recordings.w.png"alt="Recording of a conversation between Pirahãs and Daniel Everett.">
<imgsrc="Imageresearch/piraha.recordings.w.png"alt="Recording of a conversation between Pirahãs and Daniel Everett.">
<divid =btn><ahref ="index.html">GO BACK</a> <ahref ="../">HOME</a> <ahref ="und_response.html">ORIGINAL ARTIST RESPONSE</a></div>
<divid =btn><ahref ="index.html">GO BACK</a> <ahref ="../">HOME</a> <ahref ="und_response.html">ORIGINAL ARTIST RESPONSE</a></div>
<divid =fulltext>
<divid =author><b>Silvia Bottiroli</b>, Phd, is a contemporary performing arts curator and researcher. Her particular interests are in the dynamics of collaboration and collective creation, in the political and ethical values of performance, in the societal implication of artistic creation, spectatorship, and in the issues of curating and rethinking the art institutions.<br>Bottiroli has worked as a producer for the theatre company Societas Raffaello Sanzio and has supervised diverse critical, curatorial, and educative projects - rethinking possible modalities for knowledge production and sharing in the fields of performing arts and collaborating with a.o. DAS Theatre in Amsterdam, The School of Visual Theatre in Jerusalem, Homo Novus Festival in Riga, Gent University, Aleppo in Brussels, and Vooruit and Campo in Gent. From 2012 to 2016 she was the artistic director of Santarcangelo Festival. Currently, she leads the Curating Performance Art master at IUAV University of Venice. </div>
<divid =author><b>Silvia Bottiroli</b>, Phd, is a contemporary performing arts curator and researcher. Her particular interests are in the dynamics of collaboration and collective creation, in the political and ethical values of performance, in the societal implication of artistic creation, spectatorship, and in the issues of curating and rethinking the art institutions. Bottiroli has worked as a producer for the theatre company Societas Raffaello Sanzio and has supervised diverse critical, curatorial, and educative projects - rethinking possible modalities for knowledge production and sharing in the fields of performing arts and collaborating with a.o. DAS Theatre in Amsterdam, The School of Visual Theatre in Jerusalem, Homo Novus Festival in Riga, Gent University, Aleppo in Brussels, and Vooruit and Campo in Gent. From 2012 to 2016 she was the artistic director of Santarcangelo Festival. Currently, she leads the Curating Performance Art master at IUAV University of Venice. </div>
<br><br>
<br><br>
<divid =text>
<divid =text>
<b>MULTIPLYING THE VISIBLE</b><br>
<b>MULTIPLYING THE VISIBLE</b><br>
The word undecidable appears in Six Memos for the Next Millennium written by Italo Calvino in 1985 for his Charles Eliot Norton poetry lectures at Harvard University. In the last months of his life Calvino worked feverishly on these lectures, but died in the process. In the five memos he left behind, he did not only open up on values for a future millennium to come but also seemed to envision future as a darkness that withholds many forms of visibility within.
The word undecidable appears in Six Memos for the Next Millennium written by Italo Calvino in 1985 for his Charles Eliot Norton poetry lectures at Harvard University. In the last months of his life Calvino worked feverishly on these lectures, but died in the process. In the five memos he left behind, he did not only open up on values for a future millennium to come but also seemed to envision future as a darkness that withholds many forms of visibility within.
Calvino’s fourth memo,¹Visibility, revolves around the capacity of literature to generate images and to create a kind of “mental cinema” where fantasies can flow continuously. Calvino focuses on the imagination as “the repertory of what is potential; what is hypothetical; what does not exist and has never existed; and perhaps will never exist but might have existed.”² The main concern that he brings forth lies within the relation between contemporary culture and imagination: the risk to definitely lose, in the overproduction of images, the power of bringing visions into focus with our eyes shut and in fact of “thinking in terms of images.”³ <br><br>
Calvino’s fourth memo,<spanid =foot>¹</span>Visibility, revolves around the capacity of literature to generate images and to create a kind of “mental cinema” where fantasies can flow continuously. Calvino focuses on the imagination as “the repertory of what is potential; what is hypothetical; what does not exist and has never existed; and perhaps will never exist but might have existed.”<spanid =foot>²</span> The main concern that he brings forth lies within the relation between contemporary culture and imagination: the risk to definitely lose, in the overproduction of images, the power of bringing visions into focus with our eyes shut and in fact of “thinking in terms of images.”<spanid =foot>³</span><br><br>
1. Out of five, the sixth lecture was never written, as the author died suddenly and the series remained unfinished, and yet published with its original, and now misleading, title.<br>
1. Out of five, the sixth lecture was never written, as the author died suddenly and the series remained unfinished, and yet published with its original, and now misleading, title.<br>
2. Italo Calvino, Visibility, in Six Memos for the Next Millennium, Harvard University Press, Cambridge 1988, p. 91
2. Italo Calvino, Visibility, in Six Memos for the Next Millennium, Harvard University Press, Cambridge 1988, p. 91<br>
3. ibid, p. 92..<br></span><br><br>
3. ibid, p. 92..<br></span><br><br>
In the last pages of the lecture, he proposes a shift from understanding the fantastic world of the artist, not as indefinable, but as <i>undecidable</i>. With this word, Calvino means to define the coexistence and the relation, within any literary work, between three different dimensions. The first dimension is the artist’s imagination – a world of potentialities that no work will succeed in realizing. The second is the reality as we experience it by living. Finally, the third is the world of the actual work, made by the layers of signs that accumulate in it; compared to the first two worlds, it is “also infinite, but more easily controlled, less refractory to formulation.”⁴ He calls the link between these three worlds “the undecidable, the paradox of an infinite whole that contains other infinite wholes.”⁵
In the last pages of the lecture, he proposes a shift from understanding the fantastic world of the artist, not as indefinable, but as <i>undecidable</i>. With this word, Calvino means to define the coexistence and the relation, within any literary work, between three different dimensions. The first dimension is the artist’s imagination – a world of potentialities that no work will succeed in realizing. The second is the reality as we experience it by living. Finally, the third is the world of the actual work, made by the layers of signs that accumulate in it; compared to the first two worlds, it is “also infinite, but more easily controlled, less refractory to formulation.”<spanid =foot>⁴</span> He calls the link between these three worlds “the undecidable, the paradox of an infinite whole that contains other infinite wholes.”<spanid =foot>⁵</span>
For Calvino, artistic operations involve, by the means of the infinity of linguistic possibilities, the infinity of the artist’s imagination, and the infinity of contingencies. Therefore, “[the] attempts to escape the vortex of multiplicity are useless.”⁶ In his fifth memo, he subsequently focuses on <i>multiplicity</i> as a way for literature 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 literary works 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. The common source to all these experiments seems to rely in the understanding of the contemporary novel “as an encyclopedia, as a method of knowledge, and, above all, as a network of connections between the events, the people, and the things of the world.”⁷
For Calvino, artistic operations involve, by the means of the infinity of linguistic possibilities, the infinity of the artist’s imagination, and the infinity of contingencies. Therefore, “[the] attempts to escape the vortex of multiplicity are useless.”<spanid =foot>⁶</span> In his fifth memo, he subsequently focuses on <i>multiplicity</i> as a way for literature 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 literary works 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. The common source to all these experiments seems to rely in the understanding of the contemporary novel “as an encyclopedia, as a method of knowledge, and, above all, as a network of connections between the events, the people, and the things of the world.”⁷
@ -212,7 +177,7 @@ For Calvino, artistic operations involve, by the means of the infinity of lingui
7. Italo Calvino, Multiplicity, Six Memos for the Next Millennium, p.105.</span><br><br>
7. Italo Calvino, Multiplicity, Six Memos for the Next Millennium, p.105.</span><br><br>
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. Calvino seems to suggest that literature⁸ can be particularly productive of futures, if it makes itself visible and multiple. 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 potentiality 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, collective subjectivities, and social gatherings. Embracing what we are capable to see
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. Calvino seems to suggest that literature<spanid =foot>⁸</span> can be particularly productive of futures, if it makes itself visible and multiple. 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 potentiality 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, collective subjectivities, and social gatherings. 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, collective subjectivities, and social gatherings.<br><br>
but also think and imagine, to fantasise and conceptualise; and bringing into existence different configurations of public spaces, collective subjectivities, and social gatherings.<br><br>
@ -230,7 +195,7 @@ Such dynamics seems to occur in performative works in particular, as the contemp
<b>AZDORA</b><br>
<b>AZDORA</b><br>
A good example of an undecidable artwork is Markus Öhrn’s Azdora, a long-term project that was initiated and coproduced by Santarcangelo Festival in 2015. As the festival artistic director at that time I had the chance to follow and support the project. The work was triggered by the encounter between the artist, in Santarcangelo for a research residency, and the feminine condition present in traditional family structures in this region of Italy. In particular, what struck him was the figure of the ‘azdora,’ a dialect word that means the ‘holder’ of the house and of the family – the woman who is in charge of the domestic life and of the labours of care. This figure is at the same time powerful, subordinate, and even repressed: through her devotion, she is sacrificed to the family and to the care of the relationships that keep it together. Interested in investigating this feminine figure and the possibility that it suggests of a matriarchal societal structure, the artist made a call for ‘azdoras’ to work together with him on the creation of a series of rituals and later on a concert. Both the rituals and the concert revolve around the possibility of emancipation and the exploration of the wild, even destructive side of the figure of the Azdora. Twenty-eight women committed to a long-term project together with Markus Öhrn and dived into his imagery and artistic world made of diverse ingredients among which were the tattoo culture, the cult of bodybuilding, and the noise music practice. At the same time, the ‘azdoras’ were asked to bring in their own ingredients; imageries, concerns, and desires. Together with the artist and the female musician ?Alos and with the mediation of the festival, they embarked into the adventure of entering a place that did not exist yet, creating a new set of rules and behaviours for themselves and for the spectators who would eventually join their rituals, attend their noise concert, or bump into their interventions in the public space during the festival period.
A good example of an undecidable artwork is Markus Öhrn’s Azdora, a long-term project that was initiated and coproduced by Santarcangelo Festival in 2015. As the festival artistic director at that time I had the chance to follow and support the project. The work was triggered by the encounter between the artist, in Santarcangelo for a research residency, and the feminine condition present in traditional family structures in this region of Italy. In particular, what struck him was the figure of the ‘azdora,’ a dialect word that means the ‘holder’ of the house and of the family – the woman who is in charge of the domestic life and of the labours of care. This figure is at the same time powerful, subordinate, and even repressed: through her devotion, she is sacrificed to the family and to the care of the relationships that keep it together. Interested in investigating this feminine figure and the possibility that it suggests of a matriarchal societal structure, the artist made a call for ‘azdoras’ to work together with him on the creation of a series of rituals and later on a concert. Both the rituals and the concert revolve around the possibility of emancipation and the exploration of the wild, even destructive side of the figure of the Azdora. Twenty-eight women committed to a long-term project together with Markus Öhrn and dived into his imagery and artistic world made of diverse ingredients among which were the tattoo culture, the cult of bodybuilding, and the noise music practice. At the same time, the ‘azdoras’ were asked to bring in their own ingredients; imageries, concerns, and desires. Together with the artist and the female musician ?Alos and with the mediation of the festival, they embarked into the adventure of entering a place that did not exist yet, creating a new set of rules and behaviours for themselves and for the spectators who would eventually join their rituals, attend their noise concert, or bump into their interventions in the public space during the festival period.
Similar to other artistic projects that one could trace back to the practice of undecidability, <i>Azdora</i> mingles different realities and fantastic worlds and also activates a participatory dynamic, yet preserving “the grey <i>artistic</i> work of participatory art.”⁹ In other words, it creates and protects a space of indeterminacy. In fact, <i>Azdora</i> is at the same time a performative picture, an artistic fantasy, a community theatre work, an emancipatory process, an ongoing workshop, a social ritual, and a concert. Furthermore, from the project a documentary movie and a sociological survey have been produced,¹⁰ multiplying the possibility to access the work from different angles and via different formats. If the coexistence of different media already implies different angles, durations, discourses, and forms of spectatorship, the performance itself keeps an undecidable bound between its real and fictional ontologies. The performative work of <i>Azdora</i> is then intrinsically ‘political’ according to Rancière definition of ‘metapolitics:’ a destabilising action that produces a conflict vis à vis what is thinkable and speakable. Azdora allows different interpretations and produces conflicting discourses, yet remaining untouched. This does not necessarily mean complete though as, on the contrary, it is generating a multiplicity of different gazes that are all legitimate and complete but yet do not exhaust the work. This is what makes the performance itself unfulfilled and thus incomplete and open.
Similar to other artistic projects that one could trace back to the practice of undecidability, <i>Azdora</i> mingles different realities and fantastic worlds and also activates a participatory dynamic, yet preserving “the grey <i>artistic</i> work of participatory art.”<spanid =foot>⁹</span> In other words, it creates and protects a space of indeterminacy. In fact, <i>Azdora</i> is at the same time a performative picture, an artistic fantasy, a community theatre work, an emancipatory process, an ongoing workshop, a social ritual, and a concert. Furthermore, from the project a documentary movie and a sociological survey have been produced,<spanid =foot>¹⁰</span> multiplying the possibility to access the work from different angles and via different formats. If the coexistence of different media already implies different angles, durations, discourses, and forms of spectatorship, the performance itself keeps an undecidable bound between its real and fictional ontologies. The performative work of <i>Azdora</i> is then intrinsically ‘political’ according to Rancière definition of ‘metapolitics:’ a destabilising action that produces a conflict vis à vis what is thinkable and speakable. Azdora allows different interpretations and produces conflicting discourses, yet remaining untouched. This does not necessarily mean complete though as, on the contrary, it is generating a multiplicity of different gazes that are all legitimate and complete but yet do not exhaust the work. This is what makes the performance itself unfulfilled and thus incomplete and open.
@ -240,7 +205,7 @@ Similar to other artistic projects that one could trace back to the practice of
<b>A MULTIPLICITY OF GAZES</b><br>
<b>A MULTIPLICITY OF GAZES</b><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. It is a site where spectators’ gazes are not composed into a common horizon but are let free to wildly engage with all the realities involved, connecting or not connecting them, and in the end to experience part of the complex ‘whole of wholes’ that is the artwork (while being aware or unaware of the existence of other wholes and of other gazes).
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. It is a site where spectators’ gazes are not composed into a common horizon but are let free to wildly engage with all the realities involved, connecting or not connecting them, and in the end to experience part of the complex ‘whole of wholes’ that is the artwork (while being aware or unaware of the existence of other wholes and of other gazes).
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 multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view. The multiplicity of gazes produced and gathered by undecidable artworks does not compose itself into a community, as there is no ‘common’ present. Rather, it generates a radical collectivity based on multiplicity and on conflicting positions that are not called to any form of negotiation, but just to a cohabitation of the space of the work. Spectators and their views and imaginations are acknowledged as equal parts of a collective body that exist next to each other. They don’t fuse in one common thought and don’t see or reflect one common image, yet effect each other by their sheer presence and existence, operating as a prism that multiplies the reality it reflects. A space of communication is opened here that is not meant for unilateral or bilateral exchanges, but rather for a circulation of information and interpretations – both of fictions and projections. A circulation over which no one – not even the artist – exercises a full control. The place of the author is then challenged and responsibility is shared with the audience not as a participant,¹¹ but rather as an unknowable and undecidable collective body that receives, reverberates, and twists it.
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 multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view. The multiplicity of gazes produced and gathered by undecidable artworks does not compose itself into a community, as there is no ‘common’ present. Rather, it generates a radical collectivity based on multiplicity and on conflicting positions that are not called to any form of negotiation, but just to a cohabitation of the space of the work. Spectators and their views and imaginations are acknowledged as equal parts of a collective body that exist next to each other. They don’t fuse in one common thought and don’t see or reflect one common image, yet effect each other by their sheer presence and existence, operating as a prism that multiplies the reality it reflects. A space of communication is opened here that is not meant for unilateral or bilateral exchanges, but rather for a circulation of information and interpretations – both of fictions and projections. A circulation over which no one – not even the artist – exercises a full control. The place of the author is then challenged and responsibility is shared with the audience not as a participant,<spanid =foot>¹¹</span> but rather as an unknowable and undecidable collective body that receives, reverberates, and twists it.
<br><br>
<br><br>
<spanid =footnotestyle ="font-family: 'Avenir'; font-size: 12px; color: black; line-height: -0.5; text-align: left; color: white; background-color:black; display: inline-block; padding: 10px; margin-left: -2%;">11. An active group of spectators invited to exercise over the artwork </span>
<spanid =footnotestyle ="font-family: 'Avenir'; font-size: 12px; color: black; line-height: -0.5; text-align: left; color: white; background-color:black; display: inline-block; padding: 10px; margin-left: -2%;">11. An active group of spectators invited to exercise over the artwork </span>
@ -254,7 +219,6 @@ Ultimately, a political dimension does spring from an art that practices its und
<spanid =footnotestyle ="font-family: 'Avenir'; font-size: 12px; color: black; line-height: -0.5; text-align: left; color: white; background-color:black; display: inline-block; padding: 10px; margin-left: -2%;"> 12. See Valeria Graziano, Prefigurative Practices: Raw Materials for a Political Positioning of Art, Leaving the Avant-garde, in Elke van Campenhout and Lilia Mestre (ed.), Turn, Turtle! Reenacting the Institute, Alexander Verlag, Berlin 2016, pp. 158-172.</span><br><br>
<spanid =footnotestyle ="font-family: 'Avenir'; font-size: 12px; color: black; line-height: -0.5; text-align: left; color: white; background-color:black; display: inline-block; padding: 10px; margin-left: -2%;"> 12. See Valeria Graziano, Prefigurative Practices: Raw Materials for a Political Positioning of Art, Leaving the Avant-garde, in Elke van Campenhout and Lilia Mestre (ed.), Turn, Turtle! Reenacting the Institute, Alexander Verlag, Berlin 2016, pp. 158-172.</span><br><br>
A logic of ‘and… and… and…’ as opposite to the logic of ‘either… or…’ that seems to rule reality.</h1>
A logic of ‘and… and… and…’ as opposite to the logic of ‘either… or…’ that seems to rule reality.</h1>
<divid =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
<divid =leftintro>In this page I present my artistic response to Undecidability, juxtaposing the romantic idea of undecidability in Silvia Bottiroli's essay with my own reflections on immaterial labour.<br> The essay speaks about the significance of a multiplicity of perspectives and visions that some works of art and artistic practices offer to the viewer(s). <br>I contemplated the many intangible activities that artistic work encompasses; thinking, imagining, reading, writing, discussing, etcetera. The kind of labour me and my peers were engaged in a lot as well while making this republication. Undecidability for me then also became a space of 'the intangible' within labour.<br> I responded to fragments from Bottiroli's text with my own narratives to show how the notion of 'the undecidable' is entangled with <ahref="../UNDECIDABILITY/#emoji"><b>immaterial labour</b></a>. It is expressed with the ‘and...and...and’ format, which was mentioned as a key logic of how the undecidability works by Bottiroli, in her essay.<br><br><imgsrc ="image/w.png"style ="position:relative; top: 10px;"> : Parts of original essay<br><imgsrc ="image/b.png"style ="border: solid black 1px; position:relative; top: 10px;"> : My voice<br><br><spanstyle ="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><spanstyle ="color: #635E69; font-family: 'Avenir'; margin-left: 2%; text-decoration-line: underline; text-decoration-style: dotted;";>TEXT</span> : Linking with other publications<br><br>The parts of the original essay were selected through Python NLTK(Natural Language ToolKit) function.<br><ahref ="fulltext.html">Original contribution: Silvia Bottiroli<br> Original artist response: Jozef Wouters</a> Reinterpreted by Nami Kim</div>
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 <ahref="../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><imgsrc ="image/w.png"style ="position:relative; top: 10px;"> : Parts of original essay<br><imgsrc ="image/b.png"style ="border: solid black 1px; position:relative; top: 10px;"> : My voice<br><br><spanstyle ="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><spanstyle ="color: #635E69; font-family: 'Avenir'; margin-left: 2%; text-decoration-line: underline; text-decoration-style: dotted;";>TEXT</span> : Linking with other publications<br><br>The parts of the original essay were selected through Python NLTK(Natural Language ToolKit) function.<br><ahref ="fulltext.html">Original contribution: Silvia Bottiroli<br> Original artist response: Jozef Wouters</a> Reinterpreted by Nami Kim</div>
<divid =relevantext><br>
<divid =relevantext><br>
<divid =voicestyle ="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>
<divid =voicestyle ="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> <spanstyle ="font-size: 10pt;">(From p.3 in the original essay)</span><br>
<b>MULTIPLYING THE VISIBLE</b> <spanstyle ="font-size: 10pt;">(From p.3, 4 in the original essay)</span><br>
The main concern that he brings forth lies within the relation between contemporary culture and imagination : the risk to definitely lose, <ahref="../HOPE/#media2"><divclass =sy>H</div> 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>
The main concern that he brings forth lies within the relation between contemporary culture and imagination : the risk to definitely lose, <ahref="../HOPE/#media2"><divclass =sy>H</div> 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 <divclass =sy>R</div> <ahref="../RESURGENCE">multiplicity</a> as a way for <divclass =sy>M</div> <ahref ="../--/">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 <divclass =sy>P</div> <ahref ="../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.
(...) In his fifth memo, he subsequently focuses on <divclass =sy>R</div> <ahref="../RESURGENCE">multiplicity</a> as a way for <divclass =sy>M</div> <ahref ="../--/">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 <divclass =sy>P</div> <ahref ="../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>
(...) 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>
@ -644,14 +644,15 @@ The main concern that he brings forth lies within the relation between contempor
<b>ACTUAL AND POTENTIAL WORLDS</b> <spanstyle ="font-size: 10pt;">(From p.4, 5)</span><br>
<b>ACTUAL AND POTENTIAL WORLDS</b> <spanstyle ="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 <divclass =sy>M</div> <ahref="../--/">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 fact, undecidability is a specific force at work that consciously articulates, redefines, or alters the complex system of links, bounds, and resonances between different <divclass =sy>M</div> <ahref="../--/">potential and actual worlds.</a> In this sense, undecidability is a quality specific to some artworks within which the three worlds that Calvino describes meet and yet remain untouched, autonomous, and recognizable.<br> An artwork can indeed create a magnetic field where different actual worlds coexist and, by living next to each other yet not sharing a common horizon, generate a potential world. Then ‘potential’ does not mean ‘possible.’ 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.
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>
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>
<br>Artworks are places where contradictory realities can coexist without withdrawing or cancelling each other out.
<br>Artworks are places where contradictory realities can coexist without withdrawing or cancelling each other out. They can be sites of existence and of experience where images let go of their representational nature and just exist as such. None of the images of an artwork are being more or less real than the others, no matter whether they come as pieces of reality or as products of individual or collective fantasies. It is the art(work) as such that creates a ground where all the images that come into visibility share the same gradient of reality, no matter whether they harmoniously coexist or are radically conflicting.<br>
(...) 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>
If every work builds up complete systems that are offered to its visitors or spectators to enter into – if the invitation of art is often that of losing the contact with known worlds in order to slip into others – something radically different happens within an art that practices its undecidability. <br>
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>
@ -720,7 +721,7 @@ An undecidable artwork is, in other words, a site where different and even contr
var chap1 = document.getElementById("emoji");
var chap1 = document.getElementById("emoji");
chap1.addEventListener('click', function changeText(){
chap1.addEventListener('click', function changeText(){
chap1.innerHTML = "When are your 'thinking <b>and</b> imagining <b>and</b> fantasisng <b>and</b> conceptualising' born?<br> Have you ever seen physical births of these activities? They are neither tangible <b>and</b> nor visible. Don't you normally have them during your daily rituals? For instance,<br><br>when you have a 🚿 to refresh yourself.<br><b>And</b> when you drink a cup of ☕.<br><b>And</b> when you get some 🔆. <br><b>And</b> when you water your 🌱. <br><b>And</b> when you smoke 🚬 <br><b>And</b> when you 📞 your freinds.<br> You may think you're not in working mode, yet in fact, unconsciously get into labours...";
chap1.innerHTML = "When are your 'thinking <b>and</b> imagining <b>and</b> fantasisng <b>and</b> conceptualising' born?<br> Have you ever seen physical births of these activities? They are not tangible <b>and</b> not visible. Don't you normally have them during your daily rituals? For instance,<br><br>when you have a 🚿 to refresh yourself.<br><b>And</b> when you drink a cup of ☕.<br><b>And</b> when you get some 🔆. <br><b>And</b> when you water your 🌱. <br><b>And</b> when you smoke 🚬 <br><b>And</b> when you 📞 your freinds.<br> You may think you're not in working mode, yet in fact, unconsciously get into labours...";
@ -737,7 +738,7 @@ chap2.addEventListener('click', function changeText(){
var chap3 = document.getElementById("emoji3");
var chap3 = document.getElementById("emoji3");
chap3.addEventListener('click', function changeText(){
chap3.addEventListener('click', function changeText(){
chap3.innerHTML = "Imagine that you will experiment the potentiality through a performance.<br> 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? 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.";
chap3.innerHTML = "Imagine that you will experiment the potentiality through a performance.<br> 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? What you're producing is not an object, but rather moments <b>and</b> emotions.<br>Yes, it cannot be displayed on a shelf in a shop, because the performance exists only at the particular moment <b>and</b> place<b>and</b>with audiences near you. It would possibly be recorded as a video clip, but then the value of the document would become transformed, because the live interaction at that very instant won't stay there anymore. Meaning, you inspire 👨👨🦳👩🦱🧕 's impression, which is the very value of your work.";
@ -745,7 +746,7 @@ chap3.addEventListener('click', function changeText(){
var chap4 = document.getElementById("emoji4");
var chap4 = document.getElementById("emoji4");
chap4.addEventListener('click', function changeText(){
chap4.addEventListener('click', function changeText(){
chap4.innerHTML = "You may not feel direct effect <b>and</b> influence that your performance have.<br>This is because what 👨👨🦳👩🦱🧕 purchased from you is emotions <b>and</b> ⏱ <b>and</b> 💭 .<br>Despite of the invisibility, you definitely gave 👨👨🦳👩🦱🧕 something. ❕ eed 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.";
chap4.innerHTML = "You may say you don't feel direct and obvious effect <b>and</b> influence that your performance brings. This is because what 👨👨🦳👩🦱🧕 purchased from you are emotions <b>and</b>experiences, which are composed of ⏱ <b>and</b> 💭 <b>and</b> ❕❔ .<br> You offer audiences an arena of the immaterial experiment. They feel and think without rules <b>and</b> limitations. Unknown energy is shared between you and them.<br>Your movement coming with the spectatorship is still located in a part of system, but at the same time it might be a gesture against the system that takes material <i>give and take</i> rule for granted.";
@ -754,16 +755,12 @@ chap4.addEventListener('click', function changeText(){
var chap5 = document.getElementById("emoji5");
var chap5 = document.getElementById("emoji5");
chap5.addEventListener('click', function changeText(){
chap5.addEventListener('click', function changeText(){
chap5.innerHTML = "What and who did you work for?<br>You were the subject and owner of your work, not being forced by external party in market hierarchy.<br>Not only your performance was undecidable, but your labours entangled with it were also undecidable, accompanying immaterial activities. Both in the process <b>and</b> in the final producing, what you mostly embraced was your time <b>and</b> emotion, which are abstract. Thus you may say such labours are a majour part of yourself.<br>Your identity <b>and</b> existence are closely attached with your work. That's why you get power to carry on your life. <br>As you are being undecidbable, your work becomes free <b>and</b> you get freedom.";
chap5.innerHTML = "What <b>and</b> who do you work for?<br>You may feel the output that your work has a bit different features with other current products <b>and</b> commodities.<br>You may do art for your identity's sake, as well as for supporting yourself financially. Whether putting the label called 'labour' on your performance is a bit tricky, because you're standing between the establiment <b>and</b> your fundamental autonomy. Mediation among the dimensions are not easy as you think. Your practice that contains a lot of immaterial labours, <b>and</b> whether the labours are surely considered as classic labours is still controversial. Thus not only what you do, but also how you do is undecidable.";
<b>Jozef Wouters</b> has been active as a scenographer and artist since 2007. Wouters often departs from questions and ideas that gradually take shape inside and outside the boundaries of making. Strategic spaces thereby enter into dialogues with social processes and the power of the imagination; sometimes functional, sometimes committed or absurd, but always with a focus on the things that preoccupy him as an artist and as a person. Wouters’ own work often relates to a specific location, such as All problems can never be solved (2012) for the Cité Modèle in Laeken and the Zoological Institute for Recently Extinct Species (2013) for the Museum of Natural Sciences in Brussels, and his Decoratelier performance INFINI 1-15 (2016) for the main auditorium at the Brussels City Theatre (KVS). Wouters is an integral part of Damaged Goods, the Brussels based company of choreographer Meg Stuart. He initiates projects as an independent artist in residence, using his Decoratelier in Brussels as a base. </div>
<b>Jozef Wouters</b> has been active as a scenographer and artist since 2007. Wouters often departs from questions and ideas that gradually take shape inside and outside the boundaries of making. Strategic spaces thereby enter into dialogues with social processes and the power of the imagination; sometimes functional, sometimes committed or absurd, but always with a focus on the things that preoccupy him as an artist and as a person. Wouters’ own work often relates to a specific location, such as All problems can never be solved (2012) for the Cité Modèle in Laeken and the Zoological Institute for Recently Extinct Species (2013) for the Museum of Natural Sciences in Brussels, and his Decoratelier performance INFINI 1-15 (2016) for the main auditorium at the Brussels City Theatre (KVS). Wouters is an integral part of Damaged Goods, the Brussels based company of choreographer Meg Stuart. He initiates projects as an independent artist in residence, using his Decoratelier in Brussels as a base. </div>
@ -153,15 +163,15 @@ In a letter written to his patrons, Michelangelo complains that the Vatican is f
Now I have to think of a chair we placed on a playground in a social housing neighbourhood in Brussels. I did a project there called <i>All Problems Can Never Be Solved</i> which began as a fictional architecture office called ‘Bureau des Architectes’, that was working in and with the neighbourhood for six months. During that project someone asked us for more places in the neighborhood playground for the parents to sit to watch their children. So we placed a chair that doesn’t decide where one should sit.
Now I have to think of a chair we placed on a playground in a social housing neighbourhood in Brussels. I did a project there called <i>All Problems Can Never Be Solved</i> which began as a fictional architecture office called ‘Bureau des Architectes’, that was working in and with the neighbourhood for six months. During that project someone asked us for more places in the neighborhood playground for the parents to sit to watch their children. So we placed a chair that doesn’t decide where one should sit.
<p>Kinship implies co-relations between Wor(l)ds For The Future and further distributions which will potentially be made. If you want to republish and re-distribute the content, verbatim or derivative, we ask you to send us a copy. By copy we mean a copy of the republished content. For instance, if it is a print or a physical object please send it to XPUB/ WH4.141 t.a.v. Piet Zwart Institute/ WdKA/ Rotterdam Uni. Postbus 1272 300 BG Rotterdam, NL. If it is a file please send it to pzwart-info@hr.nl /attn: XPUB cc. If it is a change in a cloned git repository of the work, please send a patch so we can archive it in a branch. Which means, if you clone or download our git repos <ahref ="https://git.xpub.nl/XPUB/S13">(https://git.xpub.nl/XPUB/S13)</a> to modify the project files, we ask you to send us the modifications so we can archive them as well.</p>
<p>Kinship implies co-relations between Wor(l)ds For The Future and further distributions which will potentially be made. If you want to republish and re-distribute the content, verbatim or derivative, we ask you to send us a copy. By copy we mean a copy of the republished content. For instance, if it is a print or a physical object please send it to XPUB/ WH4.141 t.a.v. Piet Zwart Institute/ WdKA/ Rotterdam Uni. Postbus 1272 300 BG Rotterdam, NL. If it is a file please send it to pzwart-info@hr.nl /attn: XPUB cc. If it is a change in a cloned git repository of the work, please send a patch so we can archive it in a branch. Which means, if you clone or download our git repos <ahref ="https://git.xpub.nl/XPUB/S13">(https://git.xpub.nl/XPUB/S13)</a> to modify the project files, we ask you to send us the modifications so we can archive them as well.</p>
<br>
<br>
<h3>Commercial use:</h3>
<h3>Commercial use:</h3>
<p>Commercial use is only permitted if no profit is derived. Said differently, you can sell copies of the work only to cover the costs of the distribution, printing, production, needed to circulate copies of the work. We are asking you to be transparent about such expenses.</p>
<p>Commercial use is only permitted if no profit is derived. Said differently, you can sell copies of the work only to cover the costs of the distribution, printing and/or production, needed to circulate copies of the work. We are asking you to be transparent about such expenses.</p>
<br>
<br>
<h3>Attribution:</h3>
<h3>Attribution:</h3>
<p>The above copyright notice and this license shall be included in all copies or modified versions of the project. Any re-publication, verbatim or derivative, of the contents must explicitly credit the name(s) of the author(s) of WORDS FOR THE FUTURE, as well as those of the author(s) of WOR(L)DS FOR THE FUTURE. This attribution must make clear what changes have been made.</p>
<p>The above copyright notice and this license shall be included in all copies or modified versions of the project. Any re-publication, verbatim or derivative, of the contents must explicitly credit the name(s) of the author(s) of WORDS FOR THE FUTURE, as well as those of the author(s) of WOR(L)DS FOR THE FUTURE. This attribution must make clear what changes have been made.</p>
