pardon me for complaining, but this looks a hell of a lot like a standard issue artworld advertisement, without any specific address to a person or discernible topic. [And the unnecessary, and unnecessarily large, image literally crashed my account, which is always running near quota.] dear moderators, I hope nettime isn't moving in this direction.
martha lurker rosler > On May 5, 2019, at 9:24 PM, Yvette Johnson <[email protected]> wrote: > > Notice: This project is blocked at Santa Fe after 'positive affirmation' from > Argentina and Portugal. > > Kundera: pls "interfere" at business English. > Yvette > <IMG_20190405_085150.jpg> > Image: near Ft Union, NM, USA > ~ > Most of the concern of a work/live club for Studio-Office(r) 1-11 contain and > pertain to the inability of commercial art to keep abreast of new technology. > > Between concerns: mergers, sell-offs, turnaround, officers find they fell > into spaces in time where they do not have time and money of equal worth. > > For this reason, Studio-Office carries the onus of completing time as a > method of expression and the cost-benefit analysis emotes as the cost of the > pressure of living. > > The work component of a work/live environment entails (mainly) research, but > the “live” component entails (mostly) experimentation. > > The integrated price (cost + presence) is motive for the social supplement of > the club or cost conversion, which is to say the costs of socializing is > depreciative; the question prepares the officer for future questions. > > After contemplation of plurals (couples, reversals, trusts) officers look to > each other around the time address to find expressions without impression. > > Evaluation of the cessation, cede of mutation of prior nodes of expression > (movements, skirmishes, news) into full-blown sea change will contain the > past, and future. > > What is normal for the present, with presence being the latest competition. > > Welcoming change takes away from the adjustment, and reclaims energy to past > events, sometime misordered. > > Priorities make time seem essential, fluid, for granted, but finite because > time is finite. > > Without contemplation, with entrenchment of the facts of life-giving to lead > toward innovation, time begins to enrapture energy, fold out of linearity, > and mirrate the flame of energy with aural tension that, while possessing > atomic power, releases an energy field that leaves remarks of time unclean. > > More often than not, time cannot penetrate energy. Energy encompasses time. > Time rolls exponential. Energy unfolds in convoluted layers of time. Broadly, > time invests in time, making time look like energy, a rush, a fraction, a > lever. > > Energy prefers return. > > Energy is exact, a function of its dark matter, blank receipt, finite > presence. > > It is the pressure of the officer to address energy as a purveyor and contain > its limit with extenuated time. > > While at Studio-Office, the time spent should relieve the force of progress > with enlightened substance of time: rest. > > The work component is an inversion of rest, while rest is predicated; the > “live” component is imprecise, vague, and personal, but should not be tested > by alternatives, though essential, fluid, and/or for granted. > > Willingness presents commotion that can be instructed toward creativity, but > the officer can also complete smaller, more fit time pieces in limited > presences. > > Longevity is not a code of ethics. > > The next evidence there was time that could not reach the end of an argument, > or less time, which is time borrowed from the future, excludes the future’s > future. > > Best practices would be closing the gap between time and energy, fusing their > tendencies, to complete a method of compromise between work and live for the > sake of others in a club, or team work. > > Club teams may relay between repose and field study. Business resists rest, > but what is built requires the flat timbre of time lost, felt, coerced, left. > > Chance sets the scene: some phrases in contemporary logic cannot peruse from > the French to the English language: relative to system but superimposed on > technology. > > Beginning with force, the case broadens, then retracts again at dance, ballet > and the rest. Guests like vernis lack origin. Suite has persisted to > existentialism. The round has no theatre, not even for the night; nuit knows > no song. Absurdly, the park has retracted to the camp, with no guide. At > last, overture is arrested at aperture (again), “to the pain” has found its > home in Russia, with no end. > > These words are proposed to discuss at Spain (basque), from French language > to English: > > force > ballet > vernis > suite > round > nuit > camp > guide > overture > pain > end > > After consideration that there may be a problem to reverse, the last point is > the wave, onto paper into waste and dye to begin. > > > Sent from Yahoo Mail on Android > <https://go.onelink.me/107872968?pid=InProduct&c=Global_Internal_YGrowth_AndroidEmailSig__AndroidUsers&af_wl=ym&af_sub1=Internal&af_sub2=Global_YGrowth&af_sub3=EmailSignature><IMG_20190405_085150.jpg># > distributed via <nettime>: no commercial use without permission > # <nettime> is a moderated mailing list for net criticism, > # collaborative text filtering and cultural politics of the nets > # more info: http://mx.kein.org/mailman/listinfo/nettime-l > # archive: http://www.nettime.org contact: [email protected] > # @nettime_bot tweets mail w/ sender unless #ANON is in Subject:
# distributed via <nettime>: no commercial use without permission # <nettime> is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: http://mx.kein.org/mailman/listinfo/nettime-l # archive: http://www.nettime.org contact: [email protected] # @nettime_bot tweets mail w/ sender unless #ANON is in Subject:
