🗯️ 🗯️ 🗯️ plan rada
svako <-u-rezervatu>
Pošto naši položaji nisu definisani našim nacionalnim kulturnim sistemima, štaviše, oni su uslovljeni i u njihovom su sklopu; imaju strog niz nedodirljivih ograničenja, ukorenjenih u ekologiji pristupačnosti; stoga ih treba shvatiti samo kao skup lokalnih temporalno specifičnih fatamorgana kojima treba ovladati na gotovo atletski mentalni način, manevrom.
Raseljavanje sopstvenog kapaciteta u disperzivno postrojenje prostora u mrtve-prirode u prirodi. Prekomerni, neintervencionistički i nerazumni vektor kooperacije u široko rasprostranjenim kulturnim promenama, baca diferencijalno svetlo na uslove.
Ovaj, recimo, efekat iskorenjivanja ima krajnju vrednost, kvalitativni značaj transformativnog vektora, operatora. Omogućava da se dogodi predvidivo, čak i kao daleko očekivano iskustvo umešano u stvarno, amorfnog potencijala u: lokalnom shvatanju isporuka; rečnik namera, koji se širi dok se stvara.
Samo kroz susrete, sastanke i inspekciju interakcijom u datom društvenom bazenu, za razliku od prostora razuma, formatiranje jeste (implodirajuće).
Odgovorno postupanje u pisanju koje učestvuje u ne-hijerarhijskoj razmeni i predstavlja praksu lepljenja; premošćavanje diferencijalnih praznina u globalnom prostoru razmene u samoći ili propisani stav i konfiguracije informativnog pejzaža, delujući kao satelit, emitujući impulsivne i posredovane slike, kao prognoza vremenskih-kontingencija.
Učestalost interesovanja za zapravo bliže sekvenciranje eteričnog prema doslovnom, koliko i oko umne diseminacije umetnosti.
Nematerijalna razmena, poput one-ili-ove ili one čiji je oblik neshvatljive neravnoteže ubedljiv kao prevlačenje.
Krajnji izazovi afektiranja koncentracije, dok nas provociraju na spin umetničkih sistema nakon 2000-ih, praćenih akademiziranim osećajem identiteta i kulturnim sitkom kritikama, više su pritisnuti u nova područja istraživanja.
Ovo bi dovelo do budućnosti hiper-stišanog proizvođenja dijaloga i, u atomskim skalama, ekstremno unutrašnjim jezičkim otkrićima, sa paralelama umetničkih dela, njihovoj teorijskoj aluzivnosti. Stoga ćemo preskočiti predloge za namerene linije ili fokalnih-žarišta straha/leta i tako dalje, aktivnosti koje su dobro zasnovane na njihovim metodološkim aferama, dometima i ishodima.
Pristup učenju o ponašanjima u umetničkim praksama i kulturnim scenografijama (kao dato - mesto) u potpunosti je opremljen nizom gestova koji su u osnovi afirmativne i mikro-kovanične konotacije čestih uvida i pravovremenih opažajnih beleški.
Adresirajući da i upravo sprovodeći neku vrstu elipse, linija je istegnuta preko naših iskustvenih dužina uronjenosti. Praćene impulsivnim beleškama [1] u tip indeksa koji će generisati rizomatski atekstualni interfejs iznuđenih struktura od vrha-na-dole, programiranih na odgovarajućoj platformi u opterećenju.
Atlasi na eventualnim horizontima - kalambur umesto bilo kog estetskog cilja i/ili kategoričkih nastupa zatečenih fizikalnosti i formi, oblika progresivnog sveta; od postindustrijskih
stresova praćenih idealima o novoj tradiciji kritičkog-pritiska.
Društvena očuđenost unutar sirovosti savremenosti i aistorijskih značenja koje održava.
Unutar njihovih predloga ističu se:
-katastrofa
-eliminacija
-destrukcija
-otvara se u slojevima globalnog postinformacionog aksisa društva
-sa jezičkim preokretima
-humorom i političkom hrabrošću.
svako <-u-rezervatu>
Pošto naši položaji nisu definisani našim nacionalnim kulturnim sistemima, štaviše, oni su uslovljeni i u njihovom su sklopu; imaju strog niz nedodirljivih ograničenja, ukorenjenih u ekologiji pristupačnosti; stoga ih treba shvatiti samo kao skup lokalnih temporalno specifičnih fatamorgana kojima treba ovladati na gotovo atletski mentalni način, manevrom.
Raseljavanje sopstvenog kapaciteta u disperzivno postrojenje prostora u mrtve-prirode u prirodi. Prekomerni, neintervencionistički i nerazumni vektor kooperacije u široko rasprostranjenim kulturnim promenama, baca diferencijalno svetlo na uslove.
Ovaj, recimo, efekat iskorenjivanja ima krajnju vrednost, kvalitativni značaj transformativnog vektora, operatora. Omogućava da se dogodi predvidivo, čak i kao daleko očekivano iskustvo umešano u stvarno, amorfnog potencijala u: lokalnom shvatanju isporuka; rečnik namera, koji se širi dok se stvara.
Samo kroz susrete, sastanke i inspekciju interakcijom u datom društvenom bazenu, za razliku od prostora razuma, formatiranje jeste (implodirajuće).
Odgovorno postupanje u pisanju koje učestvuje u ne-hijerarhijskoj razmeni i predstavlja praksu lepljenja; premošćavanje diferencijalnih praznina u globalnom prostoru razmene u samoći ili propisani stav i konfiguracije informativnog pejzaža, delujući kao satelit, emitujući impulsivne i posredovane slike, kao prognoza vremenskih-kontingencija.
Učestalost interesovanja za zapravo bliže sekvenciranje eteričnog prema doslovnom, koliko i oko umne diseminacije umetnosti.
Nematerijalna razmena, poput one-ili-ove ili one čiji je oblik neshvatljive neravnoteže ubedljiv kao prevlačenje.
Krajnji izazovi afektiranja koncentracije, dok nas provociraju na spin umetničkih sistema nakon 2000-ih, praćenih akademiziranim osećajem identiteta i kulturnim sitkom kritikama, više su pritisnuti u nova područja istraživanja.
Ovo bi dovelo do budućnosti hiper-stišanog proizvođenja dijaloga i, u atomskim skalama, ekstremno unutrašnjim jezičkim otkrićima, sa paralelama umetničkih dela, njihovoj teorijskoj aluzivnosti. Stoga ćemo preskočiti predloge za namerene linije ili fokalnih-žarišta straha/leta i tako dalje, aktivnosti koje su dobro zasnovane na njihovim metodološkim aferama, dometima i ishodima.
Pristup učenju o ponašanjima u umetničkim praksama i kulturnim scenografijama (kao dato - mesto) u potpunosti je opremljen nizom gestova koji su u osnovi afirmativne i mikro-kovanične konotacije čestih uvida i pravovremenih opažajnih beleški.
Adresirajući da i upravo sprovodeći neku vrstu elipse, linija je istegnuta preko naših iskustvenih dužina uronjenosti. Praćene impulsivnim beleškama [1] u tip indeksa koji će generisati rizomatski atekstualni interfejs iznuđenih struktura od vrha-na-dole, programiranih na odgovarajućoj platformi u opterećenju.
Atlasi na eventualnim horizontima - kalambur umesto bilo kog estetskog cilja i/ili kategoričkih nastupa zatečenih fizikalnosti i formi, oblika progresivnog sveta; od postindustrijskih
stresova praćenih idealima o novoj tradiciji kritičkog-pritiska.
Društvena očuđenost unutar sirovosti savremenosti i aistorijskih značenja koje održava.
Unutar njihovih predloga ističu se:
-katastrofa
-eliminacija
-destrukcija
-otvara se u slojevima globalnog postinformacionog aksisa društva
-sa jezičkim preokretima
-humorom i političkom hrabrošću.
🗯️ 🗯️ 🗯️ working
plan
anyone <-in-reservation>
Since our positions are not defined by our national cultural systems, moreover they are being conditioned according to them; have a strict set of unassailable limitations, rooted in ecology of affordance; therefore they are only to be understood as a set of local temporally peculiar mirages that one oughts to checkpoint in an almost athletic mental manner, maneuver.
Displacing one’s own capacity into dispersive array of a still-life space in nature. Excesive, uninterventionist & unwise vector of cooperation in wide spread cultural-fluxes, sheds differential light on conditions.
This, say deracinate effect has an utter value, a qualitative significance as a transformative vector, operator. It enables the predictable to happen, even as a distant anticipatory experience enmeshed into the real, of a fluid potential into a: local apprehension of deliverables; the vocabulary of intentions, expanding while being created.
Only through encounters, meetings and the inspection by interacting in the given social pool as opposed to a space for reason, it is (shift-imploding) formatting.
Responsible acting of-in-which writing that partakes in the non-hierarchical exchange is a practice of gluing; the bridging of differential gaps in the global space of exchange in solitude or the prescriptive stance and informational landscape configurations by acting as a satelite, emmiting impulsive and mediated imagos, as weather-contingency report.
The frequency of interest in actually closer sequencing of the etheric to the literal in as much as around art's thoughtful dissemination.
Imaterial exchange, as that-or-this or that of which its form of unintelligible in-equilibrium is convincing as swipe.
The utter challenges of affecting concentration, as they provoke us into a spin of post-2000s art systems, followed by the academicised sense of identity and sitcom cultural critiques, are moreover pressured into new exploratory realms.
This would led to a future of hyper-unsound dialogue production and, on the atomic scale, extremely intrinsic discoveries in language, with artworking parallels, their theoretical allusiveness. Hence, we shall jump over proposals for the intended lines or focal-points of fright/flight and so forth, activities that are well based in their methodology affairs, scopes and outcomes.
Approach in familiarization of the behaviours in artistic practices and cultural sceneries (as the given -place) is full equipped with sets of gestures which are fundamentally affirming and micro-plotted conotations of frequent insights and punctual perceptive memos.
Addressing that and thus conducting a sort of elipse, a line suspended across our experiential longitudes of immersion. Followed by impulsive notes[1]into an index type that will generate rhizomatic atextual interface of enforsed top-to-down structures, programmed on the appropriate level platform in load.
Atlases on eventual horizons – the pun aside any aesthetic aim and/or categorical seizure from the encountered physicalities and forms of the progressive world; from post-industrial stresses followed by ideals of a new critique pressure-tradition.
The societal estrangement within rawness of contemporaneity and ahistorical meanings it upholds.
Within their proposals, emerges the:
-catastrophe
-elimination
-annihilation
-opening up in the layering of global post-information axys of societies
-with linguistic twists
-humour and political bravery.
[1](fake-vers on Wittgenstein's leaflet workings in Zettel)
anyone <-in-reservation>
Since our positions are not defined by our national cultural systems, moreover they are being conditioned according to them; have a strict set of unassailable limitations, rooted in ecology of affordance; therefore they are only to be understood as a set of local temporally peculiar mirages that one oughts to checkpoint in an almost athletic mental manner, maneuver.
Displacing one’s own capacity into dispersive array of a still-life space in nature. Excesive, uninterventionist & unwise vector of cooperation in wide spread cultural-fluxes, sheds differential light on conditions.
This, say deracinate effect has an utter value, a qualitative significance as a transformative vector, operator. It enables the predictable to happen, even as a distant anticipatory experience enmeshed into the real, of a fluid potential into a: local apprehension of deliverables; the vocabulary of intentions, expanding while being created.
Only through encounters, meetings and the inspection by interacting in the given social pool as opposed to a space for reason, it is (shift-imploding) formatting.
Responsible acting of-in-which writing that partakes in the non-hierarchical exchange is a practice of gluing; the bridging of differential gaps in the global space of exchange in solitude or the prescriptive stance and informational landscape configurations by acting as a satelite, emmiting impulsive and mediated imagos, as weather-contingency report.
The frequency of interest in actually closer sequencing of the etheric to the literal in as much as around art's thoughtful dissemination.
Imaterial exchange, as that-or-this or that of which its form of unintelligible in-equilibrium is convincing as swipe.
The utter challenges of affecting concentration, as they provoke us into a spin of post-2000s art systems, followed by the academicised sense of identity and sitcom cultural critiques, are moreover pressured into new exploratory realms.
This would led to a future of hyper-unsound dialogue production and, on the atomic scale, extremely intrinsic discoveries in language, with artworking parallels, their theoretical allusiveness. Hence, we shall jump over proposals for the intended lines or focal-points of fright/flight and so forth, activities that are well based in their methodology affairs, scopes and outcomes.
Approach in familiarization of the behaviours in artistic practices and cultural sceneries (as the given -place) is full equipped with sets of gestures which are fundamentally affirming and micro-plotted conotations of frequent insights and punctual perceptive memos.
Addressing that and thus conducting a sort of elipse, a line suspended across our experiential longitudes of immersion. Followed by impulsive notes[1]into an index type that will generate rhizomatic atextual interface of enforsed top-to-down structures, programmed on the appropriate level platform in load.
Atlases on eventual horizons – the pun aside any aesthetic aim and/or categorical seizure from the encountered physicalities and forms of the progressive world; from post-industrial stresses followed by ideals of a new critique pressure-tradition.
The societal estrangement within rawness of contemporaneity and ahistorical meanings it upholds.
Within their proposals, emerges the:
-catastrophe
-elimination
-annihilation
-opening up in the layering of global post-information axys of societies
-with linguistic twists
-humour and political bravery.
[1](fake-vers on Wittgenstein's leaflet workings in Zettel)
