Archimedes lost his head to a corporal’s sword.
What sort of madness would one need to fall for numbers and stay intact?
Trying to understand love via tensor algebra, a sheet of obscure signs appears across the bed.
Don’t use the word infinity unless you mean it.
The polka is a dot, a dance, a spot of ink on a sheet of skin, on a thing, a ring of purple.
The spud is a letter away from the sud, a singular bubble of foam.
The shoot is a leaf, is a hunt, is a game of light in a frame of film, is a root in a bed of purple.
The finger is a digit, a gesture, a tease, a fidget away from a glove.
The skirt is a ruse, a bruise, evasion, suggestion, short fuse, darker than a deepness of purple.
The history of chinese painting and the history of Chinese research on magnetism converge in the word dao. I doubt that the dao is useful for contemporary artistic practice.
Magnes: There was a time when people conceived me as a sort of key. A key which opens experiences of infinity, of the universe, of the sublime.
Realometer: Given that it makes sense to speak of origins and starts: When did calculation start? It must have started with with inscription, with carving.
Natel: With all what we call to today graphical interfaces. What about tattoos?
Realometer: First man carved into his own flesh, than on grounds a part from him.
Jabès: Singing, chants challenges inscription and writing.
Realo: Texts are frozen waves, which reading and copying sets into movement. Copying a texting is a form of creating an atmosphere, of tuning in.
Realotext: Thinking of starts and origins implies a search for protection. Protection against the nameless, the infinite, the unconditioned. Art and the concentration on media is a way of questioning this protections.
Die Suche nach Anfängen und Ursprüngen ist Ausdruck eines Verlangens nach Schutz, nach Schutz gegenüber dem Namenlosen, dem Unendlichen, dem Unbegrenzten. Kunst und die Konzentration auf Medien ist ein Weg, diesen Schutz zu hinterfragen.
Magnes: Don’ t be silly, let’s check how we can avoid strict rules and oppositions like good and bad.
Duchamp: A charming way could be to signal how oppositions and rules evolve. Where does the rectangle come from, why and how did mankind start to draw lines?
Realo: How brave and interesting, sorry but I prefer to watch Magneto.
It starts with something and with another thing, a hidden thing, something which is part of the beyond, which has contures shaped by the known. The known is linked with suspect, with all which frightens us.
Anxiety: All what we cannot calculate.
When did calculation start?
When did the “great” distinction become productive, the distinction between male and female, active and passive, minus and plus, sun and moon, earth and sky, south, north, west - east?
Es fing an mit etwas und mit etwas anderem, etwas Verborgenen, etwas, das Teil des Jenseitigen ist, dessen Umrisse vom Bekannten geformt warden. Das Bekannte ist verbunden mit Verdacht, mit all dem, was uns ängstigt.
Angst: All das, was wir nicht berechnen können.
Seit wann gibt es Rechnungen?
Wann wurde die mächtige Unterscheidung produktiv, die Unterscheidung zwischen männlich und weiblich, aktiv und passiv, mehr und weniger, Sonne und Mond, Erde und Himmel, Süd, Nord, West, Ost?
D.: I’ve never read Descartes to speak of. … I am not a Cartesian by pleasure. I happen to have been born a Cartesian. The French education is based on a sequence of strict logic. You carry it with you. *
*Eric Cameron: „Given”. In: De Duve, Thierry (ed.): The Definitively Unfinished Marcel Duchamp (Nova Scoatia College of Art and Design, Halifax Nova Scotia). Cambridge: MIT Press, 1991, p. 17.
D.: A game of Chess is a visual and plastic thing, and if it isn’t geometric in the static sense of the word, it is mechanical, since it moves; it’ s a drawing, it’ s a mechanical reality.*
* Eric Cameron: „Given”. In: De Duve, Thierry (ed.): The Definitively Unfinished Marcel Duchamp (Nova Scoatia College of Art and Design, Halifax Nova Scotia). Cambridge: MIT Press, 1991, p. 16.