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Last Update 15-12-2017
This is the endlessly growing virtual place where I store anything!
Anything I am curious about
Anything I do not understand
Anything that inspires me
Noise!
Click where you can
Enjoy the reading
The fall of a handkerchief in the wind is hard to simulate, and yet the handkerchief does it effortlessly. In some sense, the handkerchief knows something; it can do something that our best computer engineers can't do. The sea slugs with their hyperbolic frills are smarter than the geometers with their faces in the computers.

It does raise a philosophical question about how does the world, how do simple things like handkerchiefs, sea slugs, and corals do these things without computers? What I am trying to say is that the symbolic representation that has to be used when we use computers is not the only form of knowledge, there are other representations of knowledge that are just as powerful and probably even more powerful; and that is the physical manifestation of knowledge.

zitat, vergessen von wem
everything that can happen does
Quantum mechanics
elements of chance
compositions
constellations
arrangements
possibilities
connections
hexagon
hyperbolic
corals
worlds tallest organism maybe 2.500 years old, Redwoods, California
non-profit web radio
A crystal or crystalline solid is a solid material, whose constituent atoms, molecules, or ions are arranged in an orderly repeating pattern extending in all three spatial dimensions.
the search for structure, beautiful structures, perhaps to understand me/us/situations/possibilities. on the other hand, obviously appealing, the chaos the unmanageable/ the unclear.
not able to grasp the one thing, forgetting about the importance of the other thing
Made at The Institute For Figuring
An organization dedicated to the poetic and aesthetic dimensions of science, mathematics and engineering.
NOTES2:
-lecture about favorite things
-a chain of associations
-just drawing a line between things
-not too much of explaining them
-hypothese
-watching a movie half way, trying to think of how the movie ends
-from passive receiving to active watching phase of deliberation
- after understanding the curiosity is getting less
-consensus is killing art
-constantly adjust and readjust
-'oh no i don't get it'--- iam part of it
-actively fill it in with experience
-the artist has an unknowability
book:--the ability to unknow by Sarat Maharja---
-own speculation loosing it because of knowledge
-just not enough information leaves you with curiosity
-titles for a show can give too much to art work
-they should be nothing more then a motor to bring it into motion
-not to explain but being a point of departure
---expo in a little room,sometimes---, things he doesnt know, can't explain them, but is inspired by them, just likes to look at them!
-where knowing and not-knowing can coexist
-presentation is there to figure it out, no story given, constantly changing--staying curious
- ' confusion has always been at the heart of wisdom'
-that show is about knowing and what it does to you if you are not sure what you think you knowing
-how to affirm what you know?
Weerwoord 2009
het weerwoord van Slavoj Zizek
de Balie
an interrelated 248-dimensional symmetrical object
'E8 root' system by A.Garrett Lisi
Theory of everything
why is context everything
Collecting self-made cloud videos, till i know what to do with them.
I could watch clouds forever
Slavoj Žižek
Die Tücke des Subjekts

Ein Gespenst geht um in der akademischen Welt. Es ist das Gespenst des cartesianischen Subjekts. Kognitivisten und Psychoanalytiker, Dekonstruktivisten und Anhänger des New Age, Heideggerianer und Habermasianer, Feministinnen und Postmarxisten, Ökologen und Enthusiasten des Cyberspace – alle haben sie das Ziel, dem westlichen Denken dieses Gespenst auszutreiben, das vermeintlich für alle Plagen der Menschheit verantwortlich ist, von der ökologischen Bedrohung bis zur politischen Unterdrückung.
Žižek hingegen verteidigt das philosophisch und politisch subversive Erbe des cartesianischen Cogito. Dazu nimmt er den Dialog mit drei zentralen Thesen zur Subjektivität wieder auf: mit Heideggers Gedanken des nihilistischen Potentials der modernen Subjektivität, mit der gegenwärtigen politischen Philosophie und mit dem feministisch-dekonstruktivistischen Konzept der wechselnden Subjekt-Positionen/Identifizierungen. Und natürlich geht es auch darum, den Raum für radikales politisches Handeln unter den Bedingungen des globalen Kapitalismus zu öffnen.
Suhrkamp/Insel
Optical illusions show how we see
[...]das die Kenntnis der Seele allein unfehlbar truebsinnig machen wuerde wenn nicht die Vergnuegungen des Ausdrucks uns wach und munter erhielten[...] Tonio Kroeger_Thomas Mann
I know its cheating, but it is still fun. And who has the time to try it all day till you figure it out...
This is an archive of fascinating pictures
2 hour phone call with my mom
I know TED is like fast food science, but it might be just a little point from where to look further
NOTES1:
-aesthetic is no choice, you get into the aesthetic
-politic is choice?
but we are not to be too sensitive
-we know it but we don't sense it
-people create space through action and daily practices
-there is no space as long nobody makes it
-how we produce our surrounding and how our surrounding produces us
-living in a fragmented world, not in a whole, but in pieces
-we get interrupted
-to commodify ourselves we have to.......
-our senses are overloaded by anything around us.
that makes it impossible to exclude
----so we make the same choices
-ideas by themselves have no meaning
-produce something
Full Video of WikiLeaks’ Julian Assange & Philosopher Slavoj Žižek With Amy Goodman
Real Life Slow Motion Cats happened to me
(Node Center)
Or is my brain just working too slow again?
the physics of snowflakes and the hyperbolic geometry of sea slugs, to the mathematics of paper folding, the tiling patterns of Islamic mosaics and graphical models of the human mind
'Dem Pragmatismus zufolge sind es die praktischen Konsequenzen und Wirkungen einer lebensweltlichen Handlung, welche bestimmen, was die Bedeutung oder die Wahrheit von Begriffen, Aussagen und Meinungen ausmacht.'
funny and bright speaker
Red: power, passion, courage, vitality, excitement, strength, speed, love, heart and warmth.

Yellow: light, cheer, sunlight, happiness, creativity, confidence, self-esteem, intellect, innovation.

Blue: caring, devotion, trust, wisdom, peacefulness, serenity, loyalty, truth, coolness, harmony.

Green: nature, fresh, growth, abundance, life, youth, renewal, hope, fertility, peace, balance.

Orange: energy, warmth, contentment, fruitfulness, strength, security, sensuality, abundance.

White: pure light, energy, truth, perfection, serenity, harmony, loyalty, sincerity, clarity.

Black: formal, reserved, drive, dignity, reliability, authority, power, prudence, wisdom, glamour.
Wenn wir wissen das die Welt gesehen und verstanden wird wie wir sie interpretieren, ist Sie eine subjektieve Realitaet. Das bedeutet das die Welt alles sein kann, weil sie relatief ist.

zitat, vergessen von wem
The conscious and intelligent manipulation of the organized habits and opinions of the masses is an important element in democratic society. Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country. ...We are governed, our minds are molded, our tastes formed, our ideas suggested, largely by men we have never heard of. This is a logical result of the way in which our democratic society is organized. Vast numbers of human beings must cooperate in this manner if they are to live together as a smoothly functioning society. ...In almost every act of our daily lives, whether in the sphere of politics or business, in our social conduct or our ethical thinking, we are dominated by the relatively small number of persons...who understand the mental processes and social patterns of the masses. It is they who pull the wires which control the public mind.

Edward Bernays
American pioneer in the field of public relations and propaganda
Got a private basic electronics lesson by the 'walking wikipedia' and great teacher Mr. Stock himself
And this is Mr. Stocks page
'the medium is the message'
Its hard to read his texts
and I pick up his books and put them down and pick them up and so on
I am crazy about minimal music, and when its made by real objects moving, even more! He is unique not only because he puts 'tik-tak's on his piano.

I had the chance to see a concert of him and I was hypnotized. So much love for music.
Hauschka
if electrons can flow, they do.
they don't know borders.
this website shows you how you can make ANYTHING yourself
Die Materie ist nicht absolut,
sondern eine Frage der Wahrnehmung und Beziehung

Materie is geen absoluut gegeven,
maar een kwestie van waarneming en verhouding.

Matter is not absolute,
but a matter of perception and relationship
Pure data is fascinating, and I have a secret idea what to do with it one day, but who knows how long that will take
This is a beautiful poetic and funny animation!
I can somehow relate to this little hedgehog, but maybe we all got lost once in our life.
More than simply putting flowers in a container, ikebana is a disciplined art form in which nature and humanity are brought together. Contrary to the idea of floral arrangement as a collection of particolored or multicolored arrangement of blooms, ikebana often emphasizes other areas of the plant, such as its stems and leaves, and draws emphasis toward shape, line, form. Though ikebana is a creative expression, it has certain rules governing its form. The artist's intention behind each arrangement is shown through a piece's color combinations, natural shapes, graceful lines, and the usually implied meaning of the arrangement.
Damn Choice....
This is the chair of Ed. His Chair.
It made me want to have one too, so comfortable!
This is the house of one of the most inspiring artists I know
Vroegop/Schoonveld
(unfortunately very little of their work online)
My partner in electronic crime.
Can't live with her and can't live without her.
This is Cheburashka.
I love russian animations. They produced quite some weird ones for a long time,
I will try to find the really weird ones.
On my wishlist for my birthday...

Got the tip from a scientist friend who is able to make me understand complex natural science. (but I am not saying how long it takes...)
I don't understand why I did not post it earlier. I spend my first two years of academy listening to this piece. There are not many man made things in this world that can keep me for that long...
I believe this movie is part of a trilogy. I cannot find them online.
This doctor sits 'stuck' with her head captured by a little screen.
She is a virtuoso handling the 'da vinci' facing her back to the patient in which she is cutting and burning. Its amazing how hand-like these tools move in the 'blue' flesh.
The pictures and the sounds are impressive.
I can't say exactly but i was touched by her telling her story. tears in my eyes and smiling at the same time
Koyaanisqatsi and Baraka fit in this corner
No words can be add to such astonishing pictures.
(don't let the trailers turn you off)
Somehow fits to the post above. These missing tangible connections.
I notice both sides, but can't combine / balance them easily. And from what side to start?
A blog about space science, I am still exploring it.
WE ARE IN SPACE ALREADY
Huh? Oh ja, true... lol
Well made trilogy about us humans and technology.
Painful at some moments
Of course every girl, growing up with Pipi Langstrumpf, believes that they are like her. And I did too, but with me its true!
Mad!
Nuclear testing 1945-1998
As I said many times, I am in love with Sir David Attenborough. How he lays down in the jungle next to what he is explaining. A friend told me that he has 20 or so same shirts and trousers, always wearing the same. So if they use a take from a different recording, we won't realize.
He made so many interesting documentaries for the BBC with such a nice voice. This one is just one of them.
I was surprised how effective emotions can be brought to the viewer with only using red dots on the cheeks. I felt as ashamed as her, when he came around with his bike.

I could not find a better video. But you should watch the whole movie anyways.
almost can't believe my eyes, what this person managed to diy capture
love my neighborhood!
I
Visualizing the hyperbolic
Eigentlich trägt er nur weite Kleidung. Eine kurze Hose und ein blaues T-shirt. Seine Beine mag der Mann, aus den späten 70gern unschüchtern zeigen (noch immer lange Haare, vorne ab jetzt kurz).
Doch als er so auf diesem grossen Dampfer umher lief, brachten ihn seine Beine auf das oberste Deck (wie so viele hier).
Er strahlte Gelassenheit aus, seine Tasche baumelte ihm um seine Schulter.
Ob man nun der Fahrtrichtung oder der Windrichtung die Schuld geben sollte, dass sein weites, blaues T-shirt an ihm klebte?
Er schaut auf sich herab, zweimal dreimal oder viermal.
Seine Arme beginnen zu suchen und versuchen. An seinem Bauch gleiten sie von oben nach unten.
Sein Bauch selbst beginnt unter seiner deutlichen Brust und hört abprubt am Hosenanfang auf. In diese Kerbe schlägt der Wind.
Er läuft und läuft, herunterschauend.
Bis letztendlich sich seine Arme überhalb seines Bauches kreuzen.
Jedenfalls geschieht nicht alles einfach so.
This is a link to the website I made to explain how to build an exhibition.
How to:
-build a wooden wall and pedestals
-plaster and paint a wall
-handle art

You find information about material and tools.
cloud-collection
I love this radio station!!
88.4
the weirdest things can happen during nite hours, which makes their day hours even weirder?...
What a moment! I look up to the sky, always did but lately its turning into another ritual. I stand there looking into these wild clouds and then this beautiful song starts in my player.
What a fitting combination. This song makes me smile every time the second 'light' sound starts.(and i can't get enough of it)
Imagine the tenth dimension, pfff
Long time ago I tried to record my dreams, then I would remember them almost every morning. I got a recording device as a present and from then on I forgot what I dreamed in the morning...
I started to remember/guide them again since some weeks, and each little bit I try to record. And already the nite before I am excited what to remember.
it can be chocolate, cake or ice-cream, any time
how do these new 'Trampelpfade' come into existence?
I got introduced to Krishnamurti during my three months stay in India and his talks kept me for a while, but its a hard task to include his ideas in the world we live in...
Procrastination
Michel Gondry is one of my favorite film maker. Pulls me into his spell.

click text to find his website
'I'll continue to climb, trying to reach the top...
but no one knows where the top is.'

A beautiful documentary about an extreme passionate sushi cook.

Watch the sushi when it is put on the plate, how it slowly settles. Not to mention the way the fingers move when making them...



(how they prepare the fish is at times too cruel for my taste)
The freezing morning lay a slippery, iced blue layer on the rooftop.
Up there, that's were we were. It got too cold staying up there, even though the angels were baking cookies, so we made a move to get down. He was steadying himself on a pipe along the bricked chimney, smiling (something he seem to do a lot). He was catching my hand to make sure. I was almost kneeling down with my chest towards the abyss and moved slowly on that iced ground, down the last bit of the roof, which was gradually sloping down towards the metal ladder. The ladder was freely leaning against the water pipe and wasn't too reassuring. I didn't care.
There I was at the very end of the roof putting my left shoe (the one without the glitter ribbon) on the first step of the ladder, leaving the other still on the roof.
All motion stopped, I looked up to him and he asked me with that smiling face: “Can we stay like this for a while?” I answered with a convinced “Yes”. So we did, looking at each other holding hands.
I dare to say we both had joy in our faces, having his question and my answer in our mind. At the other end of the ladder was a friend asking if he could help me out, I answered that everything is alright and that we were just having a moment right now and he left us to it. The next moment I realized that my foot was falling asleep and I let him know. This didn't change our uncomfortable romance, but at the same time asked for a change of action. So I took my hand back and turned around in my black furry coat. I made it down and so did he. How could this moment end so fast? Yes, it was cold.
I imagined how else I could have make myself forget that my foot was falling asleep.
I say to him, “Before I can stay with you like this for a while there are some things I need to ask you. Do you prefer multiple choice or straight forward questions?”
I ask him:
“What is your favorite colour?”
“Do you go for walks alone?”
“Do you like to hold hands?”
“Do you like to cook?”
“Do you write down your thoughts?”
“Do you watch TV?”
“Are you seeing someone, except me right now?”
”Do you eat coriander?”
“Do you hold on to things?”
After that it would be the time to tell him that my foot is falling asleep.
Should I tell him that I believe that we didn't use this uncomfortable romantic moment to the fullest? That I have an idea how else this rooftop moment could have evolved? That I am willing to hear, maybe even be curious about his idea of the possible iced rooftop course. Or will we have to try it again and experience that nothing will be as we have imagined it to be.

written on 4th of January 2014
some machinery gif's
Pictures taken by Mladen Suknovic
analog camera, Fuji FP-100C, 73x95mm
Today I feel confused. It might be the moon again.
I feel overwhelmed by anything and nothing. Its like you can see the depth but you can't get down there. How much do I really know and how often do I forget to let go?
Compared to an electronic circuit moment, the wire is just too short.
Do I really long for being in a forest house all by myself staring into the trees? Yes, I think so.

(13.02.2014)
I know Mladen now since 15 years. I call him Hugo and he calls me Matilda. We do not meet often the last years, but my heart smiles when we do and he says: Matilda!
opening up his arms and giving me a strong hug.
He is an amazing photographer.
"Speculating on the possible experience of the listener, we can suppose he was completely absorbed in a state of deep concentration and even morbid expectation for an upcoming, probably destructive event"

(14.02.2014)
Imagine we could see this

(14.02.2014)
Some of us live so close to each other...

(14.02.2014)
its the picture not so much the installation or the sound

(18.02.2014)
(21.02.2014)
(22.02.2014)
Combining a talk about 'Borges and I' with music that came up.

Talking Heads 'Seen and not seen'

He would see faces in movies, on T.V., in magazines, and in books....
He thought that some of these faces might be right for him....And
through the years, by keeping an ideal facial structure fixed in his
mind....Or somewhere in the back of his mind....That he might, by
force of will, cause his face to approach those of his ideal....The
change would be very subtle....It might take ten years or so....
Gradually his face would change its' shape....A more hooked nose...
Wider, thinner lips....Beady eyes....A larger forehead.

He imagined that this was an ability he shared with most other
people....They had also molded their faced according to some
ideal....Maybe they imagined that their new face would better
suit their personality....Or maybe they imagined that their
personality would be forced to change to fit the new appear-
ance....This is why first impressions are often correct...
Although some people might have made mistakes....They may have
arrived at an appearance that bears no relationship to them....
They may have picked an ideal appearance based on some childish
whim, or momentary impulse....Some may have gotten half-way
there, and then changed their minds.

He wonders if he too might have made a similar mistake.

(26.02.2014)
'A Handy Tip for the Easily Distracted'
extra material from the set of Miranda July's movie 'Future'

(01.03.2014)
(09.03.2014)
(18.03.2014)
The Cult of Done Manifesto
by Bre Pettis and Kio Stark

1.There are three states of being. Not knowing, action and completion.
2. Accept that everything is a draft. It helps to get it done.
3. There is no editing stage.
4. Pretending you know what you're doing is almost the same as knowing what you
are doing, so just accept that you know what you're doing even if you don't and
do it.
5. Banish procrastination. If you wait more than a week to get an idea done,
abandon it.
6. The point of being done is not to finish but to get other things done.
7. Once you're done you can throw it away.
8. Laugh at perfection. It's boring and keeps you from being done.
9. People without dirty hands are wrong. Doing something makes you right.
10. Failure counts as done. So do mistakes.
11. Destruction is a variant of done.
12. If you have an idea and publish it on the internet, that counts as a ghost of done.
13. Done is the engine of more.

(19.03.2014)
Beautiful microscopic images of butterfly wings
The potential for sensitive dependence on initial conditions (the butterfly effect)

Recurrence, the approximate return of a system towards its initial conditions, together with sensitive dependence on initial conditions, are the two main ingredients for chaotic motion.
iridescence

Constructive interference is what happens in iridescence. It causes the two waves to complement each other and strengthen the reflection.
(23.03.2014)
Just sat down by the canal with a coffee and my drawing book to do some sketches. This older man comes up to the bench I am sitting on. He is wearing a light brown leather jacket and jeans. On his head he has a black woolen hat which shows a bit of his grey curls from underneath. He says 'Hello' and sits down next to me. I give him a 'Hello' with a smile. He opens his bag and I can see he must have done his grocery. He takes out bread and cheese and starts eating. I still draw, imagining wild non-existing sound machines. After a while he asks me 'you must be a professional?' and I tell him for what I make these sketches. We start talking. I immediately enjoy this conversation. At some point I turn towards him and close my sketchbook. Two hours pass just like that (being in the moment;-)
We talk about art, collaboration, sound, writing, new media, internet, money, democracy, power, management, politics, leaving Berlin, coming back to Berlin, 70's, DIY culture, documentaries, being part of a mountain of hay therefore not knowing the name of this generation of time, and other things.
But I had to leave, we shook our hands and introduced our names to each other.

(05.04.2014)
' [...] the universality of our knowledge has been acquired at the cost of exclusions, bans, denials, rejections, at the price of a kind of cruelty with regard to reality [...] '

' [...] deep down, in the very broad sense of what structuralism is we can say that structuralism is the method of analysis that consists of drawing constant relations from elements that in themselves, in their own character, in their substance, can change [...] '

' [...] I don't say the things I say because they are what I think, I say them as a way to make sure they no longer are what I think [...] '

(04.05.2014)
Ok... they sit at the very front of a tourist-boat (maybe the best spot?) being slowly pushed through the canals of berlin on a beautiful sunny day. She is wearing sunglasses and he a hat, all concentration is on the table in front of them, shuffling their food off the plate into their mouth...

(30.04.2014)
Codex Seraphinianus, is the name of this amazing book, made by the Italian artist Luigi Serafini. He imagined a very own world, creating his own language, landscapes and everything living on it.
I would start my day by flipping through it.
One day, when I can afford it...

this link is to a digital flick-through, but there is nothing better then flipping real paper...

(15.05.2014)
For a while I thought it can easily be a burden when people know you for a long time and mostly stick to the idea they have of you, but lately exactly that gives me comfort. Maybe over the years there are so many me-concepts passed, that I forget about the ones that count, that I can't see them anymore? Or is it a foolish combination of a sentiment and the realization that these concepts are expired?

A dear friend wrote this speech for me on a very special day in my life:
(I miss him very much)

"I could easily share my thoughts on artistic practice and my current considerations
concerning the concept of propaganda, in which art becomes the willing facilitator
of the democratic ideology.
But I do not think this would be very appropriate, even though I think Sabrina
would appreciate the absolute boredom that this would generate among you – the
guests present.
Sabrina’s perception of me, as a long-term friend, is in this sense in itself quite
ambiguous.
Most people think I am a pretty arrogant guy, a provocateur and a manipulator.
These people are right: I am all of these things.
Nonetheless Sabrina has taken a liking of me, for a long time by now. And it is
only in the past years that I have started to understand a specific quality of this
liking.
I remember the first moment that this realization kicked in. It was 2004,
Rotterdam, and me and Sabrina were standing in a bar with Nina. I was talking
about art – as I often do. And while being fully taken by my own words and
seemingly convincing statements, I realized that I had to go to the bathroom.
In itself I already find this highly disturbing. The fact that there are so many things
in this world that keep me from a clear discourse, that distract me or the one who
listens to me, making it impossible to round up my emerging thoughts.
Nonetheless I walked to the toilet and tried to open the door. But I was not able to
do so.
The door functioned as good as a door can function, no question about it. But my
own thoughts had taken me out of the world in which there is a logic in opening a
door. In which you look at the door knob, and understand how it is supposed to
work. And therefore: make it work.
But this logic is not at all mine, especially when taken by words. So I stared at the
thing, disturbed, shocked about the fact that it would not do what I expected it to:
what I wanted it to do. And then, probably with a bit of a desperate expression, I
turned to Sabrina. And she was smiling and laughing. And then opened the door
for me with a special look in her eyes, that I would only understand some time
later.
Something similar happened last year, in the autumn 2008, when we were both
biking through Rotterdam with Uli, on our way to the Tiki bar. Again, I was
talking. Again: it concerned art. And again I was taken by the sound of my own
statements.
And Sabrina, again, was listening. Very carefully, as she mostly does.
Then a big wet brown leaf hit me in the face and blinded me for some moments.
I removed the leaf – again shocked by the way that the world of everyday
occurrences, and in this case: nature – was blocking my internal world of clean
reasoning. And when looking to Sabrina, my face marked by my utter sense of
desperation and lack of control concerning the whole of the natural world, there
was her smile again. And her laughing. And that specific look on her face.
Now I think I understand what it means.
What Sabrina loves in the people around her is not necessarily their biggest quality
or best performance. It is the whole of the human presence that she likes, and
within this she shows a deeply rooted love for a sense of helplessness,
disorientation, clumsiness and mild forms of despair. Internal conflict, residing in
these small things, that can suddenly shed a different light on people: an
unshakable doorknob or a big wet brown leaf in autumn. They are not part of what
one wants to be – at least not in my case – but they inevitably are: they are there,
and in their seemingly everyday nature, their randomness and lack of value, they
can change the course of our lives as they are planned to be.
For people with the capacity to see the world in a big picture, still live the world as
a small place: with their own rituals, rarities, their small fetishes and peculiarities.
I would say that Sabrina and Sabrina’s work are about these things. That her
image of the world is defined by this basic premise.
And when realizing this I found an entry for a contribution today that might not all
reside in the domain of social failure.

De mens is nooit
Wat hij zegt te zijn, hij bestaat niet uit woorden
En niet uit handelingen alleen, maar uit
De onmogelijkheid van een werkelijke samenhang hiertussen
De mens bestaat uit gaten, uit onoverbrugbare tegenstellingen
En hij wordt gevormd door de wijze
Waarop hij zich hiertegen verzet
Of hier kracht uit put
Het werk Sabrina, en het werk dat Sabrina maakt
is een messy-mind map, een netwerk gebaseerd op ogenschijnlijk kleine dingen
die uiteindelijk onoverkomelijk groot worden
die ons de weg doet verliezen, en in dit verlies
een weg naar een ander, naar het andere doet vinden
De vraag die jij – Sabrina – stelt is nooit: wie ben jij?
De vraag is altijd: wie kun je meer zijn in relatie tot mij?
Hoe denken wij ons door middel van de kunst, ookal trekken wij daarna snel
De huid van een meer veilige
Alledaagsheid aan
Leven is niet concreet, niet tastbaar en niet coherent
Uiteindelijk bestaat zij uit korte momenten, kortstondige
Ontmoetingen, uitdagingen, verleidingen
Het werk Sabrina en Sabrina’s werk
Is dit doolhof dat ons af en toe zekerheid brengt
Het is de zekerheid verdwaald te zijn
Een feest te weten dat er geen weg terug is
Dat er geen binnen is, en geen buiten
Alleen het plezier dat het dwalen, het verliezen en hervinden
Ons bieden kan
Dit – Sabrina – heb ik geleerd van jou, dit
Is het denken dat onze vriendschap gebracht heeft
En lieverd, ik ben zo bevoorrecht
Die met jou te mogen delen"
(july 2009)
i bought it!
(12.06.2014)
click on the 'last update' sign and it brings you directly to it
Worth watching this beautiful filmed documentary.
This Mr Miller guy thou made me furious.

(02.07.2014)
02.07.2014
Alfred is giving a funny answer (before they sit down in the bar) when Angela asks him if he is here for long. But I can't find the quote.
So I put this one instead:
'Is this a tragedy or a comedy? Either way it's a masterpiece.'
(17.07. 2014)
This is so beautiful
(08.08.2014)
(how they prepare the fish is at times too cruel for my taste)
Shōtōkan nijū kun (松濤館二十訓)
the "twenty instructions" of the Okinawan martial arts master Gichin Funakoshi

1. Karate-do begins and ends with bowing.
2. There is no first strike in karate.
3. Karate stands on the side of justice.
4. First know yourself, then know others.
5. Mentality over technique
6. The heart must be set free.
7. Calamity springs from carelessness.
8. Karate goes beyond the dojo.
9. Karate is a lifelong pursuit.
10. Apply the way of karate to all things. Therein lies its beauty.
11. Karate is like boiling water; without heat, it returns to its tepid state.
12. Do not think of winning. Think, rather, of not losing.
13. Make adjustments according to your opponent.
14. The outcome of a battle depends on how one handles emptiness and fullness (weakness and strength).
15. Think of hands and feet as swords.
16. When you step beyond your own gate, you face a million enemies.
17. Formal stances are for beginners; later, one stands naturally.
18. Perform prescribed sets of techniques exactly; actual combat is another matter.
19. Do not forget the employment of withdrawal of power, the extension or contraction of the body, the swift or leisurely application of technique.
20. Be constantly mindful, diligent, and resourceful, in your pursuit of the Way.
25.05.2017
4.07.2017
12.07.2017
The piece requires ten "performers", each responsible for ten of the hundred metronomes. The metronomes are set up on the performance platform, and they are all then wound to their maximum extent and set to different speeds. Once they are all fully wound there is a silence of two to six minutes, at the discretion of the conductor, then at the conductor's signal they are all started as simultaneously as possible. The performers then leave the stage. As the metronomes wind down one after another and stop, periodicity becomes noticeable in the sound, and individual metronomes can be more clearly distinguished.
The piece typically ends with just one metronome ticking alone for a few beats, followed by silence, and then the performers return to the stage (Ligeti 1962).
12.07.2017
13.07.2017
Gianluca Gimini about “Velocipedia”:
back in 2009 I began pestering friends and random strangers. I would walk up to them with a pen and a sheet of paper asking that they immediately draw me a men’s bicycle, by heart. Soon I found out that when confronted with this odd request most people have a very hard time remembering exactly how a bike is made. Some did get close, some actually nailed it perfectly, but most ended up drawing something that was pretty far off from a regular men’s bicycle.
Little I knew this is actually a test that psychologists use to demonstrate how our brain sometimes tricks us into thinking we know something even though we don’t.
(14.07.2017)
(10.09.2017)
{...} We don't have to understand everything. Miyazaki's principle is emotion, not logic. {...}
(10.09.2017)
great music mixes with great descriptions
by Scott Eastlick
27.09.2017
shivering
(06.10. 2017)
Figures from 'On the Harmonic Curves Known as Lissajous Figures' – Horace C. Richards [1901] published in Journal - Franklin Institute of the State of Pennsylvania

Sabrina Basten

Sabrina Basten (°1980, Ahaus, Germany) is an artist who works in a variety of media. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, Basten often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.

Her artworks appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By manipulating the viewer to create confusion, she wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.

Her works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. By creating situations and breaking the passivity of the spectator, she tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.

Her works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By examining the ambiguity and origination via retakes and variations, she wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.

Her works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By applying a poetic and often metaphorical language, she often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.

Her works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. Sabrina Basten currently lives and works in Berlin.

Try this out!
Artist Statement Generator!
Wow!
(06.10. 2017)
and click here for another one (did not try it yet)
'10 magical feminist books to inspire creative resistance'
06.10.2017
LINES - William Forsythe Improvisation Technologies
23 short videos explaining his Notation-system.
all of the sudden I 'understand' modern dance....
(03.11.2017)
Agostino Veneziano, The Witches’ Rout, c. 1520.
!super interesting read!

(...)
The accusation of witchcraft carried out a function similar to that of “treason” – which, significantly, was introduced in the English legal code at around the same time – and the accusation of “terrorism” in our age. The vagueness of the accusation – the fact that it was impossible to test it, while at the same time it evoked maximum horror – implied that it could be used to punish any kind of protest, with the aim of generating suspicion, including about the most ordinary aspects of daily life. (...)

Witchtales:
An Interview with Silvia Federici
(15.12.17)