Hello سلسله‌ مراتب ابن سینایی عقول

[each aghl عقل or angle with its own sky and nafs نفس ==> a whole universe for itself] sending from one aghl to the other, till the 10th aghl = unlimited human nafs 10th aghl ~= philosopher's active aghl ~= ruh al ghodos روح القدس

(سهروردی) in Sohrevardi: angle and nafs are in the same trip

aghle hayulayi عقل هیولایی

in Iran: قدسی‌ شدن نهادها = عرفی شدن مابعدالطبیعه sacredization of institutions = secularization of metaphysics

for Avicenna, matter/jesm/جسم (can) have mental (zehni ذهنی) and hallucinative (vahmi وهمی) derivatives that are accessible in all its axis/directions (ab'ad ابعاد). [we have to consider that here hallucination/vahm/وهم is a strong category of thought, it opposes reason/aghl/عقل, it is a device that Avicenna regularly uses in his research.]

instructions for now: don't use the pad formatting buttons YET. It is not mapped to the syntax at the moment.

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LINK: (https://kitchen.apass.be/)

notes about metadata -licenses through Creative Commons / a problem more than an obligation and a good way to frame the relation with the reader and user -title : determines the title of the doc and not the title of the pad. but also can. Overide -type : categories that make sense -id : adding details to the category -theme : more than one qualifier -tags : keywords that thematize

discussion about indexation of image and video files -cloud? -spreadsheet? -calendar? -indexation at large : how to easy the organisation naming/cascading of files and folders -the posibility of having a semantic to query specific data and insert into the pad. for example: to query a term combined with a date or tag and receive a list of pages that meet those condition.

what to do we have to reflect on how we want to determine the indexation in relation with this first structure that will influence back, determine back the indexation structure

text to amend/comment/style

Forms of Life of Forms

Extending the notion of form, from aesthetic to social and political


With Forms of Life of Forms: Extending the notion of form, from aesthetic to social and political, I want to bring my research as an associate researcher of a.pass together in an installation (research environment) which is activated in different moments for collective exchange around a theme of the artistic research (performative publishing).

In recent years, I have explored the concept of 'form' in various political philosophies, resulting in the notion that politics is a matter of the distribution and arrangement of bodies, goods and capacities. Political power as such involves imposing order on space, organizing time, and arranging hierarchies. At the same time, it means that the contestation of these power relations includes ways of rearranging these orders. In this way, political practice is an activity of ordering, patterning and shaping. So the political is not without form. On the other hand, the form that art takes is a sedimentation of historical and social conditions - it does not exist in a vacuum. Art gives an impetus to what is possible to think, say and do in a given moment and constellation. In this way, artistic practice can be seen as engaged with the way new forms can generate a new understanding of our world and different ways of presenting it. For me, this insight was a crucial link in bringing together my thinking on politics and art.

In my association with a.pass as a researcher, I focused on the question of what this means for cultural practices in order to broaden our notion of form and to pay more attention to the effect of different forms in and on the world. So I have related my research to that of art practice. In the arts, any reference to form brings with it a suspicion of formalism, the modernist notion that art refers only to itself and is therefore autonomous. In a world on the edge of ecological malaise, increasing inequality, and a constant growth of xenophobia, progressive artists, curators, and institutions have rightly positioned themselves at the forefront of thinking and using alternatives. In their view, art should therefore be about the things that happen in the world and the discussion of works of art should therefore be about the content and context rather than their form. As a result, they condemn any interest in form as a neglect of the political. In my opinion, we could progress the idea of the relevance of the arts to things in the world, precisely by paying more attention to form. For example, if we involve social arrangements and patterns of socio-political experience around us in what we understand by form, we see that forms are at work all around us.

I think that a renewed focus on form - aesthetic, social and political - can be a progressive approach to cultural practices in the step towards building alternative forms of life. My conception of form as a pre-figurative leitmotiv in artistic practices creates a renewed relationship between the artistic form and the forms that frame our world. With Forms of Life of Forms, I want to work with others to better understand forms in all their expressions and workings, but above all to gain an insight into how we can use forms to change the world around us. Knowledge about the elements that make up our world is the first step in asking the questions. How do we represent the world and our position in it? And how do we imagine the world and ourselves as they could be? Artistic research in this way is a social practice that seeks to understand and give meaning to the world around us.


I would like to make an installation (see appendix) that can serve as an environment to share and activate my research. I would make a construction of wood and green transparent corrugated iron that can meander -like a river- in an open or closed form over the square in front of the Szenne art laboratory. The feet of the poles that hold up the construction will be made public in a collective workshop with straw clay. The installation will not only serve to show research, texts and related works of art, but also for the exchange of practices and reflection.


There will be six activation days with six moments that combine different forms of exchange and artistic research. The formats that will be combined are reading groups, lectures, conversations, workshops, screenings, works of art, printed material. The installation thus supports the various activities that look at the theme of each from a different perspective and approach each in different ways, from reading groups and conversations to workshops, screenings and works of art. In this way I hope to create an artistic research environment in which interested and invited people can engage with my research and I with their perspective.

The program would look like this:

Monday 24/6/2019 Moment 0 - Introduction Forms of Life of Forms

Introduction by Rob Ritzen (14h -15h) based on Text: Caroline Levine, Forms: Whole, Rhythm, Hierarchy, Network (Princeton/Oxford: Princeton University Press, 2015), pp. 1-23.

Soundpiece (continuous) Object, Shape, Description, 2019, Marco Lampis http://consumerwaste.org.uk/

Workshop (15h - 17h) The feet in front of the installation are collectively made of straw clay, in reference to Simondon's text. This is a moment to put theory into practice.

Wednesday 26/6/2019 Moment I - In-Formation

Readinggroup in the installation (16h - 18h): Reading group mediator Rob Ritzen Text will be proposed by Femke Snelting of Constant http://constantvzw.org/site/

Screening (continuous) Antye Guenther - The Upload (2017)

Artwork (continuous) In Our Hands, 2015, Marjolijn Dijkman http://www.marjolijndijkman.com/?rd_project=cultivating-probability-film&lang=en

Monday 1/07/2019 Moment II - Political Form

Reading group in the installation (16h - 18h): Reading group mediator Rob Ritzen Text: Judith Butler, Notes Towards a Performative Theory of Assembly (Cambridge MA/London: Harvard University Press, 2015), pp. 1-23, 66-98, 193-219.

Lecture (19h) Mathijs van de Sande (assistant professor of practical philosophy Radboud University) https://www.ru.nl/english/people/sande-j-van-de/

Wednesday 3/7/2019 Moment III - Network Form

Reading group in the installation (16h - 18h): Reading group mediator Sina Seifee Text: Alexander R. Galloway and Eugene Thacker, The Exploit: A Theory of Networks (Minneapolis/London: University of Minnesota Press), pp. 1-101.

Listening (continuous) (collective at 19h): Invisible Networks, New ways of seeing - Podcast https://www.bbc.co.uk/programmes/m000458l

Policy document (continuous): Dynamic Planning for COIN in Afghanistan' PA Consulting Group, 2009 http://www.oss.net/dynamaster/file_archive/091222/9649ad18a0d538dc213e13af676e3aa8/Afghanistan_Dynamic_Planning.pdf

Maps (continuous): Map Bureau des Etudes - Governing by Network https://bureaudetudes.org/wp-content/uploads/2010/01/governing-by-network.pdf

Monday 8/7/2019 Moment IV - Value Forms

Reading group in the installation (16h - 18h): Reading group mediator Rob Ritzen Texts: Luc Boltanski and Arnaud Esquerre, "The Economic Life of Things," in New Left Review no. 98 (March-April 2016), pp. 31-54. Nancy Fraser, "A New Form of Capitalism? A Reply to Boltanski and Esquerre' in New Left Review no. 106 (July-August 2017), 57-65. Luc Boltanski and Arnaud Esquerre, "Enrichment, Profit, Critique; A Rejoinder to Nancy Fraser," in New left Review No 106 (July-August 2017), pp. 67-76.

Screening (continuous) Time Piece, 2019, Diego Tonus http://diegotonus.com/work/timepiece/

Book (continuous) Three Stock exchanges, 2016, Zachary Formwalt https://www.romapublications.org/Roma201-400.html

Friday 12/7/2019 Moment V - Organizational form and infrastructural critique

Conversation (16h - 18h) Adriana Gvozdenovic and Rob Ritzen

/* Catherine Malabou,One Life Only: Biological Resistance, Political Resistance, Critical Inquiry 42 (Spring 2016) Norman MacLeod, Critical Response I, Response to Catherine Malabou, “One Life Only: Biological Resistance, Political Resistance”, Critical Inquiry 43 (Autumn 2016) Catherine Malabou, Critical Response II, Philosophers, Biologists: Some More Effort If You Wish to Become Revolutionaries!, Critical Inquiry 43 (Autumn 2016) /


3 screens 12 head phones 6 splitters 2 mp3 players extension cables

CONTEXT This installation will be part of an exhibition in which the other associate researchers will also show their work at a.pass. a.pass is an institute for artistic research. The group of associate researchers are independent artists, curators, writers, and thinkers who carry out their research project for a year with the support (in the form of knowledge exchange and infrastructure) of a.pass. The exhibition will take place at the Szenne art laboratory. In the run-up to the exhibition, there will be a number of internal moments of exchange to get to know each other's work so that they can interact with each other (see planning). Then there will be a period of 3 weeks during which we will build up, develop and activate our practices in the Szenne art laboratory (see planning). The Forms of Life of Forms project will therefore have a qualitative framework and enter into dialogue with the projects of the other artistic researchers. In addition, Forms of Life of Forms will benefit from a.pass's network, both in terms of content and range. The Szenne art laboratory is the ideal location for the presentation of the Forms of Life of Forms project because it is located next to an exhibition space on a small, sheltered but public square where the installation can come into its own.

FORMATION Because the project has many different moments and forms of exchange, it is important to have a clear framework. In the first instance, the installation already ensures recognition and framing. In addition, it is important to have a simple and clear graphic design that clearly communicates the program but also unites the different elements. Think of a certain design for collecting and printing the texts for the reading groups or the design of the posters that have to capture the traces of the different moments. To this end, I would like to collaborate with the design collective D.E.A.L. (http://d-e-a-l.eu/) in Brussels.

PROCESS AND RESULT Traces of each moment remain in the installation, the works of art, for example, will be given a place in the installation or in the space of the Szenne art laboratory. The screenings will be available on demand on a screen. The texts, quotes, and notes will come together in a poster format of each reading group. The lectures and conversations will also be shown on a screen during the period in the Szenne art laboratory.

This means that during the process different elements come together and relationships are established in the installation and Szenne art laboratory. This means that in the last weekend (13/7 - 14/7) an expression of the joint artistic research has taken shape and that it can be viewed as the final result of the research.

The whole process will be documented and will find its way in a small publication of the research, the installation, and the moments. Several texts will find their place in it and I will write an introduction essay for the publication that could be published by a.pass. However, this is a separate process that will have to start after the presentation at the Szenne art laboratory with possibly other means.