Conversations with participants and others, so that ideas, their gestation, alienation, and replication would clarify and transmit via voice, this phenomenon of embodied, unstable materiality, via encounter and attention. In coalescence of intellectual labor with affective what comes forward is care, maintenance of an economy. Interlocutor is a virus of care, hostis: both an enemy and a hospitable container.

Anthropological dimension of conversation anticipates incommensurable scales of crisis of unsustainability and extinction, where accelerating and lagging economies of inhuman extraction compete with depleting resource of possible reproduction, of bodies, ecosystems, political and aesthetic resistances, which will be the subject of conversations as dyadic situations.

Receptive of the critique of phallogocentrism and its autoimmunizing assertion, I seek to replace with hearing, attention the monological construction of patriarchal discourse.

The rhetoric of the call with its medicalist, geo- and biological optics as in sci-fi that defamiliarizes antropomorphic norms, motivates to clarify and transmit the method behind it and emergences summoned by it in the contributions of others. Others: Eastern, neighborly, more anti-patriarchal and inventive, bearing another pain but enduring it in transmissible and socializable vibrations.

Our position is being transformed under the diktat of algorithmic recoding, liquidation of past cultural formations: populations of the reserve army superfluous for plutocratic accumulations and platform monopolies are amortized by pharmacological and somatic compensations, always-already insufficient, prolonging the lack of distress and patterns of anaesthesizing subsistence. Having decided to be faithful to this position, overdetermined by the division of labor, I hear and repeat: “I am a content provider, and I can be as sharp and empathetic as a voice assistant.”

Anya Litovskih, fail security: «Bereznyaky is famous for its’ failures. Sinkholes in Bereznyaky city appears as a result of soil subsidence — thy city was built right on the saltmine which is now full of groundwater. The sinkholes in the city surrounded by fences and guarded by UralKaliy company, which is responsible for these failures in some ways. Recently the company hired female security service. These women spending their time watching CCTV and looking after the size of sinkholes. Some of them silently walking along the fence, it’s prohibited for them to talk.

These failures of the ground is one of the most boring topics for discussions with citizens of Bereznyaki. Almost everybody with whom we talked about it mentioned, that they were afraid when it happened for the first time but later they get used to it. I guess I can relate to it somehow. It is a pity when people want to talk with you about your fails only, you want to forget it as soon as possible.»

We decided that our personal and collective failures should be guarded the same way, maybe even more intense. While everything around us is poisoned with the logic of success, our failures perceived as a side effect. These side effects causing us meltdowns and slowing our actions, its motivates us to get up and continue to move on. It’s time to change the optic and started to value our failures. We need to take care of our failures, accept its’ fragility and weakness, somewhere on the edge of our everyday life.

Have you heard of…?

While walking by the water, or having breakfast, during a break between dances, in a room without knocking, in the Cocktails and Dreams bar, at the counter by the salt room, on the playground, at night by a refrigerator, in the morning in bed, at any time of the day or night — talk to me about death.

Hahathon Festival of Smiles is a collective practice organized to research the formation of communities and identities, their temporalities and possibilities of disintegration. The overdose of meme consumption is expected during the practice. The humor of a meme is without any strung anticipation (or with an anticipation that collapsed into a single moment) but with the de-escalation into nothing — just like in the old times. The sudden appearance of a meme in a social network or imageboard feed launches the formation of an elusive microcommunity: this way the sensible is redistributed in a superfast way when the subjectivity forms around an urgently signed agreement stating “This is funny!” Hahathon is an attempt to slow down the process taking place between the subject, the community and the meme. The tangible bodies of meme-consumers — all in one space. Will they be able to agree on who they are and what they want — through the mediation of the meme? And will the video “Oh, I thought that was an owl…” become a foundation of a political action?

NB: We ask everyone who wants to take part in the Hahathon to make a compilation of several favorite outrageously funny memes which you won’t mind being shared among your comrades. Images, videos, texts, tweets, comments — everything can help our cause.

We were walking down the street and understanding that the whole space was marked up, divided, constructed without us, and continued by some people we know nothing about, some Others, and not even people, but functions, so with these functions, the space continues to be being designed, changed and adapted for the same and other functions.

We were going through the woods and understanding realized that the forest is no more, but there is a map, deforestation zone and control ,some glades, open and closed coordinates.There is no forest in itself, and in this sense the forest demands liberation in order to become a forest again. Forest without us. And even this is impossible, more precisely, it is absolutely no longer possible, and all that we can do is only to indicate this impossibility …
Karen Karnak

… I don’t see divisions and structures in the visible by me, although I know about the existence of these. It seems to me that this is done for convenience and control. I myself would like to control something, I achieve it in every possible way and partly by inertia, in particular in my work — I work with the image and try to earn it to ensure the life of my family.

Responsibility and the presence of will harden and dulls in a certain sense, but capitalism is about regaining one’s place, and without these qualities can’t do
Roman Aksenov

Bedtime reading creates the meaningful, reflective transition between reality and sleep, which cannot take place when you just fall after overwork (cognitive as well as creative) or self-wasting, self-burning partying as labour.

Bedtime reading is usually a ritual performed between close people. When an unfamiliar person reads to you before sleep, it may turn out to be at least uncomfortable. In this case, only trust in the intentions of this person and that same reflexive distance, which makes possible to view this reading as a ritual, can save the situation. And also an immersion in the proposed text.

You have the opportunity to pre-order my reading for any of the nights / evenings / days of my presence in Minsk (or another venue of the WHPH), and I commit to be ready to fulfill your order at any time of the day. I can sit in your bed (or other sleeping place) beside you or on a chair next to you. I will wear my home clothes. You can choose a book from the list offered below. The schedule of readings is made on the first day of the WHPH and may be adjusted depending on the availability.

Preliminary reading list:
Marcel Proust, “Sodom and Gomorrah”
Bruno Schulz “Cinnamon Shops”, “Sanatorium Under the Sign of the Hourglass“
Fyodor Dostoevsky “A Gentle Creature”
Colette Peignot “Story of a Little Girl: Sad Privilege or a Fairy Tale Life“
Hervé Guibert “Les aventures singulières”, “Ghost Image”
Walter Benjamin “Moscow Diary”
Kathy Acker “Lust”, “Requiem”
Yuri Leiderman “Moabit Chronicles”
“Ancient Chinese Philosophy”, Ed. “Thought”, Moscow, 1973
Jacques Ranciere “On the Shores of Politics”, “Disagreement: Politics and Philosophy”, “The Distribution of the Sensible”
Thomas Bernhard “The Loser”
Image: drawing by Bruno Schulz.

“REDHEADED” is a short film depicting a conversation between a narrator and a decapitated head of a communist young woman. The two exchange ideas and quotes, connecting the concepts of (French) revolution, (revolutionary) methods of killing, culture and advertising/capitalism.

The film was created within the framework of AIR – ARTIST IN RESIDENCE NIEDERÖSTERREICH, January-March 2019, Krems an der Donau, Austria.

Crysis is a fiction film set in the near future. A future with an extremely high level of air pollution and where the authorities have no intention to fight against it. Moreover, they find a new easily accessible personal identification method through the irritated eyes of the population: the tears are a new unique biometric data. The apathetic mood deterred the mind of clear political thought.

This session opens for discussion the relationship between polyamory–the maintaining of multiple caring, intimate, and love relations, physical or conceptual–and the flexible, multi-project work of artistic and cultural production which involves more than one other. If one accepts that love is often a motivator for many intensive and intimate exchanges with another collaborator, be it a particular site, community, persons human or non-human, over time.. And that one may be juggling several ongoing commitments in parallel.. Maybe Polyamory is something we should discuss more..

Introductory Notes:

• Not knowing something is a good start for cultural production
• Aim to not make presentation but to guide discussion
• Polyamory as increasing considered approach, but arguably still marginal.
• Historical and more contemporary references, but rather hope to encourage discussions based on lived opinion and experience
• 2nd person statements to start and encourage discussion in either Russian or English
• Gender neutral, inclusive of Hetero, LGBTQIA positions

I want to show conceptual video-essay which deals with certain important topics that concern me: from suicide to contemporary art, from refusal to work to the mechanisms of the institutions of contemporary art. Conceptually my video-essay is divided into three parts: the First, the Third and the Second worlds. This division was relevant before the fall of Berlin wall and I choose this order, because the First and the Third worlds had connection between each other, because the former colonized the latter, but the Second world was an alternative. I think, that after the fall of the Eastern block the border with European union transformed into the new Berlin wall. In this sense, it is very interesting to consider the geopolitical situation of such countries as Belarus where is this new Berlin wall is located. Anyway, one of the main points of my work is to understand what is the role do we play, post-soviet people? Does someone care about our culture somewhere outside of our regions?

Our organization participates in the third stage of the prelaboratory analysis of a family of active agents, or a single agent in a series of states, acting inside the human body and exhibiting virus-like properties, as well as complex mutual activity with indirect correlations. Provisionally the most distinct agent subtypes are being called “Love” and “Non-Love”. The exact design was not yet fully discovered but it has been traced that the mutual amount of different subtypes of the agent directly or inversely correlates with the levels of affordance of a number of primary neurotransmitters. This makes it possible to indirectly assess the state of an individual, but the individual herself through her cognitive-emotional activity creates an environment of varying levels of auspiciousness for one or another form of the active agent. It has also been established that both the family of agents and the corresponding cognitive-emotional states are capable of being transmitted through social environment.

At this stage, we plan to conduct a series of experiments related to the agent’s mutagenic ability and aim to develop a conceptual grid for further stages of the study. It is important to note that at the moment the most interesting directions of agents’ mutations are located outside the axes defined by the tunnel aggravation. Also, it has not been established whether there exist individuals / groups of individuals which are not influenced by this family of agents. At the current stage, we plan to test small selections of highly cognitive participants capable of correct self-observation and evaluation.

The lecture-performance Chronic Film is based on a procedural film of the same name, a generative algorithm that plays out every possible combination of pixels that can be generated on a screen of a certain resolution. Due to the mathematics of the algorithm, it is visualised as continuous noise. The length depends on resolution; if HD resolution is desirable, the film has to last for billions of years, resulting in a posthumanist film not made for human senses.

The lecture-performance takes the history and mythology of the Greek island of Delos as a starting point, engaging in a parallel thinking of images as real archaeological and as technical artefacts. Through the material processes of decoding and degrading of signals the performance investigates images both as fetishes and as fetish-resistant, offering a critique of the processes of commodification and cultural appropriation. Using the algorithm of Chronic Film, the lecture-performance breaks the consumerist model of spectator-screen relationship, instead entering a symbiotic, meditative, or even hallucinatory state of image-word sensing.

Levels in video games are often designed in advance, all objects are located at the places specified by the designer. Other genres use procedural generation and random numbers for level design. In my project I want to delegate role of random numbers to people to see what happens.

The result will be part of video game called Yuha’s Nightmares. This part will be based on one of my last dreams. Рerformance participants can make changes to this level, and I will try to withstand this invasion.

In 2017 the collective “Netzwerk für revolutionäre Ungeduld” founded the art-festival FUTUR3 in Kiel. We wanted to change the things around us: By fighting for fair payments and better working conditions of artists. By uniting people from different backgrounds and genres in a more and more competitive society. By staging a festival that would fulfill all of those aims.

Indeed, in two years and two festivals we made some experiences, we even got some support from the city. But our initially questions are still the same: How can a network or collective succeed in fighting together? What organisational structure do we need for it? How can art(ists) change something? And how many of you would like to exchange your personal knowledge with us?

We ask you to speak with us about questions of structures and collaborative work in arts. Let’s exchange!

We invite you to fell out of the protocol of events and race of participating for a half of the day and get into observing of nature and each other at the outskirts of the city.

Our session is a drawing-painting plein air with simultaneous talks about nature, usual life, class contradictions, climate change and inter-species communication; participants can also remain silent if they wish to. Drawing of nature, slow peering and enjoyable admiring – this is a luxury and a secret pleasure. We invite you to cut out with shame and embrace this. During the session we also can talk about the trauma of art academies and artistic education (or unfulfilled dreams of it), reflect on visual practice as such. For participation you are not required to have any particular skills. We were staying at the bank of the reservoir, so bring your swimming suits.

Please, bring your own tools and materials.

Lecture/performance from behalf of a delegate of the party of the dead, an attempt of analysis of the current global condition of work, capital and death – the situation in which work is no longer work and death is no longer death but capital still remains as a sort of an empty constant. This would be also a necro-philological enterprise: the basis of the lecture/performance would be within the close reading of “Le Squelette laboureur” (“The Hard-Working Skeleton”) by Charles Baudelaire.

For the picnic we need a park for those, who are poisoned with theory,having indisposition and fallen sick. Recommended: a park within easy reach for all participants. Not recommended: codes, citing, cultural production, production of knowledge, documentation. We are just having a rest and try not to produce anything. Passive rest. We don’t promise anything. It’s not end-of-term exams. Words-resonators from the text-resonator: indisposition, poisoning, virus of care.

The lecture performance studies the concept of exhaustion. The artist’s narration fluctuates between body energies, dynamics of the affect, contemporary capitalist impositions, historical politicality of stillness, choreographies of the imagination, the multitude of the undoing, etc. etc. etc.

A performance that touches issues of body modifications, interlacing of (extra)science-fiction with affects, emanating from interfaces that are concealing potential jeopardy.

We’d like to make a disco/gig and talk about internal working of self-proclaimed musical collaborations. Our collective itself is a method of selfcare. On the discussion we want to talk about relationships that are generated in collective work provided horizontal, empathic and caring, as well as accepting one’s own and someone else’s weakness. This is invisible work of each of us.

Keywords: #impostorsyndrome #serious-notserious #nopurpose #mutations

Contaminated nails are finally on vacation and going to Minsk first time ever… The third edition features beauty and mental healthcare. Join our contaminated nails bar to free yourself from anxiety, fatigue and motion sicknesses trough weirdly pleasant beauty procedures.

Slow down your gabber! Take it easy!

Kimchi Eukimchi is a kiel-based dj-team playing korean-90er-eurodance tracks.

https://www.mixcloud.com/sasha-zubritskaya/

https://vk.com/dosaaaaaaf

She is “with a graceful mouth, with sparkling eyes, knowing the future”

#sex4sex #eclectic #firstdateplaylist #newromantic

LUX Selection

Fiction: after the end of the war in the Balkans, Niko Bellic could not find a decent job for a long time, and, in his own words, did a lot of stupid things. Having fled abroad, he got a job working in the taxi depot of his brother Roman — a remarkably fishy place. Accustomed to hardship, he started working several shifts in a row. Soon, his efficiency brought him into conflict with other taxi drivers from the depot. Reality: immigrant communities in Italy use their own taxi network (“kabu kabu”) — illegal and cheap. You need to know a certain number to order the cab.

We will set up a twitch-stream – a marathon simulation of the taxi-driver labor in the Grand Theft Auto IV sandbox-setting. The game code is to be modified to create an in-game radio station, curated DJ Tatamovich (Lugansk Contemporary Diaspora, https://vk.com/bomjpaketi). Occasionally, the driver would start a conversation, especially at the beginning of the shift.

Levels in video games are often designed in advance, all objects are located at the places specified by the designer. Other genres use procedural generation and random numbers for level design. In my project I want to delegate role of random numbers to people to see what happens.

The result will be part of video game called Yuha’s Nightmares. This part will be based on one of my last dreams. Рerformance participants can make changes to this level, and I will try to withstand this invasion.

Inability or unwillingness to work? Comparison of the practice of n i i c h e g o d e l a t as the movement of neurotypical bodies that consciously do not want to work and neuron-typical people (disabled body as unable to do something) from psycho-neurological boarding schools, for which the highest level of socialization is employment.

Screening of a short pseudo-fiction film, made from records by cctv cameras in hostel.

The video of real robbery is presented as a clip, referring to the cliche of the of criminal drama genre.

A follow-up report on personal experience of re-socialization in a hyper-multicultural environment — a port city hostel — by using screen-voyeurism and creating own virtual narratives. The report will be accompanied by a display and commenting on a series of photographs from cctv cameras.

Hi! We invite you to the presentation of Tryptokit Play 3.0 – set of chemicals which can correct your mood and vital rhythms. Try to synchronize your mental expectations and physical reality!

at an agreed time a group meets and follows me on a rout. however, very soon the route starts to repeat itself and it becomes clear that we have already been here. and will be once again. and again. what changes and what remains; what disappears and what comes into view?

Dial into Phone Whisperer, an ASMR lecture-performance, and SSSSSurrender yourself to the tingling, brain-melting sounds of assembling a DIY off-the-grid phone. Levitate from the ground you’re standing on and let yourself dive into the deep relaxation of a surveillance-free world.

Majority of capital and state power accumulate in cities; through the development of urban planning, we can realize what kind of strategies are closely linked to developments towards today‘s post-industrial society. Based on Pascal Gielen‘s Performing the Common City. On the Crossroads of Art, Politics and Public Life (2015) published in the book Interrupting the City and the books quoted by Richard Sennett The Uses of Disorder: Personal Identity & City Life (1970). I include examples from the Euro-American environment, with an emphasis on the present and as well with references to the period of the industrial revolution, the time of transformation of the economic-social paradigm.

I perceive an urban space as a process that quite faithfully reflects the current political system and social discourse.

“Actors of Profane History” includes a series of recently discovered casting images from Sergei Eisenstein’s destroyed film “Bezhin Meadow,” (1935-1937) preserved today at the Russian State Archive of Literature and Arts. It questions the interrelation between the cinematographic use of film extras, who usually appear only in the background of major cinema productions, and the possibility of acting in political history, in itself closely connected to the history of representation. In his films, Eisenstein worked almost entirely with non-professional actors, the so-called “tipazhes.” Deriving from the French word “typage,” the Russian “tipazh” was a concept for denoting a typical appearance, giving an immediate visual presence to the palpable characteristics of a social type. This reading of human appearance as evidence of social and political conditions elucidates parallels between cinema and criminalistic as well as physiognomic paradigms. Yet, in 1935, when Eisenstein was commissioned to shoot Bezhin Meadow, such “irregular types” were already banned from official screens. The censured and destroyed film tells the story of Pavlik Morozov, a fourteen year old pioneer who lived in the village of Gerasimovka and was killed in 1932 by his family after denouncing his father for being opposed to the collectivisation of the land. After the editing of the film went through at least two different versions, the production was definitively stopped in March 1937. The film was withdrawn and disappeared in the deposits of Mosfilm, where it was eventually destroyed in the bombing of Moscow during the Second World War. In 1967, Naum Kleiman and Sergei Jutkevic reconstructed a version of Bezhin Meadow based on a surviving sequence of individual frames.

Our organization participates in the third stage of the prelaboratory analysis of a family of active agents, or a single agent in a series of states, acting inside the human body and exhibiting virus-like properties, as well as complex mutual activity with indirect correlations. Provisionally the most distinct agent subtypes are being called “Love” and “Non-Love”. The exact design was not yet fully discovered but it has been traced that the mutual amount of different subtypes of the agent directly or inversely correlates with the levels of affordance of a number of primary neurotransmitters. This makes it possible to indirectly assess the state of an individual, but the individual herself through her cognitive-emotional activity creates an environment of varying levels of auspiciousness for one or another form of the active agent. It has also been established that both the family of agents and the corresponding cognitive-emotional states are capable of being transmitted through social environment.

At this stage, we plan to conduct a series of experiments related to the agent’s mutagenic ability and aim to develop a conceptual grid for further stages of the study. It is important to note that at the moment the most interesting directions of agents’ mutations are located outside the axes defined by the tunnel aggravation. Also, it has not been established whether there exist individuals / groups of individuals which are not influenced by this family of agents. At the current stage, we plan to test small selections of highly cognitive participants capable of correct self-observation and evaluation.

Since Krёlex zentre communicates with the I Ching from time to time in difficult life situations, we would like to share our experience of communicating with the oracle. Participants will be able to formulate their own query about the particular situation of their interest and to receive an answer in the free translation/ interpretation of Masha and Ruthie.

In this workshop, Frida Sandstrom and Kasia Wolinska will share methods that they have applied when replacing established concepts, names, and references from Western philosophy by concepts from dance and choreography — concepts that are derived directly from the living body at work. This time, the method will be embodied by a format in which we could engage with a very simple practice of developing dance, of ‘awakening dance’.

To be present with one’s body-mind, muscle-mind, the me-body in the space of tides, burning fires and of comrading flow, is to observe and feel oneself, in movement just like in words. Acknowledging the movement of one’s surrounding: fellow dancers and absorptions of social constructs, we shake from within — thoughts and aspirations, dreams and grievances. Feeling and articulating, in both dance and words, movements emerge from the tiniest motion and yet they are realized with a clear purpose. Beyond the artwork as a construct, we both recognise and reshape the material circumstances for existence within movement, in the present moment.

This is an attempt to share our method of work and open it to possible recompositions by everyone that parttakes.

Image by Ashiq Khondker.

In English.

In the cities, animals occupy specific position among non-human inhabitants: unlike plants, mushrooms, and bacteria, they demonstrate complicated patterns of movement, communication, and sociality, participating in social construction of family, home, and leisure, as well as being part of cities’ economy, and stakeholders, if neglected, of urban politics. Challenging our notions of citizen and citizenship, ethnography of human-animal coexistence also makes us revisit our ideas about how to claim the right to the city: occupying a territory, overcoming barriers, particular ways of waste treatment, and some other modes of political action happen beyond the semiotic verbal communication – thus other animals can stand next to human in production of politics. Then, how do we discuss poverty and segregation, inequality and solidarity in multi-species society? How do we include animals into our urban ethnographies? What an urban planning inclusive of non-humans can look like? And what are regional specifics of cities after anthropocentrism? We’ll enter this field of inquiry not only through talk but via listening to urban jungle soundscape where animal voices join the symphony of “anthropocene”.

The act happens in English.

Nina, K. and Connie is an online audio performance developed from the ideas in the WH!PH! Side Affects text. The performance focuses on the three characters in the text. The protagonist, who we have called Connie, is lying with fever and experiencing delusions. On the other side of the wall, Nina and K. are heard speaking within their collective situation.

We have adapted Connie from the central character in Marge Piercy’s 1976 feminist utopian novel Woman on the Edge of Time. In the book, set between the 1970s and 2137, the futuristic opportunities for collectivity are shown as both positive and inclusive. Borrowing from the progressive movements of the time, Piercy shows a way of living within a collective which overcomes the problems Connie experiences in her own time.

In a 2016 text by Marge Piercy, she looks back at this novel from a distance of 40 years and notes that utopias are no longer created. She says “when our political energy goes into defending rights, and projects we won and created are now under attack, there is far less energy for imagining fully drawn future societies we might wish to live in.”

Our performance draws on the hopefulness of feminist utopian texts of the 1970s and the collective-positive cyberfeminist movement of the 1990s, and pauses to imagine feminist utopian ideas of collectivity.

The play consists of a conversation and reading with the use of real-time video and fragments of audio recordings. Participants simultaneously act as performers, screenwriters and directors — each produces its own text and is able to influence the overall dramatic composition of the event.

The play addresses the feeling of ontological insecurity caused by contemporary forms of communication, the economic conditions of cognitive production and the neuroexistential revision of the foundations of the human psychics.

In a certain sense the piece is influenced by the anti-psychiatric plays of Robert Laing, where psychotic behavior is viewed as an emergency way out of the dead end in which person is placed by the close ones who use destructive patterns of interaction. However in this case not family collisions are considered as the main and primary factor of personal transformation but rather the social conditions and technologically determined communicative models due to which the modern subject feels unreal, incoherent, inconsistent, fragmented, nonautonomous or superautonomous, devoid of individuality and temporal continuity.

This is a textual and material piece, that for personal and dramatic reasons, works with different techniques and traditions of writing. It does so in order to acknowledge and pronounce an importance of Juliettte’s Affect at becoming-woman, as well as — in a situation when we are given to ourselves as objects.

In the light of critique of an affect, a self-touching and -reflecting mirror-world is engaged. We affirm this Juliettte’s Affect as a thing, that constitutes knowledge, connecting things to each other, and talks on the materiality being a significant force. As wells as – on small violating and deviating powers of unseen; on the necessity of a self-writing of transformation. It talks on not a nihilist Zero, on a necessity to free the darkness of a night from a black mark.

One of the first widely known computer viruses crumbled text on the screen. What would we get if we do the same thing with some of the texts, printed in millions of copies, that structurize our reality? Would it preserve it’s sense and influence, or would it (lose) it completely, or would discover some cross transitions, wormholes, allowing us to see hidden semantic layers of our reality? We’ll try to answer these questions during the game.

Our sensitivity is constructed by a modern economic and political context, a social media network. On the other hand, such transformations lead to a huge area for manipulation, the emergence of so-called coaches, gurus, and so on. But also new sensitivity exposes the inability of the “old” language to describe it.

Our organization participates in the third stage of the prelaboratory analysis of a family of active agents, or a single agent in a series of states, acting inside the human body and exhibiting virus-like properties, as well as complex mutual activity with indirect correlations. Provisionally the most distinct agent subtypes are being called “Love” and “Non-Love”. The exact design was not yet fully discovered but it has been traced that the mutual amount of different subtypes of the agent directly or inversely correlates with the levels of affordance of a number of primary neurotransmitters. This makes it possible to indirectly assess the state of an individual, but the individual herself through her cognitive-emotional activity creates an environment of varying levels of auspiciousness for one or another form of the active agent. It has also been established that both the family of agents and the corresponding cognitive-emotional states are capable of being transmitted through social environment.

At this stage, we plan to conduct a series of experiments related to the agent’s mutagenic ability and aim to develop a conceptual grid for further stages of the study. It is important to note that at the moment the most interesting directions of agents’ mutations are located outside the axes defined by the tunnel aggravation. Also, it has not been established whether there exist individuals / groups of individuals which are not influenced by this family of agents. At the current stage, we plan to test small selections of highly cognitive participants capable of correct self-observation and evaluation.

Popular methods and tactics of self-help such as occidental yoga or wellness, either appropriated or created by neoliberalism, oftentimes are tailored to distract individuals from the real cause of their distress and let them repeatedly focus on temporary solutions. Whilst this temporal relief may be helpful in certain occasions, generally, this tendency may lead towards the de-politicization and further alienation of individuals. Subversive guided meditation ‘All that has melted into air, inhale’ comments on the shifted idea of self-help, questions the position of our bodies within the territory of struggle, attempts to move attention again towards the production of collectivity, and suggests to once more critically reflect upon our own exhaustion in the face of the final exhaustion of resources.

The session is divided into two parts. The first is the guided meditation itself, presented as a sound piece produced in collaboration with the musician Eugene Markin. It will then be followed by a tender collective discussion on our pressure points and cracks held between the participants.

The story is focused on Košovsko-Laskar wetlands located near the problematic coal power plant. We chose the Košovsko-Laskár wetlands as a key motive, located in the Central-Western Slovakia, rare and probably the only example of emerging wetlands and marshes in Slovakia. They are formed as a by-product of the underground extraction of coal near the Nitra river. These wetlands have been created for over 40 years of coal mining done under the surface. The landscape has been changed, large sinkholes have been created, affecting the housing. This landscape change has pushed people away from the area, forming biotopes as a way for the nature to cope with the radical intervention to the ecosystem. After several years it was abused again by a crisis situation in the currently operating mine, which drained the water from its flooded bowels to the surface. When the miners began to pump it straight into the creek, their skin was burned. Water mixture of ash and hydraulic emulsion managed to kill all life in that creek and all of its ichthyofauna.

Utopian society depicted on the socialist mosaic in the Bratislava railway station serves as departure point for the contemporary story of new APART collective film The Most Beautiful Catastrophe. In the lecture Peter Sit will examine how we can dash back to the past to speak about problems in the present, how imagination and visions for the future emerge out of historical experience and are inspired by the visual language of Central European socialism.

#JacquesDerrida #KarlMarx #MarkFisher #SocialistRealism #FrantišekGajdoš #Bratislava #Future

eurospin
This set is a second volume of my supermarket series. The first
one is Romantic Lidl Collection (part 1 and part 2). Supermarkets
fascinate me.
Eurospin is the name of the discounter in Italy.
https://www.eurospin.it/
Euro: -trance, -trash, -dance, -disco, -beat, -vision.
Spin: verb

to draw out and twist fiber into yarn or thread

to turn or cause to turn or whirl round quickly.

to revolve rapidly : gyrate

to feel as if in a whirl : reel // my head is spinning

to plunge helplessly and out of control

to engage in spin control (as in politics)
spin one’s wheels : to make futile efforts to achieve progress

spin up

spin down

unspin: control

Collective depression is the result of the ruling class project of resubordination. For some time now, we have increasingly accepted the idea that we are not the kind of people who can act. This isn’t a failure of will any more than an individual depressed person can ‘snap themselves out of it’ by ‘pulling their socks up’. The rebuilding of class consciousness is a formidable task indeed, one that cannot be achieved by calling upon ready-made solutions—but, in spite of what our collective depression tells us, it can be done. Inventing new forms of political involvement, reviving institutions that have become decadent, converting privatised disaffection into politicised anger: all of this can happen, and when it does, who knows what is possible? (Mark Fisher).

Many of us are familiar with depressive episodes: feeling one’s worthlessness, one distantiates from the world, staying in one’s room for weeks or months. A ceaseless feeling of guilt for incapacity to work and make decisions. Hostile environment deprives one of stability, panic and horror overtake until one is threatened with total loss of oneself. You have no right to be here and now, in this body, in this clothes, you are nothing and, as your senses whisper, this nothing is becoming more in you.

The dominant thinking in psychiatry sees origins of these ideations in a disorder of chemical processes in the brain to be corrected pharmacologically; psychoanalysis and therapies originating from it seek roots of mental disorder in family history, while cognitive-behavioral therapy is less interested in the origins of negative ideations than in displacing them with positive narrations.

But many forms of depression are better dealt with—or even fought against—on a level beyond the individual, politically, rather than on a personal and “psychological” level.

Natalia Nikulenkova, agent of the Union of Convalescents, has developed Collective Struggle Against Depression, a singular method of therapies specifically for those trying to rest, seeking inspiration with the therapeutical practices of Soviet sanatoria. Journeys to them were part of minimally guaranteed recreation for the absolute majority. Treatment and recreation in them thus became a dream realized: because this time of recreation meant no only regeneration of health, but also socialization, disinhibition, and environmental immersion.

Treatment will be accompanied by readings from Mark Fisher and Franco “Bifo” Berardi.

Music and sound therapy: the sound of Tibetan cups is said to prevent depression. Their sounds resonate with vibrations of human body cells. There is a particular interference in Himalayan and Tibetan cups.

Swimming pool exercises. Water is a wonderful medium for treatment that is both stimulating, strengthening, and relaxing.

Light treatment. Among the varieties of depression there is one whose reasons are known clearly: seasonal depression. It takes place in Fall and Winter due to shortened daylight and thus lack of sunlight. Light therapy can prevent or alleviate this type of depression. Sunlight is conducive to Vitamin D, which is essential for production of brain neurotransmitters.

Earth exercises. Walking barefoot works because our bodies which are 60–70% water conduct electricity well. Earth has a negative ionic charge, thus neutralizing some of the distortions in our bodies.

Yoga. Concentration on posing and breathing engrosses body and mind in a balanced difficulty. Such simple poses as Sun Salutation chase depression away. Yoga’s dynamism and energy affects mental health positively.

Qigong. A simple sequence of exercises to tone back muscles, improve articulation of joints and regulate the psyche via blood circulation, breathing and self-massage (Egor Rogalev).

Meditative breathing for pain management and to allay destructive mindsets (Egor Rogalev).

today you won’t need to put the spoon into your mouth, blow at the hot tea, clean your mouth with a napkin. i will do it all for you. seat comfortably, relax and enjoy your meal.

Collective depression is the result of the ruling class project of resubordination. For some time now, we have increasingly accepted the idea that we are not the kind of people who can act. This isn’t a failure of will any more than an individual depressed person can ‘snap themselves out of it’ by ‘pulling their socks up’. The rebuilding of class consciousness is a formidable task indeed, one that cannot be achieved by calling upon ready-made solutions—but, in spite of what our collective depression tells us, it can be done. Inventing new forms of political involvement, reviving institutions that have become decadent, converting privatised disaffection into politicised anger: all of this can happen, and when it does, who knows what is possible? (Mark Fisher).

Many of us are familiar with depressive episodes: feeling one’s worthlessness, one distantiates from the world, staying in one’s room for weeks or months. A ceaseless feeling of guilt for incapacity to work and make decisions. Hostile environment deprives one of stability, panic and horror overtake until one is threatened with total loss of oneself. You have no right to be here and now, in this body, in this clothes, you are nothing and, as your senses whisper, this nothing is becoming more in you.

The dominant thinking in psychiatry sees origins of these ideations in a disorder of chemical processes in the brain to be corrected pharmacologically; psychoanalysis and therapies originating from it seek roots of mental disorder in family history, while cognitive-behavioral therapy is less interested in the origins of negative ideations than in displacing them with positive narrations.

But many forms of depression are better dealt with—or even fought against—on a level beyond the individual, politically, rather than on a personal and “psychological” level.

Natalia Nikulenkova, agent of the Union of Convalescents, has developed Collective Struggle Against Depression, a singular method of therapies specifically for those trying to rest, seeking inspiration with the therapeutical practices of Soviet sanatoria. Journeys to them were part of minimally guaranteed recreation for the absolute majority. Treatment and recreation in them thus became a dream realized: because this time of recreation meant no only regeneration of health, but also socialization, disinhibition, and environmental immersion.

Treatment will be accompanied by readings from Mark Fisher and Franco “Bifo” Berardi.

Music and sound therapy: the sound of Tibetan cups is said to prevent depression. Their sounds resonate with vibrations of human body cells. There is a particular interference in Himalayan and Tibetan cups.

Swimming pool exercises. Water is a wonderful medium for treatment that is both stimulating, strengthening, and relaxing.

Light treatment. Among the varieties of depression there is one whose reasons are known clearly: seasonal depression. It takes place in Fall and Winter due to shortened daylight and thus lack of sunlight. Light therapy can prevent or alleviate this type of depression. Sunlight is conducive to Vitamin D, which is essential for production of brain neurotransmitters.

Earth exercises. Walking barefoot works because our bodies which are 60–70% water conduct electricity well. Earth has a negative ionic charge, thus neutralizing some of the distortions in our bodies.

Yoga. Concentration on posing and breathing engrosses body and mind in a balanced difficulty. Such simple poses as Sun Salutation chase depression away. Yoga’s dynamism and energy affects mental health positively.

Qigong. A simple sequence of exercises to tone back muscles, improve articulation of joints and regulate the psyche via blood circulation, breathing and self-massage (Egor Rogalev).

Meditative breathing for pain management and to allay destructive mindsets (Egor Rogalev).

Aleksei Borisonok proposes to read a few texts by our friends and comrades on the issues of disease and body affects, private and shared memory, commons and singularity as a way to collectively celebrate and mourn those who are no longer with us. The abstracts of texts by Alina Popa, Sasha Novozhenova and 16 Beaver collective will be provided at the meeting. The method of reading will be discussed collectively.

Image: Drawing by Alina Popa made with her eyes closed, notebook on her chest.

During our non-master-class we will sing our favourite or the most unloved songs in the slowliest way possible to boil down the stickiness of connections and check the possibility of change. We will sing along with all the participants, stretching the textual part of the songs, to evaporate all the density of sense and give it away to the others. This will remind you a little bit of the sonic meditations by Pauline Oliveros when all the participants are producing sounds together while listening carefully to each other’s sonic movements. The difference of this non-master-class, however, is that everybody is listening to the ruining of resonant texts.

Before that we will learn to perform a few songs as drag, just moving our mouths in the way the favourite or the most hated performer does it.

So your homework is to prepare a song that you want to get rid of, through which you want to tear your way through. Download it on your phone, remember it, catch it.

Participatory session based on user-generated content. Narrations of neurochemical attention chains, individual pathologies or tactical microgestures of evasion, cunning or submission, of filter bubbles, of privacies turned outside out all over, narcissist mirages, computable and alienable self-representations.

Share your personalized trajectory of manipulations, show a video you took, fragments from your Insta-stories archive, flags of unread messages or feeds you administer, personal obsession and/or stratagem.

If algorithmic personalization has atomizaion as its principle and result (of the neoliberal subject, comprehensively computable and quantifiable for monetization and control), then Personalize This — Towards the Commonsfeeds on anxious humor of memes towards a blueprint of a communitarian social ecology of comradely relation with devices, of revolutionary influencers, emancipatory virality that generates new worlds.

Insofar as bed is the locus of accumulation and expenditure of the weak body that experiences distress and lack of agency facing the planetary scales of the effects of late capitalism, then the smartphone is the tool of production which operationalizes minuscule differences of the everyday choreography. In it, the repetition of gesture occludes in the automatism of appropriation the rhythms of mass disorders and potentialities, addictions and causalities that have a general character.

The brilliance of polished manuscript, as a rule, obscures the work (and even more affects) associated with the writing, editing, proofreading and translation of texts. From posts, conversations, nervous calls we do know what happens to our friends when they work on the text. What if we try to take these affects and work out of the space of personal experience and try to think about them politically and physiologically?

Hahathon Festival of Smiles is a collective practice organized to research the formation of communities and identities, their temporalities and possibilities of disintegration. The overdose of meme consumption is expected during the practice. The humor of a meme is without any strung anticipation (or with an anticipation that collapsed into a single moment) but with the de-escalation into nothing — just like in the old times. The sudden appearance of a meme in a social network or imageboard feed launches the formation of an elusive microcommunity: this way the sensible is redistributed in a superfast way when the subjectivity forms around an urgently signed agreement stating “This is funny!” Hahathon is an attempt to slow down the process taking place between the subject, the community and the meme. The tangible bodies of meme-consumers — all in one space. Will they be able to agree on who they are and what they want — through the mediation of the meme? And will the video “Oh, I thought that was an owl…” become a foundation of a political action?

NB: We ask everyone who wants to take part in the Hahathon to make a compilation of several favorite outrageously funny memes which you won’t mind being shared among your comrades. Images, videos, texts, tweets, comments — everything can help our cause.

I will cook beshbarmak for the first time for guests. I will not it rehearse. But something I really repeat. What my repeats Mom for Kazakhs. What do they repeat? Repetition and distinction? In that Dish is important to catch the simplicity. The simplicity of five fingers (bes-five, barma - fingers). I was born in the city of Arkalyk. We have mixed with Kazakhs family. I grew up on beshbarmak. My mother is Russian. She began to cook beshbarmak as a Kazakh woman only when we moved to Russia. Probably because in Arkalyk, there were enough Kazakh women in our family to cook cool besh. Mom got a bag where she put the most expensive. Our family left postcards of the city of Arkalyk. This the city has become a ghost town. Beshbarmak and cards — in our family bag we carry with us as nomads. Kazakhs do not know the rhythm. Have nomads no closed loop. Their movements occur by crescent loop. This means that you cannot return, and this It means that you are the worst dancing. Good thing rave culture canceled the concept of “good dancing.” Kazakhstan is very dear to me. I want to pass it my family — Yozhi Stolet. Let it happen right there during her report on the world after love.

We would like to propose a rebellious act, still in an intimate environment (f.ex. in the room of sanatorium), away from the hyper-productive world and its social media strategies. We would like to stop and actually think about what we read, rather than quantifying our reading lists. We would like to offer a time off — a time for a conversation, whether meaningful or meaningless, and an afternoon for a nap. Away from the dominant. In tune with the relaxed.

Image: Mladen Stilinovic, Artist at work, 1978.

Matthieu Levet will bring tapes and several recorders to create a very raw sound archive of what will happen during the days of WHPH, with the idea to capture the energy more than any actual content. He would use a tape per day, one side for the day, one for the night.

Being lost in translation, he will work mainly with what he feels interesting soundwise, resulting in a weird cut up of voices and sounds.

The process is the most important thing here. The final destination of this material will have to be discussed between us (it could stay totally private or result in a published soundwork with or without context explained), but the sound collection would already result in a first digest version that would be presented during a listening session at the end of the week.

There are more questions than answers on topics like art, politics, international exchange and communication at the moment and there is a feeling that this sound collection would be an interesting way to encapsulate the fluidity of this complex present.

everyone frozen in anticipation of a surprise from the Night’s Movement where did the night lurk this time? We walk in the dark, every shadow scares us, danger lurks everywhere, every bush seems to be a lurking figure, every rustle may mean that there is the beginning of a mystery, any sound may warn that the night is coming, increasing, attacking — ou-ou-ou-ou!

Collective depression is the result of the ruling class project of resubordination. For some time now, we have increasingly accepted the idea that we are not the kind of people who can act. This isn’t a failure of will any more than an individual depressed person can ‘snap themselves out of it’ by ‘pulling their socks up’. The rebuilding of class consciousness is a formidable task indeed, one that cannot be achieved by calling upon ready-made solutions—but, in spite of what our collective depression tells us, it can be done. Inventing new forms of political involvement, reviving institutions that have become decadent, converting privatised disaffection into politicised anger: all of this can happen, and when it does, who knows what is possible? (Mark Fisher).

Many of us are familiar with depressive episodes: feeling one’s worthlessness, one distantiates from the world, staying in one’s room for weeks or months. A ceaseless feeling of guilt for incapacity to work and make decisions. Hostile environment deprives one of stability, panic and horror overtake until one is threatened with total loss of oneself. You have no right to be here and now, in this body, in this clothes, you are nothing and, as your senses whisper, this nothing is becoming more in you.

The dominant thinking in psychiatry sees origins of these ideations in a disorder of chemical processes in the brain to be corrected pharmacologically; psychoanalysis and therapies originating from it seek roots of mental disorder in family history, while cognitive-behavioral therapy is less interested in the origins of negative ideations than in displacing them with positive narrations.

But many forms of depression are better dealt with—or even fought against—on a level beyond the individual, politically, rather than on a personal and “psychological” level.

Natalia Nikulenkova, agent of the Union of Convalescents, has developed Collective Struggle Against Depression, a singular method of therapies specifically for those trying to rest, seeking inspiration with the therapeutical practices of Soviet sanatoria. Journeys to them were part of minimally guaranteed recreation for the absolute majority. Treatment and recreation in them thus became a dream realized: because this time of recreation meant no only regeneration of health, but also socialization, disinhibition, and environmental immersion.

Treatment will be accompanied by readings from Mark Fisher and Franco “Bifo” Berardi.

Music and sound therapy: the sound of Tibetan cups is said to prevent depression. Their sounds resonate with vibrations of human body cells. There is a particular interference in Himalayan and Tibetan cups.

Swimming pool exercises. Water is a wonderful medium for treatment that is both stimulating, strengthening, and relaxing.

Light treatment. Among the varieties of depression there is one whose reasons are known clearly: seasonal depression. It takes place in Fall and Winter due to shortened daylight and thus lack of sunlight. Light therapy can prevent or alleviate this type of depression. Sunlight is conducive to Vitamin D, which is essential for production of brain neurotransmitters.

Earth exercises. Walking barefoot works because our bodies which are 60–70% water conduct electricity well. Earth has a negative ionic charge, thus neutralizing some of the distortions in our bodies.

Yoga. Concentration on posing and breathing engrosses body and mind in a balanced difficulty. Such simple poses as Sun Salutation chase depression away. Yoga’s dynamism and energy affects mental health positively.

Qigong. A simple sequence of exercises to tone back muscles, improve articulation of joints and regulate the psyche via blood circulation, breathing and self-massage (Egor Rogalev).

Meditative breathing for pain management and to allay destructive mindsets (Egor Rogalev).

today you won’t need to put the spoon into your mouth, blow at the hot tea, clean your mouth with a napkin. i will do it all for you. seat comfortably, relax and enjoy your meal.

Collective depression is the result of the ruling class project of resubordination. For some time now, we have increasingly accepted the idea that we are not the kind of people who can act. This isn’t a failure of will any more than an individual depressed person can ‘snap themselves out of it’ by ‘pulling their socks up’. The rebuilding of class consciousness is a formidable task indeed, one that cannot be achieved by calling upon ready-made solutions—but, in spite of what our collective depression tells us, it can be done. Inventing new forms of political involvement, reviving institutions that have become decadent, converting privatised disaffection into politicised anger: all of this can happen, and when it does, who knows what is possible? (Mark Fisher).

Many of us are familiar with depressive episodes: feeling one’s worthlessness, one distantiates from the world, staying in one’s room for weeks or months. A ceaseless feeling of guilt for incapacity to work and make decisions. Hostile environment deprives one of stability, panic and horror overtake until one is threatened with total loss of oneself. You have no right to be here and now, in this body, in this clothes, you are nothing and, as your senses whisper, this nothing is becoming more in you.

The dominant thinking in psychiatry sees origins of these ideations in a disorder of chemical processes in the brain to be corrected pharmacologically; psychoanalysis and therapies originating from it seek roots of mental disorder in family history, while cognitive-behavioral therapy is less interested in the origins of negative ideations than in displacing them with positive narrations.

But many forms of depression are better dealt with—or even fought against—on a level beyond the individual, politically, rather than on a personal and “psychological” level.

Natalia Nikulenkova, agent of the Union of Convalescents, has developed Collective Struggle Against Depression, a singular method of therapies specifically for those trying to rest, seeking inspiration with the therapeutical practices of Soviet sanatoria. Journeys to them were part of minimally guaranteed recreation for the absolute majority. Treatment and recreation in them thus became a dream realized: because this time of recreation meant no only regeneration of health, but also socialization, disinhibition, and environmental immersion.

Treatment will be accompanied by readings from Mark Fisher and Franco “Bifo” Berardi.

Music and sound therapy: the sound of Tibetan cups is said to prevent depression. Their sounds resonate with vibrations of human body cells. There is a particular interference in Himalayan and Tibetan cups.

Swimming pool exercises. Water is a wonderful medium for treatment that is both stimulating, strengthening, and relaxing.

Light treatment. Among the varieties of depression there is one whose reasons are known clearly: seasonal depression. It takes place in Fall and Winter due to shortened daylight and thus lack of sunlight. Light therapy can prevent or alleviate this type of depression. Sunlight is conducive to Vitamin D, which is essential for production of brain neurotransmitters.

Earth exercises. Walking barefoot works because our bodies which are 60–70% water conduct electricity well. Earth has a negative ionic charge, thus neutralizing some of the distortions in our bodies.

Yoga. Concentration on posing and breathing engrosses body and mind in a balanced difficulty. Such simple poses as Sun Salutation chase depression away. Yoga’s dynamism and energy affects mental health positively.

Qigong. A simple sequence of exercises to tone back muscles, improve articulation of joints and regulate the psyche via blood circulation, breathing and self-massage (Egor Rogalev).

Meditative breathing for pain management and to allay destructive mindsets (Egor Rogalev).

Ways of entry and exclusion are born in the “current” methods of communication.

We discover for ourselves this methods. Or capitalist race force us to discover it.

There is a to be in touch and to expand for this connection not only your voice and the visible image, but also your body.

It’s a to regulate and self-regulate constantly.

There are a lot of group chats, vibrations transmitting our messages at a distance, sensors, coordinates with a zero point in the helmet vr-reality. Is this all new sensuality?

New sensitivity?

That is to perceive a new way of communication, as a habitat, to become stratified in it and re-assemble.