tag:blogger.com,1999:blog-42788016896804098312024-03-06T02:57:27.622+00:00Vision Forum LondonFatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.comBlogger19125tag:blogger.com,1999:blog-4278801689680409831.post-89369542997244141552012-08-18T17:13:00.000+01:002012-11-19T21:31:32.714+00:00The Publication<div dir="ltr" style="text-align: left;" trbidi="on">
Time Capsules and Conditions of Now is available at:<br />
<br />
<a href="http://www.bannerrepeater.org/" target="_blank">Banner Repeater,</a> London<br />
<a href="http://www.inc-livros.pt/" target="_blank">Inc. livros e edicoes de autor</a>, Porto<br />
<br />
Instructions follow as:<br />
A. Fold out the publication on a large surface<br />
B. Each contribution occupies 3, mostly 4 and sometimes more than 4 pages<br />
C. Follow the key (name-image) on the back cover to find out who has contributed with what<br />
D. Fold the publication via bringing complementary pages together<br />
E. Or fold and read as you wish<br />
F. Do not forget to fold across sides</div>
Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-34450248601734829662012-01-27T15:03:00.001+00:002012-11-21T17:42:13.960+00:00Events - Fig.4: Time Capsules and Conditions of Now<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, Arial, sans-serif; font-size: 17px; text-transform: uppercase;"><b><i>Fig. 4, </i>Events and Publication Launch</b></span><br />
<span class="Apple-style-span" style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, Arial, sans-serif; font-size: 17px; text-transform: uppercase;">Saturday, 7 January 2012, 5-8PM </span><br />
<span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, Arial, sans-serif; font-size: 17px; text-transform: uppercase;"><a href="http://www.davidrobertsartfoundation.com/" target="_blank">DAVID ROBERTS ART FOUNDATION (DRAF),</a> London </span><br />
<span style="font-family: Arial, sans-serif;"><span style="font-size: 12px;"><br /></span></span>
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>Live Diagramming, </i>Lisa Skuret</b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">
Performance as </span><span style="font-family: Arial, Helvetica, sans-serif;">exercise in 'reading', 'writing' and reconfiguration in which audience-participants created a live diagrammatic fiction - a new force at play within the exhibition.</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>On <i>Time Capsules and Conditions of Now</i>, Curator's Talk: </b></span><span style="font-family: Arial, Helvetica, sans-serif;">Fatos Ustek</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>+ Artists' talk: </b></span><span style="font-family: Arial, Helvetica, sans-serif;">Ole Hagen, Kaz, Vanda Playford and Lisa Skuret discuss their work and the research project, Vision Forum London.</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Publication Launch</span></b><br />
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<tr><td style="text-align: center;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5VJob-VU-kY7uoanvLOrJRIpt5jBh-4cWeyg6EgmzlPTGkwc2aRj5rBNkWrnbA2hv6OwyiotzDkr8wUCKAWXMzFf5d9wv228JAsulwvZzpAIdbLIWOnKH7hRKDhOD8ghG9iY9a9vrfy8/s320/%C2%A9Sylvain+Deleu_35.JPG" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">'Live Diagramming', Lisa Skuret</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTrHeoln3-4fMwqfe3so7b4Ig6Ck6R4ZHuGxF95um-qk5_S51VYXzOLTbllLoKmN3T_jVB-Za8SY78GK-4oVeakk2zi1FmFLz10LUd4nZ0p66BqB7DT4XzKLsQIh3FY9dwyM_6bvKZ_g4/s1600/%25C2%25A9Sylvain+Deleu_38.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTrHeoln3-4fMwqfe3so7b4Ig6Ck6R4ZHuGxF95um-qk5_S51VYXzOLTbllLoKmN3T_jVB-Za8SY78GK-4oVeakk2zi1FmFLz10LUd4nZ0p66BqB7DT4XzKLsQIh3FY9dwyM_6bvKZ_g4/s320/%25C2%25A9Sylvain+Deleu_38.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">'Live Diagramming', Lisa Skuret</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEmszKgLvy8ha-pVnsS0buF3SP2jQvBFQH6suM43iP67BY6gwmFFjTFfCtGtjbGnYJLMCbEpZotCFjzxbL584y4jYva5KZ40oaW7cdQrC6R2E5-G_ZbVIIwyiwkDthGxs0wzk-8YsIYPU/s1600/live_diagramming.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEmszKgLvy8ha-pVnsS0buF3SP2jQvBFQH6suM43iP67BY6gwmFFjTFfCtGtjbGnYJLMCbEpZotCFjzxbL584y4jYva5KZ40oaW7cdQrC6R2E5-G_ZbVIIwyiwkDthGxs0wzk-8YsIYPU/s320/live_diagramming.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">'Live Diagramming', Lisa Skuret</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaj05bU_pPejvcOpVL-kT1FC1Q-y4_YG7RNIousqC0Y-RyaJJiFgZ3xRN4OVP4s_f4nzmj28Bwhpn6ZTeZoU_iG43m2Ig1J2VgvAa5Cy3YbtdolmPf30ThYdFrpGd1grlkeAWIYk4s1KU/s1600/%C2%A9Sylvain+Deleu_78.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaj05bU_pPejvcOpVL-kT1FC1Q-y4_YG7RNIousqC0Y-RyaJJiFgZ3xRN4OVP4s_f4nzmj28Bwhpn6ZTeZoU_iG43m2Ig1J2VgvAa5Cy3YbtdolmPf30ThYdFrpGd1grlkeAWIYk4s1KU/s320/%C2%A9Sylvain+Deleu_78.JPG" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fatos Ustek, Curator's Talk</td></tr>
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<tr><td style="text-align: center;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_EwG8u_ihAaws9KRl8XMx8Iv0WFFMZR-j-CdXlQeUiX27AyWy2MKfNeT71rwSsh13oBTP_t4M9aCDhHearmL15sRvM3sdOj0TF5bBGLrn98vkZ7omKxbFt_iKjHqjecjV1asUlDr672w/s320/%C2%A9Sylvain+Deleu_49.JPG" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fatos Ustek, Curator's Talk</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiyFSKp8CH7JM4dZFgEcjXEABCKlxoCMLQu7dfAIrObeCa3azA9cUH9Sf0mw1Np00sNOfAv75Wye_HUYFXZIesM1otz5DKcCYAxjxCA2ZT93FcTDtf6lY62U-7UeDe2Yq3G0R0lr3m0b4/s1600/%C2%A9Sylvain+Deleu_87.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiyFSKp8CH7JM4dZFgEcjXEABCKlxoCMLQu7dfAIrObeCa3azA9cUH9Sf0mw1Np00sNOfAv75Wye_HUYFXZIesM1otz5DKcCYAxjxCA2ZT93FcTDtf6lY62U-7UeDe2Yq3G0R0lr3m0b4/s320/%C2%A9Sylvain+Deleu_87.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Publication Launch</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDjtIvADfYzMjY9QEUsUnRyxiVVghWkl_k8qNAW2AecJB8JPeLLAaQN5orgZKS8kDqU65MlXX-rBUemakS89KGeOifj3xRfx9UY4MYNg5z9q7NNNomCaLzkcD6ikEVAJuk6Srg-8wl0Zs/s1600/%C2%A9Sylvain+Deleu_85.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDjtIvADfYzMjY9QEUsUnRyxiVVghWkl_k8qNAW2AecJB8JPeLLAaQN5orgZKS8kDqU65MlXX-rBUemakS89KGeOifj3xRfx9UY4MYNg5z9q7NNNomCaLzkcD6ikEVAJuk6Srg-8wl0Zs/s320/%C2%A9Sylvain+Deleu_85.JPG" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Publication Launch</td></tr>
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<tr><td style="text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCnylwHxn7icTmCzs_dZpnqIMhyphenhyphenZc6n-hfmaj7KyTmFBeFoWnqONdSZoCHwIXhIILJqFd54nIBlSazZydBa2J5HG5tmUPD-pJgQb7IMmhhJoVUz_lynDNiNDoKeY5mR6wcQctge2Dal70/s320/%C2%A9Sylvain+Deleu_82.JPG" style="margin-left: auto; margin-right: auto;" width="213" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Publication Launch</td></tr>
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Lisa Skurethttp://www.blogger.com/profile/10662726239251012699noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-59345758268268100512012-01-13T01:16:00.003+00:002012-01-17T14:30:51.298+00:00Opening - Fig. 4: Time Capsules and Conditions of Now<div dir="ltr" style="text-align: left;" trbidi="on">
David Roberts Art Foundation, London<br />
5 January 2012<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5nnLNgRnUpA5ZzdSWSCI5eqeGqggXwOCDhHtdSLpvDjZZ2llKNr18EHzYo_I1gR3lzXcCXATMj3vk_tLeoyb4QlPNyIQYvYzMjHc_fZZXAyR-4gykr3YWLEGTb-AhztyttP0MBnRuPWo/s1600/%25C2%25A9Sylvain_Deleu_opening_18.JPG" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiOk3cjqrwLnO-CoK5CRC1zd0exl8urf0iv35Fh05KxoqAByRmyscLTJ6S7d84A1gnglkPOXFxP-5smeEXSlhnoOtZwUPk1gRQeNdWKDukoxVg0WuhOtGQTOvdTUbWsCEptg7YXkssfhI/s1600/%25C2%25A9Sylvain_Deleu_2opening_8.JPG" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em;" width="200"></a><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYlzK7gIgsbS_ny8R-GegpRgPuRthgdeCxzbZHBmHdyXJPLL5alDINjb_JcP-_8tIUnRD6jYjLPxUU_ELTSE6uQY_Os3tzh-wVKxZd5I2YcoIzSZxdtuh6UO4VJoIR2Sx-j_xOQ-N5gNQ/s1600/%25C2%25A9Sylvain_Deleu_opening4.JPG" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em;" width="200"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiOk3cjqrwLnO-CoK5CRC1zd0exl8urf0iv35Fh05KxoqAByRmyscLTJ6S7d84A1gnglkPOXFxP-5smeEXSlhnoOtZwUPk1gRQeNdWKDukoxVg0WuhOtGQTOvdTUbWsCEptg7YXkssfhI/s1600/%25C2%25A9Sylvain_Deleu_2opening_8.JPG" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFJjwulutBwXTPxZ7T9bVD4PXyQ07CdKCZf5mw4rq_36ZMyFugMK41EkYvQHLPS7V5uKWT_eFJK7a41OSzQBx5QsSYYef_VoTcqjQuag9hY0qMSliGFWyy7cNM4f1OzbI48j41pMirXsc/s1600/%25C2%25A9Sylvain_Deleu_opening_15.JPG" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em;" width="200"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5nnLNgRnUpA5ZzdSWSCI5eqeGqggXwOCDhHtdSLpvDjZZ2llKNr18EHzYo_I1gR3lzXcCXATMj3vk_tLeoyb4QlPNyIQYvYzMjHc_fZZXAyR-4gykr3YWLEGTb-AhztyttP0MBnRuPWo/s1600/%25C2%25A9Sylvain_Deleu_opening_18.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"></span></a><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"></span><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"></span></div>
</div>
</div>Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-6120031483664966452012-01-13T00:15:00.014+00:002015-04-09T11:37:04.214+01:00Exhibition @ David Roberts Art Foundation, London<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span class="Apple-style-span" style="font-size: 100%;">Fig. 4: Time Capsules and Conditions of Now - </span></b><i>Installation view</i></div>
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<b></b><br />
<b>Fig. 4: Time Capsules and Conditions of Now, </b>David Roberts Art Foundation, London (2012)<br />
<br />
Works:<br />
<br />
<u>Ground Floor:</u><br />
<br />
Lisa Skuret, Audio-Fictions, 2011, 7 MP3 Players<br />
<i>- As in a Particular Case of Time-Space</i><br />
<i>- Enter Red-Consciousness</i><br />
<i>- One Damn Thing After Another OR An Empathic Mirror-Touch</i><br />
<i>- "Derek Tastes of Earwax" or Now is Five-Fold Synaesthesia</i><br />
<br />
Kaz, <i>Never the Same Stream</i>, 2012<br />
Double video projection installation, glass sheets, mirror ball, and mirror ball motor<br />
<br />
Soledad Garcia, <i>Why Patterns?</i><br />
Letters<br />
<br />
Ole Hagen, <i>I Can See You</i>, 2012<br />
Mixed media<br />
<br />
Vanda Playford, <i>Lucy</i>, 2012, Diptych<br />
Photographic C41 Colour Print<br />
<br />
Lisa Skuret, <i>One Damn Thing After Another OR An Empathic Mirror-Touch</i>, 2012<br />
Fiction-Installation (continued on the lower floor)<br />
<br />
Ole Hagen, <i>I Can Hear You</i>, 2012<br />
Mixed Media<br />
<br />
Vanda Playford, <i>Feline</i>, 2012, Diptych<br />
Photographic C41 Colour Print<br />
<br />
<u>Lower Floor:</u><br />
<br />
Lisa Skuret, <i>One Damn Thing After Another OR An Empathic Mirror-Touch</i>, 2012<br />
Fiction-Installation (as continued from the ground floor)<br />
<br />
Soledad Garcia, <i>Adenosine</i>, 2011<br />
Reel Tape<br />
<br />
Kaz, <i>Chasing Your Own Tale</i>, 2012<br />
Video projection installation with mirror ball and mirror ball motor<br />
<br />
Ole Hagen, <i>I Can Touch You</i>, 2012<br />
Mixed Media<br />
<br />
(all photographs are copyright of <a href="http://www.sylvaindeleu.com/" target="”_blank”">Sylvain Deleu</a>)<br />
<br />
Lisa Skuret wishes to thank Dustin Ericksen and Seth Ayyaz; Ole Hagen wishes to thank Ollie Verschoyle, Kit Poulson and Hareth Pochee; Soledad Garcia wishes to thank Juan Luis Martinez and D21 Galleria de Arte.</div>
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Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-83369896190241710802011-12-12T21:50:00.003+00:002011-12-12T21:56:09.339+00:00Exhibition & Publication January 2012<span style="font-style: italic;">Time Capsules and Conditions of Now</span> is an artistic research project initiated by curator and art critic Fatos Üstek and supported by Vision Forum, Linköpings Universitet, Sweden. The project investigates the notion of encounter through the introduction of a variety of conditions where the reception and recollection of the ‘present moment’ diverges.<br /><br /><span style="font-style: italic;">Time Capsules and Conditions of Now</span> simultaneously takes the form of a publication and an exhibition. The research team is made up of artists, curators and writers who have together embarked upon heterogeneous explorations of the conditions of now in the continuously shifting constellation of time-presence-gravity. Lisa Skuret, Vanda Playford, Kaz, Ole Hagen, Soledad Garcia and Jean Matthee, have undertaken experimentation at sites of historical figures such as Sir John Soane, T.S. Eliot, E. Swedenborg and S. Freud along with first-person experiences of shamanic journeying with Zoe Bran, gardening with quantum physicist Julian Barbour and meditating at 10-day vipassana silence retreat.<br /><br />For this phase of the project the artists and curators in shifting from an engagement within the group, have used their research and experiences to create objects of reflection and interaction for an audience. The exhibition at <a href="http://www.davidrobertsartfoundation.com/exhibitions/_48/">David Roberts Art Foundation</a>, London <span style="font-weight: bold;">(06-12.01.2012)</span> is accompanied by a publication. <span style="font-style: italic;">Time Capsules and Conditions of Now</span> is the outcome of several group actions, but the physical manifestation in the space is also a zone where time speeds up or slows down to reveal the multi-dimensional yet immanently insubstantial omnipresence of the eternal now. The project playfully activates a flux of encounters and transformational objects while the artworks take on eclectic forms: a sound, a letter, a photograph, a diagram, a scent, a journey, a lecture and a book.<br /><br />The publication is a two-dimensional leporello, designed by Simon Josebury, printed at Calvert, London, January, 2012.<br />ISBN: 978-91-978934-6-6Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-44510220384667826582011-06-14T12:37:00.004+01:002011-06-18T09:21:49.539+01:00LUNÄ Table Talk @ Spike Island 15.06.2011<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1OQc88Resx3Ut1Sdwclstcxx3WIqDzJIGACgjplI4YE8_ijJnZ92NSw6O_1JhPwL19tKJ8JqeRUPcrp-l6ADObP4CoJ3eZMUMJ616Vd-6DCgUFQT6t78GxHMeAvdwNUcLGXuBoAEaWSo/s1600/DSC05896.JPG"><img style="cursor: pointer; width: 157px; height: 117px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1OQc88Resx3Ut1Sdwclstcxx3WIqDzJIGACgjplI4YE8_ijJnZ92NSw6O_1JhPwL19tKJ8JqeRUPcrp-l6ADObP4CoJ3eZMUMJ616Vd-6DCgUFQT6t78GxHMeAvdwNUcLGXuBoAEaWSo/s200/DSC05896.JPG" alt="" id="BLOGGER_PHOTO_ID_5619099792323397426" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1HdAGANAQLEhJyidm6S8TTyFU4IL7YJu_caeY45rrwrRsXulO5RE_fxt8h8mWNE9314U3fd-t3_3b3BOTZyHHzUtAPGbJaIirUc-zo0ui5k-rJpeTXO2Sd4PRjDDkD0hFdkpWm_wSpRI/s1600/DSC05897.JPG"><img style="cursor: pointer; width: 157px; height: 118px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1HdAGANAQLEhJyidm6S8TTyFU4IL7YJu_caeY45rrwrRsXulO5RE_fxt8h8mWNE9314U3fd-t3_3b3BOTZyHHzUtAPGbJaIirUc-zo0ui5k-rJpeTXO2Sd4PRjDDkD0hFdkpWm_wSpRI/s200/DSC05897.JPG" alt="" id="BLOGGER_PHOTO_ID_5619100414311562178" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxwDnkIbGYkFcjJC2mqkzbG1_B5nQc2sEyLZLqKadq1BDVvpdiTnhmYvq1d1iCJpQ0T2sh0QJD7A3VCpLj0u7b5sXTgwST8eT7IpDrTIbR7X-85DI1ND-2nzLcNlHnFBcY6p88X7wPqXQ/s1600/DSC05903.JPG"><img style="cursor: pointer; width: 155px; height: 118px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxwDnkIbGYkFcjJC2mqkzbG1_B5nQc2sEyLZLqKadq1BDVvpdiTnhmYvq1d1iCJpQ0T2sh0QJD7A3VCpLj0u7b5sXTgwST8eT7IpDrTIbR7X-85DI1ND-2nzLcNlHnFBcY6p88X7wPqXQ/s200/DSC05903.JPG" alt="" id="BLOGGER_PHOTO_ID_5619100421914320578" border="0" /></a><div>Marjolijn Dijkman's <em><span>LUNÄ</span></em><span> (2010), part of her Spike Island exhibition <em><a href="http://www.spikeisland.org.uk/exhibitions/dijkman">Theatrum Orbis </a></em></span><span><em><a href="http://www.spikeisland.org.uk/exhibitions/dijkman">Terrarum</a></em>, pays tribute to the Lunar Society, a group of eighteenth century thinkers who met to discuss </span><span>the topics of their age including exploration, collecting and the possibility of progress. The artist has reproduced the large oval table around which they held their meetings in a portable, flat pack form that she can transport with her around the world to stage similar conversations.<br />
</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFGH640gA3Ysv_HMwEDntz1ghWAL5AN1oejSf5uzmWstB8fWs6x1PfVa16b-4taojSxhbL0gFNGur0Ww5jN5vDJWcgKoUMnVE2Xp0UN1iH_Ysg5YAyFgr50k86VJtlJ9ELlh8V7j5luNs/s1600/DSC05910.JPG"><img style="cursor: pointer; width: 152px; height: 114px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFGH640gA3Ysv_HMwEDntz1ghWAL5AN1oejSf5uzmWstB8fWs6x1PfVa16b-4taojSxhbL0gFNGur0Ww5jN5vDJWcgKoUMnVE2Xp0UN1iH_Ysg5YAyFgr50k86VJtlJ9ELlh8V7j5luNs/s200/DSC05910.JPG" alt="" id="BLOGGER_PHOTO_ID_5619101497573926914" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl-6CuxStGD5qbTcPkCyX2c_coAn9spKGewxuvgcqiNbnhY9qWp39Ox6myQGGx0mdIZZ_p_Wx70MaNt4tdX1NFrDL9RxTrnLUK5lPM9yQiWhkezuRWQp_ffvkOhJ9kchv2flLdKOo591s/s1600/DSC05913.JPG"><img style="cursor: pointer; width: 151px; height: 114px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl-6CuxStGD5qbTcPkCyX2c_coAn9spKGewxuvgcqiNbnhY9qWp39Ox6myQGGx0mdIZZ_p_Wx70MaNt4tdX1NFrDL9RxTrnLUK5lPM9yQiWhkezuRWQp_ffvkOhJ9kchv2flLdKOo591s/s200/DSC05913.JPG" alt="" id="BLOGGER_PHOTO_ID_5619101497865331666" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNWj7xriPCFEYUlRrU6VskxIt73ccKlAPtm3NLe3KE605DC2LTxz4CmHrqx1ELFxe-N_dHm6H-OuDAR335eisnlIPQcKhHyHjGmgk2_ZQZbWNQ5irbzpxjAZmnYua7iwpjerxTq-dQOAI/s1600/DSC05924.JPG"><img style="cursor: pointer; width: 129px; height: 172px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNWj7xriPCFEYUlRrU6VskxIt73ccKlAPtm3NLe3KE605DC2LTxz4CmHrqx1ELFxe-N_dHm6H-OuDAR335eisnlIPQcKhHyHjGmgk2_ZQZbWNQ5irbzpxjAZmnYua7iwpjerxTq-dQOAI/s200/DSC05924.JPG" alt="" id="BLOGGER_PHOTO_ID_5619101503977870450" border="0" /></a><span></span></div><div></div><div><br />
</div><div></div><div>At Spike Island the group invite the audience to participate in a series of playful engagements with time and presence, while exploring these phenomena through artistic, authorial and curatorial productions.<span> The event coincides with the full moon, in homage to the original Lunar Society. </span></div>Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-38640011860049361882011-05-22T10:19:00.017+01:002011-05-26T23:16:52.276+01:00Gardening with Julian Barbour 21.5.11<div dir="ltr" style="text-align: left;" trbidi="on"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLqt3sZIlEBVdnI7CRf2XhhNsl9JLtbtd3FyWpExIVC9jabSX6s2fS3JNlWQ3wOm_g67SYb7Kp4eWJ489-czJp45DRxCDxz4InTWd4dR12LZv5PaLRB_lmqdc7M0imxkUM5Lhkun0ao3k/s1600/at+the+garden+centre.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5609883189204218818" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLqt3sZIlEBVdnI7CRf2XhhNsl9JLtbtd3FyWpExIVC9jabSX6s2fS3JNlWQ3wOm_g67SYb7Kp4eWJ489-czJp45DRxCDxz4InTWd4dR12LZv5PaLRB_lmqdc7M0imxkUM5Lhkun0ao3k/s200/at+the+garden+centre.jpg" style="cursor: pointer; height: 168px; width: 200px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjng-LxyiUM635vVY0RbcJcJ2w3ZaSbeTo1jexAFr27C5s-DFD5IITu1MS4I9cFZ16Xu2lXtNKYqmC49NFWUBYYHaTJYvtd4F5aMI8sO0rQsczPIHu85Ytrf7BKhp0av_s8hXcm_4inVig/s1600/DSC05698.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5609881733920019698" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjng-LxyiUM635vVY0RbcJcJ2w3ZaSbeTo1jexAFr27C5s-DFD5IITu1MS4I9cFZ16Xu2lXtNKYqmC49NFWUBYYHaTJYvtd4F5aMI8sO0rQsczPIHu85Ytrf7BKhp0av_s8hXcm_4inVig/s200/DSC05698.JPG" style="cursor: pointer; height: 150px; width: 200px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1UCusFyVTxVHtMCn1zsuuSpJOehhXnaNe8ecR4Q1-yQYqzYRAsFy0FhPfC9Tm1iMtKae_WUmZ_qy8By53ds5RyAYzPsyesiJ1IakBc_jQQ_OIrQTb39641Ko8dZgKNbSXAK4xLG9FQYc/s1600/DSC05792.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5609885634648908258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1UCusFyVTxVHtMCn1zsuuSpJOehhXnaNe8ecR4Q1-yQYqzYRAsFy0FhPfC9Tm1iMtKae_WUmZ_qy8By53ds5RyAYzPsyesiJ1IakBc_jQQ_OIrQTb39641Ko8dZgKNbSXAK4xLG9FQYc/s200/DSC05792.JPG" style="cursor: pointer; height: 150px; width: 200px;" /></a><br />
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On the 21st of May, the group visited<a href="http://www.platonia.com/"> Julian Barbour,</a> quantum physicist, at his home in the north of Oxfordshire. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLXBl2g_jwrxt6T959iSll8g2n5AmGQfgfQlAQ71bM_kG_cUfblCfCwikO04ONS-39s_-z3hO_XNFLrU4LRsuP0F_rDaJjZlosHHf2mmJ0ASfm7HZT03ix5ZUdstwSPTMJGSYyNbzScEE/s1600/DSC05742.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5609885646603301842" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLXBl2g_jwrxt6T959iSll8g2n5AmGQfgfQlAQ71bM_kG_cUfblCfCwikO04ONS-39s_-z3hO_XNFLrU4LRsuP0F_rDaJjZlosHHf2mmJ0ASfm7HZT03ix5ZUdstwSPTMJGSYyNbzScEE/s200/DSC05742.JPG" style="cursor: pointer; height: 150px; width: 200px;" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1GAlue4LtPb5sh7F2uL4hkFxWBJiKLWV8yZgvIvGDfxbYwHnU3FzJCY24vtTXaqBh9BeLKemxi85N3pN-ba7m5kOqPipwNWsZ_Lf7wV80f3rdbFNOFjOfcBhClStcFX_5WIhyphenhyphenP4m-0XI/s1600/DSC05705.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5609886192894835922" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1GAlue4LtPb5sh7F2uL4hkFxWBJiKLWV8yZgvIvGDfxbYwHnU3FzJCY24vtTXaqBh9BeLKemxi85N3pN-ba7m5kOqPipwNWsZ_Lf7wV80f3rdbFNOFjOfcBhClStcFX_5WIhyphenhyphenP4m-0XI/s200/DSC05705.JPG" style="cursor: pointer; height: 200px; width: 150px;" /></a><br />
<br />
We dove into various spaces of investigation on the nature of time and features of gravity while working with him in his delightful garden.<br />
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<span style="font-style: italic;">The End of Time</span>, is one of the books in the Time Capsules and Conditions of Now reader which was posted to participants before the start of the physical encounters.<br />
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Barbour defines: "In <span style="font-style: italic;">The End of Time</span>, which is written both for the popular-science market and for scientists and philosophers, I argue that the apparent passage of time is an illusion. If we could stand outside the universe and ‘see it as it is’, it would appear to be static. I arrive at this radical conclusion by considering the most basic structure of Einstein’s general theory of relativity and quantum mechanics. These are the two fundamental theories of physics, and both have been confirmed to exceptional accuracy within their respective domains of validity: large-scale phenomena for Einstein’s theory, microscopic phenomena for quantum mechanics. They have, however, remarkably different structures. In particular, time is treated in completely different ways in the two theories. This presents a severe problem, since all serious workers in the field are convinced that the two theories must eventually be subsumed in a single over-arching theory. This will be the quantum theory of the universe (also called quantum gravity). The finding of this theory presents many great difficulties, of which the ‘problem of time’ is perhaps the most severe. It seems that a choice has to be made between two irreconcilable notions of time. I argue that the only satisfactory solution is to abolish time altogether. I outline a timeless quantum theory of the universe. This includes a proposed solution to one of the most intractable problems of physics: what is the origin of the so-called arrow of time? Why is it that all phenomena distinguish a common direction of time (i.e., why does entropy increase?) but the equations of physics are symmetric with respect to the direction of time? The equations of physics allow not only the shattering of a cup that is dropped on the floor but also the re-assembly of the pieces. However, that is never observed. I believe that a theory of the universe should <span style="font-style: italic;"> explain</span> why entropy increases. In <span style="font-style: italic;"> The End of Time</span>, I suggest that a fundamental asymmetry in the space of all the possible structures of the universe could provide a basis for the arrow of time."<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6PBNnqA4NNMrlVmmGGD2t-izVk5gGSwmskUezU9WhcncqGAlkQ1g8qTegXAhyphenhyphenNC72C_LmU8EetuNeeKyyhCsB5qSaUOcb-zF9ZsNdWNf4qVd7xEJnf5jTS_4GzJceabW-krZRD3-vzHQ/s1600/DSCN1021.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5609885628372893714" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6PBNnqA4NNMrlVmmGGD2t-izVk5gGSwmskUezU9WhcncqGAlkQ1g8qTegXAhyphenhyphenNC72C_LmU8EetuNeeKyyhCsB5qSaUOcb-zF9ZsNdWNf4qVd7xEJnf5jTS_4GzJceabW-krZRD3-vzHQ/s200/DSCN1021.JPG" style="cursor: pointer; height: 150px; width: 200px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoP3m7IUGKfflebR0uAoKJYYF5WqpwEpX2ONEspRfVmibPKlDiEdnSkPxqy0otYxF5DnN2LrOtTDCkbMO4N7VT3zDmdEKkv-EYFnUjqJhi4ImuouwLRi1cvhFUWEKtr3nPcnNnF2kRUEc/s1600/DSCN1017.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5609884110709981906" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoP3m7IUGKfflebR0uAoKJYYF5WqpwEpX2ONEspRfVmibPKlDiEdnSkPxqy0otYxF5DnN2LrOtTDCkbMO4N7VT3zDmdEKkv-EYFnUjqJhi4ImuouwLRi1cvhFUWEKtr3nPcnNnF2kRUEc/s200/DSCN1017.JPG" style="cursor: pointer; height: 150px; width: 200px;" /></a></div>Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-50421222184924180092011-05-16T10:14:00.002+01:002011-05-29T19:39:09.233+01:00Talk at Birmingham University 10.5.11<div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: justify;"><span style="font-weight: bold;">Research Symposium:</span><br /><span style="font-weight: bold;">Time Capsules and Conditions of Now</span><br /><br /><div style="text-align: left;"><span style="font-weight: bold;">Tuesday 10 May 5.30 – 7.30pm</span></div><span style="font-weight: bold;"><br /></span>In a series of BIAD symposiums on interdisciplinary research; researchers, PhD and MA students are invited to a presentation by curator Fatos Ustek and artist/GP Vanda Playford in conversation with Ole Hagen on the notion of speculative research, collaboration and interdisciplinary experimentation.</div></div>Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-15366314912631865952011-05-03T10:38:00.003+01:002011-05-29T18:50:19.546+01:00Journey back, 30.4.11<div dir="ltr" style="text-align: left;" trbidi="on"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9luhFNnTHKQ9pwy2EEegXJzOf38JK-ulrDY8vTuBFZy4zH44RLYPJIPrPB38VJSZnB5FcvKWsK-zlXE2q0zaYmYf7LMev2tpHoGh2VsxjK9wvyJJjWlt15Z836y56Vags6lLAPuKmySw/s1600/DSC05683.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5602423533028645202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9luhFNnTHKQ9pwy2EEegXJzOf38JK-ulrDY8vTuBFZy4zH44RLYPJIPrPB38VJSZnB5FcvKWsK-zlXE2q0zaYmYf7LMev2tpHoGh2VsxjK9wvyJJjWlt15Z836y56Vags6lLAPuKmySw/s200/DSC05683.JPG" style="cursor: pointer; height: 61px; width: 82px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2iav00n18XOKkvLgaPYFyDjh-1M2ySJIt3aTX4SJb-vAm5vAdfeQ-ot_oN-AuOo5nVkIdpXuYHQsUiGUtnDX5bJ14w0KRUyRMh5A4wf9e_jm6Ztl5CCf0Ce4rr_T7BjW6RLmMTJNjB40/s1600/DSC05682.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5602423528271493858" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2iav00n18XOKkvLgaPYFyDjh-1M2ySJIt3aTX4SJb-vAm5vAdfeQ-ot_oN-AuOo5nVkIdpXuYHQsUiGUtnDX5bJ14w0KRUyRMh5A4wf9e_jm6Ztl5CCf0Ce4rr_T7BjW6RLmMTJNjB40/s200/DSC05682.JPG" style="cursor: pointer; height: 61px; width: 82px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9VcLD9ODATYLrvexRLrPmZi50O0lbsBBw1PApfUv60iKeW5tH23F9UbdygjKjEU0xc9keCvrp0GgfLJUh0WMDOW5aK2N6ExGkwwP51x4pnpgtLtor0ud6IAdoWQeTmtf-eeCZ2D66CXU/s1600/DSC05681.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5602423524903250866" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9VcLD9ODATYLrvexRLrPmZi50O0lbsBBw1PApfUv60iKeW5tH23F9UbdygjKjEU0xc9keCvrp0GgfLJUh0WMDOW5aK2N6ExGkwwP51x4pnpgtLtor0ud6IAdoWQeTmtf-eeCZ2D66CXU/s200/DSC05681.JPG" style="cursor: pointer; height: 62px; width: 83px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6_e2fYgNNPUBN5GnyunrWlE6jv8o8tRhR3x6H50poNNMrHR2Yxyk8l7vKYhgU8IVcgo6bvLjagENb8GJUZJsqthnMRBWcVa4EnVwRLpQxKRA_Qfr_ZFD-9ytxIVDxkcfVKGtXpFx-900/s1600/DSC05684.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5602423524540549538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6_e2fYgNNPUBN5GnyunrWlE6jv8o8tRhR3x6H50poNNMrHR2Yxyk8l7vKYhgU8IVcgo6bvLjagENb8GJUZJsqthnMRBWcVa4EnVwRLpQxKRA_Qfr_ZFD-9ytxIVDxkcfVKGtXpFx-900/s200/DSC05684.JPG" style="cursor: pointer; height: 62px; width: 82px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitohfUeYjFaJV-nIIjvM1Qv73pzCTTzajux297qc8RTZYbPxzpLlbWFUqAaj-vasAWYLJPmmncVz9nckZU1fzwEoYg7P1PM42WUUdaJ8AxDmgMoVwSPvhKjpqwcvVElrIUicBdehyphenhyphenTvqo/s1600/DSC05687.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5602423521513867090" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitohfUeYjFaJV-nIIjvM1Qv73pzCTTzajux297qc8RTZYbPxzpLlbWFUqAaj-vasAWYLJPmmncVz9nckZU1fzwEoYg7P1PM42WUUdaJ8AxDmgMoVwSPvhKjpqwcvVElrIUicBdehyphenhyphenTvqo/s200/DSC05687.JPG" style="cursor: pointer; height: 63px; width: 83px;" /></a><br /><br /><br /><div style="text-align: right;"><div style="text-align: right;"><span style="font-style: italic;">Objects of Resemblance, Correspondance and Reflection</span> <span style="font-style: italic;">by Fatos Ustek</span></div><br /><div style="text-align: left;">On the train journey back to London, Fatos has distributed five envelopes specially accustomed to each participant carrying various selection of objects. She has asked from the receivers of the envelopes to reflect upon a possible relationship with the objects-contained, which have been collected by the universal consciousness during their retreat and channelled through a selection taken place beforehand. Upon a completing a narrative shared in the group, each could pick one of the objects and claim ownership.<br /><br /><br /></div></div></div>Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-27717211061107697292011-05-03T10:25:00.004+01:002011-05-26T17:36:35.593+01:00Dhamma Dipa Vipassana Retreat 19-30.4<div dir="ltr" style="text-align: left;" trbidi="on"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMvMbM50ubdz-u_5sPjU25wdQfFtM2CKMMGvHB72uiubb2YZSffXiXk22EiLa2ZHwnketWd41TJ41Hg-OU4exdfNbSi_oxzebk9r3yS_C7r5rHR9F4C_OuDidk9-lJBn-t2GXjXPWj72I/s1600/P3310082.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5602419778169278146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMvMbM50ubdz-u_5sPjU25wdQfFtM2CKMMGvHB72uiubb2YZSffXiXk22EiLa2ZHwnketWd41TJ41Hg-OU4exdfNbSi_oxzebk9r3yS_C7r5rHR9F4C_OuDidk9-lJBn-t2GXjXPWj72I/s200/P3310082.JPG" style="cursor: pointer; height: 200px; width: 150px;" /></a><br />
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<span style="font-style: italic;">Between 19 - 30 April</span><span style="font-style: italic;"> we attended a Vipassana Retreat at Dhamma Dipa, Hereford. For 10 days, we abstained from talking, stealing, killing, sexual conduct and lies - attaining Noble Silence - with a regularity of eating and meditating, we have studied the mastery of 'now'.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQqnfwo2hiBTE6hnB4vRmH-MdUuko7i-2Nov84wkxKnSOocPeFP8peQ66fIl7kp4x-ZK8fNspYVhlFM0ft7kH7Uc9fN6LQeilZOBLoV-Zy6uxd0jRpv0S6M3vcwdyup4xWzQsqiYEMLh4/s1600/P4010103.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5602419287137185794" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQqnfwo2hiBTE6hnB4vRmH-MdUuko7i-2Nov84wkxKnSOocPeFP8peQ66fIl7kp4x-ZK8fNspYVhlFM0ft7kH7Uc9fN6LQeilZOBLoV-Zy6uxd0jRpv0S6M3vcwdyup4xWzQsqiYEMLh4/s200/P4010103.JPG" style="cursor: pointer; height: 150px; width: 200px;" /></a><br />
<a href="http://www.dhamma.org/"><span style="font-weight: bold;">Vipassana</span></a>, which means to see things as they really are, is one of India's most ancient techniques of meditation. It was rediscovered by Gotama Buddha more than 2500 years ago and was taught by him as a universal remedy for universal ills, i.e., an <a href="http://www.dhamma.org/en/art.shtml">Art Of Living</a>. <br />
<a name='more'></a>This non-sectarian technique aims for the total eradication of mental impurities and the resultant highest happiness of full liberation. Healing, not merely the curing of diseases, but the essential healing of human suffering, is its purpose. <br />
<a href="http://www.dhamma.org/"><span style="font-weight: bold;">Vipassana</span></a> is a way of self-transformation through self-observation. It focuses on the deep interconnection between mind and body, which can be experienced directly by disciplined attention to the physical sensations that form the life of the body, and that continuously interconnect and condition the life of the mind. It is this observation-based, self-exploratory journey to the common root of mind and body that dissolves mental impurity, resulting in a balanced mind full of love and compassion. <br />
The scientific laws that operate one's thoughts, feelings, judgements and sensations become clear. Through direct experience, the nature of how one grows or regresses, how one produces suffering or frees oneself from suffering is understood. Life becomes characterized by increased awareness, non-delusion, self-control and peace. <br />
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Since the time of Buddha, <a href="http://www.dhamma.org/"><span style="font-weight: bold;">Vipassana</span></a> has been handed down, to the present day, by an unbroken chain of teachers. Although Indian by descent, the current teacher in this chain, <a href="http://www.dhamma.org/en/goenka.shtml">Mr. S.N. Goenka</a>, was born and raised in Burma (Myanmar). While living there he had the good fortune to learn Vipassana from his teacher, Sayagyi U Ba Khin who was at the time a high Government official. After receiving training from his teacher for fourteen years, Mr. Goenka settled in India and began teaching Vipassana in 1969. Since then he has taught tens of thousands of people of all races and all religions in both the East and West. In 1982 he began to appoint assistant teachers to help him meet the growing demand for Vipassana courses.<br />
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The technique is taught at ten-day residential courses during which participants follow a prescribed <a href="http://www.dhamma.org/en/code.shtml">Code of Discipline</a>, learn the basics of the method, and practice sufficiently to experience its beneficial results. <br />
The course requires hard, serious work. There are three steps to the training. The first step is, for the period of the course, to abstain from killing, stealing, sexual activity, speaking falsely, and intoxicants. This simple code of moral conduct serves to calm the mind, which otherwise would be too agitated to perform the task of self-observation. <br />
The next step is to develop some mastery over the mind by learning to fix one's attention on the natural reality of the ever changing flow of breath as it enters and leaves the nostrils. <br />
By the fourth day the mind is calmer and more focused, better able to undertake the practice of <a href="http://www.dhamma.org/"><span style="font-weight: bold;">Vipassana</span></a> itself: observing sensations throughout the body, understanding their nature, and developing equanimity by learning not to react to them. <br />
Finally, on the last full day participants learn the meditation of loving kindness or goodwill towards all, in which the purity developed during the course is shared with all beings. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKRiQkjMWn-Qe_Ea1q9hKFgw54h3j1lT6TSMdzAoYG_8aeCB1FGtYO5VrgFk2F7eWNmihjlp3pIfB8vQztL54V0TsK6kYgBWvInlrFDr-Q-QwgC2NVbwdwdZXt0Jj5nFR80OwYNJEorqg/s1600/DSC05669.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5602418904753110066" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKRiQkjMWn-Qe_Ea1q9hKFgw54h3j1lT6TSMdzAoYG_8aeCB1FGtYO5VrgFk2F7eWNmihjlp3pIfB8vQztL54V0TsK6kYgBWvInlrFDr-Q-QwgC2NVbwdwdZXt0Jj5nFR80OwYNJEorqg/s200/DSC05669.JPG" style="cursor: pointer; height: 157px; width: 210px;" /></a></div>Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-31932643270593156082011-04-30T18:45:00.003+01:002011-06-27T13:18:20.024+01:00Train journey to Hereford 19.04.11by Kaz<br /><br /><div dir="ltr" style="text-align: left;" trbidi="on">We all met at Paddington Station with our bags to go on a train journey to Hereford via Newport Gwent.<br /><br />Kaz had requested the member of the group to watch the movies listed below relating to train journeys before arriving at Paddington.<br /><br />On the train, each member was issued with a notebook.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhsM7i8xT2ifbQqZX2ch2mR1ukHndefv9PSMK969VsuspV4A93kvTziQIBqqsaJmVFECMqAjWOOSO-NTh2TOeKp7bgocJNXhXcUjZdcuVjEMYFCsLRiuLmiG_OL269Sip0Ktgi_yb2F9o3/s1600/notebook.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5612210147234897218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhsM7i8xT2ifbQqZX2ch2mR1ukHndefv9PSMK969VsuspV4A93kvTziQIBqqsaJmVFECMqAjWOOSO-NTh2TOeKp7bgocJNXhXcUjZdcuVjEMYFCsLRiuLmiG_OL269Sip0Ktgi_yb2F9o3/s200/notebook.jpg" style="cursor: hand; cursor: pointer; height: 200px; width: 160px;" /></a><br /><br /><a name='more'></a><br /><br />The task was to sit alone by a window and look outside, allowing the mind to drift with the scenery, observing what comes to mind. These observations were then recorded according to the three headings: 'Present', 'Past', 'Future' and written down in the notebook.<br /><br />Movies given before the trip.<br /><br />rfk funeral train<br /><a href="http://www.youtube.com/watch?v=OG4vJxi9Kis" target="_blank">http://www.youtube.com/watch?v=OG4vJxi9Kis</a><br /><br />spirited away<br /><a href="http://www.youtube.com/watch?v=usEM_cwsV9M" target="_blank">http://www.youtube.com/watch?v=usEM_cwsV9M</a><br /><br />london to brighton in 3.5 mins<br /><a href="http://www.youtube.com/watch?v=wfGAspObwHc" target="_blank">http://www.youtube.com/watch?v=wfGAspObwHc<br /></a><br /><br />lumiere bros<br /><a href="http://www.youtube.com/watch?v=1dgLEDdFddk" target="_blank">http://www.youtube.com/watch?v=1dgLEDdFddk</a><br /><br />nyc metro<br /><a href="http://www.youtube.com/watch?v=QjKL8_er34s" target="_blank">http://www.youtube.com/watch?v=QjKL8_er34s</a><br /><br />stalker<br /><a href="http://www.youtube.com/watch?v=Rk1PxpZ-hfE&feature=related" target="_blank">http://www.youtube.com/watch?v=Rk1PxpZ-hfE&feature=related</a><br /><br />chemical brothers 'start guitar'<br /><a href="http://www.youtube.com/watch?v=0S43IwBF0uM" target="_blank">http://www.youtube.com/watch?v=0S43IwBF0uM</a></div>kazhttp://www.blogger.com/profile/17297044799686483686noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-60497419309331565272011-04-18T18:34:00.036+01:002013-04-20T14:18:56.800+01:00Swedenborg Encounter, 17.4.11<div dir="ltr" style="text-align: left;" trbidi="on">
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Intuiting the Swedenborgian UFO</span><span style="font-family: 'courier new'; font-size: 100%;"><br />
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<span style="font-size: 100%;">by Lisa Skuret<br />
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<span style="font-size: 100%;">A site-specific performative workshop exploring methods of collaborative ‘reading’ and ‘writing’, time, and intuition through exercises drawing on polymath and mystic Emanuel Swedenborg’s extensive knowledge productions. Activities included singing with and after-service tea, biscuits and conversation with members of the Swedenborgian Church congregation; and outdoor group exercises exploring methodologies from psychometry, flash-fiction writing, meditation practice, and chaos magic.</span></div>
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<span lang="EN-US" style="font-size: 85%;">On the day, Lisa first took us to attend a service at the Swedenborgian New Church in London. After the Sunday service, we were welcomed by the other churchgoers (some of whose families had been involved with the New Church in England and North America since its inception) and invited for tea, brownies & chat in the church hall. Lisa then brought us outside to a green space where she read a letter addressed to both the mystic Emanuel Swedenborg, as well as to the group, in which she explored the diagrammatic function and forms of Swedenborg’s thought. At the end of the letter, Lisa invited Swedenborg to join us for some exercises in 'reading' and 'writing' playfully inspired by one of her ongoing projects <i>Love and the Diagrammatic</i></span><span lang="EN-US" style="font-size: 85%;">.</span></div>
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<span lang="EN-US" style="font-size: 85%;">In the first exercise, a reading-writing circle, <u>Flash Correspondences or Psychometry and Flash Fiction</u>, we used the objects that we brought with us that resonated with our personal conception/perceptions of time as an entry-point into a fiction.</span><br />
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<span lang="EN-US" style="font-size: 85%;">Lisa then shared a flash correspondence which she had written with an object from the Swedenborg Society in Bloomsbury:</span></div>
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<span lang="EN-US" style="font-size: 85%;">My starting point for this correspondence comes from a vision of one of your <i>Secrets of Heaven</i></span><span lang="EN-US" style="font-size: 85%;"> sitting out of sequence and, without the aid of a ladder, beyond my reach on a lone library shelf, or rather, a coarsely assisted wooden plinth - like gallows masthead - the figurehead of your spacetime ship with its sparse living quarters and quiet captain.</span><br />
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<span lang="EN-US" style="font-size: 85%;">I am love, but it’s spontaneous combustion. I wonder now if it’s more a compulsive beauty. Arranged and rearranged, I don’t think that she would have sensed my presence. You see, up until now, you could say that the conversation had been forced through a narrow corridor of his enthusiasm and she hadn’t had any effect on de-pedestalizing his, or come to think of it, my church-like demeanor. Unnaturally positioned for flight, the shadow of a blank wall, my chapters feel more like tombstones. </span></div>
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<span lang="EN-US" style="font-size: 85%;">Then addressing the 7 members of the group, Lisa introduced the significance of the number 7, as that which corresponds to the spiritual (for Swedenborg and others), and acknowledged the multiple creative manifestations of this number. This opened to the next exercise…</span></div>
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<span lang="EN-US" style="font-size: 85%;"><u>Group UFO or Love in the Diagrammatic</u>, was an exercise for the group related to the upcoming time of the retreat and to our group encounters and output.</span></div>
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<span lang="EN-US" style="font-size: 85%;"><span style="font-family: arial;">We began with the sentences that we had each brought with us which expressed what we would like to find through our group encounters bearing in mind one of Swedenborg’s messages that in life you discover what you love while in the afterlife you become what you love.</span><br />
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<span lang="EN-US" style="font-size: 85%;">Through a process of glyph condensation and expansion (adapted from Austin Osman Spare's process of sigilization) we created, together, a group diagram of forces. The first manifestation of diagrammatic form was through collective drawing. We then conducted a process of object activation. Attempting to internalize the collective object into the group unconscious by embodying it through wild public dancing and sonification, we simultaneously, manifested a sonic sigil reverberating through the cosmic field.</span></div>
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<span lang="EN-US" style="font-size: 85%;">Listen to the Sonic Sigil <a href="http://www.rudepixel.pwp.blueyonder.co.uk/Sonic/Sonic_Sigil_02_C.mp3">here</a></span><span style="font-style: italic;"><span style="font-size: 85%;">.<br />
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Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-59904006295817717762011-02-21T18:27:00.020+00:002011-05-30T18:21:19.530+01:00Shamanic Journey with Zoe Bran<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHDB35ixBCu5PXR1fYd-6khOeIVJko_hon3_fd5BPn00aKivO8U9_MWwEt5ezqSZ0vAOUgoUyFkn20EEIA9dUao6wbOsyBtVlPHZ6VOZYgCaNK0Zas9A6chR7BEm3gctt1DS-1xt4SR0Y/s1600/bigdancingshaman09.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHDB35ixBCu5PXR1fYd-6khOeIVJko_hon3_fd5BPn00aKivO8U9_MWwEt5ezqSZ0vAOUgoUyFkn20EEIA9dUao6wbOsyBtVlPHZ6VOZYgCaNK0Zas9A6chR7BEm3gctt1DS-1xt4SR0Y/s1600/bigdancingshaman09.jpg" /></a></div><br />
<i>The group spent the weekend of 5-6 January 2011 with Zoë Brân who generously introduced them to Shamanism and Shamanic Journeying.</i><br />
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Earlier this year our group worked with Shaman UK, a London-based organisation facilitated by Zoë Brân. The possibilities of working with shamanism, through altered consciousness and the shamanic journey, came to our attention when we took part in a presentation by one of our members, Vanda Playford. Vanda had given a presentation to the group on the life and work of TS Eliot, a presentation which in part derived from a shamanic journey she made with Zoë Brân for the purpose of exploring Eliot from a fresh perspective. This way of working seemed unusually creative and stimulating and so the weekend course was arranged.<br />
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On the first day of the course we all learned the techniques of shamanic journeying as only Vanda had ever experienced this before. One of the ways in which Zoë described this process was 'moving from the left, analytical, structuring brain, into the right, sensing, feeling, visualising brain'. Listening to live drumming helped to alter consciousness and move from a state of ordinary thought, into a state of heightened awareness in which we could ask questions and receive visual and verbal information. The potential for this way of working quickly became clear and by the second day we were ready to use the technique of shamanism for exploring our current joint project <b>Time Capsules and Conditions of Now a.k.a Vision Forum – London</b>. Through discussion and targeted shamanic journeys, which looked explicitly at the content and form of our upcoming exhibition and publication, we were able to work together in a new and dynamic way. By the end of the weekend we had an outline content and form for the presentation and had a strong feeling of how to work together in a harmonious way. For more information about Zoë Brân and her work with creative professionals: <a href="http://www.shaman.uk.com/" target="_blank">http://www.shaman.uk.com/</a> </div>Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-16161028071072569042010-11-27T23:42:00.013+00:002011-05-30T18:16:38.887+01:00TS Eliot 13.11.10<div dir="ltr" style="text-align: left;" trbidi="on"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKjnRN1U9O6i5stuzRHkVtkh9vT0hJvTeefRLDjxuTwh6TrgsM0SAuOILhfyGCslwCPGbxWGqW67sn1dGlmXX1udo8HNwoixVKdrl_mcAKQXa5ksxpagxJNK_B7d2CEkb9M2eswNrXe14t/s1600/st_stephens.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5544379253459290946" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKjnRN1U9O6i5stuzRHkVtkh9vT0hJvTeefRLDjxuTwh6TrgsM0SAuOILhfyGCslwCPGbxWGqW67sn1dGlmXX1udo8HNwoixVKdrl_mcAKQXa5ksxpagxJNK_B7d2CEkb9M2eswNrXe14t/s320/st_stephens.jpg" style="cursor: pointer; height: 129px; width: 172px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwt80mdulvdZlUv7rSlsgfF1veV4VXkE2AkL-P4w2kuM1-LxzVSynCAHyuvfTj-WRQ1LibtfAk5nCTYFSoucrIED_AHRwBtgBOTBXo6PuczQIojE0fB7idGONt9I02r_gOe_avO8sj9y8/s1600/elliot_1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5548292990850143490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwt80mdulvdZlUv7rSlsgfF1veV4VXkE2AkL-P4w2kuM1-LxzVSynCAHyuvfTj-WRQ1LibtfAk5nCTYFSoucrIED_AHRwBtgBOTBXo6PuczQIojE0fB7idGONt9I02r_gOe_avO8sj9y8/s200/elliot_1.jpg" style="cursor: pointer; height: 130px; width: 193px;" /></a><br />
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<b>Time, Narrative and T.S. Eliot</b><br />
<div style="text-align: right;">by Vanda Playford</div><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOLqzopkWsWxSjyluw3nU1HkkQ32OGe5sGFp0YyGKxudg_Qxwpe2zf5-u9-JyAQT3p95Yr_n1-WZLVUmFXfJiCQTI0tFHQr9BVa8acF9ieTIfjhI-u2bo1oTmbO1r9oUXSIKKcVtI6vVk/s1600/DSC05530.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5548295543952511442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOLqzopkWsWxSjyluw3nU1HkkQ32OGe5sGFp0YyGKxudg_Qxwpe2zf5-u9-JyAQT3p95Yr_n1-WZLVUmFXfJiCQTI0tFHQr9BVa8acF9ieTIfjhI-u2bo1oTmbO1r9oUXSIKKcVtI6vVk/s200/DSC05530.JPG" style="cursor: pointer; height: 88px; width: 118px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgupU-DBu1f8eymyrNUGXUsW9J-LFNE4OB0O_wRkWGUKdnDRATKP78SwdHpQQno2e2uoxTtexU_c_qT3Or0d5jghN182jqyQiZ5vofiUt93BaPSzWBuseARek1bBThvDSCCxB4zaJ9Z6h0/s1600/DSC05528.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5548295534363549170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgupU-DBu1f8eymyrNUGXUsW9J-LFNE4OB0O_wRkWGUKdnDRATKP78SwdHpQQno2e2uoxTtexU_c_qT3Or0d5jghN182jqyQiZ5vofiUt93BaPSzWBuseARek1bBThvDSCCxB4zaJ9Z6h0/s200/DSC05528.JPG" style="cursor: pointer; height: 88px; width: 118px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTInI8Tv33LohybQmR9IEMx_pJoczr-ckvLz32Iav18M-pkU6UrqldMLR1H9d-UOMm5-NhPjJpQ41i5t37-HRWRvhLfvRCrv-_JMNt4Njfh9wYXuvikUVt5wy36q-gJP5fKEOsNyxSEXc/s1600/DSC05531.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5548294295395604626" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTInI8Tv33LohybQmR9IEMx_pJoczr-ckvLz32Iav18M-pkU6UrqldMLR1H9d-UOMm5-NhPjJpQ41i5t37-HRWRvhLfvRCrv-_JMNt4Njfh9wYXuvikUVt5wy36q-gJP5fKEOsNyxSEXc/s200/DSC05531.JPG" style="cursor: pointer; height: 87px; width: 115px;" /></a><br />
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<i>Vanda Playford decided to take us to two different venues, on the trace of T. S. Eliot. After meeting at the tube station in Kensington, we walked to the church that Eliot was a warden for 12 years of his late life. Vanda has informed us on Eliot and the peculiarities of his life that has taken her interest. After walking in the church we have sat on a corner where Vanda read us through her Shamanic journey she has taken to prepare for today's meeting. her journey was so resonant with strong points on Eliot's practice. Following, we started reading from Eliot's poetry (Four Quartets, mainly). After spending a good amount of time, and arriving at the limits of the patience of the priest, we have left the premises to go and have a drink at Eliot's local pub. There waited another task. Vanda asked us to write a story (in automated writing) on time on the cash machine rolls. After the session of writing, everyone switched their story which were read aloud. We have rolled our stories back and placed in a box to be thrown to the lake in the neighborhood. (For many reasons, neither the information of the lake nor the time will be announced.)</i><br />
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My first presentation for the collaborative art project with Vision Forum in Autumn 2010 was a creative intervention on the work of T.S.Elliot. Elliot was chosen because of his interest in time, mysticism and a desire to transcend the material world. I wanted to approach this task through a form that would involve all of the participants and would enable us to understand elements of Elliot’s vision and intellect. My preparation for the presentation involved going on the unlikely route of a Shamanic Journey to meet the Spirit of T.S. Elliot. <br />
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<i>Thoughts on Shamanic Journeying in Shamanism</i><br />
I work as an Artist and a Medical Doctor and became interested in Shamanism through working with a group of healers from Mexico who practice Mexhika Pactli. This is a pre-hispanic practice of Medicine, and in a western context a pre-modern practice of medicine, elements of which are Shamanic. Over the past five years I have also learnt a great deal about the power of shamanism and shamanic journeying through working with Zoe Bran who is a Shaman. Zoe has taught me how to journey and how to use this process to communicate with the spirits and tap in to an extraordinary visual, intelligent and powerful world. A world outside my every day consciousness, which through the experience of journeying connects me to the ancient and the present and possibly even the future. Quantum Physics is teaching western scientists to understand that everything that we categorise in to past, present and future is merely a way of organising our perceptions. But these categories limit our understanding of the Universe. Contemporary physics shows how time is a Newtonian construct and is now suggesting with increasing degrees of confidence that in reality everything we perceive and have perceived and much more, is in the now. My experience of shamanic journeying does not prove or disprove these theories but whilst in the journey, one feels connected to all that is possible in the Universe. I have no way of explaining this phenomena. My empirically trained left brain struggles to accept the idea of Spirit, but immersed in the journey when my right brain is liberated, and seemingly relating to and through the world of spirit, this seems to open up the possibility of limitless time and space and endless possibilities to link these spaces as if in the same space now. Whilst in the journey one is in an altered state of consciousness which is neither a dream state or a waking state but perhaps something in between. Unlike a dream, one is conscious of driving the journey in search of the answer to questions asked, but the journey requires no effort of thought, it appears. These journeys which I see and describe in to a story are too rich and spontaneously inventive for me to simply make up whilst lying down and thinking for ten minutes, and as such are my evidence for the existence of this virtual world of spirit. As a person trained in Maths and Physics, realising that physicists are describing the possibility of the existence a similar world with similar phenomena (but with slightly different methodology and terminology), adds to my confidence in this ancient shamanic process and a desire to continue to work in this way. I have used journeying to understand and resolve personal, practical and intellectual problems. The journey carried out with Zoe at her home, helped considerably with the intellectual task of presenting the works of Elliot to Vision Forum. Eliot’s formidable knowledge of philosophy, time and mysticism is evident in the writing of his most famous work <i>The Four Quartets</i>, which is the text I was most inspired by and wanted to think about in relation to the presentation. Realising that I only had a short time to research Eliot’s life and work, I decided to go on a shamanic journey to ask for a way of approaching this ambitious task. Amazingly and completely unexpectedly, the journey provided me with a way in to understanding something of Eliot's work and process. It also gave me source material, ideas and a structure for my talk. To wit, the talk itself became a journey where we carried out readings and performances at Eliot's Anglican Church in Kensington, walked past his home, had lunch and wrote stories in the pub that was his local and finally walked in the dark to his favourite lake in Hyde Park where we finished our ritual and homage - witnessed by the police in their sate of the art tracking helicopters who were clearly very suspicious of our activities.<br />
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Below is a transcription of the journey:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisuA0DSiQJ5G8y5MgPwX-PeIB6hCpOa8_uJMKGuJQ223hwAIPZI1lQYIB8aGNDxNh1HtmQ02ScwZmEr8VhNcUMLyIqphRv_MxZWFlpBOPPrzrkJ3lzWF6a-sqSOZRCMh_sLO4M-qMqWe0/s1600/DSC05535.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5548294285073536386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisuA0DSiQJ5G8y5MgPwX-PeIB6hCpOa8_uJMKGuJQ223hwAIPZI1lQYIB8aGNDxNh1HtmQ02ScwZmEr8VhNcUMLyIqphRv_MxZWFlpBOPPrzrkJ3lzWF6a-sqSOZRCMh_sLO4M-qMqWe0/s200/DSC05535.JPG" style="cursor: pointer; height: 96px; width: 127px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX0VbA3Rld7XvrETci_wIc5IJ35OwnYWqzoQZj-cl-8f31q4r7NanH_-_5TRrOE3bUX9wkr40QHo_JnXMvw_fHIrvBoVCWoZDCSsjjuOqptJueaEbaFTQ1H6Yej-QaQmWnp6-ZJnCHE44/s1600/elliot_5.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5548294276254551554" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX0VbA3Rld7XvrETci_wIc5IJ35OwnYWqzoQZj-cl-8f31q4r7NanH_-_5TRrOE3bUX9wkr40QHo_JnXMvw_fHIrvBoVCWoZDCSsjjuOqptJueaEbaFTQ1H6Yej-QaQmWnp6-ZJnCHE44/s200/elliot_5.jpg" style="cursor: pointer; height: 97px; width: 145px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4zTPizB_3jXAyo3uTJiHwsdtmN9smLU-wkAsm73WoYk_Jor2Rrd9L4heMHVb2J5MFfKBMi9a_-PwStWaNEmbs0Q7nON2y4oZ2vUq1zJRuokTMHdLogTSPXOlJ2Z0GFfFrIeUvA4FIhYM/s1600/elliot_6.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5548294269880579842" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4zTPizB_3jXAyo3uTJiHwsdtmN9smLU-wkAsm73WoYk_Jor2Rrd9L4heMHVb2J5MFfKBMi9a_-PwStWaNEmbs0Q7nON2y4oZ2vUq1zJRuokTMHdLogTSPXOlJ2Z0GFfFrIeUvA4FIhYM/s200/elliot_6.jpg" style="cursor: pointer; height: 97px; width: 147px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl2SHRYLbx7uKt2xQdznSGl2PjVO7C0ir8dlF9lmOY8KjNsOqfqp72WODbA_ENt8522yv09jMElIAfvnxF4fKL_cJ5VvoYpRx4v-7TfYoBh5nla1DnQEbLH1b_vHTA_0k3sBrDwAeC0bQq/s1600/vanda_depositing_box.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5544379567344718610" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl2SHRYLbx7uKt2xQdznSGl2PjVO7C0ir8dlF9lmOY8KjNsOqfqp72WODbA_ENt8522yv09jMElIAfvnxF4fKL_cJ5VvoYpRx4v-7TfYoBh5nla1DnQEbLH1b_vHTA_0k3sBrDwAeC0bQq/s320/vanda_depositing_box.jpg" style="cursor: pointer; height: 95px; width: 72px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjISrloawk198inmywSAXmOmsfAtOUcXHkmgbOk7mGXCcpXc6bRwEppcg8fLAdisdknyxWdfFjMdlkS-Zu4KK9C8BLDVGJEp9vkQhakVCWD1y3gDe695btm3ASW_FSjqUmpZiV6Si4GzGg6/s1600/boating_lake.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5544379420245731266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjISrloawk198inmywSAXmOmsfAtOUcXHkmgbOk7mGXCcpXc6bRwEppcg8fLAdisdknyxWdfFjMdlkS-Zu4KK9C8BLDVGJEp9vkQhakVCWD1y3gDe695btm3ASW_FSjqUmpZiV6Si4GzGg6/s320/boating_lake.jpg" style="cursor: pointer; height: 94px; width: 126px;" /></a><br />
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<i>TS Eliot Journey</i><br />
I am going on a journey to the middle world to meet my spirit helper to ask him to lead me to the spirit of T.S Eliot so that I can experience and understand his ideas on time and narrative.<br />
(ZOE - We create or own reality, that’s what life is)<br />
So I am setting off heading up to Wales in an Airplane, leaving city airport at rapid speed, and driving over the land, over the welsh mountains, coming in to view of Cardigan Bay, sweeping round Cardigan Bay, and landing in a small airport near Abersoch, and I’m taking a Taxi to Abersoch, driving rapidly thro’ the village up the pathway towards the Shanty and I’m paying the Taxi driver and walking down the steps to the Shanty and I’m looking for my spirit helper and I am calling out to him, and I know he’s around when he is hiding, and I’m going in to the house, walking around the house, walking down to the headland and then I see him on the beach and I call to him and he rushes up the steps and we sit on the headland in the wind and he is very friendly and playful and he is asking me where the hell I’ve been, and I say I’m really sorry I haven’t been to see you but I can see you’ve made a good job of looking after the Shanty and then he says “so, how can I help you?” And I ask him if he has heard of T.S Eliot the Poet, and he says “No” he hasn’t heard of T.S.Eliot, so I explain to him that he is a famous 19C 20thC poet and that he is interested in time an narrative and things spiritual and that he had a bad marriage and that I want to connect to his Spirit and can he lead me there? And then the spirit helper leaps up in to the air, barking, he thinks this is hilarious, and he says “yes, yes I’ll go and have a look” and he dives off, far away thro’ the bracken to the Shanty and I completely lost sight of him, and I walk back up to the Shanty garden, I sit in the garden, waiting for the dog to come back, and er, the wind’s got up and the sun is shining, there are white horses over the sea and I can hear the dog racing around but I don’t know where he is. He is sniffing and scrabbling in bracken and brambles, ………..and I’m still waiting and I can hear the sea crashing, the waves crashing…………….I can hear the spirit helper barking, that’s’ the thinking….wagging his tale furiously, ……………and then he comes in to the garden and he grabs me by the hand and leads me down over the headland down the steps to the beach, to the waves, and he drags me in to the sea and tells me to come swimming with him and am swimming out in to the sea and he tells me to dive under the water with him and he'll look after me and not to be frightened of the jelly fish. (Water is about emotion) And we are swimming under the water, we’re going down in to the murky sea, and there are jelly fish and seaweed every where and then he leads me to the sea bottom, and I see a treasure chest, and he tells me to open the treasure chest which is silver, and there is no key, and I open it up, thousands and thousands of little pages of writing flow out of the treasure chest, and he says “there is the spirit of T.S.Eliot”, and these 100’s and 100’s of little pages are flowing out of the treasure chest, streaming out swirling everywhere. And I say “hello spirit of T.S.Eliot, thank you very much for opening, for allowing me to open your treasure chest, it’s an honour to meet you, I don’t feel in any way up to this encounter and I’ll try not to put you on too much of a pedestal” and he asks me what it is that I want, why I have come to visit him, and I say that I have been chosen for some strange reason to present some of his ideas to the group but I don’t understand entirely what his ideas on time are about and can he help me to experience and understand them?And then he creates a whirling, whirling whirly pool out all the little tiny pages, and I’m whirling whirling round in the whirl pool with the tiny pages, as if I am a page, whizzing round like a spinning top, very, very, very, very fast, whizzing, whizzing, whizzing, whizzing and then I’m flung out, and then he is laughing, and then he is saying, How did that feel? And I’m saying, “exhilarating”, and then he is saying, “that’s how time is” (EXHILERATING FAST AND CIRCULAR). …….and I’m asking him what he meant by saying that all time past time present and time future…meet at once or something…and he says because they do it doesn’t really matter if you are alive or if you are dead, and that you understand that once you are dead. And I ask him if he had any regrets…and he says the obvious regret was that he married the wrong person and he doesn’t know if he wasted his time, but at the time it felt like it, and I ask him what he was trying to do with narrative…and he said he was trying to understand it more and to use it to empower him and to take him in to the world of spirit, away from the world of materiality, and to help those who were interested in his writing to connect to that world, because the world of materiality was destroying him. (Find something comparable in his work that bear this out)And the papers are still swirling around but they have become flatter, the patterns are flatter rather than vertical, and I am trying to grasp them in my hand and I ask him if it is ok to do that, and he says of course of course take as many of the papers as you can, and read them, immerse your self in them and connect. (He is asking for an emotional/spiritual engagement as well as intellectual)I ask him if his spirit is in the underworld and he says that part of his spirit is in the underworld and a lot of his spirit is in the upper world, and that I can join him in the upper world if I want to on another occasion, and I say “thank you very much” and the papers are beginning to settle and are (I am) being sucked back in to the box, very very very very rapidly thro the sea and thro the seaweed, are being sucked back in to the box. And the lid is closing and I say farewell and thank you and then the little dog who has been swimming around appears beside me, and says “come on let’s go”, because he couldn’t hold his breath (breath and time) for much longer. (Not and issue for me – Zoë) So we swim up up up up up the surface of the sea and there are white horses everywhere and the tide has come in half way up the cove beach (TIME). And then we are landing on the beach and the dog is shaking himself dry, and he takes me up to the Shanty and shows me where the towels are, and I am getting dry, and drying my hair and my clothes and he asks me if I want some cocoa? And he goes and makes some cocoa, and we sit there drinking the cocoa, he makes himself some cocoa. And I ask him if he thinks that really was the spirit of T.S.Eliot? And he looks a bit shocked and asks me why I don’t trust his abilities, and I say, “well you are a very playful dog, how did I know that you can reach the spirit of T.S.Eliot? And then he snaps at me the dog is part of the universe so why shouldn’t it be able to present the spirit to you the universe presents it to you in this form for a reason and says “well F you, ‘cos I can”……And we both start laughing………and I am sipping my cocoa, and thinking about the image of the tiny little papers streaming out of the treasure trove under the sea…………………….I ask the dog how in one week can I immerse myself in the works of T.S. Eilot, and the dog says well you’ll have to work very hard. …………..and we are sipping our cocoa………..hurm huem……………………………………………………………and I can see the treasure chest swirling around the room……..and I can see the lid slightly opening…and I can see words and bits of paper streaming our of the treasure chest, and swirling around the room, wrapping themselves around everything. And the dog is playing in the swirls, the paper swirls, and sniffing them, and I am trying to read the text, and it is whizzing by so fast, none of it makes sense, endless swirls of words and letters coming thickly out of the treasure chest, filling the room tightly and thickly so I can hardly move, it is like a nest…. and the dog is scrambling through the strands of letters and papers, wagging his tale and sniffing, and I feel engulfed but very warm, cos the paper is warm and dry, and I am rolling around in all the strands of papers and letters…..it’s like being in a barn of letters and papers…….and I’m gathering them all up and trying to push them all back in to the chest……and they won’t fit, there’s too many of them… and I’m still trying to push them all back in………and the chest is rattling and shaking and telling me not to do this, to let everything come out of the box…then I say to the spirit of T.S. Eliot “ you have come to the middle world, and I have to go, and in an instant he sucks everything back in to the box and slams the lid…and the dog tells me to go and he will take the treasure chest back to the sea. And I say thank you very much, and I run off to catch the taxi back to the airport, and I’m getting in to the plane and flying back to London and as I swirl over Cardigan bay, I can see the dog coming out of the sea, and he is wagging his tale and barking and saying goodbye. I am flying over the mountains, whizzing back to London, to city airport, and getting out of the plain and driving back home…….<br />
Zoe “Are you back here? …..(Overhead sound of aircraft)….are you back here? ….<br />
Vanda “Laugh…is that what you said ?” <br />
Zoe “Yes”<br />
Vanda “I didn’t hear you”<br />
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vanda playford, 27/1/2011 copyright</div>kazhttp://www.blogger.com/profile/17297044799686483686noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-29291436566737546422010-11-05T12:47:00.002+00:002011-05-26T15:08:52.168+01:00Freud Museum, 30.10.10<div dir="ltr" style="text-align: left;" trbidi="on"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg47IIv9F9U_KctYSsOTSrdu5Gycqtmo3IgWpsP-gKyicTK5DKrF8jzXfhwK1Cs_fcE7AOhv2zsasR0kYAKlnfDiIoslZ9f5fT0lbLjx-MGHCpVStdOn20rkpg-MPSFKCXaF9_0XNd51GgJ/s1600/freud_briefing.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5536046596539874194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg47IIv9F9U_KctYSsOTSrdu5Gycqtmo3IgWpsP-gKyicTK5DKrF8jzXfhwK1Cs_fcE7AOhv2zsasR0kYAKlnfDiIoslZ9f5fT0lbLjx-MGHCpVStdOn20rkpg-MPSFKCXaF9_0XNd51GgJ/s320/freud_briefing.jpg" style="cursor: pointer; height: 240px; width: 320px;" /></a><br />
<br />
at Freud Museum<br />
<div style="text-align: right;">by Jean Matthee<br />
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<div style="text-align: justify;">After walking though the museum and relating to the objects that surrounds us within pauses, Jean invited us to make our own mobius strip. Referring to Lygia Clark's performance of cutting continuously the Mobius strip from the middle, she asked us to think of a limit of ours - a limit that we want to exceed and after a determinate feel about that limit we started cutting our own mobius strips where exceeding was metaphorically and physically in-situ. Following, we were invited one-by-one into Freud's study and play again with an elasticated mobius strip and associate with the patients that have been temporarily residing on the infamous coach. The whole encounter is filmed by Sara, as Jean wanted to position an investigation on thought and image.</div><br />
</div></div>kazhttp://www.blogger.com/profile/17297044799686483686noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-80107748585940584242010-11-05T12:44:00.009+00:002011-05-27T10:33:48.236+01:00Sir John Soane's Museum, 16.10.10<div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: right;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRp3bDcrYU2OgoV7umzAm7HEsRkuJPumlYg9xMV59-wdGGftEJJAZA42JjsfLnplx_AQ16NIwGHVY73-8w33hPgNSCRcp25qF1I5fnmOQI3WU8tJmU9qbbJNi9LOyv7MVoy7FuvNCz5GNk/s1600/soane_outside1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5536045934204310114" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRp3bDcrYU2OgoV7umzAm7HEsRkuJPumlYg9xMV59-wdGGftEJJAZA42JjsfLnplx_AQ16NIwGHVY73-8w33hPgNSCRcp25qF1I5fnmOQI3WU8tJmU9qbbJNi9LOyv7MVoy7FuvNCz5GNk/s320/soane_outside1.jpg" style="cursor: pointer; height: 240px; width: 320px;" /></a></div><br />
<span style="font-weight: bold;">Soane the second and the problem of Now</span><br />
<span style="font-style: italic;">a series of playful meditations on time and presence</span><br />
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<div style="text-align: right;">by Ole Hagen</div><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsur1_FYj7Rgg1UMMIaQEAN_do8e8u3GjENMqadKuvCO9DgcgJ0dI-V0fvN2flpk_0IVRuo85GYE63BcNzmrOtPSwkM1XupDZCDK8yXRe67sjNUfqO11neMGFGv7_U8shUy1P4gzm1aecJ/s1600/soane_inside.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5536046144763201298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsur1_FYj7Rgg1UMMIaQEAN_do8e8u3GjENMqadKuvCO9DgcgJ0dI-V0fvN2flpk_0IVRuo85GYE63BcNzmrOtPSwkM1XupDZCDK8yXRe67sjNUfqO11neMGFGv7_U8shUy1P4gzm1aecJ/s320/soane_inside.jpg" style="cursor: pointer; height: 240px; width: 320px;" /></a><br />
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<div class="MsoNormal" style="font-family: arial; text-align: left;"><span lang="EN-GB" style="font-size: 100%;">JOHN SOANE 2<sup>ND</sup> AND THE PROBLEM OF NOW</span></div><div align="center" class="MsoNormal" style="text-align: center;"><span lang="EN-GB" style="font-size: 16pt;"><b> </b></span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="color: red; font-size: 85%;">The group meet first in the front room, where O gives the following introduction:</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="color: red; font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">Sir John Soane was a quite successful neoclassical architect and an initiate (1813) in the fraternal organisation of the Masonic Lodge. But despite being a member of an organisation with an idea of a Supreme Being called G.A.O.T.U, the Great Architect of the Universe and constructing and preserving some monumental architecture himself, John Soane was not immune to the problem of entropy and the passage of time. His remains are buried at a tomb he designed for himself and his wife at St.Pancras Old Church graveyard, a site with an ancient pagan history. But that is not the main point here.<a name='more'></a> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 100%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">While still alive, entropy also played Soane some tricks. At some point he had a draftsman, Michael Gandy, who was prone to depicting Soane’s buildings as ruins and ended his days in a private asylum, a dead wife, a dead dog, a dead son, a living son who hated his guts and a fictional monk called Padre Giovanni (as in father John, after himself) who lived in his basement. We’ll return to some of these figures later.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">So John Soane became more and more acutely aware that no matter how he tried to stabilise space <i>in</i></span><span lang="EN-GB" style="font-size: 85%;"> time through his buildings, the problem of how to inhabit the now eluded him. He pondered the finitude and limits of his own being and came to the conclusion that what he needed was an alter ego or avatar self that could provide another perspective less limited to the locality of space and time. This is how Sir John Soane discovered John Soane the 2<sup>nd</sup>. So from now on I will refer to John Soane as John Soane the 1<sup>st</sup>. We can say that John Soane the 1st downloaded John Soane the 2<sup>nd</sup> from the virtual imagination of the future-past. </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">John Soane the 2<sup>nd</sup> is an idea, but he’s not an idea in the ordinary sense. He is an Idea with a capital I as in the Deleuzian sense of being a multiplicity defined by relations within the virtual. For that reason John Soane the 2<sup>nd</sup> doesn’t really belong to either the future or the past, but to a potentiality that can be actualised as either. As you know the virtual does not resemble the actual or it would just be the possible, so John Soane the 2<sup>nd</sup>, though still alive today would only actualise as an unusual sensation, perception or idea in John Soane the 1<sup>st</sup>’s mind when John Soane the 1st was confronted with a difficult question relating to the problem of now. Then John Soane the 2<sup>nd</sup> would even take a ghostly physical form and bring along other spectral companions to play with. He would be joined by John Soane the 1<sup>st</sup>, and other likeminded individuals, so that a whole group of actual-virtual people like ourselves and virtual-actual people like John Soane the 2<sup>nd</sup> and his friends would perform rituals and exercises together.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">We can hope that John Soane the 2<sup>nd</sup> and his virtual friends will be with us here today as we’re re-actualising some of the exercises and mediations that they used to orchestrate when summoned up by John Soane the 1<sup>st</sup>. So what I need you to do is participate in a series of contemplations in relation to the problem of now. Each contemplation relates to a specific object or feature of this museum, what we could call a ‘focal point’. Whether this is crystal clear or clear as mud we will now engage with the first focal point. The heading is: </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"><b>Affirmations of the Post-Newtonian Orrery</b></span><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="color: red; font-size: 85%;">We now gather in front of the astronomical clock.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">This astronomical clock is in effect an orrery as well as a time-piece. It is exhibiting both the state of the world as acted upon by the measurable progress of clock-time in relation to the diurnal and annual revolutions of the heavenly bodies immediately connected to our globe, and the corresponding position of the heavenly bodies in their respective orbits. It is of course a Copernican device with the sun as the centre. The Copernican revolution was arguably completed by Newton who showed that the planets are kept in their orbits by gravity. Newton’s idea of the universe as a deterministic clock work set into motion by a logical God or first principle equates with John Soane the 1<sup>st</sup>’s freemason friends idea of G.A.O.T.U, and their Enlightenment notions of mechanical rationality.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">But John Soane the 1<sup>st</sup> became troubled by the consequence of determinism. In his search for an adequate way of inhabiting the now, he found the idea that if we just knew the co-ordinates of everything we’d be able to predict the whole of history as if its already happened. He felt that any approach to nowness must come about through some freedom of choice. So it was that when John Soane the 2<sup>nd</sup> first made his entrance in relation to a real problem it was here at the astronomical clock. </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">John Soane the 2<sup>nd</sup> brought with him some of the post-Newtonian ideas that we now start to see making its entrance into solar-system cosmology. He pointed out that an orrery breaking with such mechanical ideas as objectivity, causal determinism and locality would need a lot of extra features. Features such as space-time curvature, quantum uncertainty, dark matter and multi-dimensionality are hard to build into a physical model. But at least, he suggested, John Soane the 1<sup>st</sup> would need to add a few black holes, possibly some wormholes and some baby universes. But of course the multiverse would need a phenomenal link to a notion of virtual time to defeat determinism.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">So John Soane the 1<sup>st</sup> and a few unorthodox friends and John Soane the 2<sup>nd</sup> and some companions would meet here and perform the little ritual that we’re about to do. On this string are tied together some replica of post-Newtonian orrery features that John Soane the 2<sup>nd</sup> manifested as plasma. (black holes, worm holes, multiverse, baby universe, moebius strip and string from membrane). In order to bypass the grip of determinism, we will do a little <i>affirmation.</i></span><span lang="EN-GB" style="font-size: 85%;"> So please repeat after me: (don’t be embarrassed, look at me)</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoBodyText2" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">All here hold one cosmic sculpture. They are all tied together on a string. The group rpeat the first affirmation after O.</span></div><div class="MsoBodyText2"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinsYqyURTwZaZsjuTNmcKIKCguv65qmhHoSjP_CaOpu27YCmH7X6UIO9_RxbpFH7nfyfcEjZYdZsaAnsHOz2sqBk9drwNiLyX_E5z9rDR_O-RgN3F9fuNQ18fH7LMcYQiVOcU7QgYz4bk/s1600/DSC05498.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5548288327475311570" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinsYqyURTwZaZsjuTNmcKIKCguv65qmhHoSjP_CaOpu27YCmH7X6UIO9_RxbpFH7nfyfcEjZYdZsaAnsHOz2sqBk9drwNiLyX_E5z9rDR_O-RgN3F9fuNQ18fH7LMcYQiVOcU7QgYz4bk/s200/DSC05498.JPG" style="cursor: pointer; height: 200px; width: 150px;" /></a></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">‘We are multidimensional individuations of the asymmetrical manifold, actualisations of new folds within the holographic superfold.” </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">Sometimes John Soane the 2<sup>nd</sup> would add other <i>evocations</i></span><span lang="EN-GB" style="font-size: 85%;"> such as:</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">“ We appeal to the impossible configurations of the hypermundane supraabundance to activate the membranes of our heterodox anatomies against the totalitarianism of unimaginative probability”, or <i>vows</i></span><span lang="EN-GB" style="font-size: 85%;"> such as the following:</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoBodyText" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;"> “Instead of trusting in the known and directing sceptisism towards the unknown from now on we will direct sceptisism towards the known and trust in the virtual potential of the unkown.” </span></div><div class="MsoBodyText" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoBodyText" style="font-family: arial;"><span lang="EN-GB" style="color: red; font-size: 85%;">We don’t repeat these two latter statements, they are just introduced as examples.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">We have now entered the initiation necessary to proceed to inspect and enact some of John Soane the 2<sup>nd</sup>’s more secret machines. The first one of these is the <i>mirror-duplication unifier machine</i></span><span lang="EN-GB" style="font-size: 85%;">.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">So with the affirmations of the post-Newtonian orrery, John Soane the 1<sup>st</sup> now understood multiplicity. But that did not solve for him the problem of immediacy and presence, on the contrary things seemed more complicated than before given the notion of a multidimensional individual. This is why John Soane the 2<sup>nd</sup> introduced him to the understanding of qualitative space through the <i>mirror-duplication unifier.</i></span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><h1 style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">The Mirror-Duplication Unifier Machine</span></h1><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"><b> </b></span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">You’ll all get to enter the mirror-duplication unifier machine in a second, but let me first instruct you in how to use it. What does it mean to be here as in occupying the now, John Soane the 2<sup>nd</sup> would ask John Soane the 1<sup>st</sup>. John Soane the 1<sup>st</sup> would say that it was impossible given that any here is just a there to another point of view, so there are just lots of ‘theres’ depending on your position, particularly if we exist in several different dimensions at the same time. So John Soane the 2<sup>nd</sup> inspired John Soane the 1<sup>st</sup> to build a <i>mirror-duplication</i></span><span lang="EN-GB" style="font-size: 85%;"> <i>unifier machine</i></span><span lang="EN-GB" style="font-size: 85%;">, using the idea of the mirror to unify the potential of self-duplication within one single virtual mirror. So now I’ll explain how it works:</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">You can only go in one person at the time. You go in and stand right in the middle of the double mirror, so that you create to identical mirror images of yourself. Don’t identify with the image, don’t think about or judge your appearance in any way. The difference between your two images is just that there’s more than one, i.e. it is a ‘pure difference’. Now totally relax and concentrate on the idea that these two figures are just images. You can move them about, but they’re not you. While you’re stood there you can’t see your own body. Generate the idea that the real physical you is also an image reflected in a mirror. This mirror is omnipervasive, it doesn’t have a particular form, only a quality and that quality is your own lucidity. You are that mirror. Notice how any physical sensations you might have at this moment are also fleeting, transitory images, if only of a less visual character. So to summarise, you must perceive three interrelated images of a human form happening within a mirror-like surrounding space. So that should be easy. It can help spreading your awareness in all directions (also behind you, but instantaneously).</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoBodyText2" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">The focal point here is a V-shaped mirror in the corridor towards the next rooms that are shaped so that if one stands in the middle one can observe two identical mirror images of oneself. Group members go in one by one and take the time they need.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">So John Soane the 1<sup>st</sup> was so impressed with the <i>mirror duplication unifier machine</i></span><span lang="EN-GB" style="font-size: 85%;"> that he sought to replicate the effect in his architecture. So to get an actual space to simulate the effect of an ominpervasive mirror, he started to place small, naturally round, mirrors in the corners and edges of certain rooms. We can see a good example of that in the living room and also in the breakfast parlour. So we’ll have a quick look at that. Obviously the mirrors might function particular well at certain hours of the day or under certain lighting conditions. If you set the optimal conditions you can get a kind of omnipervaisve mirror simulation effect.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">In any case after designing and visiting the <i>mirror duplication unifier machine </i></span><span lang="EN-GB" style="font-size: 85%;">under the guidance of John Soane the 2<sup>nd</sup>, John Soane the 1st got the idea that ‘here’ does not have a location, that ‘being here’ is more of a quality as in being <i>here</i></span><span lang="EN-GB" style="font-size: 85%;">. But although he understood the idea of a space without boundaries, direction, up and down or distance, he still felt that he wanted to better understand what the phenomenal qualities of a specific local point would be. After all, why should there be something rather than nothing? So when thus summoned, John Soane the 2<sup>nd</sup> instructed John Soane the 1<sup>st</sup> to build a much more dangerous machine, the <i>zero-point vacuum focus machine</i></span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"><i> </i></span></div><h1 style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">The Zero-Point Vacuum Focus Machine</span></h1><div class="MsoNormal" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">As you can see the <i>zero-point vacuum focus machine </i></span><span lang="EN-GB" style="font-size: 85%;">is just a chair. But it is no ordinary chair. It is built up of micro-Casimir cavity captivators, that absorb zero-point energy that exists everywhere in the universe and suppresses it within an electromagnetic quantum vacuum to release energy. If you were to sit on this chair without protection your body would spontaneously combust from mitochondrial explosions at the level of your cellular metabolism. It can happen occasionally that a member of the John Soane Museum staff accidentally or intentionally combusts. Being virtual, John Soane the 2<sup>nd</sup> could use this machine to travel back to the origin of the universe. Before the Big Bang the universe was just a speck of infinite density called a singularity existing before time and space that suddenly was set in motion by what is called a vacuum fluctuation. So at the point of origin everything exists as a kind of point with no real extension, with no time and on the phenomenal level, maybe a sense of emptiness but no thinking mind. So John Soane the 2<sup>nd</sup> used this machine to travel back to that point. John Soane the 1<sup>st</sup> could not do the same, or he would spontaneously combust, so on his return John Soane the 2<sup>nd</sup> set up a zero-point exercise for John Soane the 1<sup>st</sup> and his friends to do so they could approach the phenomenal equivalent of his time travel out of time. Now we’ll conduct a replicate of those exercises. </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoBodyText2" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">The focal point here is a chair used by the guards rather than a regular exhibit. It is placed beneath a staircase next to the Hogarth room.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">Each of you get a paper with a spot on it. The spots looks more or less the same, but are of course not identical. Likewise the exercise leads to more or less the same but not identical experiences for each and every one of you. If I told you to think of as many distinct things as you possibly could within 30 seconds, your minds might go blank. On the other hand if I told you not to think at all, your mind might explode with thoughts. So, because the mind is bewildered without an object, a common meditative exercise to cut distractions is to focus on an object. That object can be the breath, as we will explore on retreat, a physical object or in this case the dot. We don’t have much time now, and also we have to conduct this exercise to explore the origin of the universe, so we will do it in the following way: We’ll attach your sheet of paper to the chair. Then you have to stand very still and focus intensely on the dot, so intensely that you block out all thoughts. If you’re still thinking you’re not concentrating hard enough. But then you only do this for a few seconds, such as 10 – 20, then you close your eyes and imagine that that spot now is transferred to the centre of your head. Then you relax and imagine that you are that spot, and that it shrinks and shrinks until it completely vanishes into nothingness. You dwell on that nothingness for a few seconds, then open your mind while still focusing on the external spot, but now in a very soft relaxed way, and let the universe expand from that spot. You don’t block any thoughts. Whatever thoughts arise, they expand into the world like the expansion of the Big Bang. And whatever it feels like to have those thoughts is what the universe itself felt like in the very beginning. It is not the content of the thought, like when can I have a croissant that counts, but what it feels like to have thoughts arise that corresponds to the origin of the universe.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoBodyText2" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">Here the group gather in a side-space to the Hogarth rrom and are given individual pieces of paper with near-identical dots.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">After this exercise can anybody tell me where thoughts come from, where they go? Is there anything there? What about your lucidity? Is there any difference between calmness and movement, thought and no-thoughts? </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoBodyText2" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">We discuss the experience, not necessarily following the exact questions above.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">After doing this exercise himself, John Soane the 1<sup>st</sup> was quite content that he had a better idea of what a singular point containing everything and nothing might be. But he felt that he needed to return to the real mundane world that has other people and other critters in it, the world in which politics take place to see how the here and now would be defined on the more concrete relational level. The idea that you yourself is the entire universe is one thing, but how does that translate into relative points of view and ethics. John Soane the 1<sup>st</sup> again appealed to John Soane the 2<sup>nd</sup> who again provided a new focal point, namely the <i>Spinozist Transformation of Hogarth</i></span><span lang="EN-GB" style="font-size: 85%;">.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><h1 style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;"> </span></h1><h1 style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;"> </span></h1><h1 style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">The Spinozist Transformation of Hogarth</span></h1><div class="MsoNormal" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial;"><span lang="EN-GB" style="color: red; font-size: 85%;">The group focus on one particular painting in the Hogarth section.</span></div><div class="MsoNormal" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">So John Soane the 2<sup>nd</sup> picked this painting, <i>Chairing the Member </i></span><span lang="EN-GB" style="font-size: 85%;">from 1754 for his Spinozist mediation. The whole series <i>The Humours of an Election </i></span><span lang="EN-GB" style="font-size: 85%;">is a satire over an election in an Oxfordshire village between the Whigs and the Tories. Both parties were controlled by elite politicians that also controlled the elections in the days before the Great Reform Act. In this painting we see one of the victorious Tory candidates carried through the streets on a chair in a traditional ceremony. He is about to tumble down because one of his carriers has just accidentally been hit on the head by a flail carried by a Tory-supporting rural labourer who is attempting to fight off a Whig supporter (an old sailor with a bear). The Whigs leaders watch from a nearby house. At the right two young chimney sweeps urinate at the bear. A group of frightened pigs run across the scene. This is a reference to the Biblical story of the Gadarene swine. Gadara was a city in ancient Palestine where Jesus met a man possessed by devils. Jesus transferred the devils into a flock of some 2000 nearby pigs who promptly ran off a cliff and drowned. Bertrand Russell has argued that this wasn’t very nice of Jesus. Considering his omnipotence, Russell asks, wasn’t it a bit harsh on the pigs. But I think we should have a more Spinozist idea of this event as one determined by necessity and regularity. i.e. there was only one way in which the participants of this event could act, but their ability to exercise freedom within these limits would be relative. In any case the Gadarene swine represents the fallacy that just because a group is in the right formation they’re not necessarily on the right course, so we need to always bear that in mind.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">In the <i>Ethics</i></span><span lang="EN-GB" style="font-size: 85%;"> Spinoza presents an ethics of affect. His basic ideas relates to the scene of Hogarth that we’ll be transforming in the sense that for Spinoza free will is something that comes in degrees. The more we acquire an adequate idea of causality the more free will we can exercise. Basically there are three kinds of knowledge for Spinoza. Knowledge of the third kind is adequate knowledge of the one cause, which has to do with the immanence of being, like being free rather than becoming free. We’ve already explored this a bit in our previous two exercises, so won’t dwell on that here. Knowledge of the first kind is called imagination. This is just the type of imagined free will we execute when we’re acting passively to the passions justified by various superficial judgments and opinions about finite causes. Affect is a passion when we’re not the adequate cause for it, or in line with the adequate cause. Ordinary prescriptive morality falls into this category. Knowledge of the second kind is what we’re interested in here. This is a knowledge of causes less partial to sympathy and antipathy. As a body one should seek joyful passions by expanding one’s power by connecting positively with other bodies, even those that seemingly disagrees with one’s own, not as we see somewhere in this painting, maximising collision. The way to do this, or to acquire a further degree of freedom is to better know the inevitability by which things have to act the way they have to do, as governed by the passions. Then we’d have less animosity towards our adversaries as well. </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">So now we’ll at least try to imagine a previous moment in time in relation to the current scene, whether we are describing a moment in consciousness or a material cause. So you each pick a character. We should at least cover a single piglet/or flock of pigs, a blind fiddler, a Tory politician, an old sailor, a bear, a Tory supporting rural labourer and a fainting lady. Who wants to be…………</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoBodyText2" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">Everybody picks a figure, many prefer animals.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="color: red; font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">So you each have to compose a sentence that starts with the same phrasing, in the case of piglet: “ I am a piglet, and I’m running because a moment ago………….”</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">“ I am a blind fiddler and I’m laughing because a moment ago………….” etc. </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">Use your imagination, it can be thoughts, out of frame incidents, asymmetrical events and forces etc.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoBodyText2" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">Everybody has said their sentence, and we discuss it, not necessarily with the exact words below.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">So how can we say this character was compelled to act? Could this moment have been avoided? What will the next moment be? Does this knowledge set up a new relationship between the characters we couldn’t have known just from looking at the picture. Are there any invisible forces at play in this painting?</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">When John Soane the 1<sup>st</sup> and friends performed this exercise, they reached a completely different picture to us. But the important idea is that they came away with a notion of freedom of degrees, in the sense that if one of them were a protagonist is a similarly chaotic scene, that person would know not to judge it by appearances and by political opinion only.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">After this exercise, a few men and women who were close to John Soane the 1<sup>st</sup> said that they still had unanswered questions about space and time. Some had scientific questions, some existential questions, some spiritual questions, some had practical questions and some had psychological questions. These questions were so diverse that when John Soane the 1<sup>st</sup> asked John Soane the 2<sup>nd</sup> for help, John Soane the 2<sup>nd</sup> decided that the appropriate context for these questions would be to ask a wise sage. So he suggested that John Soane the 1<sup>st</sup> and his group would put their questions to the fictional monk that lived in the basement or cellar. John Soane the 2<sup>nd</sup> would then connect the fictional entity to real virtual forces through the process of inspired chance. So down to the Monk’s Parlour is where we are going next. The next focal point is called:</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><h1 style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">Padre Giovanni: The Stupid Oracle</span></h1><div class="MsoNormal" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">Initially, the Monk’s Parlour was a bit of a pastiche on the gothic, and the name Padre Giovanni a play on John, Soane’s own name. Now it doesn’t really matter whether an oracle is stupid or wise. The point is that for every answer there is a question and for every question an answer. From the point of view of immanence, all answers already exist, and from the point of view of an answer the question can be self-evident. But on the other hand sometimes the question is itself a productive virtual force that bares no resemblance to the answer, or there would be no need for the process of trying to find answers. So relatively speaking a question and an answer always arise together and have to be understood in the context of each other. If Padre Giovanni was an unorthodox Christian mystic, he could be reading the semi-heresy mystics like Meister Eckhart and Jacop Bohme, who were not creationsists but a type of reabsorbsionists. In which case the answer is immanent in the question, and originally resided together with it. If the answer does not make sense for us in relation to the question it is our alienation to use a Marxist term that is at fault. We would need some sort of species-collectivist communism of the spirit to understand it. So now we’ll do a collective question and answer session originally staged by John Soane the 2<sup>nd</sup>. It merely uses Padre Giovanni as a sort of present medium that speaks through the participants. So if Padre Giovanni is under the influence of John Soane the 2<sup>nd</sup>, he could be quoting quantum physics or cartoons for all that I know. That is up to you to decide. Each of you will write down one question to Padre Giovanni, that you really want answered. It has to be about the nature of space and time, but it could be scientific, personal, spiritual, mathematical or banal. Likewise all of you write down one answer, but it cannot be the answer to the question you posed, likewise it can be of any type. Then I will mix them up in 2 piles and let chance or the virtual Padre Giovanni decide the combinations. Given that there will be six answers and six questions we will have to trust in the idea that our collective psyche is wiser than our individual selves. It would be handy to have a good mix of responses I think.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoBodyText2" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">We can’t enter the Monk’s Parlour at first, but we get some impression. The matching up of questions and answers led to some surprising synchronisities.</span></div><div class="MsoBodyText2"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMnWpyrf_YECMp8g6mvokQoirSQWIFrUXrJZ9dH7TTWaLkgRnen7olLSg4K7YdZ02FNE_7nm6c7VQb4-Se2c_L_V8MbOzjkpCUKXCUvW9BcvrxqZp5V5v7uNUgfEoHTyHC1Ef6zSwb3x4/s1600/q%2526aole.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5548286792817028402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMnWpyrf_YECMp8g6mvokQoirSQWIFrUXrJZ9dH7TTWaLkgRnen7olLSg4K7YdZ02FNE_7nm6c7VQb4-Se2c_L_V8MbOzjkpCUKXCUvW9BcvrxqZp5V5v7uNUgfEoHTyHC1Ef6zSwb3x4/s200/q%2526aole.jpg" style="cursor: pointer; height: 200px; width: 140px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtv4nsZEpOuHWqC8pw-QueqYJUvARLH5swUwQ9TPkMySSFOV5F7iEysPjr946ORrSATR-elGppOzg54PLRiNUjXKt7Y0XiOVpMwYk2KFqumwe6JaZP7Ac8DAnYbyHhJXJKzOhCTJ3qOvo/s1600/kaz+q+%2526+a+j+soane.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5548286783931329186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtv4nsZEpOuHWqC8pw-QueqYJUvARLH5swUwQ9TPkMySSFOV5F7iEysPjr946ORrSATR-elGppOzg54PLRiNUjXKt7Y0XiOVpMwYk2KFqumwe6JaZP7Ac8DAnYbyHhJXJKzOhCTJ3qOvo/s200/kaz+q+%2526+a+j+soane.jpg" style="cursor: pointer; height: 200px; width: 146px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm8NDSaZPrTmiVwwOlNlLzYz9VkHLtHeRur2mvPOF5Pc7tlyFk90n8I-xeSfnsrREL56GY02MDEpILSAZav_eA6ndnrBvNK0_Pl_fGxVza5fqiBb1mH0-P1FhJyZ5Dx-GZ5EN3bhTbg08/s1600/fatosqandA.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5548286776275907538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm8NDSaZPrTmiVwwOlNlLzYz9VkHLtHeRur2mvPOF5Pc7tlyFk90n8I-xeSfnsrREL56GY02MDEpILSAZav_eA6ndnrBvNK0_Pl_fGxVza5fqiBb1mH0-P1FhJyZ5Dx-GZ5EN3bhTbg08/s200/fatosqandA.jpg" style="cursor: pointer; height: 200px; width: 140px;" /></a></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">After doing this exercise, John Soane the 1<sup>st</sup> and his friends felt a stronger bond to their virtual sisters and brothers, John Soane the 2<sup>nd</sup> and friends. But whether we go with Spinoza’s idea of selecting joyful passions or believe Jacop Bohme’s idea that evil is just a necessary evolutionary tool, a sort of by-product of the dark side of God, suffering is a human problem. So there is a kind of question of how suffering or unpleasant experiences relates to the now. Because that is what John Soane the 1<sup>st</sup> next asked John Soane the 2<sup>nd</sup> to address, that’s what we’re addressing next. How come as we are all part of immaterial forces, we still have our own separate personal sufferings to attend to? John Saone the 1<sup>st</sup>, asked John Soane the 2<sup>nd</sup>. John Saone the 2<sup>nd</sup> answered that separation itself is a mode of suffering. He could not make suffering go away he said, but could at least acknowledge it. So the next focal point is called: </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><h1 style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">The Seven Pointless Sorrows of Mary</span></h1><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">Now Bohme as I mentioned held a kind of Marian view, where the virgin is some sort of aspect of the absolute. What we’re looking at in this picture is a classic representation of the Seven Sorrows of Mary. According to the story, these sorrows have to do with Mary’s various experiences of fear and separation and loss etc. in relation to her son, Jesus. We’re not going to focus so much on that story. Lets just say that this figure could represent some aspect of the already perfect androgynous unity of things (as in Bohme) or the idea of the separated lonely individual. As John Soane the 2<sup>nd</sup> pointed out to John Soane the 1<sup>st</sup> we tend to think that guilt and sacrifice will somehow remedy suffering, when its just adding to it. I originally thought we would be seven here today, so I felt it was very suitable to replicate this exercise, but we now have the six sorrows of Mary, in this replica of a replica I have here. Each of you is allowed to pull out a sword or sorrow from Mary. This time make it personal, and we will not share or tell each other about which suffering we’re pulling out. But generally we should think of suffering as a perceived mental limitation. So internally, you should say to yourself, “ I’m pulling out the suffering of ………” and then think of removing some sort of limitation. Then I’m going to put the swords in a little envelope that I will burn when we get out of here. That does not mean that you’ll never have this problem again, but just that you contemplate how unnecessary it is next time it arises, so you can burn it in a mental fashion. </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoBodyText2" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">We get a glimpse of the Virgin in the stained glass window. O’s printed own version with little paper swords sticking out that are gathered in an envelope. We later had a lot of problems burning them, but managed somehow…………….</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">Now of course making one little dent in time, like putting a subliminal intention into a continuity does not solve the problem of now. For some philosophers presence is impossible in principle. So for example, Derrida would be right in pointing out that from the point of view of thought, the now is already in the past, the moment you introspect it, hence his theology/ontology centres around a split in Unity, using the allegory of the wandering Jewish people to explain how the present moment is hollowed out by what it is not. There is an interval that separates the present from what it is not. An interval always functions in relation to the not yet or already was. But the reason it is so hard from this Derridean point of view to get a sense of the quality of space that we explored in the <i>Mirror-Duplication Unifier Machine</i></span><span lang="EN-GB" style="font-size: 85%;"> is that there is too strong investment in a kind of reification of the now-moment as some sort of little object of comprehension. In a contrast to this view, in terms of being-time or embodying time, what John Soane the 1<sup>st</sup> wanted to know next from John Soane the 2<sup>nd</sup> was how to get the hang of continuity. For this John Soane the 2<sup>nd</sup> introduced him to <i>The Book of Gates</i></span><span lang="EN-GB" style="font-size: 85%;"> related to the Sarcophagus of Seti the 1<sup>st</sup>. The <i>Book of Gates</i></span><span lang="EN-GB" style="font-size: 85%;"> he told John Soane the 1<sup>st</sup> is a manual of continuity.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><h1 style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;"> </span></h1><h1 style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">Death: A Users Guide</span></h1><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">So the sarcophagus was separated from its Cairo-based mummy at some point in history. In 1824, John Soane the 1<sup>st</sup> snapped it up under the nose of the British Museum for just £2000. It was carved out from a single chunk of alabaster some 3000 years ago. When John Soane the 1<sup>st</sup> secured it, apparently he threw a three-day long party here for the London glitzerati and the entire room was filled with oil-lamps including the sarcophagus. We’re not going to replicate that here and now. But a part from having at its base the goddess Nut, it also contains scenes from the <i>Book of Gates</i></span><span lang="EN-GB" style="font-size: 85%;">, which is a guide to the netherworld portrayed as a series of gates. It describes the nocturnal journey of the sun during the 12 hours of the night, which is also the journey the pharaoh must take to rise again with the sun, or this is how it is interpreted. Personally I think we tend to be to literal in our interpretations of past spiritual ideas. But in any case, for your benefit I’ve singled out the hour Eight. This has a very interesting image of time in it, where time is depicted as an endless rope spooled out hour by hour, and also the towrope of the barque. (In the middle register the lord of provision, in the west who stand before the barque commissioned by Re to allocate provisions to the blessed and inflict evil on the enemies. In the lower registers are some mummies. Nearby a council of judges). Anyway, we see that continuity can take the form of a rope and that consciousness can be divided into a series of veils or gates. So John Soane the 2<sup>nd</sup> compared the task of following the metaphors of this manual to the task he’d seen among some Australian aboriginals, who somehow need to map or sing a the land they inhabit into existence through a number of song-lines corresponding to petrosomatgyphic marks in the terrain, thereby securing to keep things existing as they were first made to exist in a similar fashion by the ancestors. In any case, that, said John Soane the 2<sup>nd</sup>, means that to exist is to be perceived. Imagine, he told John Soane the 1<sup>st</sup> that we’re already dead, and that this map therefore is a map of life. It is possible, he said, to use a kind of map like the <i>Book of Gates </i></span><span lang="EN-GB" style="font-size: 85%;">to trace a line of existence. So if this is a map of consciousness, the sun is a qualitative presence, that either moves or everything else moves through a series of alternating conditions that has to be negotiated. Now I’m drawing a time line and a space line on this drawing. We’re going to go up to the study room to complete this. Each of you will get a different coloured pen. You have to trace your own individual route across this drawing. But please remember that this drawing is two-dimensional. In Flatland a prisoner in a circle is a dot. If suddenly this figure was removed vertically, it would be like it disappeared in the eyes of the other flatlanders. So do feel free to draw a line of flight that operates with other dimensions. According to Deleuze and Guattari, <i>a line of flight </i></span><span lang="EN-GB" style="font-size: 85%;">has to do with connections between all sorts of implicit bodies and processes, that transforms connects or deterritorialises a space. So also feel free to use multiple lines of flight to represent your passage in time. Remember the line is not a substantial body but a movement, possibly also connecting bodies to other bodies through a series of affects. </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoBodyText2" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">We’ve done the drawing that is like a little DIY piece of art.</span></div><div class="MsoBodyText2" style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj45G8lHNgyXDw8AdwsEBIMtsSK-q02Z9qrKlVDVcZDqBWThLFWvyIjMraebxO6PErnFPr2irrtpuS2mgP5DIzUFM9Axo2x-1q-cbB4nmaJAJxVDirxAD7aa_YR8noFFf9_CObxUw_YHgI/s1600/DSC05478.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5548288025851569442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj45G8lHNgyXDw8AdwsEBIMtsSK-q02Z9qrKlVDVcZDqBWThLFWvyIjMraebxO6PErnFPr2irrtpuS2mgP5DIzUFM9Axo2x-1q-cbB4nmaJAJxVDirxAD7aa_YR8noFFf9_CObxUw_YHgI/s200/DSC05478.JPG" style="cursor: pointer; height: 150px; width: 200px;" /></a></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">Sadly we don’t have a copy of the drawing that John Soane the 1<sup>st</sup> and his friends used. But we can keep the one we’ve made for now or reduce and copy it into bookmarks or something. After this exercise, John Soane the 1<sup>st</sup> summarised what he had learned so far:</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">1. Humans are multidimensional beings with a mobile virtual component, so the now is not about locality. 2. The primordial space of awareness encompasses everything in a sensation of illusion, so multidimensionality cannot fragment the now. 3. Everything is continuously born out of the plenum or fullness of nothing, so the now has no substance, nor static fixed point. 4. On the relational level, we must find freedom of degrees through the notion of adequate knowledge of causes, because even if there is a now that encompasses all events, from a local point of view there is also the extension of minor events. 5. Every question already contains its own answer and cannot be separated from it, just as the now appears divided only from a dualistic point of view. 6. Suffering is not a necessity and serves no noble purpose other than to block the individual’s sense of infinite potentiality of the now. 7. For the sake of continuity, even as the now should feel open ended and outside time, on the relative level it is also necessary on to use the imagination to project an intentionality into the future to sustain a sense of participation with the unfolding repetition of the universe. But John Soane the 1<sup>st</sup> still had some more mundane questions, what to do about his mad draftsman and dead wife. In other words he still felt that the now could not encompass the irreversibility of time’s arrow. So he summoned John Soane the 2<sup>nd</sup> again with this complaint. With this we only have three focal points left, and the first of these is:</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoBodyText2" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">O realises at this point he’s prepared too much stuff, and after brief discussion skips the exercise below, which is not essential anyway. (Just shows a copy of the Gandy, as we can’t get to see the original due to numbers of visitors at this stage).</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><h1 style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">The Magical Museum of Past Hubris</span></h1><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">We should now go to North Drawing Room and ask the warden if he or she will show us behind the picture plane; Michael Gandy’s drawing of The Bank of England as a Ruin. Look, said John Soane the 2<sup>nd</sup>, the past does not exist until the moment you call upon it. It is always experienced as an idea in the present. But as you can’t help but to have ideas, the ideas that matter to the past is your current projections and intentions with regards to the next future moment. All the things you don’t want to see in the past, you shouldn’t project into the future. Now it is very possible that you may one day have this museum you’re dreaming of, where things are preserved just as you want them to be represented, but you might not be here to enjoy it. Eternity is a time-based concept, whether as the now should not be reified in that way. Meanwhile, this image by Gandy really depicts the archaeology of a future site, a nemesis matching your own hubris. It is a future museum experienced in the now. In every room of this museum there is the present ruins or debris of anything you’ve tried to drag with you that represents some sort of folly as in any fixed concept or idea of who you are or where you’re going that is a projection based on adding or constructing some sort of fixed image of stability to a now that is already perfect just as it is in its open potential. This is just the representation of a virtual museum dedicated to this kind of hubris said John Soane the 2<sup>nd</sup>. But then John Soane the 1<sup>st</sup> was very perturbed and said that he didn’t really have any intention of visiting a museum like that. As John Soane the 2<sup>nd</sup> also didn’t want to embarrass John Soane the 1<sup>st</sup> in front of his friends, he said; very well. What is magical about this museum is that it can easily be seen at a different scale, like a dolls house, so that it only shows up collective material. John Soane the 2<sup>nd</sup> clicked his fingers, and the virtual museum he was referring to shrunk. So visiting the museum together, with some other people, John Soane the 1st found that each drawer, corner, room or cupboard of the building contained the debris, ashes or remains of some sort of collective idiocy. Considering the recent banking crisis, it might be suitable that the whole museum as such is a former bank. Taking a banal example, in one small room of the bank/museum that did not seem to serve any purpose, John Soane the 1<sup>st</sup> knocked over a huge urn, spilling a pile of ashes everywhere. John Soane the 2<sup>nd</sup> told him that this was either the future or the virtual ashes of something called the Millennium Dome, that John Soane the 1<sup>st</sup> had never heard of. So now we’ll take a quick tour through the museum together, where I’m expecting some contributions from you as to what remains of collective vanity we might encounter. It does not have to be buildings, it can also be abstracts, like the poll tax or identity cards.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">1. Coming to the top of a steep staircase somewhere in this building there is a gothic sculpture of a very pathetic, not too scary demon. This demon is an embodiment of…….</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">2. On another occasion we’re inside the old bank vault. And inside this bank vault there is a smaller safe. The door is rusty and hanging on one hinge. When we open it, we find a yellow envelope containing some faded documents. What are they……………….</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">3. On a windowsill in a foyer full of spiders web, there is a tiny model of some kind. It is hard to see at first whether it is a construction or a figurative representation of a scene. This model is a representation of……………………………</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">4. There is a cupboard we’re passing in a corridor. When opening it, we see there’s a jester’s uniform hanging inside full of mould and moth balls. This uniform is a ridiculing attire that should have been worn by a person, instrument or institution of some kind. It should have belonged to…………………….</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">5. Finally we enter a giant hall that used to be the main space of the bank. In here there is a little crystalline object on the floor. It seems to be something that previously had a completely different shape, and now through the aeons of virtual time has been transformed into a beautiful structure, where once it was a very ugly structure or system of some kind. What did it used to be?</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">As it is always easier to slag off something more public than to confront your own nemsis, John Soane the 1<sup>st</sup> felt quite relived and uplifted after visiting the virtual musum. This was all part of John Soane the 2nds plan because next they would be visiting John Soane the 1sts wife. It is evident from this museum, that John Soane the 1<sup>st</sup> was a bit of a show-off, and John Soane was well aware of this side of JS1, so he wanted to soften him a little bit, before looking at some of the very difficult issues in JS1’s life, his past and his tendency to rigidity about certain present issues. So the next focal point is:</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><h1 style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">The Virtual Telephone</span></h1><div class="MsoNormal" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">So by the time JS2 enters JS1’s life, JS1’s wife and one of his sons are already dead. Soane had two sons called John and George, that we see over in that painting there. I’ve tried to find out what his wife’s name was, but they don’t seem to have bothered much about this in the online biographies. She’s generally referred to as Mrs. Soane. Apparently both his sons married unsuitable women, whatever that means, and John junior died an untimely death. Neither of the two had pursued a career in architecture, which is what John Soane the 1<sup>st</sup> wanted them to do. George didn’t do well career wise apparently. They had to bail him out of debtor’s jail a couple of times, and also he got his wife’s sister pregnant. At some point he wrote an anonymous defamatory letter to a Sunday paper, where he called his father a cheat, a charlatan and a copyist. His mother found out that it was him, and died not long afterwards, of what was said to be ‘a broken heart’. So John Soane the 1<sup>st</sup> blamed George for his wife’s death, and made absolutely sure that he didn’t inherit a thing. Hence this house was not passed into private hands but became a public museum. Over here by this drawing by John Flaxman of JS1’s wife we have a letter he’s pinned to his dead wife, which says something like: “ Dear friend, I can no longer hear your voice, teach me what I must do to fulfil your wishes”. So far John Soane the 1<sup>st</sup> hadn’t received any reply. But John Soane the 2<sup>nd</sup> explained that even though he had no idea where Mrs. Soane’s spirit might be, and could not operate as a direct medium, there would be a virtual residue of her, containing the virtual aspect of all her living mind and whatever trace she might have left at her departure or passing through some other dimensional frequency band. These virtual imprints, he explained are not dead, they are like little life-forms transforming and multiplying to become more than they already where and to combine or connect with other virtual forces of a mental kind, that is other modes of intention. So what he would do was to set up a virtual telephone that could transmit these signals into something resembling a reply to John Soane the 1sts letter to his dead wife. This device exists virtually, but has some actual parts, which is this little antenna and this drawing. So John Soane the 1<sup>st</sup> had to look at the drawing of his wife, while holding his question in mind and also holding this little antenna. This way then he would receive a reply, if not directly from his wife, then from the virtual medium through which her consciousness continuum had passed, much like a sound wave passing through some recording devices, that are also feedback loops within the wider whole of an implicate order. </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoBodyText2" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">We do the exercise below one by one holding the little antenna on one finger. After discussion, group thinks best idea is not to share their individual intentions with the group, but take them with them back into the world.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">So now were going to do more or less the same. You only need to stand in front of the drawing from a second, and might not hear or perceive anything at all at that point. You just have to trust that you’ve made a virtual call. So that when you’re given a piece of paper, you just write as a reply the first thing that comes into your mind, without thinking. Let me just explain something first regarding the question you will hold in mind. John Soane the 1<sup>st</sup> question to his wife was, what must I do to fulfil your wishes. Now soon as a contact is made with a strand of virtual becoming like that, given all the exercises John Soane the 1<sup>st</sup> had already been through, the contact itself will create a further feedback loop or encounter. That means that when we are now directing this question to the virtual residue of Mrs. Soane it already contains some previous imprint of all the excises we have done so far today. So we’re not asking what John Soane the 1<sup>st</sup>’ must do to fulfil his wife’s wishes, but what any one of us must do. So the answer you receive should have something to do with your future, in relation to the fidelity to this event or encounter that we’ve just been through. It can be abstract, concrete, nonsensical or rational, but you should not invent anything, just write down the first thing that comes into your mind. Now if your reaction is ‘I will never take part in a participatory art event ever again’, it might be possible that it is too much of your own reaction, so it is important to imagine absolute alterity, an answer coming from outside yourself. You can choose to share your answer wit the group or not. Ok then there is just one more focal point to pass through before we’re out of here. This is a point that does not relate directly to a problem that John Soane the 1<sup>st</sup> had. It is more of a portal or gateway that John Soane the 2<sup>nd</sup> used to enter and exit this building. He wanted to show it to John Soane the 1<sup>st</sup> so that he could also use it to call upon him, should he become less available in the future. So the last focal point is:</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><h1 style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">The Lion Dogs of the Temple of The Next Moment</span></h1><div class="MsoNormal" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoBodyText" style="font-family: arial;"><span lang="EN-GB" style="font-size: 85%;">We could also have called this focal point, the Lion Dogs of the Temple of Now. But whether we are talking about just the next moment or an all-encompassing now, the point is that you can’t leave this building, or leave this event until you have presented these guardian lions with the correct password. The door is not literally through the wall, we’ll exist the door we came in. In any case, let me just say a little bit about the origin of these guardian lions. Sometimes they’re called Foo Dogs in the West, fu meaning prosperity. They are common in China, particularly pre-modern China as guardians in front of temple doors or other buildings or gates, but might as a tradition have originated in Northern India, while at some point also becoming typical for Buddhist temples. They are always represented in pairs, a male and a female. The male often plays with a ball representing the flower of life, and the female with a cub. The female has the mouth closed, and the male has it open. This is said to represent the enunciation of the sacred letter OM that contains the universe, or in the Japanese tradition it is said to represent in and out breath or the cycle of life and death. The male guards the structure of the building, in the case then the entire matrix of the world outside this building in the context of this event, while the female guards the dwellers in the building, in other words all the people in the world, or in the context of this event us, when we’re out of here. </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">So what you have to do to enter a password is make a new word or a new sentence out of the word <i>spacetime</i></span><span lang="EN-GB" style="font-size: 85%;">. I’ve written the word on this paper. Each one of you should make a word or sentence. If by chance you make the same word unknowingly that is fine. It can’t be completely nonsensical, but it can be relate to pronunciation or how you want to pronounce it, and have some nonsensical components and plenty of grammatical faults. I don’t want to use up all the possibilities here, but I’ve made a couple of examples here:</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">‘emtie paces’</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">‘ce – it – pas – me’</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">If any of you are completely stuck I might have one or two spare ones to get you out of here, but not more, so you should aim to do your best.</span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;">‘it – is – a – me – pc’ / ‘me – ce – it – pas’/ ‘mitee pacs’ / ‘me-ce-te-pai’/ ‘mee-sap-ce-ti’ / ‘t-mi-cee-spa’. </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="font-size: 85%;"> </span></div><div class="MsoNormal" style="font-family: arial; text-align: justify;"><span lang="EN-GB" style="color: red; font-size: 85%;">Some really good and telling code words and sentences emerged from this. And then we’re out!</span></div><div class="MsoNormal" style="text-align: right;"><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZOjDSCxVb6YIBT9eKeaoVk7frs6NTDJTXEsFi0KvvhnmoRMU5hhN5Td9JEvudbumN49ZbB2NgPSsQZQIJtcekS21Y_RbhqnFq0_GK2WDU27QjxrGnyZx-mZ-QRQLvBgC1ncjFVNzcZ1A/s1600/passwords.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5548288982429957490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZOjDSCxVb6YIBT9eKeaoVk7frs6NTDJTXEsFi0KvvhnmoRMU5hhN5Td9JEvudbumN49ZbB2NgPSsQZQIJtcekS21Y_RbhqnFq0_GK2WDU27QjxrGnyZx-mZ-QRQLvBgC1ncjFVNzcZ1A/s200/passwords.jpg" style="height: 200px; width: 140px;" /></a></div></div><div class="MsoNormal" style="text-align: justify;"><br />
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</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"><b> </b></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"><i> </i></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"><b> </b></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal"><span lang="EN-GB"> </span></div><div class="MsoNormal"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> <b><i></i></b></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div></div>kazhttp://www.blogger.com/profile/17297044799686483686noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-87702862482749154782010-09-24T22:45:00.006+01:002011-05-26T22:18:06.080+01:00White Hart, 23.9.10<div dir="ltr" style="text-align: left;" trbidi="on"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFYIVCe5j6u5NUMy1IlV2A17GAz_oZT1XXipUjgjfp7AbqAtiNGlM-APCfLRv1BvqHXPUpVo5hd3fOfHwEU3H7fmI95EUf7dI3I-w-lMyVKSgsUyYMqWWOLhW8NVjd7P7uQFUEPJlEsFkY/s1600/football.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5520600112321799746" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFYIVCe5j6u5NUMy1IlV2A17GAz_oZT1XXipUjgjfp7AbqAtiNGlM-APCfLRv1BvqHXPUpVo5hd3fOfHwEU3H7fmI95EUf7dI3I-w-lMyVKSgsUyYMqWWOLhW8NVjd7P7uQFUEPJlEsFkY/s320/football.jpg" style="cursor: pointer; height: 191px; width: 254px;" /></a><br />
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The first meeting of the group took place at White Hart Pub in Stoke Newington on the night of 23rd September. The group after picking a button with a letter marked on it, grouped accordingly to start the table soccer tournament. Among all Kaz displayed his skills on table soccer. In the aftermath, Fatos distributed the individually signed letters to all participants, including Soledad in Chile.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQxPa_UMWEYKW40s8zj26xlJpqYxzRseN_OQDPDgTuTYmvJYkUAVrIYudnY5g5rVyEZ1nA7mVJBPd83W9Wnkf_j0C-wuolGVcOzrjeIzXZ7RKheiLGChhMvSWIji9ypijvUUeuc1GJGQZ6/s1600/l+o+k+v.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5520600390489416370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQxPa_UMWEYKW40s8zj26xlJpqYxzRseN_OQDPDgTuTYmvJYkUAVrIYudnY5g5rVyEZ1nA7mVJBPd83W9Wnkf_j0C-wuolGVcOzrjeIzXZ7RKheiLGChhMvSWIji9ypijvUUeuc1GJGQZ6/s320/l+o+k+v.jpg" style="cursor: pointer; height: 152px; width: 203px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDXYtOn_cIl03irkKmCBEHuXTmhKWukA3f3jyTUnzfJqY-dV8t_LQ6XKZMhCOZxzqfHGnlGmOjZzMT-f229ZnAbVXCLKcmAQt8FQqRQAf7vvXpXkoV932eLvFKM35FLdGoY9iP6mT10L4a/s1600/vanda+%26+ole.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5520600645792153106" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDXYtOn_cIl03irkKmCBEHuXTmhKWukA3f3jyTUnzfJqY-dV8t_LQ6XKZMhCOZxzqfHGnlGmOjZzMT-f229ZnAbVXCLKcmAQt8FQqRQAf7vvXpXkoV932eLvFKM35FLdGoY9iP6mT10L4a/s320/vanda+%26+ole.jpg" style="cursor: pointer; height: 152px; width: 202px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjniXJL_qr7YvLuJnqAky5oHPR9TF75mNjzU9VYp9s9ltMTBj7HVRTtMpajLgLo7LxbHDLO2F8onzemNJbNsUYmjELFUH3CSHW7qLBCHRSODk3KTuOqe8xRmqU5sqtIy7ssa7FFJklwM7td/s1600/kaz+%26+lisa.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5520600770033414434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjniXJL_qr7YvLuJnqAky5oHPR9TF75mNjzU9VYp9s9ltMTBj7HVRTtMpajLgLo7LxbHDLO2F8onzemNJbNsUYmjELFUH3CSHW7qLBCHRSODk3KTuOqe8xRmqU5sqtIy7ssa7FFJklwM7td/s320/kaz+%26+lisa.jpg" style="cursor: pointer; height: 152px; width: 203px;" /></a><br />
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<div align="right" class="MsoNormal" style="text-align: right;"><span lang="EN-GB">23.09.2010,</span></div><div align="right" class="MsoNormal" style="text-align: right;"><span lang="EN-GB">London</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB">Dear </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB">I am glad to welcome you to the start of Vision Forum – London Houses, aka <i>Time Capsules & Conditions of Now. </i></span><span lang="EN-GB">It is a great pleasure for me to have you on board and I look forward to our upcoming encounters and exclusive experiences. </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB">As we start today with the tournament, I wish you all the best at the game with your immediate partner. As they say, let the best gain its place. </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB">Accompanying this letter, you will receive a responsibility card, which will announce what I expect from you in taking part. You are assigned a venue or an action. Please let me list the rules of the game, before listing the facts:</span></div><div class="MsoNormal" style="margin-left: 36pt; text-align: justify; text-indent: -18pt;"><span lang="EN-GB" style="font-family: ";">-<span style="font: 7pt "Times New Roman";"> </span></span><span lang="EN-GB">You are responsible to guide the encounter, hence construct the experience.</span></div><div class="MsoNormal" style="margin-left: 36pt; text-align: justify; text-indent: -18pt;"><span lang="EN-GB" style="font-family: ";">-<span style="font: 7pt "Times New Roman";"> </span></span><span lang="EN-GB">You can define the time frame you need for the encounter, and responsible to inform the group beforehand on the duration. Min. 30 minutes. </span></div><div class="MsoNormal" style="margin-left: 36pt; text-align: justify; text-indent: -18pt;"><span lang="EN-GB" style="font-family: ";">-<span style="font: 7pt "Times New Roman";"> </span></span><span lang="EN-GB">You are expected to bring in your take on of the responsibility and you are free on your input/entry. I.e. how you structure the encounter, its space-time, its nature as fiction or non-fiction, linear of multidimensional.</span></div><div class="MsoNormal" style="margin-left: 36pt; text-align: justify; text-indent: -18pt;"><span lang="EN-GB" style="font-family: ";">-<span style="font: 7pt "Times New Roman";"> </span></span><span lang="EN-GB">You are free to define instructions for the other group members such as you can ask us to wear a specific garment, carry a specific object, bring along something to listen to, to read or to look at, or any specific behaviour or sensation.</span></div><div class="MsoNormal" style="margin-left: 36pt; text-align: justify; text-indent: -18pt;"><span lang="EN-GB" style="font-family: ";">-<span style="font: 7pt "Times New Roman";"> </span></span><span lang="EN-GB">You can choose to study the place of planned visit – if that is your responsibility, or improvise on the instant of the moment of encounter.</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB">Facts:</span></div><div class="MsoNormal" style="margin-left: 36pt; text-align: justify; text-indent: -18pt;"><span lang="EN-GB" style="font-family: ";">-<span style="font: 7pt "Times New Roman";"> </span></span><span lang="EN-GB">The group meets at the closest station to the venue and walks together to the venue, except the train travel to Hereford, Vipassana Retreat Centre, where the group meets at the station.</span></div><div class="MsoNormal" style="margin-left: 36pt; text-align: justify; text-indent: -18pt;"><span lang="EN-GB" style="font-family: ";">-<span style="font: 7pt "Times New Roman";"> </span></span><span lang="EN-GB">The encounters will be audio recorded.</span></div><div class="MsoNormal" style="margin-left: 36pt; text-align: justify; text-indent: -18pt;"><span lang="EN-GB" style="font-family: ";">-<span style="font: 7pt "Times New Roman";"> </span></span><span lang="EN-GB">After each meeting/ session/ encounter, every member of the group is expected to respond. The responses are free of medium of choice. Hence responses can be drawings, paintings, audio recording, an installation to experience, text, image, or object.</span></div><div class="MsoNormal" style="margin-left: 36pt; text-align: justify; text-indent: -18pt;"><span lang="EN-GB" style="font-family: ";">-<span style="font: 7pt "Times New Roman";"> </span></span><span lang="EN-GB">One of the members of the group, Soledad, is positioned to be on the parallel to the project, where she will receive the audio documentation and is asked to virtually research on the venues, hence imagine the encounter within a fictive/nonfictive constellation of space-time-sound.</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"><br />
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</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB">Dates:</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"><b>09 October 2010 </b></span><span lang="EN-GB">– Freud Museum + Dinner (<b>Jean </b></span><span lang="EN-GB">& Kaz bring in their practice)</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"><b>16 October 2010</b></span><span lang="EN-GB"> – Sir Soane Museum + Dinner (<b>Ole</b></span><span lang="EN-GB"> & Lisa bring in their practice)</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"><b>13 November 2010</b></span><span lang="EN-GB"> – T.S.Eliot + Dinner (<b>Vanda</b></span><span lang="EN-GB"> brings in her practice)</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"><b>17 April 2011</b></span><span lang="EN-GB"> – Swedenborg Society (<b>Lisa)</b></span><span lang="EN-GB"> + Dinner (Fatos & Soledad bring in their practice)</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"><b>19-30 April 2011</b></span><span lang="EN-GB"> – Vipassana Retreat (<b>to:Kaz, from: Fatos</b></span><span lang="EN-GB">)</span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</span></div></div>kazhttp://www.blogger.com/profile/17297044799686483686noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-68119452293878419552010-05-25T16:25:00.002+01:002012-11-22T15:42:28.333+00:00Project Outline<div dir="ltr" style="text-align: left;" trbidi="on">
Vision Forum London <br />
Working Title: <i>Time Capsules and Conditions of Now</i><br />
‘Time capsules’ and ‘conditions of now’ are two notions that continuously oscillate on the phenomenological reception of the spatial and the relational. The former adheres to a withdrawal from continuity of events whilst falling in another realm of continuum with differing parameters, whereas the latter delves around the reception of the continuum through its defining elements such as the present moment and investigation of ‘now’ in its potentiality. In that sense the project is structured upon at first sight conflicting and gradually as eventually relevant concepts. The theoretical framework is under the influence of theories of time from quantum mechanics to meditation, from psychoanalysis to social science aiming to rearticulate the phenomenon of knowledge and its methods of presence, production, and reclaimed social and imaginary space.<br />
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The project brings together participants with diverse backgrounds and practice, who produce in the domain of visual arts, and focuses on <i>time capsules and conditions of now,</i> thematically evolving around the idea of allowance of creative and prolific individuals to encounter non-ordinary realities, which aim to influence their work on a relevant and discreet sense. The Vision Forum London project is composed of encounters varying in their nature and vicinity. In other words, the encounters will span the social and the personal through involvements in differing conditions of one’s relating him/herself to the selected sites. The sites vary in their nature and presuppose a certain sense of disconnection with their outside realm. That is to say, visits to houses of currently-living or have-long-passed-away significant individuals with a cross disciplinary practice are scheduled and positioned as the time capsules; whereas the conditions of now will be provoked on the sites of encounter. These visits will be preceded by a retreat to a town outside of London where participants will be part of a non-ordinary activity of silent togetherness whilst the personal space will be the site of encounter within the presence and the togetherness of the group. The accumulation of these activities are in the domain of the discreet and invisible influence in the sense in which the participants will not be asked to produce anything out of or directly relating to the former encounters in the means of translation. These unconventional encounters deal with the domain of creative and influential while looking away from the conventional context of artistic and creative production. In that sense the project is an irregularity with its unutilized nature and focuses on, as well as supports the expansion of borders in thinking, doing and making. Nonetheless, the project means to deliver a variety of outcomes as new works in artistic, curatorial and authorial terms depending on the practice of the participants. <br />
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The first phase, September – December 2010, will start of with a meeting of a group for a table soccer tournament and is composed of visiting houses of significant personas who have brought together a wide-research on knowledge through relating to science, psychology and arts. The houses that are to be visited belong to Freud, T.S. Eliott, Julian Barbour, among others. The houses for visit are positioned as sites with the aspect of time capsules in the way in which another reality is being encountered through delving into the objecthood of things as well as conceptual articulations of practices and perspectives. <br />
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The second phase, January – May 2011, is composed of working among the group for the outcomes such as making a publication, a series of exhibitions, a series of events and talks and any other artistic interventions in London. The second phase is where the experience of the first phase flourishes, not in the sense of implementation of what the first phase consisted but reflecting individually and collectively on the experience and involving in various modes of production. <br />
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<b>Initiated by Fatos Ustek, curator & art critic</b><br />
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<b>Participants:</b><br />
Lisa Skuret artist & writer<br />
Kaz, artist<br />
Jean Matthee, artist & theoretician<br />
Ole Hagen, artist & lecturer<br />
Vanda Playford, artist & practicing GP<br />
Soledad Garcia, curator & writer</div>
Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.comtag:blogger.com,1999:blog-4278801689680409831.post-67585183021732434242010-04-30T13:13:00.003+01:002012-11-22T15:40:54.919+00:00Vision Forum - London Houses<div dir="ltr" style="text-align: left;" trbidi="on">
Project start: September 2010<br />
Project finish: 2012</div>
Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.com