bachground and purpose
wish to realise a metabolic awareness of the metaleptic somatic
state (i.e., the generally known state of virtually enhanced transportation).
We are embarking on an exploration of what the relation between
past and future looks like from elsewhere: most probably
a creative rememberance of Algeria. Something lost, or yet to come:
elsewhere. A category of time, a modality of the present, the seductive
touch of productive interaction we understand as there-and-now
vortex, Fig. 1).
Fig. 1 vortex
We wish to attack the past-future opposition in the literary present
of Mohammed Dibs novels, in the light of an ongoing situation
in Algeria: the past is an emergent structure within the present [past]-1
(elsewherep). Elsewhere we are interested
in these two alternate or shifting aspects of time, from the dislocated
position of there-and-now. We are concerned with how the future
has its own use for things present [future]-1 (elsewheref)
in Algeria. Elsewhere we have the ambition of complementing rather
than competing with the Department of Future Projections in ICOLS.
would like to underscore our ambition of challenging Future Projections
on one particular point: (1) in worktop dialogues, the tracery of
Algeria takes place by shifting between [future]-1
and [past]-1 (2) the unified position on the other
otherwise a part of our impending past or future is
from there-and-now: in embroidery, video and broken poetry.
By the standards of modern vocabulary, our project would
have been a passage work (Benjamin). By the standards of
an atopic era the era of impossible spaces
our project is to outline a constructive approach to non-territorial
conquests: i.e., the possibility of creative rememberance of a place
as a homing device for the connection of a chain of unique events
through a living network in Algeria and in ICOLS. This passage from
impossible space with the broad political signification
of such a notion to places of this kind, we suggest, is the
subject matter of atopia. A possibility foreseen by sustaining
the paradox that profane people have a right to refuge from
the righteous by the same law that inspires the righteous.
deconstruction dialogue to a point of metabolic exchange
is the dynamic aspect of our itinerary to the above vortex of creative
rememberance. The metaleptic state once the transportation to there-and-now
is achieved embodies the structural features relevant at this juncture.
Metalepsis amounts to the conjugation of the two metonymic strings
ensuing from a tracery of the [past]-1 and the
[future]-1- cursed be the axe that felled the
tree from which this cradle was made, for instance, evokes the
atopia of hearing the worlds calls and cries, and responding
to it by the construction of a refuge. Yet, it should not be confused
with the place from where the sound of this cry is part of an impending
past or future: if the body is the worlds antenna, the question
is where you actually can go to listen to the world.
are in the process of constructing a site with a collaborative portal
as a worktop for this project. However, we have not yet succeeded
in homing a unique event in Algeria and ICOLS. The general idea
is to explore the ability to respond and, concomitantly,
responsibility at the margins of human somatic possibilities,
where parts of the environment become integrated into the extended
phenotype and link the productive individual with a seductive collectivity.
In the latter case, the participant tracery feeds a metabolic awareness
partaking of in a web with living links, connecting events with
other events by the creation of a unique place for their connection.
wish to create a situation between three elements on the web-portal
of the Department: emdroidery, video and broken poetry from the
archives of Mohammed Dibs novels. Thus, we are breaking text
down into texture, track and trace
and consider our contribution to ICOLS to be a worktop for embroidery,
video and broken poetry. We intend to go about this process of creative
rememberance by creating a worktop in ICOLS i.e., when the
evolving relation between form and content is transformed into work
for the social construction of an art event. For this reason,
the project may be subject to changes.