ANB

9.01.2012

Superstition
2012
(Bootleg exhibition, Evil Son Gallery, Woodstock, Cape Town)

“Superstition, as commonly understood, is the cult of a false god. In the correct sense, it is reconstructed in etymology as superstare, what is held above. In the figurative sense, it is what survives, what remains, what continues to exist after its progenitors have ceased to be, it is something that describes what survives”

(Jacques-Alain Miller, Lacan’s later teaching. 2003. P.1)

A.N.B. Notes (to self / to other)

72. play (06.03.12 / 14:04-)

71. pause (07.03.11 / 20:30- )

70.1. “and not but”

70.2. "___ ___ __"

70.3. Slowly does it.

69. The moment is ruined when preoccupied by another time.

68. Truth is a hole in knowledge.

One must come to conceive of truth a making a hole in knowledge.

Lacan is paradigmatic on this point. The subject is thus convoked as a border-effect or a delimiting fragment of such a hole-piercing.

Alain Badiou

ON A FINALLY OBJECTLESS SUBJECT
axiomatic provision

67.1. hope against hope.

67.2. What is too abstract to be concretised…

67.3. xeros – dry. printing, Xerox etc

67.4. _ ____ ____ _______ __ __ ________.

67.5. To be indifferent and envious at the same time.

67.6. Look into the story behind the image.

67.7. [in-itself {en-soi}]+[for-itself {pour-soi}]

67.8. ?Is a fat predator a successful predator?

66. see handwritten notes

65. the unseeable is found in the blink.

64. nulle terre sans seigneur [no land without its master]…[money knows no master] l’argent n’a pas de maitre

63. the nth degree

62.1. Set traps and forget about them.

62.2 Setting Traps (an experiment in logic, method and practice).

61. Drawing.

60. Can words be trusted?

59.1. Art is a place.

59.1.2. This is a place.

59.2. [a place to] expose things.

59.3. a place to] hide things.

59.4. place to] keep/hold things.

59.5. lace to] exhaust things.

59.6. ______________ change objects into things.

59.7. ce to] deal with 59.7{+}.

59.8. e to] ________ things (and stuff).

59.9. an event can take place anyplace.

58.1. Art is heard beyond its boundaries; those that hear disseminate to others who then speak to the masses.

58.2. Does Art become barren in its over-production and or its under-production?

57.

56.

55.

54.1. deliberation

54.2. liberation

54.3. post-liberation

53.1. Loosely arranged on a space-time line around the concept of unbecoming, as well as those of congruence, conflation, conversation and cooperation, this series of experiments attempts a concomitant exposure of the ridge and the crease.

53.2. long-term.

52. ... the unfold, which is not the contrary of the fold, but the continuation of its act. The unfold is the manifestation of the action of the fold. The unfolding does not reveal a void but more folds: folds are always full. Gilles Deleuze , The Fold, Leibniz and the Baroque (1988)

51.1.a. To be animals and at times to be similar to bathing stones and at other times peculiar and uncalled-for.

/ 51.1.b. To be _______ and at times to be similar to _____ _____ and at other times ______ and _______-___.

50. Ask.

49. "...

there is no solution available now for picking that up from the floor."

48.1. a / the [good] morning

48.2. a / the [good] day

48.3. a / the [good] night

47.1. Thought experiment...

47.2. Gedankenexperiment...

47.3. Deiknymi...

47.4. Allegory of the Cave...

46.1. Looking to get in?

46.2. Looking to get out?

46.3. Finding a way in.

46.4. Finding a way out and not taking it.

45.1. serious play.

45.2. professional amateurs.

45.3. win-win (the prisoner's dilemma).

44.1. Objects become things, that is, when matters of fact give way to their complicated entanglements and become matters of concern.

Bruno Latour, From Realpolitik to Dingpolitik

44.2. At points the thing wants what the object is and visa versa.

43.1. There are extraneous factors that make us act. There are times when we are the extraneous factor, hernia / balloon; empowered and defunct at the same time.

43.2. Precious time.

42.1. There are no facts, only interpretations. [FN]

42.2. Patience.

41. Looking forward...

40.1. Turning the tables.

40.2. Swopping sides.

40.3. Taking turns.

39.1. Grave

39.2. Grave

38.1. Folie à deux ("a madness shared by two")

38.2. Folie à plusieurs ("madness of many")

37.1. Island

37.2. Islands / Archipelago

36.1. Duck.

36.2. Duck!

36.3. Duck?

35.1. Arrived. 14:06:11 (event {sculpture / life}, body / sculpture, logic / concept, words {sans murmurs}, looking forward {, a way to spend a life-time together}, actual optimism, early afternoon).

35.2. After the opening one should not expect a closing; what has been opened cannot be closed?

35.3. We fold so that we can unfold...

35.4. Infatuations (need not only involve people, but can extend to objects...)

34. Who was seen sitting in the public square gluing shut the pages of a book?

33. Intuition is the joy of difference. Gilles Deleuze, Desert Islands of Other Texts 1953–1974, trans. Sylve´re Lotringer (Los Angeles: Semiotexte, 2004), p.33.

32. Radical Departures. (A.N.B. working title, Nov. 2010)

31. INTUITION Bergson’s philosophical method, intuition, has very little in common with how this term is commonly understood, as a vague empathy or feeling. There is nothing impulsive or vague about intuition, which is a rigorous philosophical method for an attunement with the concrete specificities of the real. Intuition is the method by which unique and original concepts are created and developed for objects, qualities and durations that are themselves unique and specific. Intuition is, for Bergson, a relatively rare but ever-productive force in the history of philosophy: it occurs only when old and familiar methods by which intelligence always seeks to address the present and the new exhaust themselves and provide only generalizations rather than a concept uniquely suited to its object. An intuition is a remarkably simple ‘concept,’ whose economy and unity is belied by the (philosophical) language that expresses it. More a ‘shadow’, a ‘swirling of dust’ than a concrete and well-formed concept, intuition is an emergent and imprecise movement of simplicity that erupts by negating the old, resisting the temptations of intellect to understand the new in terms of the language and concepts of the old (and thus the durational in terms of the spatial).

Elizabeth Grosz / Bergson, Deleuze and the Becoming of Unbecoming /Henri Bergson, The Creative Mind: An Introduction to Metaphysics, trans. Mabelle L. Andison (New York: Philosophical Library, 1946), pp.129–132.

30.1. This is an attempt.

30.2. (attemptāre to test, tamper with.)

29. Can the object be autodidactic or must it be taught a lesson?

28.1. Ways to deal with what we have asked for.

28.2. Ways to deal with what I have asked for.

28.3. Ways to deal with what you have asked for.

28.4. Ways to deal with what they have asked for.

28.5. Ways to deal with what it has asked for.

27. abdominal aortic aneurysm advert Agile And Not But Anja De Klerk Anne Historical Archipelago archive Arrived Autodidacticism BalloonBecoming Bettina Malcomess Build up Cannibalism casual Circle closed cold Concrete didacticism dry Duck (?) Eclipse Emotions Emotions / feelingsExcess Extension extraneous - other insects attach extraneous objects or material to themselves Fit Graph healthy Herzog history hot inside environments Island Jacques Lacan Joy Map monstration Multiple view notes offspring open Optimistic Outside environments Overlay Pain Behaviors Pain Sensation Painting Place plus Projection recto Sculpture secret skin sleep something good Studio Suffering suggestion The White Diamond Thing Thoughts time Tissue Damage Transition Unbecoming Unit verso wet wheels Witness Work

26.1. { } nothing.

26.2. {...} something.

26.3. ...{ }... otherthing.

25.1. The pros and cons of “shared manifold of intersubjectivity”.

25.2. Look into "emotional contagion".

24.1. Clarity through pain.

24.2. Clarity through pleasure.

24.3. claritas, from clarus ‘clear.’

23. A body carrying a head.

22.1. Avoid circles

22.2 Embrace circles

21. Thought is like the Vampire; it has no image, either to constitute a model of or to copy. In the smooth space [...], the arrow does not go from one point to another but is taken up at any point, to be sent to any other point… Deleuze and Guattari, A Thousand Plateaus

20. “Loving The Alien”

19.1. On a good day - ready.

19.2. On a bad day - unprepared.

19.3. On a perfect day - already there.

18.1. Are minor events worth noting?

An event, as defined by Badiou, leaves the dynamics radically changed; the worthless becomes valuable and visa versa and a few other configurations.

Anyhow, the Event has major consequences.

Alain speaks of how we must not imagine we can institute a purely paraconsistent logic [yes and no] to our work… classical logic [yes or no] must be instituted on occasion to keep momentum. One has to say no [or yes] on occasion; if everything was allowed in [or out] it would bloat [or deflate] the thing thereby negating agility.

Minor events may or may not lead up to the [major] event, they are things within themselves. Let us look at these minor events, everyday crossroads that dramatically alter direction.

18.2. If we do not note these decisive moments are they a series of non events vs. if noted an eventful time?

17. EASY TIGER

16. Propelled by the emergence of a recurring form and following a recording experiment led by musician and inventor Brendon Bussy, And Not But is inviting attempts at teaching a sculpture to talk, listen, see and be seen. Mail us and lets see what happens - "Francis Burger" fmburger[at]gmail.com,

"Christian Nerf"

christiannerf[at]gmail.com

15.1. transitio(n-), from transire ‘go across.’

15.2. Being ones own passeur.

15.3. Migration.

14. ? / Perverted?

13.1. Hypothesizer

13.2. Extrapolator

13.3. Iterator

13.4. Symptomologist

12. “… and what about experience, you say? […] A hypothesis is simply a question that has been asked in the right way…” JL

11. And Not But, Francis Burger and Christian Nerf in the new media room at the AVA, Cape Town.

Francis Burger and Christian Nerf’s generative installation And Not But has been extended for a second run with added elements of sound, film, text, painting and sculpture. Propelled by the emergence of a recurring form and following a recording experiment led by musician and inventor Brendon Bussy, And Not But is inviting attempts at teaching a sculpture to talk, listen, see and be seen. Leading up to a collaborative book project titled Unbecoming, And But Not is an optimistic glossarium of ideas, objects, shapes and feelings – part teaching machine, part epiphanic fold.

10. The thing can / should / must be artless.

9.1. snug feeling vs being?

9.2. agile being vs feeling?

8. Are misquotes less valuable than quotes?

7.1. ...attracted to what is deemed of no interest; it is occasionally the case that it is a suppressed thing that is wanting to talk but cant find the words, often it proves to be of no interest other than some humor and or pain.

7.2. The point of philosophy is to start with something so simple as not to seem worth stating, and to end with something so paradoxical that no one will believe it. Bertrand Russell

5. syncolostemon canescens - grey haired sage bush

4. The Ignorant Schoolmaster / Rancière / … he (Jacotot) could teach things that he himself did not know …

3. Talking experiments with Brendon Bussy

Sound recordings -listen-to-And-Not-But-speak

2. Say Teacher Teacher Burger & Nerf 2010

1. You just know that something good is going to happen. Burger & Nerf 2009

ANB

Labels

9.01.2012

-2. Reductio ad absurdum

-3. (mesolimbic) pathway