09253. bon soir, aarkivisti…

saluting this (general, (sorry: generous)) manier might offend some (if some anyay) reading, besides the fact you may be in a different (time zone) than i maintenant, or zone anyway. war das verständlich? myn english is not yet adapted to standards. i am learning. ich könnt euch auch auf deutsch zutexten, blosz dann würde die hälfte jetzt schomal ausgestiegen sein…, (for the german learning scholars: (ausgestiegen)<- aussteigen; (würde) <- 3.p sngl, konjunktiv präsens <- werden <- (what the fuck is -werden-. it origins of -sein-, which is short for 42, and should be translated comme: become. its not its future form i guess since its a verbum en seule. im not sure. use comme: -ich (werde) 001 (lernen)- e.g., meaning just: some indefinite day in the future i think (maintenant) i could be learning 001…, something, at least. if youve finished this (indefinite) state-of-mind youre able to say: -ich (habe(002)) 001 (gelernt.)- easy? fuck a.

see, no other thing to say than to teaching the nottoteach. bit noch: if youre french native, you can just leave the -h- in the beginning of -habe- (when speaking) to everyone recognize you being french which is von vorteil in bln. if youre arab or turkish native born in berlin you can just insert an -s- before the -c- in -ich-, so everyone knows youre from kreuzberg/neukölln, do the same if youre german native born in bln and raised in spandau, and then pull ich+habe zusammen, it should sound like a german cockroach, or -shabbe(s)- maybe

donc, juste comme explanation de le phrase a debout. okay, i stop this, it was eigentlich nur 1

test test, if you alive. i know…, few of you are used perhaps to making long distance, but i (respected) you taking this way. i would maybe not easily go round the globe some place in the valley-of-the-ingen-aning… schüss…

09244.kook.C: an approach towards conceptual art.


09247. an approach towards conceptual art.

its not the vagina of the artist who strips naked on stage, that is interesting about kavatkala, as it was neither the one of (#001) @kook.mono in the salle of…; fuck; where and who was that. okay i know, i have to find out MAINTENANT. you did yet? fine, tell me…, i have bad brains…

where was i? genau…: watching an (attractive, sorry) femme nue being what i still used to call -normal- does not, (and here opens a giant bracket explaining: 

1. context

in the context of a rather elaborate performance, necessarily provoke verklemmtes starren auf geschlechtsmerkmale. eher the opposite. at the first time of that #001: <experience> meaning you try to avoid that. cannot detache yourself from manbeing and the feeling of: in this audience you are 1. (if there was smaller a word describing that (condition) i would use it. honest, tell me one that sounds less.) this time, and expecting exactly what happened being warned by the artist, there was less confusion, less avoiding. go stare, motherfucker, or stare not…; im just naked, na und? >##2.

2. concept

integrating my self concept of -the limits of critique- into this (critique? critique.) its now presented in raw. i have to work on that. >##8.

now what am I expected to think then, to judge, to do? change views, is it? were getting close to ##7. comme jappris dans les heures precedentent le soir aux acud, theres min2 ways of getting into the -meaning- of a piece of art. one would be -on the surface-, the other… close read…, „symptomatic…“ (best/marcus, representations, Vol. 108 No. 1, Fall 2009; (pp. 1-21) would try to reveal a -hidden meaning-. in the course of the week i discovered some maybe (agenda) to the performance. >i do not have to relate to gender to make up an opinion of what ive seen.< the naked skin is secondary and but the media to transmit what i would like to call: getting real? visibility? to lift up to a visual level whats happening right now? what is happening… what was that… >##3.

a strange invention. intervention maybe. aiming at the #005: <mind set> change of an indifferent mass of spectators in the real (1=me) and in the virtual which is probably #006: <more real.> change what youve seen! is the demand. create! make anew! in the mask of nudesse: habillez-moi. >B: come in, she said, i give you… shelter from the storm.

the house can be 1 shelter. in #006 housing becomes an illusion des landeiern. >##4. 

3. lieux

„woman took off clothes and read out tinderchats“ 

is anybody frightened? does anybody feel in the wrong place? i think not. the performance apparently was live streamed to some me mysterious (lieux) and -that- made the pudels kern for me. we have here now two maybe differing audiences and accesses to what was actually presented as a reading. small überschaubare anzahl of real people -frontal- and a to me still mysterious number of (watchers?) @the desk. who both divide soimeme into manymany different groups and individuals. >##5.

4. surrounding

if this would be the final passage, i added where the shit was happening and whats comme dhabitude la bas. mais on never knows…; the invention of the naked actor said too much about centreville, people ordering cocktails and plörre vs. other plörre. thank is to the haushofmeister for the barrieres and some smirgy pissoires maintaining silence. i know of dunno. and: there were other people doing stuff this evening, nestcepas? mustve forgotten… were out for >##8.

close caption, adressing frohmann/berger: as mayve noted through (this) theres a few questions remaining, which is good nevertheless – if anyone cares here&now. both of you prevented questions/feedback/diskurs -on topic- naming the -personal approach-. dunno how the audience felt about a prolongued diskussion in the abspann at bln summer, me was finished being well seated and the bar seemed to be open. this is not going at you special, its my bauabeiter experience at these places. thats why thishere, but you called for the phenomenon.

5. target group

split into the small -realanwesende gruppe von leuten die eintritt gezahlt haben- and one -of undefined size paying fees by providing personal information to (mysterious)- to me theres no question of who would be -able to form a critical mass-. shall I? naj… we have to jump to >##6. i think of

6. the main audience

the non-yet critical mass is long gone by the evening probably. there were very probable the next and the next following choses and i think one is to be ce soir as well. attention… takes simple pathes.

but. what -forms- the critical mass? asked both direction of -to form-. i consider the stage as to creating clusters of perspectives within the total of viewers. a task could be to investigate within the field of user stats and referrers. who will we find there? dunno…; exept for a load of avatares probably. >A: hello…, is there anybody out there?

  • the #002: <main audience> is quiet. besides thumbs&smiles perhaps. a few horst approaches referring to the primaere sujet which to them might be reduced to #003: <the corps of la femme>. but she negotiated over that already… I adapted to that herewith. no front.
  • the main audience tries to avoid being tracked because #002 is interested in #003 and that complies not to #004: <the rules of good behaviour>, nestcepas? am I?

7. finally: suspicious reading, paranoid interpretation, new criticism.

attending the show under the -strong scientific point of view- i was not really able to (amuse.) maybe i could have been, not inventing on >##2.

8. to heavy? shabbath shalom… close bracket.) >##2.

it was the final passage.

find the reference: #001

9394, dock11. easy. „the artist is not mentioned in the critic primaere. next would be to check: drauszenpost. da werden Sie geholfen.“ jump: >##1.


dear mrs. sara,

according to your device? hä? -advice- i improvise an (approach) less (tinder.) which is as mayve not noticed the way i perform (approach) anyway.

you did great. i bewundere jdfs. the courage and the stylistic (ausgearbeitetheit) deiner gschichte, so seltsam sie auch (warum eigentlich) erscheinen mag an (normalen) gschichten gemessen. i hope to have a talk less secret than you fear, i am a spettat anyway and just am (sortof…) happy to have seen you once in (reality) whatever that means & to any outcome thereof. thx for not ignoring me, i (will do my very best) to adress you some comfortable way. naight, nhl, st. potmaschin.


jun8. 0600

hej good morning the ash,

you said youve -typed- the mail 6x, i tell you another form of (express exchange whatever)…, i continue my (elaboration) of yesterday evening this way…, not waiting for your response to write another time. maybe you can get the idea of (speaking) to each other in another way of (schedule), like this. would be necessary to have a (feuille) somewhere, maybe at the blogsite hinthint, where we can by time as each of us want, parler to the other. i do this with others by (sharing notes) on the phone, but this could here be a way of preserving our (i think it could get to some interesting points, nestcepas?) conversation and be able to write in your own time scheme, when youre active and not depending on when the other reacts. you think strange idea? is it not…, on peux guarder le (post) avec un password so no one had access…, whole thing depends on how convenient you find writing within the provided mask/backend of the blogsite…, other possibility is impleage.de, where writing is much easier, but you cannot hide the post from at least the impleage readers. one can log in there, register a new -impleage-, secure it with a password and if two or more people know the password, they can edit this -page- then…, could be an idea.

i have really a lot of things to ask the people far away and knowing of worlds ive no access to. starting with plant names, to describing how people are in reality over in the for me far ends of the world to simple other thing like food, clothing, then also greater things concerning politics maybe or attitudes. its way normal to wanting to know, isit? youve bad luck maintenant to be in charge of answereing those questions, since we met. say if weird, i think not. i think of it as a great idea to widen my view at least, yours maybe long enough wide to any of the aspects above.

so i do this first like this, maybe then attaching it to the next -expected- answer when you responded, could be a way also…, maybe less strange way, nestcepas…, nevertheless i find the idea of a (textflow) continued in personal rhythm inspiring as well… dis moi un mot qoui tu en pense. (thats pig francais saying ca. tell me what you think about it…) or: sag mir, was du davon hältst. you could also say: was hältst du davon? is more appropriate… or you could simply add a: gute idee, nestcepas? at the end of all youd said or, to be correct: gute idee, oder? i simply like using nestcepas (n‘est-ce pas) meaning as much as: good idea, is it not? the english version you better teach me, or your (telugu?) saying for this…, because i often use this…

im fond of the the idea to do this in a public way, since im not up to write anything which cannot be known by interested readers/ participants as well maybe, and maybe somethings are of a public interest, nestcepas? many books contain mailexchanges between famous ones…, okay, were not yet famous, but i think of you of being an interesting character with much to tell to the world, arent you? (sounds ironic, is it not!) think of the idea… and: one could invite the geneva beauty or others you think of as well to conveniently participate in the same way, the same (file/post/flow?)… tell me… (really thought to the end this was the idea of the site i (invented) 4.30am the first monday in dresden…, but no one really got this…)

jun8. 2243cet

hej ayman…, its the rabarber player…,

im glad you found ways to get my post and responded so quickly. i didnt know if geneva would forward my question, maybe i missed the right time to get connected in the last days of the academy. so…, you see…, its open palais. i never asked anybody what exactly you were looking for in the archive, what things you were up to find there. tell me… it was a lot of people the you, that i would liked to get to know better after reading the short cv in the (reader), what i did sorry ass just late when i was sitting in the train to bln. so i really missed some maybe interesting folks amongst which i was wandering the week. are you working on anything connected to the (program) right now? i wonder what you took with you from there…

i did another recording of the rabarber the last day when all of you were packing their stuff. i spent one more night in the more folky jugendherberge, visited some strange theatre which i stumbled into on the way to the opera. opera wouldve been nabucco, theatre was amateur, i mean really amateur and kindof psycho chose -involving- the audience. how i hate that…

okay, im doing amateur here as well as you may have noticed, but as you see, it works this art bitzos. feel free to use the chose comme tu veux, youve editor rights, dont you?

and: you could bithewai sometime forward the request to asaf whom i really would like to invite to contribute whatever he might find necessary of letting me know. this friday staying at home…, st.

jun8. 2315

hej the ash, good night…,

see, it could work exactly like that although i maybe cause a lot of confusion with the way im doing this right now. you can someway smell the art out of it? i do not know if you anyway are interested -in art- so only method is to just confronting the folks is it? yes, its a bit weird like that, maybe even psyco, but if i know one thing for sure, then that life will return to the mode normale si non exagere. youre never doing things like that? youre all virtual, le seule chose j en a surete cest ilyavais des avatars des vous installe dans le lipsius. mais plus? non, pas sure. cest un task…, move the present… if you not want to become digital, move the digital if you not want to become past. and: please send more pictures of wild flowers&trees. i have a certain aversion to search engines but am really interested in the florafauna of this unknowntome country of yours, sincerely, st.

damn youre right, its an art bitzos. mais je nai pas commence… deja.

Sehr geehrte Fr. Buchholz-Liebig,

ich bemühe mich, Ihnen in einem einigermaszen vernünftigen Deutsch zu schreiben, obwohl es mir schwerfällt, die Gedanken, die ich gern mit Ihnen teilen würde, zu ordnen. Sie sagen -geht doch-? Na gut. Vielleicht haben Sie Nachsicht mit jener Generation (Künstler), der ich zwar langsam entwachse, ohne ihr im mindesten etwas hinterlassen zu können aber und vor allem aber ohne jemals die Idee gehabt zu haben, ein Teil ihrer zu sein – obwohl ich diesen Umstand gerne anerkennen würde. Ich weisz nicht, ob Sie mich das wirklich gefragt haben, bzw. wer noch – ob ich ein Künstler sei, mich als solcher verstehe. Wen machen Sie zu einem…? Wie? Und warum?

Ich habe Sie gefragt, ob Sie denken, dasz durch diese Zuschreibung ein Druck ausgeübt werden kann. Das war in jenem Moment die einzig wichtige Frage, die ich hatte; ihnen gegenüberstehend, Ihren Aufbruch hinauszögernd. Sie müssen meine Zähne gesehen haben, ich sah ein Erschrecken an Ihnen. Wollen Sie die Geschichte dieser Zähne hören? Vielleicht lieber ein anderes mal, wenn Sie zuerst sicher sind, dasz ich es war, der Ihnen schrieb und wir uns vielleicht noch einmal begegnet sind. Aber wo treffe ich Sie? Wie komme ich an einen solchen Ort… Sie verstehen, was ich meine, oder? Vielleicht haben Sie sich die Biographien im Anhang des readers durchgelesen; aber bestimmt sind Sie, wenn Sie über die meine gestolpert sind, nur deshalb hängengeblieben, weil Sie (es nicht fassen konnten, wie ich mit solch einem Lebenslauf in die Menge der Leute dort geraten bin?) die Selbstverständlichkeit, mit der ich jeden Hinweis auf das, was mich für die (Runde) irgend qualifiziert hätte, vermied, beeindruckt hat. Da wären Fragen zu stellen gewesen im Hinausgehen bin ich mir sicher. Die einzige Sorge jedoch, die ich trug, war die nach einem Platz über Sitzniveau der in der Lobby Lustwandelnden. Ich danke Ihnen hiermit trotzdem ernsthaft für die Wertschätzung dessen, was ich dort sehr laienhaft improvisierte mit dem Material, das ich aus mir undurchsichtigen Gründen aber glücklicherweise dabeihatte. Es reichte, um drei Tage nicht nur sich selbst, sondern öffentlich zuzugestehen, dasz, was ich da mache, schon irgendwie Kunst ist.

Damit habe ich hoffentlich Ihre Frage beantwortet; ich würde mich über einen Brief freuen und verbleibe, herzlich und hochachtungsvoll, St.

Seien Sie gesund und machen immer da weiter, wo Sie gestern aufgehört haben…

Sehr geehrte Damen & Herren der Institute,

ich melde mich bei Ihnen, so lange Ihre Erinnerungen an mich noch präsent sind und ich mich nicht der Lächerlichkeit preisgebe, wenn ich ein halbes Jahr später versuche, eine Berechtigung zur Ansprache Ihrer Verantwortlichen aus der jämmerlichen Tatsache abzuleiten, dasz Sie sich ein paar Minuten Zeit zur Anhörung meines Vorhabens nahmen.

Ich weisz nicht, ob die mir wichtigen Fragen zur Relevanz des Archivs und seiner Neuverortung im Jetzt Sie erreicht haben und kann nur hoffen, dasz Sie den Weg, den ich beschreiten konnte dank Ihrer Unterstützung etwas verfolgt haben. Es hat sich einiges dahin ergeben, mit dem -Material- öffentlich wirksam werden zu können, wenn auch in sehr begrenztem Umfang. Der kleine Teil, welcher in der auch vor Ort präsentierten Form jetzt bereits an mehreren anderen Orten für Publikum zugänglich gemacht wurde, ist natürlich, wenn auch repräsentativ, nur ein Bruchteil dessen, was mir an Material vorliegt. Von diesen Fragen jedoch, wie damit, über die Präsentation hinaus, zu verfahren sei, sind jede Menge offen geblieben, die ich im Verlaufe der Woche angehen zu können erhofft hatte. Ich bin nichtsdestotrotz sehr dankbar für den gewährten Einblick in die Arbeitsweise Ihrer und anderer Institutionen und würde mich freuen, auch in Zukunft in irgendeiner Form an der Erweiterung, der Institutionalisierung und Veröffentlichung der Bestände beteiligt sein zu können. Ich werde mit grösztmöglichem Ernst Ihren Vorstellungen begegnen und mich bemühen, die subalterne Realität, für die ich stellvertretend Repräsentant unter Repräsentanten sein durfte, an Sie zu vermitteln – wenn Sie weiterhin Interesse bekunden am System -bauarbeiter-. Nehmen Sie alles ernst, was ich ernst meine und alles für wahr, was ich sage.

Mir freundlichen Grüszen aus bln,

junine, 2257

god kväll ms. klara,

i send herewith to your belongings, inspired by the same of yours, archive material of my private collection of (strange florafauna), hoping to not frightened you. bara konst…

run01 3run01 11DSCF1431DSCF1435

#09241. MG/GL, schattendruck/werkzeug, lcb/friendswithbooks

lieber georg, liebe mara…,
vielleicht findet ihrs auch komisch, dasz ich immer euch beide zugleich anspreche…; das vereinfacht mir aber, das hier auseinanderzulegen, womit ich diesmal komme… – wenns überhaupt abgeht, die mail…, post…, whatever…
folgender vorstosz: in zwei wochen finden im lcb wieder die -kleinen verlage- statt. nu…, ich bin zwar mit meinen rotefaden noch immer nicht zu einem solchen (etabliert), bewege mich aber zielsicher in irgende solche richtung.
okay, die idee, die frage; vielleicht ein mutiger versuch, euch anzusprechen.
ich habe, und die lcb-sache demnächst ist ein schritt dorthin, im letzten jahr von der (kuratorin?) der herbstmesse im hamburger bahnhof die möglichkeit eingeräumt bekommen, in diesem jahr dort evtl. meinen (beim letzten mal sehr pop-up improvisierten) (stand) wieder aufzubauen und arbeite so es mir die zeit erlaubt fieberhaft daran, dort mit einem (programm) anwesend sein zu können. fehlt nur noch das programm. der -schattendruck- wie ich ihn bisher entwickelt habe und den ihr ja beide zumindest kennt, ist das hauptding, worauf ich mich konzentriere. ich hatte aber mit mara, und auch mit t. bresemann schon einmal über eine weitere geschichte gesprochen, eine anthologie des berliner -sediment- wie ich es so nenne; also alles, was (wie ich) auf umsonstenen lesebühnen oder sonstwo herumtingelt, ohne jemals durchs schreiben wirklich etwas herauszubekommen auszer eben applaus und vielleicht eine fruchtbare kritik. ich möchte ein paar dieser leute sammeln und das ist der punkt: nochnicht mal diese sind interessiert zu erscheinen, bzw. mir mangelt es ernsthaft an (ernsthaftigkeit) wenn ich versuche, zu erklären, was ich vorhabe; klingt natürlich alles wie grosze umpustige windeier.
zu euch: im schattendruck ist jetzt auch ein englischer prosatext von mir (erschienen) und das gefällt mir sehr gut in dem format. ich dachte also: vorsicht, weird – habt ihr nicht etwas längeres, auch essayistisches, prosa/text/whatever…, zwischen ca. 3.500-5.000wds, das ich dort hineinnehmen könnte. und jetzt kommt meine fixe idee dazu: ich dachte, vielleicht habt grade ihr oder jemand, der schon verlegt ist, texte, die er nicht unbedingt mit seinem bekannten namen (musz ich hier gendern,m.? nee, oder…;okay, danke…) assoziiert sehen will, vielleicht weils (schweinkram/politisches/ein schlechter krimi…) jdfs. etwas ist, dasz ihr der -audience- mitteilen wolltet, aber eben nicht unter euerm namen? ich hab ja genau andersrum angefangen, also nie unter meinem vollen klarnamen irgendwas rausgegeben; vielleicht geht euch das aber anders, habe ich gedacht. ihr seht also, es geht mir nicht wirklich um (zugpferde), sondern eher darum, überhaupt content zu haben, den ich nicht unter 10 verschiedenen pseudonymen selber creiren musz. das ist die geschichte, wie ihr euren eigenen schattendruck von mir bekommen habt, pünktlich zum lcb tag am 22., wo ich mich dann wieder irgendwie damit aufdrängen werde bzw. euch ein paar der hefte dann in die hand drücke so ihr da seid um ebensolches zu tun, also eben grad mal -visitenkarten- verteilen, für die (anständige leute) dann auch ruhig was bezahlen dürfen/können/sollen. oders ebens klauen. der aufwand für mich hält sich in grenzen.
die zweite, gröszere gschichte ist die anthologie. <…>
… okay und weil das für mich wirklich ein groszes ding ist, woran ich bis <…> noch kaum gearbeitet hab, sasz ich jetzt ein paar stunden über dem layout und hab wirklich etwas zustandegebracht.

voici dedans:

anthologie berliner sediment. in progress..

09246.jun13. hej la geneva…,

since you did ask about -the research- and me not wanted to bother you with further (elaborate, out-of-hand?) post, i tell you here, considering it also public interest, what (the research) is doing.
you will find with 09234. what mirrors the outcome of the academy for me. visiting the university once a week i bring into there some of kindof skills i developed in the dresden week, and if their just to feel (entitled) to be there because of being able to adapt to certain (methods) of scientific research, as for example really study the material (because people expect that), doing post work on the material, using the space of the university itself, the library, the -lieux- ou les autres etudients faisent leur etudes. i am not the -bauarbeiter only- being there and can use my capacities bit more effective and the opportunities given to me. i learned to gather material myself and to exchange more on topic than personally. i think one has to be -included- once to loose the feeling of standing outside debates. still i play with my role of the jardinier who pushes forward to the university, but less embittered, more confident in what i am able to contribue to a debate.
its 0615, i have to leave in few minutes to not always get shit on me for being late every day; just wanted to add that to the post du dernier soir esperant tu le lire et es d’accord le methode d’exchange je choisi le faire comme ca. tu peux decider toimeme quel content tu provide ce way ou autre, je serai heureux de toi interesse pour la chose te pensant libre tout sense… bon jour, a la prochaine, st.

#09247.jun14. hej the ash…

short to you a climate note…, if you happen to read: we have water from above. seldom this year. and the precedent. and to learn you german: we would say (and now careful:) Es -hat- (viel) geregnet. which is correct. the vienna folk en conraire would rather say: Es hatte (viel) Regen. they do everything wrong, mix up nouns and verbum, -to have- and -to be-… you will find out if going deeper the many finesses of this fuck language that i love. machs gut, bisdann, st.

#09251.jun15. still, ash

although the shabbes se fini lentement. i attended or maintenant still in the -manner- of just represent 1 evening at the akademiederkünste. i someway missed the chose les dernieres annees. geneva…? youre reading? i got post from farway with weather+ news in which im really interested being gardener. i wish to get more of that besides the plantes vulgares, im (still) not used to that kind of stories. friends hiding these sujet, me have no realtalk de ce chose. i admire the ones able to express that.

whats happening in the tunnel? i imagine: collisions alltheway. id love to hear cern stories or about whats going on in -the language-. jaimais bien de tu ecrire en francais lorsque je nai pas vraiment deja compris si en ta langue. donc en anglais parceque you probably understand me better that way. i hope youre all fine and feel not discomforted me adressing you kinda generally. its an art bitzos, i just cant leave…

09261.lcb: to dngs

hej…, i still not know some answer myself to this question, wether that shit would suit officially…, because, simply: of my own incapacity to recognize the (unsuitable) from the accepted shit. not within the program, nor the representants of (shit) but rather due to (autist features) which prevent some clear division of the one from the other. id not go so far as saying i cannot recognize suspicious (primäre) but reading -paranoid- does not necessarily enable one to making clear distinctions. only way is to rely on institutions and for that keeping up with whats allowed and whats not. ich möchte diese strukturen nicht mit meinem eindringen aufweichen und deshalb die hier eindeutig hoffe ich gestellte frage: nach dem wo auch ihr euch seht. gerne antworten…


je voudrais bien le mettre en francais, mais mes capacites dans ce langue peutetre pas suffis, donc le suivant en anglais. pas t’etonnes pour la langue etrange nous ayant lallemand, mais la situation le demande.
i left the soir -petit maison d’edition- with questions still in my head of which i indicated few in the last minutes. and their still sort of running.
as you if at all got here may have noticed the -concept- of adressing the folks i missed to talk further to about the establishment of (ada) you may get some points on which i try to elaborate now for a while. se mettre dedans la literaturlandschaft comme -desous independent- sets certain demands concerning curational, selectional… aspects of a -program- beyond the quality of the writing itself. i am aware of the political issues of developing the chose. but: me, wandering les lieux pour rencontre les gens involve still am not able to decide to whom i am talking all the time, what exactly could be attitudes, haltungen, concerns, directions…, which may not be able (integrated.) people are not -coming out off the reserve- and the only possibility for me is the (paranoid reading) of their saying/writing. i do not know how trusted one is to be to get serious answers, but i still not know if the fact, that one house is supported by bln, grants its political infallibility. and where to start with being suspicious and where that ends. if you have some more decisive declaration on which institution there is that gives clear statement on their political behaviour that is -not- itself a political institution, i would like to participate in that knowledge of where to act as ada. the widespread -realavatares- of this network show pas envie plus grande d’en eclaircir. however youre welcome to answer, avatares ou non…

09274.lettretage: jul03. preparation.

i am not able to talkin clearly. the two above (lettres) concerned to dngs cvd. th. dnges de la maison lcb. there was a short conversation on how to avoid content. i am not getting answers, maybe tonight.


ich schiebe das noch hinterher, falls wirklich jemand den nerv hatte, sich auf meine (msg) hin hier umzukucken: die (pol. belange) die mir tusen fragen aufwerfen, sind derart kleinteiliger natur, dasz ich nicht weisz, ob in dem (vonmir erwartet groszteiligen) rahmen, in dem, heute abend, wie sonst, solche debatten stattfinden, dafür -öffentlich- wieder einmal (mir) meine (stimme) zu klein sein wird. dieses tatsache nannte ich in der msg -immanent-, meine partizipationsmöglichkeit -in- debatten. die möglichkeit, die sich mir dahingehend einzig erschlosz, waren diese openletters. denn zumüllen mit der adresse tu ich genug leute, in -real-, um annehmen zu können, jemand hörte zu. was mir dann jedoch wieder bleiben wird, ist, die protagonisten -von der seite- anzuquatschen, ein verhalten, das (ebenfalls immanent) für verwirrung sorgen mag und (ebenfalls immanent) beim gegenüber wahrscheinlich (ebenfalls immanent) verunsicherung verursachen kann. wie kommen wir da raus? ingen aning…

#09287.float-hkw jul12th.

hej ash…, du nudel! hej geneva you still beauty…, wheres post if thereis any? okay, you sleep maintenant, or youre dancing wild. fine with me. i send probably again some beer letter to lestrange hoping you never annoyed, youre not…

i passed an intense (reading chose) on a steamer down the spree precise un large round through mitte, wedding charlottenburg moabit and back to the hkw where the wholy shit started. im through with angry at the avantgarde. by initiating and organising that tour they won my heart. they moved their prenzlberg asses through my hood and screamed out loud into the charlottenburg night their deepest shit. i am convinced. i am humble. and i apologize. please let them know: i felt their shit. and the pissoir river spree felt too. theres so many places i sit on one side of the river, watching the boats passing and its a 25 years ago when i last shipped that smirgy brühe.

so, you will not get this, it turnes out to be another open book. i say your fault, youve been invited. me too, i accepted, and was -moved by literature- which is here no cheap word play, it was real. youll get a link, at least, to be mailed. sleep til morn, dance the hell out of your ass, i hope hearing another story no matter what.


lieber h.,

weird, je sais, aber -das- ist ungefähr die (form und platform) wie ich momentan -kritik- betreibe und nutze -die- möglichkeiten, die ich habe, ohne mich abhängig zu machen bzw. leute unnötig zu involvieren.

apps kuchapucha und non academic approach to new criticism: ich kann auch wenn notwendig noch keine abschlieszende ab/zusage/rücknahme bez. meiner bewerbung geben. so ist ungefähr meine geschwindigkeit zu arbeiten: noch sitze ich an einer (kritik bemerkung senf) zum floating alphabet am freitag, die in der drauszenpost zu lesen ist, wenn du das findest. ich scheue einfach, auch wenn ich von der 20×20 struktur sehr angetan bin, endgültige formate, deshalb hier: das läszt sich in der form jederzeit aktualisieren, zurücknehmen udgl….; ich arbeite lieber halbperfekt aber mit resultaten, als darauf zu hoffen, dasz ich mit einer kritik nicht zu spät komme. und diese von euch gewählte präsentationsform ist soweit ich verstehe auch schnell zu bewerkstelligen, aber eben dann nicht mehr reversibel. und: wenn ich nicht selbst zugang zur (software) bekomme, ohne ein behindertes abo abzuschlieszen, bleibt das für mich so lange uninteressant, wie nicht jemand beweist, dasz -das- das medium der zukunft ist. seh ich jedoch nicht, kann sein ich irre mich wieder mal siehe mobile books, von denen ich dir erzählte. dann isses eben so. also: den sinn darin, diese technik zu erlernen bzw. kritiken darauf zuschneiden zu lernen, was ja dann die hauptarbeit ist (denn den text schreibe ich sowieso) also diesen in einheiten zu gliedern ist dann wohl der hauptaufwand und ja nicht nur strukturelle, sondern auch inhaltliche, der zu leisten wäre. den nutzen davon, meine kritiken auf irgendwelchen obskuren abenden und platformen zu wissen, sehe ich noch nicht. sinnvoll wäre für mich nur, -nach- der akademie die software selber nutzen und solche präsentationen frei implementieren zu können. dazu habe ich, soweit ich das prinzip verstand, aber keinerlei einfache kostenlose möglichkeit, wenn ich nicht im rahmen der veranstaltung in die -umlimited number of participants bzw. users of the software integriert bin, und das über den zeitraum d. veranstaltung hinausgehend. is logisch oder? ich hätte wenig davon, etwas zu lernen, das ich nicht später anwenden kann…

weiter: ich habe eigentlich keine lust, diese geschichte dann als initiante zu sehen eines einstiegs in publikationsmöglichkeiten. (das geht jetzt schon in richtung einer kritik, kannst du gern teilen…, is ja öffentlich…) denn: das, was mir an absolventen udgl. stipendiaten am meisten (relativ zu meinem unerfolg) aufstöszt, ist die tatsache, dasz an den instituten vornehmlich unter vorgabe -literatur zu studieren- lobbyismus betrieben wird, connections gemacht usw. und die qualität des geschriebenen eher sekundär erscheint, und das liest man dann auch in den büchern der leipziger und hildesheimer…; nur kucken verlage vielleicht dort, in deren studierstuben, öfter vorbei als auf lesebühnen des sediment. konkret: auch wenn für diese geformten kritiken dann was zu mir rüberwächst, würde es meinem selbstverständnis guter texte widersprechen, wenn -ich- dadurch, und nur dadurch – öffentlichkeit erlange. is auch logisch, oder?

also. frage ist halb beantwortet, oder? ich ziehe das eher zurück und vielleicht gibts ja bei euch trotzdem eine möglichkeit, meinen senf loszuwerden, comme ici. ich bin langsam, habe auch sonst viel um die ohren und abzusagen würde glaubich, angesichts meiner doch eher ablehnung des (verfahrens) und deiner vorsichtigen annäherung abcheckung und erklärung der risiken, den umständen besser entsprechen.

da diese post ja nicht in deinem fach landet sondern (hier), kuck abundzu mal vorbei, ob sich was aktualisiert. bisdann, st.

nachtrag 09293. 1. danke für die verstehenden worte; ich sehe -UM- und -TROTZ- noch in einem weiteren zusammenhang siehe -ich habe auch sonst viel um die ohren-; also ca.. nicht -schreiben trotz gärtnern- sondern zb. -gärtnern UM zu schreiben-… 2. auch diese möglichkeit hier hat was ich meinte gutes: die (information) an dich gestern war wichtig, zeitlich abzusetzen; nur: eben sehr schnell geschrieben und in einem unmöglichen (dialekt…) das war was ich meinte: information bleibt erhalten und wird rechtzeitig (zugestellt) – form kann korrigiert werden. voici. st.

#09293. hej geneva…, bonjour la suisse, bonmatin…,

bien alors une foi des mots eclaire: yes, its public, at least to the aarkiv people that would be the dresden participants and few i meet in berlin and tell them of the chose. and yes, you are invited to (participate), to contribue own post, material, text, thoughts…, that you consider worth being told concerning… dont know… me im writing there mainly about stuff i (and thats the nerd thing about it): wanted to tell people -in real-, but dont have the actual opportunity to either meet them, to approach them due to (class/reputation differences), or simply because i miss the occasion to speak to them personally. when im en chemin in berlin culture life, theres not always possible to adress people directly after some event, but i often need to give some feedback to what artists or persons of (relevance) presented, done, made public.
it started in dresden as some network idea for the participants to stay connected during the week and for use as a platform for sharing material and ideas in general concerning our work. maintenant its more like an/my project of -art conceptuel- as im mainly doing it alone. i imagine some different present and pretend its has gone this way, is this someway clear? an -alternative future-…, what -would- happen -if- the (letters) would have been sent for real…, i pretend i sent them. i give people hints to them and am done because i do not keep my opinion by myself, but give people ghe chance to hear it, if they are reading, without pushing or pressing forward what im saying/writing. a passive, onesided, (troll)manier if you want to see it like that. but instead of spamming other people i speak out in here, maybe no ones listening, so wtf; its a way of expressing thoughts.
the further idea does involves you as having the possibility to login/register with either a wordpress account (for that you have to send me a wordpress username with which you then get an invitation by the admin of the site) or a newly created (via the register button) site user account. its not that difficult… with access then you can post stuff yourself, edit posts, see non-public posts…
okay…, does this answer some questions? i really have to work on me explaining things clearly…, you are rigth… sorry for (disturbance…) the rest in the mail, here for that in case of other peoples FAQ maybe… a bientot, st.


hej the ash…, i dont know if you get access to the post published -private- so i changed the status of 09301. to -public-. small insight of how i am living…

sun, no rain, getting hot again after few autumn days…, strange weather; i wonder how this will end up klimatechnisch. i planted 3 olive trees already adapting to climate change, just have to get them through the winter somehow… well see.


hej miss klara…,

strange place i know but i really like this perspective. fenced, is it. i didnt tried contacting you again, being here i cannot without telling you id loved to meet you -forthemusic- and hope adressing you doesnt feel you discomforting ways. if you make it to berlin again, dont hesitate to asking me to show you around, the spots in gtbg i saw do make me think youre calm against weirdness. kippis, st.


hej good evening the ash, from some sideview -onto the perspective onto götaplatsen-. to (my) right a building called or (lettered) -pizzeria- and in front of that the eigentlige spot to spot about the plats which spreads beneath the scenery. this writing to you maybe turns out a bit like what the frisk call -talking to the ennereesken- which are the people from below, the funny folks, the kuinzige, the koboldige etc., since maybe some ms.k. is reading what im telling you so i tell you, the ennereeske, what she very hopefully might read. got that? same like when youre telling your child in the wagon about the mop coiffetture dune person present which is to overhear your gabbish conversation. naja, you know what i mean. ive not much to tell anyway, but since you show up in the views, i thought youre happy to find new post. so…, göteburg, isit? was it not so weirdly harbour city, i would with disgust callit pittoresk. but its a hafenbraut i think. full of seagulls which is beautiful. from the back i hear people screaming who are dropped down by will from a giant tower, attached in a ring which is hovering slow and falling 9.81m/sxs. and high is here -really- high. no kirmes fun, i think its thrilling for the poor paying volunteers.

tomorrow im heading east for 2 weeks, ending up in stockholm, if im lazy i will spent 10/12 days on a lake fishing, if not, im prepared to hike some distance. i will keep you here or another post on the going and loved to read on stories on india. til then, from gtbg warmly, st.

ps: we ought to migrate here, this post is lentement too large with images.

09234.2 colloquium -der streit um die kritik- in der primäre.

bon soir les etudiantes…

okay. ich werde mich nicht zurückhalten können und die -kritik in der primäre- wohl gleich, im anschlusz ans seminar, -aus den fingern saugen-. der drauszendurchgang zwischen dem vorderen und hinteren teil der silberlaube bietet sich grad an. donc. etudier.

habe ich an alles gedacht?

  • ein schmales ringbuch sappele -student-
  • ein kanken
  • ein 13“ macbook
  • internet in der hosentasche.
  • nochwas?
  • achja…, ein rest kaffe. kann losgehn.

bauarbeiter an der uni. nein: bauarbeiter IN die uni!

es kam die frage auf nach belangen…, genauer: -wie- fördermittelanträge zu begründen seien. im kontext des colloquiums eine eher randfrage, die mich aber hellhörig machte als ein parasit? am system frei zugänglicher bildung?

als ich vor einigen wochen nach der veranstaltung vor dem eingang -rumlungerte-, hörte ich ein angeeldertes ehepaar ca. sagen, ja…, und das alles von unsern steuergeldern. stimmt so. frage ist: ja, und? problem, du spast? deine rtl-nachrichten würde es auch nicht geben, wenn hier oder an andern unis nicht wenigstens ein paar deppen medienwissenschaften, journalismus udgl. üben würden. ich übe zumindestens, meine eigene -kritische kraft- zu nutzen, indem ich, natürlich immer noch faul-as-ass, aber wenigstens noch vor-um, die texte zur sitzung wirklich studiere. also mich bilde, oder: mir meinen anteil an bildung nehme. dreist, ohne zu bezahlen; aber dafür zahl ich auch schon steuern, is also okay, oder… oder.

zurück zu fördermitteln: wie kriegt man mehr bauarbeiter in die uni. oder erstmal: sollen mehr bauarbeiter in die uni? auszer um -ein gestell aufzureiszen-? weisznich…, würde anders werden vermutlich. härterer tonfall vielleicht auf den gängen, die mensa etwas unübersichtlicher, allgemein mehr gejohle. aber ej, das doch kein ponyhof da drauszen, wenn ihr hier fertig seid; und wer als architektin angenommen werden will, musz auch mit dem polier mal n wort reden können. echt ej…

also nochmal fördermittel. es gälte, gelder lockerzukriegen irgendwo, die es der unileitung ermöglichten, den zugang zu seminaren der breiten bevölkerung zu erleichtern. is doch schon? gasthörercard? maybe…, aber 200,- eier, wenn man nur ein seminar besuchen möchte und möglicherweise gar nicht jede woche die energie hat, zu erscheinen? soll -ich- die bauarbeiter ermuntern, es wie ich zu machen, also sich einfach -zu plazieren-? das macht glaubich keiner, der hier vorher noch nie aufgetaucht ist…, soll auch nicht ziel sein. okay, fürs erste würde es ja vielleicht auch reichen, jenen den zugang zu erleichtern, die wenigstens ein biszchen vorbildung, akademische (biographie) mitbringen. nahziel. maingoal: die feedback loop. also bildung von drauszen, von unten, von den bauarbeitern IN die uni bringen. also sie sollen wissen, also die studenten, der lehrcorpus, dasz es uns gibt und wir interessiert daran sind, uns hörbar zu machen. vielleicht werden wir ja auch längst beobachtet, klar…, arbeits/organisationspsychologen gehen in -firmen- und machen befragungen. geil. will einer richtige antworten? aber auch: will einer von uns überhaupt reden mit euch?

die schwelle ist zu hoch. ist das mein ernst? ich bin doch hier. s gibt kein problem. oder?


ich setze einmal um. kritik in der primäre. fragen -in der primäre-:

welche formalia müszte ich erkennen und innerhalb welchen systems, welchen objekts der -kritik- also, um zu kritisieren, dasz ich

die schwelle, um auf das in der uni gelehrte wissen zugreifen zu können, zu hoch finde. wirklich zu hoch? also für mich ja eigentlich nicht… deshalb:

ist kritik an dieser stelle überhaupt notwendig?

wer ist neben dem objekt überhaupt ein adressat der kritik? nicht beides dasselbe? der unibetrieb? die leitenden stellen? die studenten doch auch, oder…

was ist, wenn ich eine aufgabe habe, besides enriching myself out of the provided knowledge, mein -ouptput- IN das system? gibt es einen solchen?

denkend, dasz mein (naives fragen)

die runde, in der ich zumindest heute einen der letzten freien plätze also besetzte, in irgendeiner weise (befruchtet), sei es durch den zwang zur integration einer völlig unwissenschaftlichen perspektive, sei es durch die unterbrechung einer aus dem ruder laufenden diskussion durch meine (freie assoziation, ebenfalls unwissenschaftlich), die dann dazu führt, dasz alle kurz vergessen, was sie noch beisteuern wollten und damit raum für einen neuanfang (im gespräch) gegeben ist; denkend das also…, kann ich (hier&jetzt) nur das jetzt noch dazu beitragen, was ich, das unigelände und meine stimmung, irgendwie noch geistig tätig sein zu wollen, bevor ich nach diesem jetzt laszmarechnen 5-1900 egal jdfs. sehr langen tag, (nutzend), eben noch improvisieren kann. die andern machen wahrscheinlich aunix anderes, die hier noch in den gängen irgendwo hocken und tippen. also in der uni arbeiten, oder? habich früher nie gemacht. seminar, abnachhause, bierchen, party. okay, serious…

habich jetzt schon was beigesteuert?

weisznich. die oben angedeuteten fragen wären ja zu klären, um zu beweisen, dasz ich studiere, und nicht nur darüber rede, daszich es tue. da wär dann auch die connection zum eigentlich zwecke, zu dem ich der veranstaltung überhaupt beiwohnen wollte, bevor sie mich zu gänzlich anderen ufern trug. literatur kritisieren können, und diesmal wirklich. das war eigentlich der anfang von felskis text aus -limits of critique-, den mangel der -hermeneutics of suspicion- in den literaturwissenschaften auszumachen. ich müszte jetzt richtig arbeiten auf diesem harten steinboden, um dazu was sagen zu können. was ich verstand, war, dasz wohl der (hermeneutische verdacht) etwas ins hintertreffen gegenüber der mit allen mitteln ausgestatteten -kritik- in ihren sämtlichen erscheinungsformen geraten ist. hermeneutik habe ich bisher als die kreative erschlieszung von bedeutungszusammenhängen verstanden, die sich von kritik dadurch abgrenzt, dasz sie nur ihrer eigenen logik folgt, einer der syntax, der grammatik, der mathematischer bedingungen, die ein objekt einem, der es -aufschlieszen- will, zur verfügung stellt. kritik würde (wie oben angedeutet) immer beweggründe abseits ihrer immanenten logik suchen, nach denen sie voranschreitet; sich immer darauf verlassen, dasz die objekte und adressaten das nötige material liefern, um sie zu entwickeln. die hermeneutik ruht sich nicht auf diesen gegebenheiten aus, sondern ist nur sich selbst ihren fortgang schuldig. was ich hier mache, ist ja eben auch noch keine kritik, und ich kann nur hoffen, irgendwann einen (zirkelschlusz) zu erfahren, der mir recht oder unrecht gibt in der frage, -ob- die zugangschwelle zur uni zu hoch für bauarbeiter ist. habe ich diese frage schon gestellt? nee…, ich war mir ja noch nich mal sicher, ob -ich- sie stellen möchte. weil auch -ich- als weichei, spettat, abgebrochener…, mich hier -ohne- bauarbeiter noch ganz wohl fühle. man rennt ein biszchen in gärtnerpose rum, am liebsten hättich noch meine koppel mit messer und schere um; und wird estutmirleid sehr schnell sehr selbstbewuszt. empowerment of the arbeiterschicht. doch ein ziel? doch -auch- ein ziel.

okay. i know.

for scientific reasons the whole chose shouldve been done in english, but sorry folks, this is the silberlaube and when i was student a twenty years ago, the language in here was that of above (content.) excuse me excluding the foreign etudiantes qui parle pas lallemand. learn…, bithewai…; its mainly a dieing language of old; but primary philosophic literature was once written therein. and beautiful poetry as well. as you may have noticed.

a bit-of-work is done, isit? it is. ce post peutetre se actualise soimeme. its not yet finished… theres questions, few answeres… jaime bien de vous ecouter…


good morning hkw…,

i do not know if i convinced you to leaving the (map) (according to #49, -cleaning woman-) which i somehow managed to (forget) in the upper space. i hope to not (leave) anybody too confused and will empty spind 66 on thursdee, when im trying to (amuse) the gehörlose&blind ones. im fine, thx, the 4tires will be running, no despair…

09232.hkw ii

51. of exposing soimeme into doubtful -situations-. davon, sich in für leib&eigentum gefährliche situationen zu begeben und diese zu bestehen, ohne dasz

52. of how to avoid anxious pp. to have mein eigentum zerstört:

inholden of violin casket in locker 71; erklärung über inhalt.
  • 1 organpipe, empty, material: sn
  • 1 recording device
  • 1 usb interface for connecting the instrument (organpipe with attached strings) to the
  • macbook, 13“
  • cabelage, cables, contactmicrophones attached to the sn-corpus
  • a violin bow
  • some vetements
  • did i forgot something?


live evaluation -environment- dans haus der kulturen, top floor. drauszen allgemein -windige situation- mit (angst vor flugblättern) osä.

1624: i avoid of serious labour on topics of

– gender wtf

– inclusion wtf

– conclusion to wtf

– anything beyond the cemetary. theres a decreased arrangement of herbs&blooms at the roof which was once bit larger. i am not to critisize anybody for being occupied with gardening, but the (didactic approach) of this (garden scenery) is to be rethought.

09244.letters to ada. the postscript memories.

#letters to ada. the postscript memories.
i know. i had died another time. but when was that. dunno. tomorrows the funeral. i invited few people standing near to pass it by. cant remember it…
mustebeen two weeks ago round that, whereve i been then?
ashes turning the handle of his bike. hell reach -the building- few minutes left. genevas entering the tunnel yet, and sue i dont know what nas is doing right now, but hesurelys not about to twist this cap another time.
so where were we…, medias res…; still (time) to go. ash locks no unlocks the chain wristed around his shoulder, fixes the capo and opens the door. thats three esses in a row, he wishes had done dis stoplist yet to indexem out. fuck this german…

####kippis lapsikulta. vilma kaksi kolme. the brunhilde environment. or the ennereeske.
####jobo. drago. on mountains we stand.
####hotel share. hierarchic developement.
####open place äh palais. nazi stuff…
####akerman side stories.
####lag b omer. hair cut, kippa. tram station incident.
###mr L. serious man. clever udgl. comic figure.
– do i have to work on this today? i mean…
– we can do this ensemble. but not maintenant.
I should not take his hand, think i. lemme put this together: L, former statue in the lobby, is now a serious man. they grew him up. someone sorted out he have his hair cut on may23rd. i can tell you it was the only way possible to get rid of the very blond on him. wearing the mutz seemed no pleasure to me honestly. but ill take not his hand, still. its filthy from the very beginning. i think hes born that way. ill handim over to the lyn section.
###lyn. shabbath shalom disko, ine lo yanum…
focusing the screen, she merely grasps the idea of what this tool is made. and for what the hell im off. i see her fingers wisching tabs from left to rigth, from right to left. i dunno either…, maybe after the disko. the tool operates soimeme and she has now time to conduct. thats why im listening. cant hear the noise, just some mispelled touchscreen routines that could say this or that, anything but interest. was there an interference yet i did not connect to? i told her knowing the guys whove knowledge and the very moment created the tool some dj environment in which -the guys- can play&forget.
i checked this out. found few material…; new material. i will definitely drop a line to this mf. hes not selling the shit anyway, so why would i pay, why anyone. it sounded like: use it, if you want, its free. so i do. was looking for some connections to whom he described being friends, found none fame. few kaspperes from the outbounds of bln who well manage spitting ww. thought of more weird stuff coming from this scenery…
####sticker, notebook tags.
we exchange now. the stickers we were given become useful besides to finding your bottle in the catacombes. theire tagged to the aluminium surface of the shielded weapons we carry. ill find you a lot in the lockers…, ill share you each days the timestamp of #28., for which i keep the key in a tobacco roll inside my vest. but maintenant…, we exchange. a name in the square scrawled by ash, jobo, sue…, rita; maybe brunhild and some other guys wholl vanish out by end of day. its postscript…, ive written this down longtime past leaving the field. what was that…
a grand exposition of frames and narratives as i have learned to call what was til then just what i just thougth. by now thoughtsve gettin clearer. within a week some of the faces will be gone. so what was it then…
09257. whats it now. saving battery power i guess.
– you finished the stoplist?
– nay im into it encore…
– you better do this ce soir, nestcepas…
– nestcepas.

ashes out for beer instead. or not? was he drinking any? i presume not. okay so then hes into learning this pig german. i bet hes not. why would he…, why would anyone want to learn that…; its probably a symbolic turn. but hes making words, no lie.
09257. in -india- is said theyre about to develop for a 100$ one hometrainer to within 60min cycling to produce a day long energy for some minimal household. i remember EES of earlier days. i wonder. can i burn a fridges calories in one hour? and the device carried? and the device carried? and the device carried? i make a 6v capo lamp gloom the way downtown. where would be the rest of sweat then? i wonder.
hell yeah this tunnel beneath the earthes, whats to find… what do we want to find? is there questions still? not yet answered ones? theres people out there i assume. but to the cave inhabitants, are these real? saispas… one thing i do know: he changed my perspective. im first person now too. if this will work out…
09257. i collide you. i assemble your pieces and the pieces of the others and collide the assemblage again. and this in permanent running at 24TeV. once was knowledge of not to write more than some pieces a day. (days) is determined by the sounds of collisions now. write short sentences. avoid picking up nouns. phrases.
09295. like lost in a bowl. i dont know what it means. maybe a monsoon issue…, like when you climb the stairs, clean doors; bringing home the bacon: and the bacon is gone. by no way of remembering where you lost it. some vagrant may swapped it with a cheap made book. you think of bottles of water in the streets, coffe cups, shawarma. fags? no. no fags. serious stuff instead. vanishing appears mysterious only within the limits of your surrounding. one lost objects leaves traces for sure, but tracing them back to the start youll find yourself outside the tunnel where they usually collide, develop, emerge and emerge and grow to become another isotop that cannot, by you, identified as *the missing object.*
09272. geneva secures the tunnel. she stumbles ahead of me and watches me particles.
1. a hit from the back
2. a slender touch of muscles, constrained…, under some white maybe skin, i cant tell, s too dark.
3. sound: a word like *doeskills*, echoing within the limits of the tunnel. doeskills…, noise cluster; no voice.


good morning aarkivista…,

longtime not seen. hows the week? in bln is shabbes maintenant. the -schwangere auster- (whichis enfait the only name for the only building which is indeed used by berliners as well contrary to other widespread -names- that we allegedly are using for bln lieux. no one is calling the fernsehturm -telespargel-, nobody calls the thingi on the siegessäule -goldelse-. none but spackos&touristika maybe…) is jdfs. -in gold getaucht-. but where were we?

achja…, good morning aarkivista. i have rest energy left (in the head) from the week spent in the lipsius environment. so i capo the town, (capo is not a horse, more a traktor in fact…) and go visit les lieux comme d’habitude. which i find plus interessant quand avant l’academie. i have -reframed- my persepctives of me as (cultural inhabitant) of this city. if i have learned one thing at lipsius, it would be: anyone, even one simple bauarbeiter (as i for convenience reasons call my occupation being gardener) can participate in the labour of scientific research. i would call what (scusi: we) had done the week over in dresden, -scientific labour-, nestcepas? i was maybe not able to contribute any input beyond (art pieces) yet, but im willing to elaborate on that. thing is naturement que vous n’ont vraiment pas paru interesse dedans les choses… donc, egal, je en fais moimeme imaginant que 1 mentende…

avez-vous un soir calme, dis moi un mot si tu veux, st.

prochaine installation: ici.

09224.ps: panel friday. few edited notes for your homework.

1. daniel rosenberg

  • stop list. pioneer hans peter luhn, KWIC, 1958
  • concordancen…, einzige möglichkeit, to avoid irrelevant word in index
  • lorraine daston, science in the archive
  • alexander cruden, 1737, concordance

2. gloria meynen, zeit des archiv – zeit des büros; feedback loops?

  • cornelia fissmann, (etymologie archiv)
  • protokollieren von: beisammensein, verhandlungen
  • akten: zustandekommen nicht dokumentiert (antike…); ursprünglich keine metadaten
  • tabularium: tafeln, wachstafeln, ablage: urkunden, zeugen statt (acta). vorform d. archivs
  • ordnung…, reinigung: anfänge der kanzelierung: (officialeses?) strichung, signaturen, (marginalien)…, gitterschrift: zäsur, abtrennung d. inhalts vom akt der archivierung -> metadaten
  • auf abruf abgelegt: notwendigkeit erzeugt relevanz
  • nadelholz…, spieszordner, biblo, rapto…, (tacker, büroklammern)
  • 7.11.99 büroklammer emerges aus (nadeln)
  • nicht konservierung, sondern zirkulation
  • leitz 18.7.85, erfindung d. klassischen -blechordners- mit hebelmechanismus
  • liegende ordnung der deckel: kanzleiblätter
  • ablageform erzwingt regale, büros; horizontale-vertikale ordnung
  • (desktop…)
  • hypertextbuch, index ermöglicht querzugang
  • (allen turin): k.a.
  • bestände weggeschlossen in proprietäres format, digitales archiv ada,

3. (doreen mende)

  • der gewöhnliche faschismus, iris gusner, angela davies
  • realismus des archivs vs. reali(tät…) -> k.a.
  • die taube auf dem dach…, k.a.
  • liebe iris gusner, videobrief, über lebenswerk commeca…

4. nora sternfeld

  • das radikaldemokratische museum
  • kader attia
  • reactfeminism.org
  • cornelius cardew; scores musicale
  • historisches material als potenzial der gegenbewegung
  • VKBÖ archiv, wien
  • bildwechsel.org
  • interference archive, new york, brooklyn
  • körperlichkeit und (erinnerlichkeit?) von archiv, von erinnerung
  • let it be known, gegengeschichte der afrikanischen diaspora, wien
  • linz, rebellinnen, hochschule textilgestaltung, bustouren, leseperformances, lieux: erste feministische besetzung(occupation)
  • auseinandersetzung mit der zeit mozarts

actualising archives by economising and privatising knowledge

  • harald szeemann, switzerland, beatrice v. bismarck
  • archives and commons
  • ökonomien der enteignung, alles zu privateigeintum, hier: umgekehrt -> institutionalisierung
  • -all of this belongs to you-, britische nationalsammlung; exhibition
  • belinda kazeem-kaminsky
  • nancy frasier; working class, zugänglichkeit…
  • colonial bourgeoisie: auch underprivileged inherit hierarchy.
  • graubünden, unknown artist, im archiv aufgenommen…, institutionalising outsiders
  • difference between instituting/institutionalising
  • archivemania… (nom)
  • dokumenta intitute: no contempt of radikal… democracy

5. arsenal, film, migrating the archive…, moderation stefanie schulte strathaus, filipa cesar, filmmaker…

  • subtitles on analogue film: to be removed when returning them to the country of origin
  • tamer el said, symatec (cinemateque?) kairo film archive, lot of donations, cinematek!
  • material: censorship comments, list of banned films: how had come legal? lm
  • 1954 same idea raised to establish a cinematek
  • reread narratives, to which extend these film represent people in a way they can be happy with
  • vega, schimpanse im leningrad zoo, arab film in english, weirdpointofview: pushing up of exhibit charakter. even more in the film, since made in english, lm
  • mönch film afrika; portrait of indigenes question of how advertising (the jesuit mission) or unpretentios it is, how is reality depicted… one cannot know for example werbefilmchen of today in the future, their interpretation…; picture of reality? next: bauchtanz: as pornos…? it is like that, plus with male/female actors, soit: queer filmchen; provenience: egypt family in america; lm
  • politica, connotation, external view, britain on egypt, zeit: saddat, demonstrationen, communist plot? lm
  • 60ies, palestinians in berlin, gdr…ostwerbefilm…
  • archive fever, book
  • the digital as a form of archive…,
  • generell: ägyptische cinematek soll nach berlin. punkt. warum? inclusion/exclusion of audience, accessibility, teuer, eigentlich aufgabe des staates, nicht vom filmemachern (all three involved)…,
  • how the archive is echoing, echochamber, evolving, the living archive

. disk.

  • how relevance encounter archives
  • berlinale forum…
  • relevance: production context, where the stuff is coming from, footage, process of decisionmaking, no money, guerilla process of digitisation, material geht dabei kaputt, prototype uralte maschinen, digitize the conditions of material as well; scratches etc…, pathology of film, footage charakter erhalten,
  • zeit, placing location: when burning dvds, access: no digitalization in guinea, is the archive a mirror: (instead of a mirror?)
  • reproducing images…; no personal interest by originals, compare to germany, lm no prisoned egyptians necessary to see by (originals)
  • q: what is the job for the archive for the locals? does the translocation not destroy the materiality of the archive itself.

okay, to more (elaborate) on (content) i was not able…, perhaps anybody can use this for his doing of what he*s up to do tropsdem…

bithewai: good morning, aarkvista. i’m out…, for begonia semperflorens which is eisbegonien maintenant…


09221. encore ici.

bon soir aarkivisti…, good morning group…,

also ich bin jdfs. noch da…, nous disont comme ca. dire: donc, je suis ici, mais vous? (le son cest tres improvise en francais, mais si lentendre en allemand et le comprendre tu sais comme jen pense…

alors, tu es dans les trains, les avions, le gummiboote? okay, das lassen wir lieber…; jespere tu bien recu? (reached) your (heimatland) or whatever you might call it. im still in this ancient anxious ancienne antique baroque pittoresque provinzstadt der deutschen demokratischen republik and -gave me a piece of theatre- ce soir que tu je pense trouvais bien amusant. moi: non.

invited! at bürgerbühne festival 2019 dresden.

you shall feel free to participate, really. its all. i will do this sonst by myself and thats not a good idea…

si qn a un idee pour demain a me supporter dans mon -installation- que je veux faire encore une foi, bienvenue… a monseigneur L. clever, oder?

09217. (disclosure? im bad at terms…)

since the (improvised platform) is (improvised announced) to you resp. i somehow (told) you of it by (improvising) an (improvised) presentation of -the living archive- in the lobby some place -not glitchy whateverthatmeans- i wanted to secure for any objections concerning me to post further picture material up there without blackening the faces, which is not meant lyrical. objections to: me.

09216. probleme des selbst. und wie man ständig mit allem danebenliegt.

trying to abstract from my very subjective which is clear view on how to lead a discourse about

  • how to engage with the ada as a whole
  • how to activate the archive
  • „what strategies can (I) suggest to uncover, activate, demonstrate, the relationships that built the archive, while acknowledging the complexities that come with this exercise“ (bik v.d.pol)
  • „what research would (I) embark on if (I) would have all the access (I) need“ (bik v.d.pol)

(for example) (a few options as directed to the communal brain of one of the discussion groups by bik van der pol) (semantic issue: -as directed-; not -of the groups by-… that misinterpretation would lead fast into the medias res of

  • how to reflect on issues of accessibility (of the archive), interpretation power (of the content) and impact (on further scientific access) within the limitations of the very own access, interpretation power and impact as being part of the unknown) (klammer zu) (capital I.)

I see I’m not coming to terms. (delay 09216: this is as i was teached the wrong expression, it should rather be: im not solving any…)

I cannot divide the research methods from the subject. I had one grandious pichelsteiner yesterday in the mensa of max planck. everything around here is well sorted out. stepping into the tram, finding the right machine to -validate your ticket-, finding an aisle to get a meal, finding a coffe by following a yet described path and -your- toilet by following instincts. it’s supposed to be on the right hand side when you enter and you cannot miss it, just walk on. its’ traditional architecture, classic white stuff maybe, but for me it works well. fronts pilastered, entrance du verre et bien assure avec un dead end for catching folks. besides the pichelsteiner I was offered the possibility of further collecting -coffee stamps- which I had to deny. warum eigentlich…

hat niemand an seinen thermobecher gedacht? komisch, naja… but I will not mix my issues with the catalogues, folders, lockers. what was the task again?

methods of approaching an approach.

I really love that word. reminds me always of the cockroach. not the cockreach you funny little nestcepas. „no, this brand have we not.“ (Guinnes, A.; Eine Leiche zum Dessert. A rough copy by rotefadenbuecher. Berlin, 2016.) I am just leafing through. ’s not that difficult. only thing is to panel the touch with gloves. ’s working. I’m used to plug out tiny elements vivants with bulky fingers. but for my case theres no need of any element to survive. it’s breakfast is it? hell yeah…

okay. im overdriving. but, seriously…

probably is better to sticking to at least some task if I am as I am luckily given the opportunity to participate in (this.) (this: is here some very weites feld of all-inclusive-labor.) I’m not sure if anybodys able to profit some weird way of what I have to contribute to this (it’s not a project, is it? its other dimension I suppose but as always I am not sure of getting the least. What Im sure of is to lentement come into ways of expressing, elaborating… my humble thoughts to the archive. medias res? medias res.


if Im getting right what it means -to engage- soimeme, I am now to some extend engaged into THE subject. that is?

  • filing an archive
  • doing research within the archive
  • finding ways/methods/formalia to present the primary -content-
  • finding immanent formalia that produced the archive
    • no, one step before: find an answer wether its necessary to elaborate immanent formalia aiming at expanding the archive or if this (expanding it) has to work -without- knowing the architecture.

okay, folks…, its a status fkn chose. not choice. chose. one should know what that means. I mean it. but we were into medias res were we. okay. engage. see, im takin this serious and you-of-whom-i-know-nuttin provoked it. Trusting that no one hacked the server of the hdkdw and the car in front is not stolen (i will investigate on that) theres nothing doubtful about this trusted(as i think) institution being involved into the upcoming task of institutionalising the contents of the archive of e.m. (the grandmaster flash, is he?) first. segundo: (after this i found only brackets in my mind which remind me of my uncapacities to follow (fulfill?) somewhat scientific tasks so i provide this as a more artsyfartsy but still farawayfrombeiinginanyway productive contribue to the presentation of

group II. st. potmaschin. rotefadenbuecher.)

  • and where fuck is now the artsy stuff? hä?
  • ehmm…

(artpiece?) oops theres another one.

09215.6 piece of art. i think its #1.

  • to settle. (which is first. always. find a spot exclusive comme ca.)
  • segundo: (which could be described as einfach in der hocke irgendwo rum und hoffne (the inversed hoffen form for -hope- which origins right hier in the middle of the valley of the ingen aning.)
  • tertia quarta quinta: (something ending on -winter; like: fuck, the ice saints got their job misunderstood, nestcepas? nein, diese marke haben wir nicht.)
  • sex, seven witch: genau…, fkf. (settle here in the sense of: to nettle also nettsein im eigentlichen sinne obwohl der sm talk sich innerhalb hier anerkannter limits bewegen würde ich meine w
  • eight) not warcraft hast du den server runtergefahren?
  • nine. es werden immer noch (dinge wirklichkeiten) gespiegelt.
  • ten is me to close to teeth. on the right hand side youll see labcabin, california. left to you: is there anything? you think not i know.
  • let me tell you this elven story. there was a rhodo and at his foot or better, no…, -in- his foot, which was as for a rhodo superpassend (that its looking a bit out of the earth) was a little hole. the rhodo was standing on a single grave – which is for you to dimension a dimension of 1.25×2.5 in metrics – and was doing very well. summer commencement was okay although viola started to complain when it heavily started to rain and her heads fell down on mud. but rhodo knew shed come up again. so, what was the story…, achja…, the hole: nu…, some noneyetfixed rabbit (slap? damn the fuckirregular…) jdfs. kroch he not into the hole completely and somehow managed to make himself comfortable dealing shit. you not ought to name his shit as being in any way fusioned, but it surely burned as hell and rustled, crackled, and tensed with what viola then learned to call
  • AURA. the rhodo denied aura out of his rational approach to anything exterior to him, but she (because viola is always weiblich you have to know) said like
  • whoo, you with that special icannottouchyflair come here and join me. (an dieser stelle i have to explain that viola is a very lets say -frequent- one and the rhodo eher tausndfach verheiratet but you know that as i do for sure…) and this is the moment where the ring is coming ins spiel that the rabbit (or is it which? no, i not seen a rabbit doing such before) had (applied) in as we say wise aning onto one of the rhodo arms when he was still youngandfreshlyshaved in the face bitch. so he was done. (the rhodo, du spast!) where was i? achja…
  • whoowhoo, come…, join meheehe…, did you not seehee…, i also bel
  • so that was actually the point when i lost track of the rhodo history and the last thing i cannot remember was turning the viola head (for economic reasons) and putting her into the karre for in gts nmn free rhodo from the spell of that silver rabbit hole ring thing and used the rest of galvan knowledge to make aura de l’argent. and this is the end of the true story. ihr könnt jetz die fenster schlieszen aber bitte nich alle auf einmal.

09215.5 content. verarbeitung.

theres thresholds. not necessarily only that of educational background but also some of class issue as i, friedhofsgärtner, toowhitetooldtoohetero, am seulement able to perspective this way. i really tried to forcing people into teaching me their point of view, but last at the moment of realising my own limited perception i loose any voice any opinion any point of view. see? your privileges? no? schade…, because there should be always two sides of looking at thing, at least. and if that would be one of the privileged and one of the not, why would anyone think the uppersome side is not able to reflect on the i think not guilty inherited privileges that the beyond lentement, but (from my limited view: finally…, and i will never get a point of whats bad about -us- loosing this heritage, you may, but i dont know why) claim for themselves. please let me know, im fuckin not closed to any opinion (et voici: ilya, le moment de se vouloir taire…) besides tekkno nazischeisz & heimatliedern. thanks a lot, mampfelot. st.

09215.4 thematic. ich meins ernst.

as you mayve noticed theres no input into this. je sais vous attends le revelation si grande. mais oui, moissi. donc, estcequilya -le- moment irndwann de vous vous presenter? peutetre je suis aveugle de ne voir votre travails, mais pourquoi tu le cache? aucuneidee, aucune. je veux bien vous plais de me laisser savoir si qc emerge de tes tetes dune valeur artistique. je ne suis pas en chemin de tracer chaque little hint to your work den ich nebenbei aufschnappen kann. donc baser, decrease, senken Sie die schwelle ihrer zugänglichkeit SILVOUSPLAIT, merci, st.

09215.3 provision. by tutor. i felt free to share…

FYI (from the blue booklet): (chapbook with material to the ada. (st.))

Subject of the second essay proposed by the Archiv der Avantgarden is the educational gesture, in the attempt to articulate the past of its collection in the face of the needs of our present time.

The strategies to transmit and receive knowledge (and the role of art and its institutions in this process) is the working field present
in ›Methodologies of Teaching and Learning‹, from the perspective that a school could be, more than a place, a series of experiences in time, where the teacher and the student change their positions, refusing any form of hierarchy or authoritarian measures.

The American John Cage is followed by the Italian Bruno Munari, the German architect Franz Schuster and the artists Joseph Beuys, Allan Kaprow or Marcel Duchamp, among others from AdA’s collection who explicitly dealt with the idea of learning as an aesthetic tool for a socially transformative purpose.

In this scenario, a process takes place in which the archive, as well as the museum, cannot be an innocent bystander, because (at least as a possibility) it has a very particular position and responsibility.

As said by the Italian­Brazilian architect Lina Bo Bardi, in her writings from the 1950s on the possibility of a museum­school as a model, the educational gesture requires from the beginning a set of unavoidable questions: ›To build a museum, we should ask a number of questions, such as the Aristotelian categories: What should be taught here today?/ Who, today, do you should teach? Why do you need to teach? /How it is necessary to teach?/Where do you need to teach?‹

In her eyes, the museum should learn again. Why not also the archive?

The activities taking place in the AdA are continuously accompanied by a discursive programme that interacts with and supplements them, thereby elucidating the thematic issues from various scientific and lifeworld perspectives. The events focus on experiencing the themes and objects with the senses and reflecting upon them in a research-oriented way.

The discursive programme of the AdA equally reflects upon the role of collecting, archiving and exhibiting and presents individual objects of the collection in the frame of ›Object Talks‹. Further parts of the programme include not only scientific formats such as workshops, but above all public discussion, reading and lectures. All population and age groups – especially from Dresden and the region – are invited to attend.

09215. the living archive

collection of -the living archive- in dresden town. examples of how to present archive content to public.

1: ALTANA GALERIE DER KUSTODIE IM GÖRGES-BAU — KUSTODIE — TU DRESDEN, fakulty of elektrotechnik/informationtechnique.

presentation: was accompanied by an -art installation- by TABITA REZAIRE (which inhere Id say represents the gaps&missing links); the technical items were arranged along 1st&2nd floor galeries…

items were mainly heavy machines from beginning to mid 20th century, manufactured by aeg, siemens halske usw. most of them transformators, generators… which covered a grand espace that time. nowadays transformatores have place within a cellphone for example…

TU dresden, faculty elektrotechnik/informationstechnik

TU dresden, faculty elektrotechnik/informationstechnik

TU dresden, faculty elektrotechnik/informationstechnik

2: same faculty, main building.

items: in -vitrines- to walk by. public accessible on way to toilet for example… 

displayed were books, -ancient- electronic parts, dokumentation of scientific (examina?)

tu dresden faculty, elektrotechnik/informationstechnik, main bulding

3: window of kunsthochschule dresden at brühlsche terassen.

presentation of work. open to passing pedestrians on the promenade who easily miss them. as I often did unless theyre not there since today…

4: botanical garden dresden.

dead end of -the living archive- and how to get there by producing an herbarium. an herbarium is a (conserved state) of a living plant (which is dried in paper/fleece matrizes under pressure) used for examination of botanical characteristics to for example specify a plant within a certain taxonomy.

botanical garden seminar rooms, herbarium

5: hygiene museum dresden. sonderausstellung -von pflanzen & menschen.-

presentation of the items which are not easily assembled under another perspective than the relations between plants & humans was open to public and served a wide didactic frame of a target group.

dna-analyzer. portable. הרדבלנ. checks&balances to whateveritakes.

map of exchange relations between continents. exchanged material (of the living archive: in terms of agricultural goods.) europe imports 4.624t of soja of which is 2% used for feeding humans. the main part goes for animal production & energy.

6: construction/restauration site at augustbrücke.

open archive of  sandstone material affected by weather in contrast to new construction material.

7. archiv -mode bewahren im öffentlichen raum-


8. archivthema -gesetze wahren-

being a responsible adult one is able to decide soimeme when to cross streets in this seriously pedestrian friendly town. you are not every five meter blocked by some red/green denunziant like in bigger cities.


9. proof of origin art piece #2.

10. archivthema: preserving economic (conditions) of the posibility of future visibility.

09213.2 linkage: library

for example: you are here. you have to go there. someway. follow the trampelpfad.

to be continued: (i would prefer you edit/complete this list but im not sure if it works out…)

  • if you stand around and dont know what youre looking at: denkmaldatenbank dresden. — this…, is not a useful link. follow the trampelpfad. — another useless link: dresden sucks. — nice. end up wikipedia.

ok, serious: sites, w/o. gool.

berlin.de -> the homepage of the grand stinky oyster BLN itself. for finding admin, tourist, culture, traffic, general stuff concerning life in berlin. if you want to have a ticket to prolonger ta passport: ici.

hkw.de -> the homepage of the grand schwangere auster culture institution BLN.

more institutions:

arsenal-berlin.de -> institut für film- und videokunst e.V.

zk/u berlin -> center for art and urbanistics. (link chain: steve rowell, participant.)

literatur A:

lcb.de -> literatur am wannsee. grand schwangere villa, wideranged literature program. sbhf wannsee.

literaturhaus-berlin.de -> fasanenstrasze, kudamm…, tout en centre ville. centre vieille naturement…

buchhändlerkeller -> savignyplatz. yet non funded charlottenburg institution. go there, save charlottenburg culture lieux.

literatur B:

lettretage -> networks, readings, workshops, support. mehringdamm, krzbg.

acud -> literature just one of the many aspects of its contributes to berlin kulturleben. cinema, music, sometimes theatre. centreville rosenthaler platz.

literature sediment:

hidden page. pwd protected. skd entry. i hope you somewhere scrawled it down. if not: contacter rotefaden…

if you have langeweile in BLN:

voebb.de -> homepage of the -verbund öffentlicher bibliotheken- in BLN. if you was not able to transport a rucksack full of books coming to town.

fu-berlin.de -> freie universität berlin. dahlem. if you yet not decided wether to (prolonger tes etudes) lucky student.

tu-berlin.de -> samesame but technical university. ernst-reuter-platz. bithewai: bauhaus archiv. deutsche oper. manufactum. flomarkt 17 juni WTF.

hu-berlin.de -> self explaining is it? (humboldt). unter den linden.

and: you DONT need a car in this town. sbahn. bvg.

TASK: okay. dresden would like to become Kulturhauptstadt 2025. fck nzs. fck pgd. fck the altstadt. fck deres no beer in the city. wie soll man da kultur genieszen…


literaturfestival. berlin, 2019.


10467. archivportal d: link

10467. literaturarchiv marbach. link


10445. dunno yet. ping.

10446. s.sell: zum beispiel das. ping.

10454. m.schwarz. ping.

10467. INS berlin. ping.