tag:blogger.com,1999:blog-25956618365734604002024-02-18T17:58:51.160-08:00Unsorceryffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-2595661836573460400.post-66037932649257153422019-05-07T03:37:00.000-07:002019-06-10T01:03:27.462-07:00Unsorcery Book <div dir="ltr" style="text-align: left;" trbidi="on">
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<b><br /></b>
<b><br /></b><b><a href="https://p-u-n-c-h.ro/distribution/alina-popa-florin-flueras-unsorcery/" target="_blank">Paperback</a></b><br />
<b><a href="https://www.amazon.com/Unsorcery-Florin-Flueras-ebook/dp/B07SVNV741/ref=mp_s_a_1_1?keywords=Unsorcery&qid=1560081624&s=digital-text&sr=1-1" target="_blank">Kindle</a> </b><br />
<a href="https://books2read.com/u/mdL88E" target="_blank"><b>Epub</b></a><br />
<b><br /></b>
<b>Content</b><br />
<br />
<b>Life Programing </b><br />
<i>Art after Cantemir</i>, Alina Popa<br />
<i>Life Programing</i>, Florin Flueras<br />
<br />
<b>Artworlds</b><br />
<i>Esthetic Entities, Artworlds</i>, Florin Flueras<br />
<i>The Artworld and the Artworld</i>, Alina Popa<br />
<br />
<b>Black Hyperbox</b><br />
<i>Black Box</i>, Florin Flueras<br />
<i>X Horizon: The Black Box and The Amazonian Forest</i>, Alina Popa<br />
<br />
<b>Second Body</b><br />
<i>Second Body</i>, Florin Flueras<br />
<i>The Second Body and the Multiple Outside</i>, Alina Popa<br />
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<b>Dead Thinking</b><br />
<i>Dead Thinking</i>, Florin Flueras<br />
<i>Dead Thinking</i>, Alina Popa<br />
<br />
<b>End Dream</b><br />
Dreaming the End of Dreaming, Florin Flueras<br />
Imitation of Dream, Alina Popa<br />
<br />
<i>Unsorcery</i> composes and explores ways of sorcery that can eventually surpass or undo some of the contemporary realities and subjectivities. It is an <a href="https://www.artworlds.ro/" target="_blank">Artworld</a> involved in a productive alienation from concepts through experience and from experience through thought. Unsorcery was an environment in which Alina Popa and Florin Flueras were working together, each following their own path, doing their own practices, texts and performances around the concepts: Life Programing, Artworlds, Second Body, Dead Thinking, Eternal Feeding, Black Hyperbox, End Dream.<br />
<br />
<b><a href="https://p-u-n-c-h.ro/distribution/alina-popa-florin-flueras-unsorcery/" target="_blank">Paperback</a></b><br />
<b><a href="https://www.amazon.com/Unsorcery-Florin-Flueras-ebook/dp/B07SVNV741/ref=mp_s_a_1_1?keywords=Unsorcery&qid=1560081624&s=digital-text&sr=1-1" target="_blank">Kindle</a> </b><br />
<b><a href="https://books2read.com/u/mdL88E" target="_blank">Epub</a></b><br />
<br />
<i>Published by <a href="https://p-u-n-c-h.ro/distribution/alina-popa-florin-flueras-unsorcery/" target="_blank">PUNCH</a>, with the support of AFCN.</i><br />
<i>Artworlds 2018.</i><br />
<br />
Other Artworlds books<br />
<a href="https://www.artworlds.ro/2016/06/black-hyperbox-book.html" target="_blank">Black Hyperbox</a><br />
<a href="https://www.artworlds.ro/2015/06/bezna.html" target="_blank">Bezna</a></div>
ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2595661836573460400.post-190922791522831602019-05-07T03:02:00.006-07:002023-08-21T23:47:17.602-07:00Unsorcery Sessions<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmK1rhqDaSaOhJJ9oC72LKv6WG_tjWm8xJZQ0H7Lx_YGVlDj6nj13Tueik4o6Zdo9FxnopFSsnNvp-fmWPHPMK56_Is8zzUYob7DW9jP0w3VRXnfP13ttmmzd5FQd0AqZlvsU_sKhrIjdytQ09-HXbYOGOzgHqhiblRfkMllkAzDpR4cACiOXqbpSg5A/s1440/FB_IMG_1453579607768.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmK1rhqDaSaOhJJ9oC72LKv6WG_tjWm8xJZQ0H7Lx_YGVlDj6nj13Tueik4o6Zdo9FxnopFSsnNvp-fmWPHPMK56_Is8zzUYob7DW9jP0w3VRXnfP13ttmmzd5FQd0AqZlvsU_sKhrIjdytQ09-HXbYOGOzgHqhiblRfkMllkAzDpR4cACiOXqbpSg5A/w400-h266/FB_IMG_1453579607768.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Unsorcery session at Atelier 35 Bucharest <br /></td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /><a href="https://www.osmoza.si/dogodek/aria-algo-rhythmic-ideation-assembly" target="_blank">Next Unsorcery Sessions will be at ARIA Ljubljana</a><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"> </div><div dir="ltr" style="text-align: left;" trbidi="on">Usorcery Sessions are mixing workshop and performance formats with twisted therapy and spiritual practices. They are based on <a href="http://unsorcery.blogspot.com/" target="_blank">Unsorcery</a> concepts and practices.</div><div dir="ltr" style="text-align: left;" trbidi="on"> </div><div dir="ltr" style="text-align: left;" trbidi="on">Centered on:</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><a href="https://www.fflueras.ro/2023/04/love-body-second-body-2012.html" target="_blank">Love Body (Second Body)</a>: based on a practice of adding an affective sensibility to everyday behaviors, a second attention that might make one drift out of the anatomic body towards a love body. We don't know what a love body can do. <br /> </div><div dir="ltr" style="text-align: left;" trbidi="on"><a href="https://www.fflueras.ro/2014/01/dead-thinking.html" target="_blank">Fear darkness</a>: it amplifies a sensibility for darkness that is felt as fear, as a quiver that permeates the body, possessing it, making it unknown. Fear is the substance of darkness and the royal bridge to the unknown. A bridge that we will have to cross rather soon, as society as well. </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /><a href="https://www.fflueras.ro/2017/01/dreaming-end-of-dreaming.html" target="_blank">Undreaming</a>: a capacity of entering and exiting realities by activating different aesthetic sensibilities. If, as in many cultures, dreaming is what makes a world appear (the simulational capacity of consciousness in the West), Undreaming can be what makes a reality dissipate into another, through the process of waking up, maybe in a performance, maybe repeatedly.</div><div dir="ltr" style="text-align: left;" trbidi="on"> <br /><br /></div>
ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2595661836573460400.post-86549976241461435782017-09-05T09:16:00.002-07:002017-09-05T09:16:16.315-07:00Interview with Unsorcery by Francis Russell<div dir="ltr" style="text-align: left;" trbidi="on">
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<i>Given that unsorcery sits at the nexus of performance, theory, art, and mysticism, to what extent can we know what unsorcery is? Or, to put it differently, how do you feel about the conventional practice of attributing essences to projects such as the one the two of you have been developing for the past few years?</i><br />
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We like this difficulty of being placed. All of these domains are dragging along their social pressures and their implicit orientations and frames for action. We cannot really be independent or outside of them, but by playing with these contexts and intentionally not quite fitting into one or another (staying para-) and by shifting between perspectives at will (or unwillingly) a necessary un-homing, a productive confusion is being generated.<br />
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One of the intentions behind the three Unsorcery concepts is to follow them around, to let them absorb us into their vortex-potential, into the what they can be. Basically, these concepts are purposefully posited in a way that allows for their inaccessibility or for the incompleteness of their accessibility - naming them is first and foremost an act, it produces further events rather than pure interpretative gestures. They set in motion certain vectors of intention, orientate our practices and act as attractors to further thoughts. These ideas that we have been working with usually start from vague intuitions, and, in time, thinking and practices coagulate around them, making them more substantial. We don't use these to merely conceptualize some sort of past experience, but to create conditions for new possibility of thought and practice. Moreover, there is no applicability presently envisioned for none of these concepts. In a way, they (retro)act on us from the future. And the workless work consists in being prepared to go wherever this Unsorcery-process is taking us, without being too concerned about the discipline we might belong to if we follow its drift.<br />
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<i>At times you have discussed your projects in terms of a certain refusal of application (i.e., in your discussion of what you have referred to as “dead thinking”), which seems to suggest that the present state-of-affairs could not support the application of unsorcery — or, put another way, that unsorcery appears to look towards the fundamental disruptive as opposed to being applicable in any immediately intelligible way. Assuming that you would accept such a reductive summation of your projects, do you believe that it is possible to produce a purely negative work? By which I mean, regardless of whether this work is a piece of writing, art, or some kind of mystical practice, do you think that it is possible to produce a work that will fully resist all and any attempted recuperation into the present and competing calculi of application?</i><br />
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With Dead Thinking we are not so much against applicability. We are more concerned with the implicit current base of all applicability which we call 'healthy thinking' or 'alive thinking'. Healthy Thinking is impregnated with a optimist conception and appreciation of life, with an implicit impulse towards improvement, development of (our) life. But in this thinking of life the fact that the concept of life already contains the prototype for the current politics should also be included. Identity, separation, territorialization, a certain violence, attack on the environment, are implicit ingredients of life. Nowadays, this conception of life is accelerated towards its final consequences - the expression and affirmation of life accelerates in a paradoxical way the end of life - the love of life equals the extinction of life. Any applicability seems pointless from this perspective, that is, if we take into account the current inconceivability of the world approaching ecological collapse. It rather resembles blind, naive desperation, a symptom of denial. So, if one really wants to be radical, in the sense of going to the roots of the present problems, one has to confront the healthy, alive thinking and its behavioral irradiation. Something more basic needs to be changed and then maybe the question of applicability comes into play.<br />
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Humanity seems to undergo the final (final exclusively from a human perspective) stage of an autophagic nature, a nature impregnated with this 'evil' life that is eating itself. If one really embraces the reality of extinction, a massive hopelessness floods thinking. This diluvian negative ground seems to ensure an active negativity of thinking itself, a paradoxical acting both with and against negation. So precisely in the intense understanding and feeling of doom, of 'there is no way out' resides a potential. As the scout from the story 'Zed' - one of the comix from the famous Italian horror pulp series Dylan Dog - says, while facing the wall that separates a hopelessly capitalist, unjust London from the Zed, the Zone, the urban Shangri-la or the Paradise: "The only dead end is refusing to see a way out". This could be rephrased as "The only way out is 'through' the dead end".<br />
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It may look bad and the thought of it may feel depressing, but there is also a refreshing novelty emerging in the midst of this negativity. There is a way in which hopelessness is the last hope. In precisely this paradoxical superposition between total hopelessness and ultimate potential is Unsorcery interested.<br />
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<i>Much of your work appears to be influenced by contemporary philosophical figures such as Gilles Deleuze, Nick Land, and Reza Negarestani; however, there appears to be a clear link between your projects and the pessimism of E.M. Cioran. Are there other Romanian figures that are perhaps lesser known to English speakers whom you would site as major influences?</i><br />
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Cioran for sure had and still has a great influence on us, but there are also many others that share his infernal lucidity and ecstatic negativity, and even if we cannot pinpoint another specific figure as prominent as Cioran, it is clear that the entire Romanian cultural environment in which we grew up has had implicit effects on our thinking. Darker moods combined with a weird humour is a mixture quite present in Romania. We are inspired also by our friends there, many of whose texts can be read in the last issue of Bezna, number 5 on Fear, Darkness, Unknown.<br />
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Another influence is the local Surrealist movement out of which interesting figures emerged, such as Gellu Naum (writer, poet and occultist), and the more known (via Deleuze) Gherasim Luca. Both of them together with Paul Păun, Virgil Teodorescu and Dolfi Trost wrote in 1946 the Infra-Noir Manifesto (Preliminaries to a Supra-Thaumaturgic Intervention to Conquer the Desirable), whose discovery was quite important for the activities of Bezna. We intend to translate it into English in a next Bezna issue. And just as an incentive, here is a quote: "Orizontul împrăştie o lepră generală, aruncând halterele fricii la înălţimi de neatins." [The horizon sprinkles a generalised plague, lifting the barbell of fear to heights unknown].<br />
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Another quite interesting, mostly unknown figure is a philosopher pertaining to the tradition of analytic philosophy, Stephane Lupasco, whose work focuses on logical contradiction and its dynamics, on quantum physics and affect. Lupasco postulated a triangulation of truth values, which, besides true and false includes the excluded third, a state of neither true, nor false, but a potential state of validity that enters into a feedback and forward loop dynamics with the actualized values of true and false. His conception of the 'three matters' is also thought-provoking, his work focusing on the dialectics potential/actual, continuity/discontinuity, homogenising force/heterogenizing force, identity/nonidentity not to resolve them into a resolution, but to understand the real as a complex dynamic system that allows for ambivalence and equivocation, noncoincidence and antagonism. Lupasco wrote in French originally as he was a PhD candidate and a researcher in Sorbonne, Paris.<br />
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There are also other interesting local figures from the 60's and 70's like conceptual performing artist Andrei Cădere or the less known proto-contemporary dancer Stere Popescu, the author of now often quoted "The Hammer without a Master".<br />
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<i>Some elements of your projects, such as your “Eternal Feeding Technique,” suggest that aesthetics should be useful and pragmatic, as opposed to privileging detached reflection. Despite this injunction to find uses for aesthetics, and given the perverse nature of many of your projects, do you feel that radical social and cultural reformations must be implemented for the myriad of unsorceries proposed to fully manifest? Or do you think the inherently destructive and increasingly intensifying forces that appear to be immanent to our current ways of life will allow for the appropriate changes to take place independently of direct human intervention?</i><br />
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We often say, also as a provocation, that it is too late for politics. But of course humans cannot refrain to think how to organize society, power relations, etc. We are like in the movie 'Melancholia' where a lack of perception about the gravity of situation sets in. Unsorcery is an attempt to operate in a post-political, post-hope configuration, to test if and how this would be possible. A first step would be to register the immensity of what is going on, and get scared. On a more personal level, the sensitivity towards (one's own) death or dissolution is a transformative perception and an important insight for many mystical and sorcery practices. Similarly, at a bigger scale, a sensitivity towards extinction can bring something new on the table. As we have written elsewhere, anthropocenic thinking requires a mode of thought inseparable from the death of thought. In thinking thinking-without-thought there is a violence, a self-referential trauma of thought feeling more than it can think, hence we could speak about the negative sublime of extinction. Sublime as the catastrophe of thought hitting the event of extinction as that of its own inexistence. As in Melancholia, we are left with one option: to follow the affective cues of a world approaching its doom. If affect is the measure of a world held together by the gravity of extinction, then pursuing its liminality pushes both reasons to its blurry borders and straightforward action to new, complex, and cunning detours.<br />
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We are interested in fear, in a fear that comes from a feeling of the present rather than from phantasies about the future (sometimes images of the future can be prescriptive and limiting in a bad sense), a fear associated with the darkness and unknown. Fear acts as a sort of bridge for the unknown. We like to give the example of a walk in the forest, alone and at night. When reality is melting down and one's body feels the cold shiver of fear, that void that gapes open when one lets oneself prey to the unknown. But this unknown can be as well quite banal, just that we don't recognize it as such. If reason is overwhelmed there comes a moment when the vicious circle of perceiving only what you know can break. That is when the unknown leaks into the known to change both.<br />
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So yes, things might turn strange and dark but at the same time there is more to do than just passively watch the spectacle of disintegration. If futility reigns, one might as well just act, against the logic of negativity itself - which could be even more attuned to its 'demands'. What could be more negative than to act both with and against the conviction of absolute futility of everything?<br />
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<i>Given that certain irrationalized practices seem to be integral for much of unsorcery’s output — i.e., you performances and flirtations with occultism — how do you feel about the increasingly popularity of “movements” like the “new atheists” and their emphasis on the supposed benefits of rationality and critical thinking?</i><br />
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There is too much critical thinking. Critical thinking is always in the past, working with what is already there, not with the present. We are much more interested in what is coming or is already here from the future. From a political point of view, there is an impotence in critical thinking with its mentality of disclosure and demystification - in short, critique can easily act as surface revisionism. There is no revisionism of one's own 'tools of revision' in moving around, or navigating, to use a term that is now often in circulation. The problem is not just capitalism or neoliberalism - it is inscribed in our basic life habits, in our healthy thinking and existence. Of course, the micropolitical vitalist solutions have abounded and it becomes quite tiring to think only in these terms. Taking the viewpoint of ecology over life (if we follow Whitehead's critique of the concept of evolutionary 'adaptation'), the attack upon the environment is already embedded in the concept of life. This should not paralyze or induce an attitude of "there is nothing we can do". On the contrary, it can enact the opposite. A new attitude, let's say a negative constructivism, a move away from critique and detached analysis. For this a whole armamentarium is needed: of both rationality and the occult, of clarity and confusion, of the paradoxical and the logical, of pragmatic action and absolute stillness. We are very interested in speaking multiply-concatenated tongues, in treating contradictory perspectives as simultaneously real to produce something in turn, itself to be treated as real. Hence Unsorcery as a virulent apparatus rather than a prefabricated frame of theory or performance. Though Unsorcery itself is an intense 'prefabrication'.<br />
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We are also in a strange dialogue with the new rationalism, intrigued by a few of its components. And we find many of their approaches or intentions almost mystical, despite their powerful allergy to this term. We could rightfully say that the new emancipatory rationalism borders reason mysticism - which is a compliment, with the addition that the mystical component should be in its turn made explicit and then implicitly accelerated. As it is probably clear, Unsorcery does by no means stand against rationality or reason. Even mysticism itself has a very strong rational component. But this is rather occluded by the unfortunate tendency to caricature a discipline in order to enforce what in an illusory manner is thought to be its opposite. Taking a rather oblique view of things can in turn produce a constructive disorientation. For example, one can work with reason by following its autophagous vectors, diverting it from its line of attack upon the environment into a loop-movement against itself, into autophagy-bliss. Unsorcery is currently concerned with pragmatic outcomes of an autophagic or ouroboric reason.<br />
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New Rationalism and Accelerationism are interesting and refreshing because they at least abandon the attitude of "resistance to capitalism" annoying the conventional left, but, beyond the speculative pleasures, there remains the question if they are expanding the problem - or rather if they are expanding it enough. Facing the darkness displayed by the planetary state of affairs, an acceleration of hope and light, and enlightenment remains questionable. This heroic optimism is admirable though. However, paraphrasing Jünger, we cannot believe anymore in the study of darkness with the flashlight. There is a bet to be placed on darkness as well, a(n) (un)reasonable approach of darkness with darkness.</div>
ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2595661836573460400.post-6669804131460911302015-05-20T09:03:00.000-07:002019-03-04T09:05:24.801-08:00Dreaming the End of Dreaming, at Academie Solitude <div dir="ltr" style="text-align: left;" trbidi="on">
<i>3-7 July at Akademie Schloss Solitude, Stuttgart</i><br />
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When dreaming is treated as a real praxis, and the dream as just another medium, like the actual world, then to pass from waking life to the dreamworld is to switch between equally existent worlds, to travel from one medium to another. The transversal navigation between these worlds-as-medium is made possible by the disruptive moments of waking up and falling asleep. A medium is a full behavioural space with its own affective and logical syntax. The theatre's black box, like the broader notion of black box, is a space which is not primarily architectural, but a relational mesh of percepts, gestures and acts—a net of possible behaviours. The black box of performance is a medium that resembles the oneiric space, since it is also not taken for granted as being real, or is rather thought to be cut off from the surrounding reality. It is usually said that in order to reach the real world, one has to wake up from the black box. There are many symptoms nowadays of a contemporary art that needs to wake up to reality. But what if the real itself is a black box? What if waking up from art to reality is like travelling from box to box? <i>Black-boxing</i> the obvious reveals a black box more Real than what we prosaically call reality.<br />
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If power today operates environmentally, it does so by treating fictions as true in a world that is like a black box. The transference of knowledge and practices between the black box and the dreamworld are relevant now, as the only way to respond to the oneiric sovereignty of capital seems to be to overdream, to accelerate the dreaming not of fictional and alternative worlds, but of reality itself. If the world is treated as the black box, what does it entail to treat the dream as real? The answer to this question is all the more interesting now when many signs indicate that we may be in a process of extinction. It is important to imaginatively and practically speculate about what happens when the worlds are ending. A starting point for this could be the special dream in which you constantly wake up only to realize that you are actually in another dream. You are just falling from a dream into another dream, from one box into another (black) box, dreaming the end of dreaming.<br />
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With the event <i>Dreaming the End of Dreaming,</i> the two Romanian artists and fellows in the program art, science & business ALINA POPA and FLORIN FLUERAS take up the notion of the dream as a real praxis, presenting lectures by the Argentinian philosopher GABRIEL CATREN, the Brazilian literary and cultural theorist of Latin America DENEB KOZIKOSKI, and the Canadian researcher VICTOR BLAKE. The presentations will be followed by the performance <i>Eternal Feeding</i> by Florin Flueras and Alina Popa at 9 p.m. on the same day. From July 4 to July 7, there will be a workshop with the invited lecturers and the Romanian artists ION DUMITRESCU, BOGDAN DRAGANESCU and ADRIANA GHEORGHE.<br />
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<b>FRIDAY, JULY 03, 2015</b><br />
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<b>16h00</b><br />
Welcoming Remarks and Introduction<br />
Alina Popa, Florin Flueras, Sophie-Charlotte Thieroff<br />
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<b>16h45</b><br />
<i>Calling Sister Midnight: The End of the Seizure of Dreaming for Political Ends</i><br />
Deneb Kozikoski<br />
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Socio-political dreaming is a historically salient mode of expression in the 20th and the 21st centuries, and is manifested in several modalities of modernism, from architecture, to cinema and textual genres such as the manifesto. Exploring the ways in which dreaming, imagination, projection, and more recently simulation, are leveraged as techniques and media for socio-political change, this presentation elaborates techniques of engagements with reality as to break the grip of political dreaming. The de-trivialization of “coming to grips with reality” is an arduous process, and demands the deflation of speculation as a philosophical meme and end unto itself. This presentation explores the basic dynamics between fiction and reality, dreaming and awakening, by drawing on texts such as Macrobius’ Commentary on Scipio’s Dream, Philip K. Dick’s “Cosmogony and Cosmology,” and selected moments in Clarice Lispector’s writings. The idea, however, is not to dwell on the literary and ideational aspects of these textual interventions but to elaborate practices other than the socio-political modernization of dreaming.<br />
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<b>17h30</b><br />
<i>Stalking the chiasmatic cataract: posthistorical intelligence and the lost arts of dreaming</i><br />
Victor Blake<br />
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In order to focus attention on the practice of dreaming, this presentation will examine and explore the following questions: What is the relationship between dreaming and technology? Would a practice of dreaming entail specific techniques? One of the hypotheses orienting this approach is that the stance or disposition appropriate to dreaming has been harnessed––radically interrupted, suppressed, and controlled––via the hyperstitional armoury of the imperial technosciences, and that the ‘vector’ of this entrainment, so to speak, can be modeled as the diametric opposite (the reflection, or dual) of the ancient practices that aim to harness and control hyperstition (via hypostitional orientation: yogascittavrttinirodha in Patanjali). It is, hyperintelligibly (rather than ironically), through the obsolescence of hypostition (qua final causation) that the hyperstitionalization of ‘history’ proceeds to reify itself concretely as an ‘externalized’ imagination whose installation occurs simultaneously psycho-interioristically and physico-environmentally. Now that the dream is becoming hyperreal, dreaming will have to retrieve its realistic orientation, integrating hyperstition with hypostition to achieve something approximated by Castaneda’s ethno-cosmological theory-fiction: to dream the real we have to learn how to stalk the dream.<br />
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We thus find ourselves poised on a threshold: Aquarius, the water-bearer, pours out the contents of hir urn, transposing the extrinsic stabilization of unconscious habits of self-identification into the hyper-objective form of code, at once fragmenting ‘traditional’ social corporealities and privileging hyperstitional opportunisms. In a revery, this pouring-out of the contents of the Aquarian vessel could take the form of a cosmic cataract, turning inside-out and reducing to their limits––of reversibility qua ‘identity of indiscernables’––the dialectical categories which had ‘grasped’ difference, which in turn becomes ‘positive’ (pace Deleuze). Ideology as ‘overcoded structure’ (in Marxian idiom) is thereby rendered susceptible to an occultic (abductive) interpretation, whereupon Heideggerian ‘enframing’, Foucauldian ‘dispositivity’, and McLuhanian ‘formal causation’ become roughly equivalent descriptions of the (many) ways in which the imaginary prevails or supervenes upon the substratic techno-instantiations of––at once, and complementarily––our inner and outer world(s).<br />
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<b>18h30</b><br />
<i>The Phenoumenodelic Fields</i><br />
Gabriel Catren<br />
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In this lecture we shall address the problem of sublating the Kantian interdiction regarding the possibility of extending human experience beyond the realm of constituted phenomenality. We shall argue that a full-fledged existencialization of the subject of experience entails the possibility of performing (what we could call) shamanic variations of its very transcendental structure. This speculative perturbation of the transcendental subject permits to activate transumweltic degrees of freedom and thereby gain access to a phenoumenodelic field of experience. The central notion of phenoumenon diagonalizes the Kantian dichotomy between phenomena and noumena by upholding the identity between being and appearing without succumbing either to any form of subjective idealism or to any critical limitation of (theoretical, aesthetical, affective, and/or political) experience.<br />
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<b>19h30</b><br />
Dinner<br />
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<b>21h00</b><br />
<i>Eternal Feeding</i><br />
Performance by Alina Popa, Florin Flueras,<br />
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Given the simulational character of consciousness we are always involved in a sort of dreaming, despite the feeling of being in direct contact with external reality. Even when we feel awake, the transparent dreaming-operations are what makes a world appear to us. But what happens if the implicit simulation is speculatively doubled with a consciously performed one? The black box seems to be a good place for pushing the generalized dreaming to extremes:<br />
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1. Nothing (underdreaming)<br />
If the minimal model of dreaming, and of consciousness, is just a point immersed in the hallucination of an abstract, contentless space, how to consciously minimize the modes of being? How to asymptotically reach the state of being an empty point in an empty space, and navigate the room with the map of nothing?<br />
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2. Everything (overdreaming)<br />
What happens if an excess of dreaming is applied to a reality, if we overdream the world in which we are caught? Maybe there is an optimum degree of dreaming for a reality to remain a reality, for a world to be natural. A self-referential paradox induces anomalies and shakes the entire frame, context, environment, theoretical construction, wherever it appears. Whatever the paradox of dreaming the dreaming will produce, you can stop it at anytime, and say that everything was just a performance, or wake up and say that all was just a dream.<br />
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<b>JULY 04 to JULY 07, 2015<br />15h00 - 18h00</b><br />
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<i>Dreaming Praxis</i><br />
The meetings will be focused on expanding the presentations from July 3 through discussions, readings, and performative practices. In a relaxed frame, we will explore possibilities of alienation from concepts through practices, and from practices through thinking.<br />
With Alina Popa, Florin Flueras, Deneb Kozikoski, Victor Blake, Gabriel Catren, Adriana Gheorghe, Ion Dumitrescu, Bogdan Draganescu.<br />
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<i>And a selection of <a href="https://twitter.com/hashtag/endream?s=09">#endream</a> films in the evenings, for the open air cinema.</i><br />
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2595661836573460400.post-74794701420390304412014-12-02T03:53:00.000-08:002017-01-02T03:54:09.371-08:00Eternal Feeding Technique<div dir="ltr" style="text-align: left;" trbidi="on">
In the wake of climate disaster, global pandemics, species extinction, when a world without the human is not just an adrenalin boost of Hollywood blockbusters but is slowly entering our perception and mode of thought, we have to get ready to face hard times of famine and scarcity even in the more privileged parts of the world.<br />
Our method will not only raise the chances of your survival in the future but will provide an admirable graveyard aesthetics. Nowadays aesthetics cannot be just aesthetics, it should be useful as well!<br />
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Four useful steps to follow the Eternal Feeding Technique:<br />
1. pick up a grave of any of your loved ones<br />
2. plant vegetables on it (tomatoes, cucumbers etc), herbs or, if you are willing to be patient, you can seed a fruit tree as well<br />
3. when they are ripe pick them up, eat them or share them with your friends<br />
4. make sure you include in your will your wish to be eaten by your dear ones in your turn.<br />
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2595661836573460400.post-75597238203673766922014-07-22T08:45:00.000-07:002019-03-04T08:59:25.665-08:00Future Nature Program, at Academie Solitude <div dir="ltr" style="text-align: left;" trbidi="on">
As a step towards <i>Eternal Feeding</i>, <i>Unsorcery</i> presents the <i>Future Nature Program</i>, at Academie Solitude and in the surrounding forests:<br />
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There are some tendencies lately to minimize or ignore nature, to start from zero, to construct everything from minimal assumptions, in a clean space of reasons which is ironically imagined as a desert. Or if nature is acknowledged it is not much more than the domain of the sentients and an impediment to freedom, a source of nonemancipated instincts and habits that should be domesticated and instrumentalized. The potential of nature is annihilated in this way, everything is reduced to human dimensions (even if in the case of accelerationism and new rationalism the human dimensions are inflated). On the other hand there are tendencies towards nostalgia for nature and for a past when there was more sensibility for the natural layers of reality. Here nature is a continuous source of primitive phantasies and lamentations about how capitalism destroys nature and any possibility to relate with it. We are interested in the enabling or construction of a different attitude - not submissive but not arrogant either. We are in a moment in which a horrendous, monstrous nature seems to accelerate towards us from the future and we need all human and inhuman capacities, natural, unnatural and supernatural to be able at least to acknowledge and connect with the immensity of what is going on, and maybe, if we are lucky, some new capacities and occasions can emerge in the scary encounter with the future nature.<br />
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July 23, 19h00, Presentation: Ben Woodard & discussion with Bogdan Draganescu, Florin Flueras, Irina Gheorghe, Anastasia Jurescu, Mihai Pecingine, Alina Popa.<br />
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July 24 - August 4 the program will alternate between days of theoretical sessions, presentations, discussions, reading groups and days of Future Nature and Eternal Feeding practices. You can follow one of these two ramifications, both or none of course.<br />
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Follow <a href="https://twitter.com/search?f=realtime&q=%23etfeed&src=typd">#etfeed</a><br />
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2595661836573460400.post-83651510929928618632014-01-02T03:51:00.000-08:002017-02-03T13:26:18.066-08:00The Congress of Pessimism<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://thebureauofmelodramaticresearch.blogspot.ro/">The Congress of Pessimism</a> started with Dylan Trigg's philosophy-performance <i>On an Unhuman Phenomenology: Horror of the Cosmos & Horror of the Body</i> at the Unsorcery stand.<br />
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These lectures take their inspiration from a question central to contemporary philosophy: to what extent is our sense of identity informed by the materiality of our bodies? If phenomenology has attended to this question, then it has done so largely from the perspective of lived experience within a personal history. But there is another side to this relation between materiality and subjectivity which resists experience. Darker and more obscure, and at all times portending to something unknowable, this other side of the body has for the most part been overlooked by phenomenology. It is a body that is alien, alienated, and alienating. These two lectures approach the alien materiality of the body from joint perspectives: cosmic horror and body horror, both poles are united by an overarching thesis: the horror of the cosmos is the horror of the body and the horror of the body is the horror of the cosmos. This intertwining of the alien and the human inhabiting the same body is termed unhumanity.<br />
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More <a href="http://www.thebureauofmelodramaticresearch.blogspot.ro/search/label/news">here</a></div>
ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.com