30 Ekim 2011 Pazar

what does writing do to practice

just putting them into narrative changes the meaning of the fragments


flower-flour teeth-tit full-fool four-for beach-bitch and the accompanying face

"what do you do in your practice"

geveledim ben de. muhabbet ordan aktı gitti bi yerlere de ben kalakaldım tabi sorunun beni koyduğu yerde. narratives, stories, representations that makes the belonging, unpack them, underline them the materials I worked on, I depart from, and head towards... a carpet a tulip national map border identity cards currency national symbols stories embodied, abreviated, concised in visual symbols, symbolic, ruled, set actions, in language, in accents, in the resistance of a tongue to move, twist other way, in the way one's body moves unconsciously, the rituals, the repeated stories that makes us situate ourselves within a particular identity, without much noticing. playing with the storylines, rearranging, rewriting them. narrative analysis of my story? through the material culture that embodies the intangible stories, habits.

Jetzt bin ich mal Türke - Eine Woche Ausländer auf Probe

verloren fühlt you dont know waht you have to do ı dont know whether ı sit in the right bus genau dies unversicherung...nicht zu wissen...wohin...jeder immigrant erlebt der nach europa kommt ja es ist schwerig wenn mann die sprache nicht spricht, mann fühlt sich dumm und... unmuthlich ist man möchte komunizieren aber es ist nicht einfach neuen gets losts in einem neuen land, in einem neuen welt nicht wissen nicht verstehen-sclechte fühlüng anlamadım

29 Ekim 2011 Cumartesi

as the song goes: alismak sevmekten daha zor geliyor

prejudices, scapegoats and some other actors in the narrative lost of contact the burden to re-learn everything. readjust music, turkish spirit, food and language therapy in moderate cases of homesickness and a two weeks of ev istirahati-home rest in case of moderate to severe cases of edginess not to lie down like a coach potato, but to suspend all the necessities, obligations to understand aside and merge into the conformity of the known for a while, until it starts to make you feel edgy.
resisting to draw boundary for the third time in 5 minutes i am forgetting what i planned to write. now, here it is again. the field of autoethnographic work. it draws a circle, deriving from my experience, my practice is shaped, the note taking occurs on the site of production. this is the second point of data collection, let say, the first step was the `data` that led to the studio work, that was interpreted in the work. then the second hand data, insights on the practice is translated into the writing, with the aim to draw a general, bigger picture. a birds eye view let say. and deriving from this reading, the analysis, that aimed to unpack, unfold the hidden, or not-voiced motives, concerns, turns back to the practice, and tested, played with. anecdotes-nodes: in their tangled forms, feelings, leading to practice. in that stage, they are in what if forms. they require playing around at studio. the material experience bring this what if`s, works in proposition form into a better defined area, form. than with its material presence, the work goes under a second process, where it is considered in relation to the autobiographical ground and previous work, to capture, see the emerging pattern. how these two are captured, translated in each other is an important and yet unsolved question. is it necessarily a cause and effect relation. than there was problem solving and aggreement-disagrrement forms of essay writing that we were taught at university.

sert sessizler; hani yanina bi harf gelince yumusayanlar

how does writing feed into practice? metaphors of my writing shows my location, orientation, discrete intentions. politics/posibilities of representation where is here/there writing changes the whole story, that was only implied to what extend im rooted to the cont-tr-art, and why is it so, why I feel so? why do i not want to bracket myself within a context? why am i avoiding the things that i am avoiding? auto/biographical/ ethnographical methodology, the data derived from this methodology do not bring a documentary quality to the work. the practice is motivated by this fieldwork, but do not use it as direct material to do work. the interpretation of the data is rather indirect, filtered through artistic language, through another structure of narrative. highly edited, kivirtkan voice. visual anecdotes? footnotes? off the story? documents of a sort, a fabricated one, the key to understanding is rather oblique. it requires the work of the audience. the work is timid, discrete, hermetic -maybe. this requires a good deal of work from the audience, reader, fieldworker. it does not tell in clear words, but whisper. asks another form of attention, close reading. almost like a secret. hence asks for editing, that has been done by the author during the production is being asked from the audience. holding the ends of a thread. it is silent to make it to be voiced by the audience. do not claim space, does not have a heavy personality, hesitantly stays, hangs there ephemeral, precarious it would have been easy to tell the whole story but not for me. i dont want to give away, not that there is something important to confess. maybe just the overratedness of bold sentences. redrawing, repeating, retelling to get away from it. the recurrence of the symbols

locating authority

ve muellifin olumu. ote yandan reflexivitenin objektif bilimsel bilgiyi yikmaya calisirken muellifi tekrar yazmasindan tuhaf kokular aliyorum. butun bunlar su ince, tiz narrative analysis kitabinda, yazarin `locating myself` diyerek actigi onsozde narratif analizi bicimsel olarak tartismadan once onumuze seriverdigi metni `authorize` etmek icin kendini bir yere yerlestirecegini bildirmesi. `locating myself and the contexts that shaped the volume and authorize its point of view` au·thor·ize    /ˈɔθəˌraɪz/ Show Spelled[aw-thuh-rahyz] Show IPA verb (used with object), -ized, -iz·ing. 1. to give authority or official power to; empower: to authorize an employee to sign purchase orders. 2. to give authority for; formally sanction (an act or proceeding): Congress authorized the new tax on tobacco. 3. to establish by authority or usage: an arrangement long authorized by etiquette books. 4. to afford a ground for; warrant; justify. sevgili sozluk authorize icin, otorite vermek diyor. ben ne desem bilemiyorum.bu `speaking from` her ne kadar perspektifi `partial` hale getirse de, bu perspektif daha cok bir farka yerlestirir ve farki kemiklestirir gibi. bu fark ethnic minority olur, kadin olur vs. belki biraz da gereksiz olarak Kohler`in sahsina yonelmis oldu bu rahatsizlik. En nihayetinde sirtini yasladigi literaturu gosteriyor ki gelip arkadan vurmasinlar. hem sonra artistic authority ile bu muellif nasil uzlasacak denebilir. sanatcinin bir dahi olarak, bir karakter olarak, hayat hikayesiyle, aurasiyla tam takim romantize bir cercevesi sorunu muellif sorunu. sorun otobiografik olanin verdigi otorite belki de. asil derdim su kendimi bir `sanat tarihsel baglama oturtma ev odevim ki, ancak boyle kivira kivira itiraf edebildim sanirim. tarihe bi not dustum boylece, hani aklimin bi ucunda dursun da sonra donup bi bakayim diye.

27 Ekim 2011 Perşembe

nomad? no strings attached?

"The information age whets our appetite for the exploration of the unknown. As inquisitive social beings and natural explorers of the universe, we are standing at a new threshold of curiosity and movement. We are poised for more than sharing ideas over vast distances; we are ready physically to actualize these explorations. Historic examples of mobile architecture describe a preindustrial world not bound to place but possessed by an ideology of itinerant and nomadic responses to permanence. According to biblical history, over four thousand years ago Noah was called by God to build an ark capable of transporting the natural world and its creatures to safety when the apocalypse struck. This may have been the first portable and relocatable structures whose purpose was self - sufficient housing. Nomadic cultures moved about for varied reasons: locating migrant food sources, adapting to changing climatic conditions, trading goods, finding communal protection, and searching for the unknown. Of these regionally disparate cultures, many shared similar challenges in their need to provide shelters that were durable, lightweight, flexible and ultimately transportable by low - tech means. Examples of uniquely formed tensile structures made from taut skins on supporting structures are found in the American Indian tipi, the Mongolian yurt, the Bedouin woven goat - hair "blacktent", and the Basque sheepherder tent/coat". age of nomadism, siegal. http://www.zoulias.com/articles/article018_en.html another view about "urban nomads as astraunauts" Nomads at last Wireless communication is changing the way people work, live, love and relate to places—and each other, says Andreas Kluth (interviewed here) As a word, vision and goal, modern urban nomadism has had the mixed blessing of a premature debut. In the 1960s and 70s Herbert Marshall McLuhan, the most influential media and communications theorist ever, pictured nomads zipping around at great speed, using facilities on the road and all but dispensing with their homes. In the 1980s Jacques Attali, a French economist who was advising president François Mitterrand at the time, used the term to predict an age when rich and uprooted elites would jet around the world in search of fun and opportunity, and poor but equally uprooted workers would migrate in search of a living. In the 1990s Tsugio Makimoto and David Manners jointly wrote the first book with “digital nomad” in the title, adding the bewildering possibilities of the latest gadgets to the vision. The old mental picture of a nomad invariably had him—mostly him, at that time—lugging lots of them. Since these machines, large and small, were portable, people assumed that they also made their owners mobile. Not so. The proper metaphor for somebody who carries portable but unwieldy and cumbersome infrastructure is that of an astronaut rather than a nomad, says Paul Saffo, a trend-watcher in Silicon Valley. Astronauts must bring what they need, including oxygen, because they cannot rely on their environment to provide it. They are both defined and limited by their gear and supplies. Around the turn of the century, as some astronauts, typically executive road warriors, got smarter about packing light, says Mr Saffo, they graduated to an intermediate stage, becoming hermit crabs. These are crustaceans that survive by dragging around a cast-off mollusc shell for protection and shelter. In the metaphorical sense, the shell might be a “carry-on” bag on wheels, stuffed full of cables, discs, dongles, batteries, plugs and paper documents (just in case of disc failure). These hermit crabs strike fear into the hearts of seated airline passengers whenever they board, because their shells invariably bang into innocent shins all the way to their seat. They carry less than astronauts—and are thus more mobile—but are still quite heavily laden with gear, mostly as a safeguard against disasters. Urban nomads have started appearing only in the past few years. Like their antecedents in the desert, they are defined not by what they carry but by what they leave behind, knowing that the environment will provide it. Thus, Bedouins do not carry their own water, because they know where the oases are. Modern nomads carry almost no paper because they access their documents on their laptop computers, mobile phones or online. Increasingly, they don't even bring laptops. Many engineers at Google, the leading internet company and a magnet for nomads, travel with only a BlackBerry, iPhone or other “smart phone”. If ever the need arises for a large keyboard and some earnest typing, they sit down in front of the nearest available computer anywhere in the world, open its web browser and access all their documents online. Even if an urban nomad confines himself to a small perimeter, he nonetheless has a new and surprisingly different relationship to time, to place and to other people. “Permanent connectivity, not motion, is the critical thing,” says Manuel Castells, a sociologist at the Annenberg School for Communication, a part of the University of Southern California, Los Angeles. http://www.economist.com/node/10950394?story_id=10950394&CFID=3120738&CFTOKEN=44167749

26 Ekim 2011 Çarşamba

grey hair white hair

white hair in turkish, grey hair in english. is it a background- figure problem? or softer take on growing old?


i couldnt find an exact point to put the keyword "autobiographical" into that mind42 map. relying on autobiographical experience, constituting the ground of my practice, maybe it is not a node but the surface of the map itself, that all the nodes are located?

25 Ekim 2011 Salı

One legitimate way for me to talk about this piece would be anecdotally or autobiographically: susan hiller: art-everyday

...my talking here about this work is about intention, about process as I am aware of it, not about interpretation or meaning, which come along later, and in this sense, as well as its starting-point in a specific set of cultural artefacts, Monument is collaborative and collective, as are all art works at the points of reception and origination. Sayfa 1


I asked for "tiripod", he stood motionless, meaning that he did not understand what I have said. I tried to make an image of the tripod with my hands, index and middle fingers wide open, looking downwards and another finger from left hand making the third leg of it. with this image, a 5 second sculptural representation of the object of "tripod" and with the mispronounced sound image suspending in the air, he said-asked "oo traypod".

24 Ekim 2011 Pazartesi


talking about the bureucracy here and (t)here, and how people tend to follow, run through the cavities, the voids in the highly unstructured structures to survive.
one leading to what we call `practical minds` the other to the `edged, square ones`


putting an order
starting every entry with a `mastar` form of a verb, an untouched, unmarked gesture.
the order of the untidy
he said, it looks allright to him, everything is visible.
it actually looks like an inside out body, scene of a crime
the way a map is, everything is visible, the thing is that so many thing is visible at the same time, the only thing you can grasp becomes the mass, the outline, not its details.
this is valid for the one who tends to ignore
if you want to find your way within, you go through a process where you rely on memory (where was the last time I used that compass) and look at the relations of things to each other, the way you categorise, group things (the box of usefull materials, the pot of pencils, the suitcase of things that will go back to turkey next time I travel)

But for quick-and-dirty estimates when you don’t have a standard measuring device handy, they can’t be beat

Is That a Ruler in Your Pocket?
At some point years ago, I picked up the seemingly useless piece of information that an ancient unit of measurement called the cubit was the distance from the elbow to the tip of the middle finger. For an average adult male (at least, average as of a couple of millennia ago), a cubit works out to about 18 inches (45.7cm). Cubits were a standard unit of length in Sumeria, Egypt, and other parts of the Middle East long before anyone dreamed of an arbitrary, decimal-based measuring system. Cubits were most often used in the context of building; if you have an English Bible published before the mid-20th century, it probably lists the measurements of Noah’s ark (among other things) in cubits.

Not long after learning this tidbit, I began discovering how useful such a built-in measuring device could be. I don’t always carry a tape measure with me, but I frequently need to estimate whether, for example, a piece of furniture will fit in a certain room. Knowing the approximate length of my arm is surprisingly handy, because it’s extremely easy to use for rough measurements.Hand, Hand, Fingers, Thumb
The cubit was just one of numerous units of measurement based on the typical size of body parts. Here are a few more:

foot: It probably goes without saying that the unit foot was based on the length of a man’s foot.
span: Stretch out your hand so that the tip of your thumb is as far away as possible from the tip of your pinky. That distance is called a “span,” which for most people is almost exactly half a cubit.
handbreadth: The width of your four fingers where they meet the palm—usually about 4 inches—is a handbreadth or sometimes just a “hand.” The height of horses is usually expressed in hands.
digit: The width of a finger, which tends to be about 2cm (about 13/16 of an inch).
thumb: The width of a thumb, which was later used as the basis for the inch.

fathom: If you stretch out your arms to either side of your body as far as they’ll go, the distance between the tips of your middle fingers will be very close to your height, or about six feet—your own feet, that is—a length also known as a fathom.
handful: Although we normally use the word handful in the informal sense of “just a little bit,” your hand can serve as a fairly repeatable measure of volume for dry goods such as grains, beans, and seeds.

The reason units of measurement like these fell out of favor is that they vary from one person to the next, so if you need accuracy or repeatability, they’re not the best choice. (It turns out, for example, that my personal “cubit” is 18.375 inches (46.67cm). I always was an overachiever.) But for quick-and-dirty estimates when you don’t have a standard measuring device handy, they can’t be beat. —Joe Kissell

göz kararı

kulak memesi
bir fincan
su bardağı
bir tutam
çay kaşığı
tatlı kaşığı
aldığı kadar

14 Ekim 2011 Cuma

felix gonzalez torres

I dont think my work is political.I think it is about the stuff that does not let me sleep at night.
susan tallman: Ethos of edition