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When Art Project –Maybe– no Lies

Extinction and Discontinuity in the Art Object. Sense + Nonsense Iñigo Cabo

In this particular framework of the –Reading images: photography in the art practices– I will introduce my approach from the image of the

art project to the over-project:

From the post-anthropocentric and post-cultural research in the photographies of Lothar Baumgarten, to the post-conceptual and

post-symbolic image of Pierre Huyghe (which delves into something that –supposedly– can’t be exhausted by the discourses), through the

non-representation of the Philosopher Ray Brassier or artistic research on the arche-fossil (–prior to the existence of thought and life

experience) of Gillermo Faivovich & Nicholas Goldberg; reconsidering the notion of photography object, his documentary extension and

representational fiction, to warn other possibility, or maybe, in which the movement (displacement –motion – playing) of the Photo-object

alongside towards the liberated Art project –of the ATL, l’Association des Temps Libérés (Freed-Time Association)–: of Pierre Huyghe, Liam

Gillick, Philippe Parreno, Dominique Gonzalez-Foerster, Rirkrit Tiravanija, Carsten Höller, Maurizio Cattelan, etc.) –Open Project: Liberated

Time, liberated work, liberated Sense and Free Nonsense– drives-follows the artistic and technological image of the postproductive-

information (post-authorial images) to a non-causal and unintentional cut, exterior to the self-subject and to the social-being, produced by

the con-tact (contact –in this case the photo contact– and tact / touch. –as Jean-Luc Nancy1 says) with the non-performative Nonsense. The

Artistic Discontinuity of the object-image for the liberated rearticulation of Sense and transformation of the aesthetics negativity paradigms,

philosophical nihilism, neuro-cognitive science, the scientific image - the manifest image and the falseation of an ontological representation

that seeks to make art what is not by essence –The Art Project Image–.

I would like to introduce here, as an artist, not as a discursive act closed in its anthropological ontology of art, aesthetics and photography,

but as an approach of the art object that comprises the artistic object, the aesthetic object, the artistic project / and the image of this art

object that includes them, both cognitive, reflective, or transcendental as linguistic image, whether representational or non-representational-.

Image of the art object that can be both approached from the sense of the photo object (including the photographic object, the aesthetics of

the image and the contemporary visual project - that moves from the production of the Opsign (denominated by Deleuze as avatar of the

time-image) of the photographic object, image time and its symbolic autonomy, to the unmaterial image of the hypermedia postproduction -

and art critical sovereignty); as also being image of this art object seen from their co-presence with the nonsense of nature and external

reality to be –the presence of the image here built ontologically and called the Real, in their co-presence with another ontic - itself–, escaping

to the domain of the subjective image of specific image (stright photography), the postproductional image-archive stored in the cloud.

I mean with this exterior itself of Nonsense to all natural phenomena that affect this ontological and physical space in which we find

ourselves.

1 Nancy, Jean-Luc. Le sens du monde,Paris, Editions Galilée, 1993. www.lamarcaeditora.com 2003. pp. 52, 53.

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I would like to introduce you in this previously constructed situation observed now in this scenario, in which windows, doors, acoustics,

lighting, etc. are involved; and on the incidence of parallel activities that happen externally in the framework of this centre or happen in the

context of this conference programme (non-sense, inherent to the sense of human production) as with natural phenomena in live situations:

air, wind, weather, light, etc., (Nonsense external to the anthropological act and image); incidences of the non-sense and Nonsense related

in their co presence with the Sense, which anticipates at the same time the 1minute video clip that I will project next and that is an excerpt

from one of my latest projects - Artists Working: Discontinuity Barinatxe - carried out in the Basque Country, Spain, with the collaboration of

the german artist Lothar Baumgarten and other participating artists of different nationalities -in which the configurative discontinuity of their

filming in 16 mm and digitalisation of the video –Lothar Baumgarten: Discontinuity– [ https://vimeo.com/109271382 password: LBdis14 ]

projected on a screen and installed on the beach

Artists Working: Discontinuity Barinatxe . Open Work, collaborations. Constructed situation – Live situation. HD Video 127’. 2012 – 2013 / Ongoing project.

(LB) Discontinuity Barinatxe, Film S16 mm. 12’ / Lothar Baumgarten: Discontinuity. Video HD 12’ [Constructed situation] Art object movement (mark / øpsign) on

Barinatxe Beach (Bizkaia)– HD Video projection. Interview with Lothar Baumgarten / Questions: Nature, Representation, Technology, Art Project, Discontinuity /

+ LB improvised action. Video Screen projection (3 x 4 m.), RGB lighting system.

Collaborations, 14 artists and friends: Elena Aitzkoa, Irantzu Sanzo, Karla Tobar, Cristian Villavicencio, Leire Muñoz, Eriz Moreno, Jessica Llorente, Manu Uranga,

Josu Euba, Roke Ramos, Joseba Kortazar, Ceci Contreras, German A. Navarro. B., Cesar Rivera, Iñigo Cabo

Audiovisual installation company (2 technicians).

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and its exposure to natural phenomena such as wind from the coast (natural limits) and the night light is showed.

Artists Working: Discontinuity Barinatxe

https://vimeo.com/109482963 (password: AWDISba14)

Firstly I introduce this personal artistic object and this live situation, as an example exposed to a critical audience, from which I define, as I

said in short, different aesthetic, artistic and projectable concepts I propose to review some of the best-known works of the artists who we

will see now (photographic and projectives) as well as images generated not by artists but by users of social networks, without alleged

intentions of transforming themselves into an aesthetic object, but still images that can be used to describe different artistic paradigmatic

attitudes in contemporary projects apart from the specific photography and the post productive image, in its apparent neutrality, (remind us

artworks of P. Huyghe, the ATL, etc. or recognize aspects of artworks by Matta-Clark, Reinhard Mucha, Gabriel Orozco, Ilya Kavakov, and

iconical photographs of other authors.) and at the same time serve as object-non-sense image to be relocated in a contact project of natural

Nonsense to men and demystify the paradigm of artistic project itself (as Pipilotti Rist once said in a lecture at the Fine Arts University,

Universität der Künste, UdK Berlin: "not everything the artist does is art").

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–therefore, please, open the door and windows...– (The cold weather, wind and snow from outside enter partially in the conference room while

the video is projected) https://vimeo.com/109237197 / (homepage) www.inigocabo.com

(video: 1’ Extract of –Artists Working: Discontinuity Barinatxe– / Lothar Baumgarten speech-image-rec in natural movement)

As Gilles Deleuze has written, "a philosopher's (–artist’s–) style is his movement"

This fragment of the artistic project (2013) video - corresponding to a video-interview made to L. Baumgarten (2012) that includes his

improvised actions for this piece - exposes part of the considerations of the artist on the continuity of the sense of the art in photographic

configurative discontinuity: both of the story - sequential discontinuity fixed in image-time and in its cataloguing - images and the author

–in this case fragmentary speech–; as the composition in the filming of the images in this video and the configurative discontinuity of his

reading by the viewer as well as its possible interpretations).

Art ists Work ing: Discontinuity (final) Studio situation –projection without image–

Film, video, sound Installation. Live situation, 2012 – 2013

Lothar Baumgarten: Discont inuity. HD Video, 12’ (Left. Plasma TV) | (LB) Discontinuity Barinatxe. S-16 mm Film, 12’ (right, down)

Art ists Work ing: Crossover Atxabir ibil . HD Video, 95’ (right, up) Art ists Work ing: Discontinuity Bar inatxe. HD Video, 127’. (back wall: 6’ black shoot – blurred projection by natural light).

Industrial building, carpentry fourniture, sawdust. Indoor – Outdoor natural light (Summer time: 22: 00 h )

Video projection (night, 20: 00-22: 10 h) over the entire back wall of the industrial building (Mural-screen = width - height of space). The natural light descending on the interior space as it gets dark, allows to visualize the

scenes recorded on video-HD format for the participating artists and the footage on S16 mm from sunrise to sunset. Projection / Invisible final AW scene with summer night light on the screen. Simple reality visible of

the wall – space during the time (6') of the projection broadcasting –at the same time of shooting (22:00 -22 h. -May- DST) of the last shoot-cut filmed in S16 mm (Plan sequence focusing the video-screen installed on

the beach where the video –Lothar Baumgarten:Discontinuity–was projected. Sequential fragment registered in black –no Sound– / night reality, exposed directly to S16mm camera, denies the visual catchment to the

low sensibility –100 ASA– of the celluloid. Time is filmed). The black image –intact (Raw Footage and telecinema)– final sequence in the digital video edition, on its projection time is fogged on the screen by the "greater"

intensity of the sunset natural light (June) during that moment in the space, at the same time than the low light intensity annulled previously the filmic image. The Real (natural and technical) refuses at first its registration

and is (itself) co-presented again at the exact moment to the first denial –in another time–, blurring completely the broadcasting. That moment which can not happen before (the daylight would not allow to see practically

any of the beamed) or after (complete darkness in closest night would make visible the background of black light frames on the wall). Wall–blank screen at the bottom of the industrial unit / Ontic Presence (space, time,

phenomena, light) -Nonsense- simultaneous to the function of the technological devices of representation: beam light of the projection which traverses the entire length of the industrial unit, video playing, film course.

Discontinuity of the Natural Nonsense – phenomenical to the devices of representation and performativity / Exterior cut-interval in the Sense.

The images of the film and video filmed with daylight, keep –while projecting-, the 'continuity' of the [On - over] representation and its –configurative discontinuity–.

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First of all I refer to Sense, its inherent non-sense, and the natural exterior Nonsense in the following way:

Sense [ anthropologic, undecidable (incomplete), infinitely deferred, aesthetic negativity, configuratively discontinuous ]

non-sense [ anthropologic, inherent to Sense, factual / contingent, intentional / accidental, configurative discontinuity ]

Nonsense [ Natural, non-anthropologic, out of Sense, without Sense or its inherent non-sense, non-aesthetic,

undecidable anthropocentricaly, natural discontinuity, Art discontinuity ]

Secondly, we can define the discontinuity according to the different fields of knowledge in which it is applied:

Discontinuity (casting), An interruption in the normal physical structure or configuration of an article

Discontinuity (Geotechnical engineering) in geotechnics is a plane or surface marking a change in physical or chemical

properties in a soil or rock mass

Discontinuity (mathematics), a property of a mathematical function

Discontinuity (linguistics), a property of tree structures in theoretical linguistics

Discontinuity (Postmodernism), a conception of history as espoused by the philosopher Michel Foucault.

A break in continuity (fiction), in literature

Fracture (geology), discontinuity in rocks

Discontinuity (transmission lines), a step in impedance causing reflections

Discontinuity –configurative– (music, architecture, cinema, video, artistic disciplines, installations, performances, situations,

etc.)

And in the case of discontinuity in relation to philosophy, aesthetics and art in all its disciplines, we refer here to the configurative

discontinuity that Christoph Menke points out in his book –The sovereignty of art (from) The aesthetic experience according to Adorno and

Derrida, what would be the concept of configurative discontinuity in its two forms of incidence in the interpretive discourse of aesthetic

experience.

In short the re-reading of C. Menke about the configurative discontinuity in its two forms according to Adorno and Derrida, and relying on

other authors such as P. De Man, we can define that: Understanding that the aesthetic experience is always a negative process, that cannot

state (being afirmated) completely from the speech that interprets it (in relation to the infinitely deferred meaning, and in relation to the

absent structure that never allows this meaning to display the whole experience), Derrida points out that the cause of this negativity in the

discourse regarding the aesthetic experience resides in the relationship dashed between parts of speech that interpret it, while Adorno says

that negativity occurs between the configuration (and connection) of the parts of speech and the discontinuity of the same strategies of the

aesthetic object.

According to Derrida, if we deconstruct the speech in statements, a first statement can mention aspects of the experience of the aesthetic

object (and forget others), a second statement can refer to other aspects of the first statement that would have been forgotten, contradicting

it, and so on, forming in the speech alternative interpretations and/or contradictory to an aesthetic object.

On the other hand Adorno indicates that this difference occurs between the interpretive discourse and discontinuity that is inherent to the

same strategy of the aesthetic object. That speech interprets dissimilar objectives in the aesthetic object.

The object is then revealed in its own 'strategies' (P. De Man) as an object that, thanks to the composition of its elements and materials,

gives rise to unfinished understanding in the significant continuity of an interpretation. If in the first category of configurative discontinuity,

we face an interpretation that result in other incompatible interpretations, in the second category we face an interpretation of the strategies

of the aesthetic object in which it is rooted without power but exhausting its potential.

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This is to say that the (possible) interpretation of the aesthetic experience has both to attend to the first category of configurative

discontinuity, see interpretable parties comprising a possible aesthetic object (elements and materials that specials, deconstructed are

alternative readings independent of its formulations), as to the second category of discontinuity, since the configuration of interpretable

parties to the differences that the art object presents in its discontinuous strategies.2

I relocate this (regarding me) from the aesthetic discourse and its interpretation to the praxis of the art object, we could say that the

configurative discontinuity type 1 (technique) would be on the composition of the art object as a form, the variability that presents in its

composition and the way in which we interpret the meaning of the experience with this object by using the discontinuities related to the

differences between its parts, which taxonomy - organizational, classified and differential - integrates it and because of its attributes are

interpretable separately, the movement that each of them make in the discontinuity they produce when reading the object. The internal

discontinuity.

On the other hand, the configurative discontinuity type 2 would observe the art object as a unit with different strategies; that is to say, we

interpret this object discontinuously regarding its different movements towards the symbolic order that it wishes to configure.

A shortened summary would say that in the art object there is an internal discontinuity between its parts and an external discontinuity that

represents towards the Sense it represents, and that both act simultaneously on any object of aesthetic experience.

In relation to the video we have just seen, as well as in the rest of the works we will analyse later, the configurative discontinuity type 1:

internal or technical, is established by the formal composition of images and its experiential situation in a spatial and temporal context as

well as in devices or systems that reproduce them in front of the spectator, intervening both in systems and media as in compositional

settings and the space and time of its staging, in the configurative discontinuity which determines, from the union and connection of multiple

elements and unit factors, multiple and incomplete interpretation of the object of Sense that is represented.

In this configurative discontinuity type 1, technical-internal; involved at the same time - when exposed to the activity of the internal dynamics

of the art object-, external phenomena, transforming a configurative discontinuity anthropologically produced by human beings, in a natural

outdoor discontinuity that cuts all discontinuity or artificial no-sense, altering the intentionality and reflectivity of the self, and even

surpassing the mere phenomenological reflection. A cut-interval of the Nonsense in the production of Sense.

On the other hand, the configurative discontinuity type 2, or strategic-external; starts in this video and in the following works of other

authors, on the difference between the objectives with which a series of statements were formulated (for example those of L. Baumgarten,

caused by questions about his particular notion of universal concepts like: Culture, Nature

Lothar Baumgarten. MAKUNAIMA (RIVER-CROSSING) 2, 1979. Black-and-white photograph. s/w Print.

2 Menke, Christoph. The Sovereignty of Art. Aesthetic Negativity in Adorno and Derrida. The MIT Press, Cambridge, Massachusetts, and London, England (Or. Ed.

1998) La soberanía del arte. La experiencia estética según Adorno y Derrida. (Die Souveränität der Kunst: Äestetische Erfahrung nach Adorno und Derrida. Suhrkamp Verlag Frankfurt Am Main, 1991). Madrid. Visor. Dis S.A., Col. La balsa de la medusa. 1997. P. 138-140.

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- whose treatment is recognized in the work of Buamgarten for transcending the anthropological vision of western man on the self and its

ethnicity, as in his film and photographic work performed during his cohabitation during different years with the Amazon tribe of the

Yanomamis in-Venezuela-, rethinking the post-anthropocentrical and poststructuralist vision of Claude Levi Strauss), and the notions of

representation, technology, art project, and discontinuity –

DRAMA - Lothar Baumgarten - Thinking about Nature, Representation, Technology, Art Project and Discontinuity. Chromogenic Print. 70 x 106 cm. IC 2012

(- DRAMA: this making of photography on the stage-set of the video-film, shows both the representation itself, nature as landscape -

natural boundaries): Earth, sea, sky, the technical image, technology and their configurative discontinuities; as the relationship between the

Drama of classical tragedy, where the actors speak directly to the audience breaking the argument of fiction and in this way, showing the

artwork and its theatre as a reflective object (“keine Drama” –as Baumgarten says using the tipical sentence in German–, no drama, no

theatre, non-representation, no excess, no lies), ; this photograph is an evidence of configurative discontinuity of actors regarding the

bystanders in the image of everyday life, both the plot of the conceptual, representational, landscape and technical-technological

framework; as the difference itself between the configurative discontinuity of the image and the natural discontinuity that goes by without

being fixed in our living space, the natural discontinuity or artistic discontinuity in the space of observation).

Thus, the strategic configurative discontinuity occurs in the video that we have seen previously, based on the relationship of contents

corresponding to the artist that are handled by the settings on the images that are represented and published in a sequential, supposedly

continuous, line and pondered but constructively discontinuous, both documentary as fictional or artistically; such objectives corresponding

to a defining strategy of the author and his intention to produce Sense, constructively discontinuous in the medium-format that displace

them, as well as the strategy of Baumgarten and mine differ in terms of object of representation and in terms of aesthetic and artistic

strategy.

At the same time, any strategy considered or thought by the authors inmersed in a content and its history and historicity, is and can be

transformed into multiple and exponential strategies by successive viewers and authors that can observe original strategies, then affecting

both the configurative discontinuity that each particular interpretation on the original content-discourse and strategic discontinuity based on

infinite intentions that apply to other objects (aesthetic, artistic or projective), or the mere strategic configurative discontinuity that each

spectator applies to the original content in any subsequent intentional formulation or unconscious, that is to say, that a complete

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configurative discontinuity in the so-called performativity of the object: Art (including aesthetic discourse, art object and open art project,

Open Project and over-project (on the project and outside the project), which we will see later.

Thirdly, in terms of the conception of the universal extinction, according to the currently recognized nihilistic philosopher Ray Brassier –and

his (post)-speculative realism– that rereads the speculative materialism of Laruelle, Melissaux, Badiou and other authors; establishing the

philosophical and aesthetic object out of its reflective image to be observable as a scientific subject; that is, to go beyond correlation (and

beyond correlativism) between the empirical object and the reflexive object without falling into the new empirical dogma (empirealist in

relation with an empirical empire...); explains Brassier from scientific speculation on universal extinction:

“ Both life and mind will have to reckon with the disintegration of the ultimate horizon, when, roughly one trillion, trillion, trillion (101728) years from

now, the accelerating expansion of the universe will have disintegrated the fabric of matter itself, terminating the possibility of embodiment. Every star

in the universe will have burnt out, plunging the cosmos into a state of absolute darkness and leaving behind nothing but spent husks of collapsed

matter. All free matter, whether on planetary surfaces or in interstellar space, will have decayed, eradicating any remnants of life based in protons and

chemistry, and erasing every vestige of sentience – irrespective of its physical basis. Finally, in a state cosmologists call ‘asymptopia’, the stellar

corpses littering the empty universe will evaporate into a brief hailstorm of elementary particles. Atoms themselves will cease to exist. Only the

implacable gravitational expansion will continue, driven by the currently inexplicable force called ‘dark energy’, which will keep pushing the extinguished

universe deeper and deeper into an eternal and unfathomable blackness.” 3

According to the universal extinction predicted by science in which the recent theory of the non-philosophy is based, holding the non-

representation –the post-conceptual art, liberated, non-idiomatic and non-linguistic– of the freely improvised, liberated time and liberated

work –the works of ATL, Huyghe, etc.– (freely music, performances, constructed and live Situations) and where the situational sense-object

is built and installed in the ultimate limit of the configurative discontinuities of the object Art whose sensitive and symbolic desire to exist and

to realize the Sense production collapses at such presumed extinction of life and mind (the nothingness or Void that is beyond the infinite

deferral of Sense and aesthetic negativity); Art as ontological object-system and producer of the configurative discontinuities in the order of

Sense (and its inherent non-sense), and in its production of technical and technological image; must consider –beyond its transcendental

cognitive embodiment– the universal Nonsense, the cut-interval that the Nonsensical reality hits, exterior and undecidable to the object of

art and to the ontology of thought, readying to the Art discontinuity.

Defined at the same time by Brassier himself in his Idioms & Idiots essay, written with other authors of the freely music with whom he

interpreted non-representational music concerts, playing the electric guitar without knowing the instrument:

NONphilosophy is the theory or science of philosophy, treating philosophy as a material. NONidiomatic playing is supposed to be

able to treat all music as a material.” ‘NON’ as a prefix means that you are not part of something but dealing with it from some kind of exteriority

yet one which involves the immanence of practice rather than the transcendence of reflection. As a negative prefix, ‘NON’ also means that you are

supposed to have some kind of immanent general point of view: not from above but from within the practice of music [art] itself, the most immanent

point of view possible. It entails that you add a layer of representation such that it either subtracts the previous layer or even unifies all the layers.

(…) ‘Real’ as opposed to wholly idealised or conceptualised immanence boils down to the question of the use of theory: the real immanence evoked

by Laruelle entails a strictly disciplined practice of philosophy. Instead of exacerbating reflexivity by ascending to a metametalevel, nonphilosophy adds

a third layer of autoreflexivity that is also a minus (an a + that is a - ) – a subtraction (subtracts a layer of selfconsciousness from reflection) that

allows us to view all philosophy from a vantage point that is at once singular and universal. Mediating abstraction is concretized and unified through a

practice that, as Laruelle puts it, allows it to be ‘seen inOne’.” 4

What this non-philosophy or the NONidiomatic and supposedly non-representational and non-immaterial music or art production, presents,

is an art object (artistic subject and aesthetic object) as matter, that is, outside its physical reality or thinking in his image, including the act

of observing the art object outside the reflective or transcendental image of the subject and of the social self, and outside of the sense

aesthetic negativity.

This speculation, - that we will review at the end of this intervention with my proposal to observe the object beyond the image that builds the

mystification of the contemporary art project -; Introduce a Nonsense foreign to men (even when his supposed non-representation affects

the Nonsense as inherent in the sense, that is to say from a variable of anthropo(i)logical production), presenting as an example in parallel to

the universal extinction of the - arche-fossil-;

3 Brassier, Ray. Nihil Unbound: Enlightenment and Extinction. PALGRAVE MACMILLAN, New York, N.Y. 2007, p. 228

4 Brassier, Ray. Guionnet, Jean-Luc. Murayama, Seijiro. Mattin. Idioms and Idiots. s/p. w.m.o/r e c o r d l a b e l (May 2010)

http://www.mattin.org/recordings/IDIOMS_AND_IDIOTS.html

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explains Ray Brassier:

The French philosopher Quentin Meillassoux has recently proposed a compelling diagnosis of what is most problematic in post-Kantian philosophy’s

relationship to the natural sciences. The former founders on the enigma of the ‘arche-fossil’. A fossil is a material bearing the traces of pre-historic

life, but an ‘arche-fossil’ is a material indicating traces of ‘ancestral’ phenomena anterior even to the emergence of life. It provides the material basis

for experiments yielding estimates of ancestral phenomena – such as the radioactive isotope whose rate of decay provides an index of the age of

rock samples, or the starlight whose luminescence provides an index of the age of distant stars. Natural science produces ancestral statements, such

as that the universe is roughly 13.7 billion years old, that the earth formed roughly 4.5 billion years ago, that life developed on earth approximately

3.5 billion years ago, and that the earliest ancestors of the genus Homo emerged about 2 million years ago. Yet it is also generating an ever-

increasing number of ‘descendent’ statements, such as that the Milky Way will collide with the Andromeda galaxy in 3 billion years; that the earth will

be incinerated by the sun 4 billions years hence; that all the stars in the universe will stop shining in 100 trillion years; and that eventually, one

trillion, trillion, trillion years from now, all matter in the cosmos will disintegrate into unbound elementary particles. […]

For these (post-kantian) philosophers, it is this relation to the world – Dasein, Existence, Life – which provides the originary condition of manifestation

for all phenomena, including those ancestral phenomena featured in the statements above. Thus if the idea of a world-in-itself, of a realm of

phenomena subsisting independently of our relation to it, is intelligible at all, it can only be intelligible as something in-itself or independent ‘for-us’.

This is the reigning doxa of post-metaphysical philosophy: what is fundamental is neither a hypostasized substance nor the reified subject, but rather

the relation between un-objectifiable thinking and un-representable being, the primordial reciprocity or ‘co-propriation’ of logos and physis which at

once unites and distinguishes the terms which it relates. (…) 5

Guillermo Faivovich & Nicolás Goldberg, The Campo del Cielo Meteorites – Vol.1: El Chaco. 2006

dOCUMENTA (13) 2012, Ongoing Project.

In this picture which is employed in the artistic research of the Argentinean artists Guillermo Faivovich & Nicolas Goldeberg, we can see a

documentary photograph with the touristic purpose of the arche-fossil El Chaco, meteorite outside our galaxy that struck in Argentina before

the existence of the human beings and thoughts, a rock whose Nonsense nature escapes to the life of our conscious DNA; being its

representation, both for the Argentinean Chaco ethnic group to whom the arche-fossil has acquired a symbolic dimension, and that taking

into account other precedents of other arche-fossil meteorites that were expropriated by the U.S. Government and sent to Germany for its

dissection and analysis, implied in this case, the refusal of some groups in the region to the transfer of this arche-fossil to Documenta in

Kassel (13, in 2012) involving Faivovich & Goldberg;

5 Brassier, Ray. Nihil Unbound: Enlightenment and Extinction, PALGRAVE MACMILLAN, New York, N.Y. 2007. p. 49-52

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Guillermo Faivovich & Nicolás Goldberg, El Chaco in Kassel, 2012. dOCUMENTA (13) Catalogue.

As a configurative discontinuity Faivovich & Goldeberg represented in the annulment of the presence of the image of the arche-fossil in the

documentary photographs of the catalogue of Documenta 13, configurative cutting or interval override that represents both the negativity of

the aesthetic of the arche-fossil itself as to a form of Nonsense, un-anthropological, which may not represent its universal nature in human

consciousness nor in their courts a no-sense that is therefore inherent configurative and discontinuous; this image of absence plays the

mere artistic discontinuity, the natural discontinuity to the production of Sense and the cut-interval to the Nonsense outside the self, in its

natural phenomena, produces representational cuts on every configurative discontinuities concerning the Sense. An evidence of exterior

discontinuity of the Nonsense regarding the human representation of inherent Sense and their non-senses.

Not representable in image or voice, and whose artistic discontinuity prior to being presented, beyond time and space as human

configurative dimensions, a universal dimension whose real negativity is extinction or death of the Self, at least as we do not understand the

dynamics of power and the dark matter in the cosmos and really expanding the knowledge of the 95% left of the universe that currently

remains for us completely Nonsense (Without-sense).

In the following two photographs we can see one example of the configurative discontinuity of the photographic image itself and his frame-

format cut, as configurative discontinuity produced by nature itself, in these layers laminated in the rock of the coast in the Basque Country,

known as Flysch, which in some of its stratums preserves sediment remains of ash that covered the Earth after the impact of the comet in

the Yucatan around the late Cretaceous, causing the extinction of the dinosaurs and 95 % of biological life on the planet; debris arche-fossil

sediment remains, prior to the evolution of the human being, whose training in layers and levels projected a natural structure of evolutionary

configurative discontinuity, at the time that these formations that we now recognize and investigate joining the configurative discontinuity of

scientific research while preserving intact its essential natural discontinuity;

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Flysch Sedimentary rock layers –Stratification–, Cretaceous–Paleogene (K–Pg) extinction event (massive comet/asteroid impact, 65. 000.000 years ago –) «Arche-fossil sediments».

Atxabiribil beach, Basque Country coast. Chromogenic Print 80 x 113 cm. IC 2014

Exotic nature of representation –configurative discontinuity– within the Natural discontinuity.6

baba [ Atxabiribil beach – Flysch / Notch | Woman - Drool ] Chromogenic Print 60 x 113 cm. IC 2014

A Nonsense, configured by nature showing us the distinction between the meaning of the human representation (as we see in this

conventional picture of anthropocentric photographic portrait, which characterizes a woman posing for the camera - with its own layers and

levels of cultural stratification that represents her clothes or her makeup - and performing a characteristic gesture of the non-sense),

non-sense is inherent to our production of sense, and whether the difference in all our cultural acts of reflection - cognitive or

representational, or projection - is this transcendental or factual-, intentional or contingent; in any case configurative and representational

6 A zone that marks a boundary between different layers of the Earth, such as between the mantle and the core, and where the velocity of seismic waves changes.

Dictionary of Unfamiliar Words by Diagram Group. Diagram Visual Information Limited, 2008

12

shadows that correspond to the symbolic of the self even before the Platonic cave (like the natural cave in the picture). The difference

between any conscious or unconscious gesture of the anthropological subject regarding the natural exterior discontinuity.

This conscious representation and cultural distribution, disproportionate in terms of the concepts of force –pre subjective-, non-intentional and

preconscious– that here we refer in the no-sense of human-, that articulates Christoph Menke as a force in opposition to the capacity and function

of the human act, including empirical capacity or the artistic function; configurative discontinuity of the images with the force of a project which

aims to overcome his ventriloquism;

Pierre Huyghe. Crystal Cave, 2009. 3 dimensional photograph image: 22 1/8 x 33 in.

–In rellation with the stereoscopic image analized in this conference program / which emphasizes the fictionality of the still image–

Pierre Huyghe (in the words of Jean Baudrillard: "The strength (Force) of Huyghe's work arises by his understand ... [that] the images have

become masks of a form of universal ventriloquism."7 )– in his work Cristal Cave (2009) 3D photography taken in the P. Huyghe descent to

the crystal cave found in Naica (Chihuahua, Mexico, in the 2000 year), where Huyghe invited a team of speleologists, a farmer, a shaman, a

crystallographer and a mathematician to witness the discovery of this cave historically imagined in fiction (-Journey to the Center of the

Earth of Jules Verne, -Superman-, etc.), sedimented in the narrative and in its different mental images, being the different types of witnesses

who could interpret it, configurative discontinuously, according to their respective and particular codes, representing the levels and layers,

real (ancestral millenary strata cave –arche-fossil– and the reflective quality of the glass formations-) and symbolics (the meaning of each

agent according to the transcendental scopical-reflection of images and shadows of Plato's cave). The technical 3D production, goes over

the register "truth" of photography fictionalizing and manifesting the cognitive, figurative, and discontinuous transcendence. The image is all

level-layer photographic –conceptual, material, formal, technical, technological–, to highlight (remark –in the sense of cultural personal

marks) his call- (relate, story-telling) to a reality previously imagined by fiction and representation before the estimation of science, pointing

out “The Maybe” as possibility of art and its image in the encounter and co-participation of the Sense with the Nonsense.

Chus Martínez (Head of Departments, Documenta 13, Kassel) plays the notion -The maybe- like the possibility of experience and artistic

research to relate the production of Sense with the Nonsense, rearranging the estimation capacity (opposed to the Force notion of C. Menke

linked to the Pre-subjectivity) of science and its empirialist language (the sovereignty of the critic and empirical thought), the ontology of art

and the post-productional technology in the hypermodern era. The Maybe as possibility outside the Sense agencement, a possibility of co-

agency with the Nonsense –undecidable by the anthropocentric culture–, towards the new artistic research explores the co-participation of

the of human thought essence and experience with the natural entities of the universe, taking into account that in such possibility could exist

a non-predictable alternative, nor by the science (based on the unknown of the 95% of the universe –dark energy and dark matter–) nor by

the aesthetic.

7 Baudrillard, Jean. Pierre Huyghe “Celebration Park”. Tate Modern 2006

13

In words of Chus Martínez:

« “Maybe” reflects the fact that knowledges are difficult to express and hard to pin down, and that art and artistic research often avoid any form of

stable meaning. “Maybe” refers, in positive terms, to the lack of certainty, and of any general statement presenting the whole. It is rather a marker for

an active reconsideration of ways of presenting knowledge in the context of art. Pointing to the challenge that art poses to the desire for coherence,

and questioning our addiction to words, this program aims to inspire ways of acting inside different ideas and logics. It indicates the impossibility of

reducing art—and any other complex form of knowledge—to a single explanation, question, subject matter, or paradigm.»8

(…)

This vacillation –caused by the artistic method of conveying research into the real, into an artwork– has the virtue of perceiving the unknown without

its being transmitted into communication by the superficial sociality of the discourse. To refract the unknown without syntaxes, without the movement

of displacing the known and replacing it with a new known or the other known: this momentary forgetting of the syntaxes implies a momentary

forgetting about learning –that is, it can carry the unknown into a form, a formulation, that will allow the inconceivable to be conceived. And in not

knowing about syntax, it is imaginable that the topology of the subject could be another, and tus in its natureable, if only for a second, to listen to

a plant, an animal, or a drawing. And so the “maybe” comes also to name the possibility of discovering unsuspected positions between the animate

and the inanimate as well as among the many forms of life; an imagination capable of conceiving an act of knowledge among tose who live beyond

language. “

(…)“ Artistic research” names the effort, a force, a movement, rather than a method. When I speak of artistic research, I am not speaking of the

exhaustive research undertaken by artists before making a work. Nor should one confuse artistic research with contemporary art’s proximity to the

social sciences and their methods.” (…)

Art has retained this inversion of the relationship between meaning and saying as a way to overcome the traps of consciousness, that trascendental

principle thart rules the modern conception of the individual, that defines the political as an unambiguous text marked by intention of meaning and

able to produce and reproduce a very definite sense of empathy. This exercise of accepting the riddle of ambiguity, the constant alteration of the

realtions betwwen matter and words, time and meaning, defines a research manner that calls for a radical reconsideration of the role of the

language, of straightforward conceptions of how things interact, as well as the inventory of monologues produced by serious forms of meaning. And

this is how the “maybe” comes into play. The “Maybe” is a non-concept; it is a modifier. It denotes the attempt to introduce a difference into the

relations that define knowledge, the limits of language and the event of thinking in art. At first sight , it could be mistaken for a noun, indicating

disenchantment, a relativist position. Yet soon, positivity creeps back in; the "maybe" is the vertebral expression of a movement. It names a tension, a

state of imagination aiming toward the potential reorganization of the structure of the known and those who think they know. The "Maybe" is the

emblem of attention, a positive form of privation -the privation of certainty, of the statement that forms a conclusion- that introduces not only fiction

but a dimension of theatricality, since it puts all elements into play.

So rather than a quest for the void, tha dance introduced by the “maybe” can be taken as a journey that introduces us into the realm of artistic

research as an active reconsideration of certain representations of knowledge in the context of art. By asking, “What is the reverse of the known?”

the form of inquiry that takes place in art amounts to an intuitive grasp od a philosophical and political problematic that defines not only what

culture is but what it may be in the future.

“Artistic research” is an awful term; it is confusing in its similitude to “research” as we know in the academia fields. However, this misunderstanding

produces an interesting awareness of what is propossed by utterance. This conceptual diptych does not compromise any of its particulars. More than

anything, it “entertains” a paradox: the possibility of a non-deliberate system or discipline at the core of the deliberate ones. “research” here does

not name the embodiment of any particular form of academia training, but the gesture of placing the “maybe” at the core of the real. And this

causes something very simple to occur: knowledge vacilates. This permanent oscilation between positioning here –isolating some features of the real,

performing representation, living form to matter– and, at the same time, taking us faraway form the present time, is what I understand by “artistic

research”. 9

This new sense of artistic research that defines Chus Martínez building our aesthetic research with the artistic experimentation that goes

beyond the functionalist capacity of hypermodern empiricism, transcending the performativity of sense and its no-senses to a possible

relationship with the non-anthropological nonsense; that is, a discontinuity that overcoming the configurative discontinuity of the art image

raises a possibility to open non-paradigmatic relationships between the ontological fictional object with the ontic reality, allowing us to go

beyond the image of the art object; which leads us here to the last part of my presentation:

8 Martínez, Chus. Web dOCUMENTA (13). Programs: http://d13.documenta.de/#programs/ (2012)

9 Martínez, Chus. How a Tadpole Becomes a Frog. Belated Aesthetics, Politics, and Animated Matter: Toward a Theory of Artistic Research. Documenta (13) CATALOG 1/3.

The Book of the Books. 2012. P. 46-48/ 55-57.

14

As I introduced earlier, I refer to the art object (artistic object, aesthetic object, art project) and image of this art object (image of the object-

Art), to position all the anthropological framework of the production of the Sense –both in a research order as in an experimental order–, at a

really open prospect (not only ontologically) art project, that surpassing the myth of the artistic project can have real and ontic to a

non-hierarchical co-presence –not autonomous of the artistic symbolic object and not sovereign of the critical aesthetic object–; a Maybe

not predefined by the self in which the art object doesn't try to be what in essence is not, that is, to supplant its peculiarity by a universality

that will always be ontological, producing a global and indefinite image that places contemporary praxis and research on the artistic project

liberated from the empirical and the ontological, legitimizing a new hegemony in which artistic project turns a symbolic sovereign whose

production (or intangible functionalist post-production or not functionalist processual, post-conceptual, non-representational,

non-philosophic, non-linguistic and post-cultural), generate the utopian myth that represent us as free subjects, not of the Real, but reality in

its released image.

I want to say that for a certain observation of the art object, not its image, we would have overcome indeed as P. Huyghe mentioned, in

which art projects can be exhausted by the speeches, and for this precisely is advisable to redefine our mystified construction of an art that

is arranged in a situation even without cultural pretension–

Pierre Huyghe. –Untilled– 2011-2012 (detail), constructed situation. dOCUMENTA (13)

as in the well known and greatly influential today –the constructed situation - Untilled - conducted by P. Huyghe in the last Documenta 13

Kassel in which the artist says:

“ The place is enclosed. Elements and spaces from different times in history lie next to each other with no chronological order or sign of origin. What

is present are either physical adaptations of fictional and factal documents or existing things. In the compost of the Karlsaue park, artifacts, inanimate

elements, and living organisms... plants, animals, humans, bacteria, are left without culture.” 10

A project released, according to practices of the ATL, whose Open Present goes far beyond as Chus Martínez pointed out, (though

configuratively), human consideration of the present time, projecting to a stage where he could anticipate an eventual extinction of the Self

and its ontology, of the reasons for its representation.

However, Huyghe maintains and projected in his interviews in art magazines, catalogues in museums and galleries, or at conferences he

taught; an image of the myth, and I here I do not refer to the myth of a post-deity of a sculpture of a venus whose head is a beehive, or what

would be a decoding of anthropological thought - beyond of what that figure represents in the liturgy, please remember also the image of

this dog –called human– with the painted leg turned into a biosemiotic that derives as an iconographic image of Art,]

10

Huyghe, Pierre. The Guidebook, dOCUMENTA (13). CATALOG 3/3. 2012. P. 83

15

Pierre Huyghe. –Untilled– 2011-2012 (detail), constructed situation. dOCUMENTA (13)

but the image of Joseph Beuys's dead oak that present us the end of artistic utopia, is strengthened again in their photo in a kind of

representation loop where the image turns more symbolic than ever, and the dead tree serves as a credit both to the post conceptual

organic life and as to the political and social life of the Opsign, the post productive visual sign representing Beuys across a tree fallen icon,

the shaman's nature and apostolic energy of the end and the resurgence of life, and in particular, the possible revival of an artistic life in

which the post-symbolic is transfigured into project, and this project on which Beuys himself already worked socially and post productively,

becomes a mythic image of a shamanic process itself whereby the non-time, the non-repeatability, the no-function and the apparent

post-performative artistic discontinuity, generate, through the configurative discontinuity –both technique of the iconicity of the constructed

image and strategic discontinuity of post conceptual and pseudo liberated project elevated to the category of myth–, an unrealistic image of

the art object which becomes lying, image of what is not, in subterfuge, to the so-called liberated artistic project; If this Art Object contains

between its components the art object –that moves in the project losing its original function of symbolic autonomy; If it contains the

aesthetic object –which sublimates its sovereignty criticism–; and if it contains a housing project in which the art object and the aesthetic

object open a temporality and process; but those components are the art object's configurative discontinuity, since its opening is merely

technical, it returns to the encoding of the image and its close temporal and significant; and his strategy, in terms of released project, closes

first the viewer the configurative discontinuity of the possible interpretations– an effective cut in reading and in recognition of the situation

presented, represented and the artistic discontinuity that generates the cycle of natural phenomena, the living situation –post conceptual

and post-cultural–; but finally returns to that project released the iconicity of their mythology, so therefore an image of the released project,

which in this way will never be a project free, yet not.

As an alternative to this mythic image of the artistic project that over symbolizes an image of the art object; I put here a possible approach or

Maybe to an over-project (understanding –over– as –on the project– and as –out of the project–, in this clear case of the myth of the

project).

So I will give you as an example four photographs that are part of an ongoing project in which I am currently working. In the first instance

I did not intend to transform it into an specific project, I haven't decided yet if the four photographs will be objects of exposure, if they will

progress in its experimental character by adding other images from this series, or if they simply disappear as a proof, as an exercise whose

purpose is to find out a possible observation of the art object in its essence, in its ontology, in its criticism and technical and strategic

discontinuity in a possible artistic discontinuity that does not revert the art object to a projected image that falsifies it.

16

Untitled [ _überprojekt (#1). Cecilia Contreras, S/T ] 2014-ongoing.

Untitled [ _überprojekt (#2). Haizea Merino, MISHIMA ] 2014-ongoing.

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Untitled [ _überprojekt (#3). Haizea Merino, MISHIMA ] 2014-ongoing.

Untitled [ _überprojekt (#4). Manu Uranga, Luka ] 2014-ongoing.

A selection of other people’s photographs. Mobile phone pictures, casual snaps (# 1, 2, 3), prepared photographs (#4). (dimensions variable)

Over project about the project and outside the project. ( øpsign ) –.

About the works or projects of clear artistic reference. About the paradigm of the project. About the colaborations and loans.

Free the project of its mythology – autoreferential. Of method and hegemonic inscritpion of the aesthetic framework.

Show it in its reality ontic / reflexive) and artifice.

Each entity and object being what it is and what – it seems (commonly closed – artistically open), freeing the work and the art object from the artistic

project dogma and its function or nonfunction.11

11 Discontinuity: a. A point at which a function is defined but is not continuous. / b. A point at which a function is undefined.

American Heritage Dictionary of the English Language, Fifth Edition. Houghton Mifflin Harcourt Publishing Company. 2011

18

The images given slightly lose the original meaning/sense they represented and they deviate from the intention or directionality with which

they were taken by their authors, thus forming a postconceptual story and that in this open project can behave ironically as nonsensical

images with certain legibility and interpretive discontinuity.

Situations, structures, artistic objectives, dogs with and without the identification of their owners, closed spaces and open landscapes

where in an imprecise and at the same time neutral way, they find sense and nonsense with the exterior nonsense within the representation

and the ecstatic imageable to remind us of other images and paradigmatic art projects (ATL, l'Association des Temps Libérés: Huyghe,

Gonzalez-Foerster, Gillick, Parreno, Tiravanija; Or Ondak, Aconcci, Kounellis, Kaprow, Matta-Clark, Mucha, Fischlli & Weiss, Beuys, Debord,

Duchamp ... among others; conscious of its denial and affirmation).

Overproject –about the works and affectivities of others and about the autoreferentiality of the artistic projects– auto suspension, collapse ...

in crisis of art; that reproduce methods and strategies in the stylistic cliché of the liberated project, postreadymade or anartist, and its

discourse (or the search for that nondraining by the discourse), the use – domesticated, directed, signalled or objectualized – of the animals

shown. (the three dogs in these photos were present in the project –Artists Working– in which their owners participated and who lend the

images) etc. free the project of its mythology and show it (exhibit it) in its reality and artistic reflection, which exposes its representation –still

desymbolised– and its strategy and artifice; in any case being a process of images (sense and) without sense which gain interest.

Over project –about the project and outside the project. Each thing and each object being what they are and also what they seem, are freed

by themselves of being open or of being tied.

The first of these photographs can remind – to the connoisseurs of contemporary art-, well to the muscic video that announces online the

recent #31Sao Paulo Bienal (Teaser: https://www.youtube.com/user/bienalsp ) Como farejar coisas que não existem | How to sniff things that

don't exist–, curated by Charles Esche, –video in which different breeds of dogs freely roam the empty halls of the famous Museum of Oscar

Niemeyer in Brasil - and which reproduces again the paradigm of an artistic project in which a man's architecture, his work, space, time and

image; disappear, suspended as if they didn't exist, and however held; post-human are celebrated and thus open to a situational project

where artistic ontology is occupied again by the biosemiotic. You can also remember different photographs of Huyghe’s (named) “human”

dog, designated under the hallmark of human representation for its fluorescent brand on a leg, that roams in appearance free compost of

the Karlsaue Park area (Kassel).

But is nonetheless an image simply autonomous, a non-artist, no title, no intentionality project, author of a photograph obtained with mobile

phone in an everyday situation of leisure time in a field and posted on social networks –Facebook–. A neutral image without drift to Art,

which I included in this series of my work as Opsign with obvious references, but actually free of every cause or effect added.

19

The second of these photographs could remind us to turn to in-transit spaces or situations in construction Dominique Gonzalez-Foerster,

like structures of pavers and tiles with which he collaborated with P. Huyghe in Untilled, Kassel; highlighting features released from the ATL

projects, common artistic collaborations between its members, and that is what they have formed as a paradigm no longer collective

project, but the so-called post-authorship and the celebration of the friendship (colegueo) among artists.

However is a friend on his picture before finally becoming a library that is being open to trade, a situation of pre-reading, which breaks the

scenographical La Bibliothèque clandestine [Secret Library] of Gonzalez-Foerster collaboration with Philippe Parreno (Palais de Tokyo, Paris

2014) in their post-conceptual (and dramatical) artistic scene.

You can recall this second photograph also Deconstructions of Matta-Clark and his anartist aspiration, or situational pictures and tourist

accidental by Gabriel Orozco (or perceptive and sensorial lighting installations of Olafur Eliasson –and his Third Project– or Robert Irwin,

among others), where the public networks and transit procedural blanks are transformed into iconoclasts of the art images and readymedial

images.

The third photo in this series, no elaborate backdrop, can remember indiscriminately to any local disused or an artistic study whose

documentary image, strict photography, establishes the Studio as place-archive of post-conceptual art research, as valid as a neutral space

or suspended, and legitimizes its transience and process (work in progress / –image– under construction) as sublimated technical

discontinuity, the art for the art and the space of the artist as place and non-place (in the manner of Robert Smithson) universalized.

You may also recall the photographic detail of Philippe idiote. An image made by Phillipe Parreno and Liam Gillick for the Moral Maze

exhibition at Le Consortium (Dijon) France, in 1995, when they created together with P. Huyghe, Gonzalez-Foerster, Tiravanija, etc. the ATL,

Association des Temps Libérés (Association of Freed Time).

An ironic and auto-parody image of ordinary daily life, identifying the artist but not distinguishing him as an author, but as a common name

and co-author in a non-place in any time; and whose insult also reminiscent of Idioms & idiots, of Ray Brassier and other proponents of the

freely improvised music, in whose trial published Brassier, as we have seen above, defines the non-philosophy according to the

non-representation.

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Currently - last picture of this series, correspond to an artistic image project, a more complex photography project of the artist Manu Uranga

–who has collaborated with me in one of my recent projects such as Artists Working, where dogs, filmed in different phases of this project

for 3 years, participated freely with their owners. Therefore this image, here presents particularized - while forming part of a composite

picture high school, as study of installation and situational work where its sculptural support will present his pet in the exhibition space as

agent that determines a position and a balance with respect to the configurative Euclidean space – Uranga’s project; may remember us

undoubtedly the artistic use of domestic or wild animals by Huyghe, the anthropocentric iconology of the bio semiotic, the object´s rhetoric

and domesticated species, such as on the other hand declassifying the documentary photographs of L. Baumgarten - decentralizing the

myth of the wild and their rites. This sculptural state of the animal, is here as a precisely outlined object and image of all artistic ritual status;

that is to say, that this image serves first of all as a picture, as object photo [form(at), scale, cut, techs…], and as object of the image and the

representation that it transports.

Well, my approach consists in joining the sequence of these photographs, demonstrating its configurative discontinuity, and present them at

the same time both as neutral images much like art objects or with an artistic possibility. Not distinguish or prepend hierarchies between the

image non-authorial and artistic unintentionally, with the image of the project Art. Look at the object art in its entirety, physics, real and

imaginary. And then –check through this object both aesthetic, artistic and projecting how productive and post productive, and image of the

same object– which possibility of artistic discontinuity would be feasible without reintegrating this object in a false and ventriloquist, vision

without lying to the art. What cut-interval of exterior discontinuity to the artistic-anthropocentric ontology would be possible, how to gather

and co(art)-present the same Real object and its object photo with universe reality which escapes any current human consideration. How

emancipating ourselves from extinction and the death complex without reference it through an elusive image.

Therefore, raise them so the dynamic that I am to ensure the art object a Maybe, both ontological (sense) as really ontic (nonsense):

F FOR FAKE. Orson Welles, 1973 (“Truths and lies”)

–No, what we professional liars hope to serve is truth

21

To observe the art object [scientific observation of the object, empirical and investigative, but without being empir(e)icalist ]. To observe the

aesthetic object, the artistic object, the artistic project; without any of these realities and constructions of the Real, it takes (empower) over

the others and transforms them, it perverts or forceably performs); to observe the discontinuity of the art object.

I'm interested in seeing (and as a first contact as an artist of my –inevitably– nature), the dynamics of the projects before they become,

through their ways and derivations, in an image of this dynamic [or rhetoric or discourse or form or ideal(ized) thought – of the project]

I assume my desire to observe, know, live... (be, in every angle of existence including the emancipation of the idea of death or of void);

but without adding more decisions: afterwards we will see if by natural or artificial means something can be done, or nothing is done.

Without any problem in any of its possible variants (when they are done in a natural or direct way).

The first thing is not to reiterate the paradigm (or the dogma) of the project, see its different methods, situations and processes without them

converting in project in their own right (without stereotyping its actions or uses) above and beyond the artistic object, the aesthetic object, or

the scientific object –onticals or ontologicals–, or of the situations or phenomena of life and reality. Each thing to be what it is and also what

it seems, and this includes all of that which can, as things or objects, become or be given.

At the moment my interest is to observe this time space, essence, ontology, sensibility and discontinuities [configurative in the form and

intrinsic nature of each entity, thing, object or situation / and natural discontinuities that are involved, happen or affect; and including those

discontinuities singular and universal that are invisible or do not appear amongst them the physical, material, energy (visible and dark) and

the dimensions, such as Sense in its deferment and possible infinity; being undecideable one as much as the other, the Sense (in its

incompleteness) and the senselessness particular or universal].

In the same way that we do not now have a problem with the art object since it can move within an art project or can be by itself what it

already is; neutralize the problems and conditions of the art project that direct their nature and realities to the other side which does not

correspond to them, denying us the chance to see or recognize the falseness.

To see the project with or without function, with its variable functions and its dynamics and concluding or formalizing or formulating itself, in

an artistic object, aesthetic object of thought, etc.; o without formulating or realizing itself completely or partially...; accept its variables

without perverting them with an intentionality or objectives that do not correspond to them or which violate them.

(each object has to freely decide how it wishes to behave within the project; manifesting these decisions – impulsive or intentional).

One can make fiction, generate representation, produce sense and nonsense, do nothing, observe the nonsense, communicate, be (being,

self, I; intersubjectivity, subjectivity, presubjectivity force and possible objectivity); without provoking an exclusively anthropocentric

(segregatory) view. One can produce and develop afectivity, love, desire and other types of human feelings (identification, denial,

negotiation, agreement without submission or being subjected to, etc) and biosemiotic contacts; analize the politics and ideologies, etc, etc.

It would be about seeing and living the nature of the art object in all its time areas and all its orders, being free authors (and liberated?) of our

decisions and understanding our impulses, desires and reasoning.

To be independent, as much in the autonomy of the art and aesthetic object, as in the critical sovereingty of their project.

Live the nature and realities (open and finite) of the art object.

* Without adding utopia to the project, the art is already utopian itself.

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