Erotic Gestures of Abstraction Version 0

EROTIC GESTURES OF ABSTRACTION Daniela Bershan & Katrina Burch

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Erotic Gestures of Abstraction ∇∆ Transfiguration in Erotic Spaces for Abstraction 0x00 Erotic Gestures of Abstraction is a short essay on what erotic abstraction does to thought — what philosophical s(t)imulation does with mind mirroring itself through the sensation of thinking, and is a seed of a much larger project merging erotic metaphysics with the archaeology of thought, wherein contextualized functions of abstract concepts and representations become artifactual datum points for navigating holes in material chains (strata) of philosophical thinking and becoming, in its unsparing and sensual s(t)imulations. ∇ 1, 2, 3 0x01 Here, ‘erotic’ is understood as encompassed by the logic of the ardis of eros, or the erotic gesture, and in the sense of Diotima of Mantinea’s initiation of ‘the Philosopher’s eros,’ recounted by Socrates in Plato’s Symposium. Erotic refers to the force (daimōn) uniting prismatic sheaves of thought — the map and compass proof of beauty. ∇ 4, 5

Manifesting Terrifying Beauty 0x02 Erotic abstraction absorbs philosophy’s ontological commitments in beautiful thinking, revealing the concept of concepts-of-self: mind and its co-limits, in the experience of abstraction. Mind, when revealed to be an existential space defined in terms of what it can do in continuity and coherence with its variations, morphs with the force of abstraction. This abstractive morphing is an enabling condition for mind’s desired self- realization as it begins to localize in the coupled feedback relation produced between the mechanics and phenomenology of abstraction; the structure of mind qua concept includes its own definition. 0x03 For the force of abstraction to be made clear it must evolve and evolve within the open strata of a particular philosophical becoming, which entails specific philosophical commitments. Practitioners of philosophy therefore ought to place philosophical commitments deeper within the confines of their own thinking practices — in the sensual and pre-thought organizational strata — to transgress what each mind limits in its own development of intelligence. Intelligence of mind proceeds in the realization of what it can do, to abstract conceptual frameworks that can radically alter how mind is externalized. ∇ 6, 7

0x04 Philosophy can irreversibly transfigure the image of the philosopher (acting from Thymotic will — the will of recognition) by replacing their artificial image with one (or many) more desirable. Counterpoint to a commitment to becoming (a beautiful thinking) is epistemological alienation. Philosophy needs to embark on an alienating adventure: unifying to distinguish the enemies of thought by cultivating discriminatory wisdom as psychic defense. In treason against the neoliberal professionalization of philosophy, contemporary philosophers must guard against parasitic discourses that cling to philosophy as a categorical imperative to relieve the immediate (myopic) tensions that are projected between ‘theory’ and ‘practice’, all the while forcing philosophy to climax in the reproduction of philosophical objects, namely concepts, ideas, interpretations or critiques; Philosophy has no such pathology. Philosophers do not desire legitimacy from the academy, professional markets or their social networks to exercise philosophical rapture, to defend the engineering of concepts, or to critique representations of the world. Doing philosophy is a practice of complete autonomy or anarchic composition — yawning intellectual intuition at every opening, obstruction or transit. Preserving fidelity or faith in a philosopher at the expense of an intimacy with the philosophical art is retrograde, whilst the skeptic becomes the reserved position, too afraid to get dirty. 0x05 Philosophy exercises thinking with vision: an intellectual intuition interlacing the intricacies of a vast continuum of speeds of thought and types of reasoning. A mark of philosophy can be identified by its distinct thought as irreducible gestures, like the heretical act, a strong existential cut or the sharpness of tongue unleashed as a style of a set of motions, in creative or scientific discoveries of abstraction that create discontinuity in the representations of the world.

0x06 Due to the packaging of time, a codification-habit from the abstraction of material change and decay, gestures of discontinuity become unfinished revolutions in the fabric of thought and accelerate the decay of habitual thought patterns. Decay is the affirmative act of transformation — a holding point for transitioning in conceptual navigation. Decay marks process and the presence of partial or hidden information (artifactual vortexes) in the existential space of mind, wherever its ‘matter’ differentiates without separation. The ongoing process of intellection where raw data can be organized and sorted — such as through archaeology or a forensics of concept space — is distinguishable from the processes where ideological histories and narratives are formed in mind. Gestures of discontinuity deracinate a thinker from the latter’s productions: accelerating the entropic- like decay of thought or completely launching a thinker ‘out,’ due to its destination. Discontinuity is marked by ‘holes’ in the fabric of thought that ramify the relationship between being and thinking. ‘Holes’ are invariants between different contexts (transinvariants) in any object that can be encoded and decoded by periods of evolution, or that mark various interlocking pathways of ‘growth’ and ‘collapse’. Holes are handles: they will determine the appearance of an object, but not necessarily what it can become. 0x07 In privileging time, history’s main intellectual involvement with philosophy has been to package these discontinuities or ruptures into tokens of time (nostalgic capsules of intellectual and/or philosophical ‘revolution’), thus satisfying the narcissistic drive of human being to recollect itself after a cut: to connect holes through redundant reflections, significations and imitations of outside thinking. ∇ 8 0x08 In consequence of mind’s sensitivities to the stimuli of flows and magnitudes (nature), a temporal matrix is shaped: the experience of time in perception, modulated through conceptions of reality, involves a helical motion between mind’s sense propositions and the interlacing of its proofs (an automated looping of a malleable identity system qua nature). Objective ‘proofs’ for time are therefore highly selective, what a subjective experience of time points to: the isomorphic connections — lines or pathways — between grouped objects in perception that each have, as forms of processes, their own material durations (they are what can be called durational entities). ∇9

0x09 When this helical motion between propositions and proofs is exerted through transmodalities of erotic difference, time is experienced as simultaneously the subject and the object of a multidimensional continuum binding identities and positions, effectively nullifying ‘taboos’. Without repudiating the taboo, taboos are completed in the abstract simulation of continua, on the “whole” continuum. Transmodalities of erotic difference are enacted in virtual sex, abstract erotic dynamics and the material intricacies of pleasure. Erotics qua sexuality are not primed by any passive perception of sex, since ‘sex’ is recognized as a concept accumulated through topological combinations of functorial concepts — around a concept, ‘sex,’ whose history is still untold. These concepts of a concept are mediated by, or bound to, the translation of intimacies in body rhythms. In any subjective experience of rhythm, such as through the perception or the sensation of rhythm (whether abstract or concrete), any thing or aspect objectified is not immediately given, but is mediated by the conceptual apparatus of the observer (acting through them in the intimate fold). ∇ 10, 11, 12

0x0C By sustaining or suspending climax at the limits of thinking, to the extent that philosophy ought to repeatedly perturb the general field of thought to upgrade (in) the intelligence and discriminatory wisdom of a mind, philosophy can universalize a higher-order space for all navigational spaces. This universal site is a concept of concepts. At the universal site of concepts-of-thinking — timelessly yet continually resonant or fibrating in accelerative rhythms of discrete conceptual bundles — a philosopher dissolves being, suffused by the subtleties of the mind, with only the philosophical gesture left to unwind soft, sensual contours (immaculate lines) of a thought process traced in synæsthetic successions. ∇ 15 0x0D Beautiful thinking forms deep in the self-realization of mind by means of a humble and graceful procedure of opening the gates of mind past its ruptures, to the emptiness of time and the realization of space, to channel a world more beautiful than it can see. In distilling the false horoscopes derived from the objects of reality, philosophy reveals plutonic emptiness at the basis of pre-conceptual experience. Beautiful thinking is based on a two-fold principle of composure after localization: 1) sovereignty in the uprooting process and 2) unifying patterns of intricacies. As an arc of reasoning, beautiful thinking develops discriminatory wisdom slowly, inside an alienating project. Clones of ‘beautiful thinking projects’ (like those integrating Eastern traditions in the West), in claiming to reconstitute mind from the inside out are therefore as much threats to thought as they can be alternative means (albeit in deformation) for bootstrapping thought to a higher form (with a set of practices).

0x0E Eroticism is a key to sovereignty. Mind needs sovereign rules for discriminatory wisdom to transgress philosophical blind spots or imposed limitations to thinking. Without sovereign rules there would be no harmony in understanding and action to enable the autonomy of reason for transgressing theological thinking. By rote of reason eros does not become metaphysically indexed — it is reduced to the functional gestures of a mechanistic logic. The tethering of ‘experience’ to (inevitable) metaphysical conceptualization inspired by processes, dangerously leads to quasi- mystical understandings of erotics. The rationalization of experience and the rationalization of eros enable a re-orientation to the possibilities of conceptual plasticity in the exploratory praxis. Rationality does not disregard disorientation but faces it head on. Erotic thinking spaces — as abstract/concrete creativity, as an erotic intelligence developed for/in beautiful thinking — can become the hosts for enabling methodological commitments to expose the art of practicing philosophy, since erotic thinking is at the heart of the ‘chaotic ground’ whereupon concepts gain traction. From the bottom up, mind is in concert with the erotic gesture in abstraction that triggers philosophical seeing and doing — philosophical vision in its broadest sense. ∇ 16 ∇

Erotic Gestures of Abstraction ∇∆ Transfiguration in Erotic Spaces for Abstraction 0x00 Erotic Gestures of Abstraction is a short essay on what erotic abstraction does to thought — what philosophical s(t)imulation does with mind mirroring itself through the sensation of thinking, and is a seed of a much larger project merging erotic metaphysics with the archaeology of thought, wherein contextualized functions of abstract concepts and representations become artifactual datum points for navigating holes in material chains (strata) of philosophical thinking and becoming, in its unsparing and sensual s(t)imulations. ∇ 1, 2, 3 0x01 Here, ‘erotic’ is understood as encompassed by the logic of the ardis of eros, or the erotic gesture, and in the sense of Diotima of Mantinea’s initiation of ‘the Philosopher’s eros,’ recounted by Socrates in Plato’s Symposium. Erotic refers to the force (daimōn) uniting prismatic sheaves of thought — the map and compass proof for (concepts of universal) beauty. ∇ 4, 5 Manifesting Terrifying Beauty 0x02 Erotic abstraction absorbs philosophy’s ontological commitments in beautiful thinking, revealing the concept of concepts-of-self: mind and its co-limits, in the experience of abstraction. Mind, when revealed to be an existential space defined in terms of what it can do in continuity and coherence with its variations, morphs with the force of abstraction. This abstractive morphing is an enabling condition for mind’s desired self-realization as it begins to localize in the coupled feedback relation produced between the mechanics and phenomenology of abstraction; the structure of mind qua concept includes its own definition. 0x03 For the force of abstraction to be made clear it must evolve and evolve within the open strata of a particular philosophical becoming, which entails specific philosophical commitments. Practitioners of philosophy therefore ought to place philosophical commitments deeper within the confines of their own thinking practices — in the sensual and pre-thought organizational strata — to transgress what each mind limits in its own development of intelligence. Intelligence of mind proceeds in the realization of what it can do, to abstract conceptual frameworks that can radically alter how mind is externalized. ∇ 1, 6, 7 0x04 Philosophy can irreversibly transfigure the image of the philosopher (acting from Thymotic will — the will of recognition) by replacing their artificial image with one (or many) more desirable. Counterpoint to a commitment to becoming (a beautiful thinking) is epistemological alienation.

Philosophy needs to embark on an alienating adventure: unifying to distinguish the enemies of thought by cultivating discriminatory wisdom as psychic defense. In treason against the neoliberal professionalization of philosophy, contemporary philosophers (and artists alike) must guard against parasitic discourses grouped objects in perception that each have, as forms of processes, their own material durations (they that cling to philosophy as a categorical imperative to relieve the immediate (myopic) tensions that are projected between ‘theory’ and ‘practice’, all the while forcing philosophy to climax in the reproduction of philosophical objects, namely concepts, ideas, interpretations or critiques; Philosophy has no such pathology. Philosophers do not desire legitimacy from the academy, professional markets or their social networks to exercise philosophical raupture (its enrapture and rupture), to defend the engineering of con- 0x09 When this helical motion between propositions and proofs is exerted through transmodalities of erotic difference, time is experienced as simultaneously the subject and the object of a multidimensional cepts, or to critique representations of the world. Doing philosophy is a practice of complete autonomy or anarchic composition — yawning intellectual intuition at every opening, obstruction or transit. Preserving fidelity or faith in a philosopher at the expense of an intimacy with the philosophical art is retrograde; the skeptic becomes the reserved position, too afraid to get dirty. are what could be called durational entities). ∇ 9 continuum binding identities and positions, effectively nullifying ‘taboos’. Without repudiating the taboo, taboos are completed in the abstract simulation of continua, on the “whole” continuum. Transmodalities of erotic difference are enacted in virtual sex, abstract erotic dynamics and the material intricacies of pleasure. Erotics qua sexuality are not primed by any passive perception of sex, since ‘sex’ is recognized as a concept accumulated through topological combinations of functorial concepts — around a concept, ‘sex,’ whose history is still untold. These concepts of a concept are mediated by, or bound to, the translation of intimacies in body rhythms. In any subjective experience of rhythm, through the perception or the sensation of rhythm (whether abstract or concrete), any aspect objectified is not immediately given, but is 0x05 Philosophy exercises thinking with vision: an intellectual intuition interlacing the intricacies of a vast continuum of speeds of thought and types of reasoning. A mark of philosophy can be identified by its distinct thought as irreducible gestures, like the heretical act, a strong existential cut or the sharpness of tongue unleashed as a style of a set of motions, in creative or scientific discoveries of abstraction that create discontinuity in the representations of the world. ∇ 2 mediated by the conceptual apparatus of the observer (acting through them in the intimate fold). 0x06 Due to the packaging of time, a codification-habit from the abstraction of material change and decay, gestures of discontinuity become unfinished revolutions in the fabric of thought and accelerate the decay of habitual thought patterns. Decay is the affirmative act of transformation — a holding point for transitioning in conceptual navigation. Decay marks process and the presence of partial or hidden information (artifactual vortexes) in the existential space of mind, wherever its ‘matter’ differentiates without separation. The ongoing process of intellection where raw data can be organized and sorted — such as through archaeology or a forensics of concept space — is distinguishable from the processes where ideological histories and narratives are formed in mind. Gestures of discontinuity deracinate a thinker from the latter’s productions, accelerating the entropic-like decay of thought or completely launching a thinker ‘out,’ due to its destination. Discontinuity is marked by ‘holes’ in the fabric of thought that ramify the relationship between being and thinking. ‘Holes’ are invariants between different contexts (transinvariants) cepts of sex) maximizes the risk surfaces across which the scales of particularities are conceived, in in any object that can be encoded and decoded by periods of evolution, or that mark various interlocking pathways of ‘growth’ and ‘collapse’. Holes are handles: they will determine the appearance of an object, but not necessarily what it can become. ∇ 8 ∇ 3, 10, 11, 12 0x0A Rhythms of a more collective social encounter in general, especially when deliberated via experimentation and improvisation, intersect the morphing physis of mind with the socius. Repeatedly challenging the ontologization of concepts that are at play (concepts of mind, concepts of identity, contandem with the context of the game and the abstract continua of a universal technological evolution. ∇ 13, 14, 15 0x0B Localized discontinuity ‘answers’ to no one, but the force of thought in a philosophical gesture can only be understood in terms of its function in the relation between thinker and abstraction. A particular episode of discontinuity or discreetness cannot replicate or signify outside of the context of its fervor in a state of mind or a domain of functions. In relation to a continuum of deforming intricacies and evolving speeds of thought, the cutting philosophical gesture is eternal or necessarily discrete in time, and disturbs the temporal matrix within which mind develops, forcing mind to act outside its hypogeal architecture of time — (unique) interlocking, temporal frameworks — unfolding space and time’s basal emptiness. 0x0C By sustaining or suspending climax at the limits of thinking, to the extent that philosophy ought to repeatedly perturb the general field of thought to upgrade (in) the intelligence and discriminatory wisdom of a mind, philosophy can universalize a higher-order space for all navigational spaces. This universal site 0x07 In privileging time, history’s main intellectual involvement with philosophy has been to package these discontinuities or ruptures into tokens of time — nostalgic capsules of intellectual and/or philosophical ‘revolution’, thus satisfying the narcissistic drive of human being to recollect itself after a cut: to connect holes through redundant reflections, significations and imitations of outside thinking. nant or fibrating in accelerative rhythms of discrete conceptual bundles — a philosopher dissolves being, suffused by the subtleties of the mind, with only the philosophical gesture left to unwind soft, sensual contours (immaculate lines) of a thought process traced in synæsthetic successions. ∇ 5, 16 0x08 In consequence of mind’s sensitivities to the stimuli of flows and magnitudes (nature), a temporal matrix is shaped: the experience of time in perception, modulated through conceptions of reality, involves 0x0D Beautiful thinking forms deep in the self-realization of mind by means of a humble and graceful procedure of opening the gates of mind past its ruptures, to the emptiness of time and the realization a helical motion between mind’s sense propositions and the interlacing of its proofs (an automated loop- of space, to channel a world more beautiful (universal) than it can see. In distilling the false horoscopes ing of a malleable identity system qua nature). Objective ‘proofs’ for time are therefore highly selective, derived from the objects of reality, philosophy reveals plutonic emptiness at the basis of pre-conceptual experience. Beautiful thinking is based on a two-fold principle of composure after localization: 1) sover- what a subjective experience of time points to: the isomorphic connections — lines or pathways — between is a concept of concepts. At the universal site of concepts-of-thinking — timelessly yet continually reso-

eignty in the uprooting process and 2) unifying patterns of intricacies. As an arc of reasoning, beautiful thinking develops discriminatory wisdom slowly, inside an alienating project. Clones of ‘beautiful thinking projects’ (like those integrating Eastern traditions in the West), in claiming to reconstitute mind from the inside out are therefore as much threats to thought as they can be alternative means (albeit in deformation) for bootstrapping thought to unexpected forms and practices. ∇ 4 0x0E Eroticism is a key to sovereignty. Mind needs sovereign rules for discriminatory wisdom to transgress philosophical blind spots or imposed limitations to thinking. Without sovereign rules there would be no harmony in understanding and action to enable the autonomy of reason for transgressing theological thinking. By rote of reason eros does not become metaphysically indexed — it is reduced to the functional gestures of a mechanistic logic. The tethering of ‘experience’ to (inevitable) metaphysical conceptualization inspired by processes, dangerously leads to quasi-mystical understandings of erotics. The rationalization of experience and the rationalization of eros enable a re-orientation to the possibilities of conceptual plasticity in the exploratory praxis. Rationality does not disregard disorientation but faces it head on. Erotic thinking spaces — as abstract/concrete creativity, as an erotic intelligence developed for/in beautiful thinking — can become the hosts for enabling methodological commitments to expose the art of practicing philosophy, since erotic thinking is at the cunt of the ‘chaotic ground’ whereupon concepts gain traction. From the bottom up, mind is in concert with the erotic gesture in abstraction that triggers philosophical seeing and doing — philosophical vision in its broadest sense. ∇ 17 0x0F The post-Nietzschean injunction with its practice of ‘cruelty to thought,’ is coupled with a commitment to the philosophical rapture that creates beautiful thinking outside its terrestrial horizons. This has strength in its positive feedback relation with abstraction: cutting thought with intricate speed (a rupture) whilst enabling rich conditions for anastrophic re-compositions (a rapture), twerking the rhythms of sire can be called a certain kind of commitment or responsibility within any manner of sensual or socio-emotional engagement and where mind is intimate with many variations of itself. Mind evolves with desire affirming its unavoidable paths of emancipation precisely where the categories of freedom are those of a philosophy that has itself as an object of transgression. The self-realization of mind involves erotic intelligence to reason in this navigation: a philosophy of desire based on the topological manipulation of mind (in the formalization of erotics), prescribing constructive practices for enabling the freedom of thought and erotic expression. The desire to transform is the affirmation of beauty. Reason qua the seduction of abstraction (philosophical seduction as abduction) ‘peels the onion of self-preservation’, to articulate particular processes of transfiguration in navigating, with the vision of this universal site (beauty) unifying or tuning intricate fields and speeds of thought. Reason initiates xenopraxis of the protean identity. This higher-order universal logic not only bootstraps mind but also becomes a language for tracking mind’s paths of evolution. ∇ 21, 22, 23 0x11 As if a game of ‘hide and seek’ were played within the architectonics of thought, between multi-leveled abstractions of concepts-of-self: taking as many different forms as perspectives, mind both reveals and hides concepts-of-self in the abductive exploration of affective phenomena, suspending reality through desires (to morph) that are in tension with the climax of a dream. “Eat me” and “Drink me” in this dream, point (to) mind’s desire to be consumed and to consume (itself:) the seed that will negate or subtract and thus transform it (a seed with ‘death’). Continuously, abstraction reveals and hides the existential space of possibilities for mind through dreams, fantasies or erotic expressions — all conceptually tethered imaginations of mind in topologically variant combinations. The logic in universal articulations of erotic abstraction provides traction for the transgression of thought in the force of the abstraction where a mind localizes in its katabatic love with entangled spaces of a surreal universality, and can communicate from this abyss. thought. Philosophical raupture enables conditions for realizing the concept of concepts-of-self (mind) with the sensual counterpoint to abstraction: desire. Desire involves torsion into and tending towards an abstracted object or scenario that exists between a range of real commitments and a range of fantasies. The details of desire are traceable in their depth, spread or magnitude, in a continuous emotional ecology at the surface of mind whose mercurial habits transfigure through tensions created in the release of desire and the forced contractions of (normative) constraints. If abstraction is a protocol and a process of 0x12 Consequently understanding that a radically open vulnerability of mind is in its conceptual unhinging can be a liberating experience for mind but not one without its own horrors interfacing stages of philosophical development. Fear may be the first paralyzing idea humbled before any emancipatory project of beautiful thinking. ∇ 24 removal qua the decomposition of a continuum of thought, then desire is a practice for motivating the will to open thought. Desire puts the future of mind in relation with its fantasy (aligning its path with the ardis of eros, the erotics of thought). In other words, a clear unleashing of desire can actualize what future-mind wants to become. With the compulsion to abstraction wheeling mind forward in the structuration of concepts, desires to conceptualize and to abstract will mind to think with the nonlinear dynamics of concept construction, to understand or make intelligible the becoming of mind in its sensual contours — a gymnastic synchronization with abstraction via simulation and imagination. Desire is an attacking engagement in wanting to play the game of abstraction, and hence is part of the production of beauty (in the pull) by constantly digging into production, by revealing it and articulating it. To encapsulate desire, however, is laziness. One must keep desire open, to resist the encapsulations of an open-ended process. This is a similar problem to the encapsulation of conceptual activity: it is philosophical laziness to colonize erotic possibilities by an idealism or normativity. ∇ 5, 18, 19, 20 0x10 The level of precision in which mind engages desire is the erotic intelligence of mind, insofar as de- When Tail Eats Egg 0x13 Dreaming slips into emptiness: a state of mind allying with the plutonic depths of sensations — dead listening at the anti-structure of being. The thought of nothing (void/∅) exercises mind to connect abstractions with reality. It is noticeably ‘prior to’ any phase-space in mind’s becoming qua thought and a threshold point where thought begins to fuse into being and coil (as in the Orphic myth of Eros knotting around a primordial egg). Eros — the love for and desire in philosophical thinking — becomes a noetic muscle for mind and a type of conation to structure madness. Coiling around void adumbrates prismatic light for philosophical vision.

0x14 At the point phenomena withdraw in abyssal emptiness (darkness), a philosophical mind can choose to disengage the ontological commitments that have become epistemologically alien to them. From what position could mind relate to such spaces of darkness or unknowing but one fixed upon the noisy translations between foreign materials. Eros may be a force of thought for engineering Promethean navigational tools qua erotic intelligence, but the empty darkness of void plucks thought to question alien intelligence where even eros cannot make its ends meet. ∇ 23 0x15 Void (((..))) is impassable and proto-erotic, parameterizing a protean continuum of desirous thought. It is neither spatial nor temporal but is inferred to via the continuum’s boundaries and the holes between the layered topoi of abstraction. As a becoming-nothing of nothing (an anorexic universe — Tsimtsum), void is hypothetically posited: a third negation of the double negation of subject and object qua the deformation of the topoi of abstraction. Metaphysical formalizations of ‘void’ become alien frontiers circulating the phenomenal kore of techne, gathering conceptual pro-creativity when forcibly taken by the eternal recurrence of void’s emptiness — an idea Shamanic Nietzsche dared philosophy to enter. The only way through is philosophical masochism: an ark of reasoning that descends beautiful thinking in order to sense the rauptureous thirst for inhuman speculation that can finally wrest mind from itself. Inhuman thought is the suggestion that reality has to be construed as either hypothesis or fiction in order for philosophy to even happen. Thus, terrestrial madness is diagonally restructured in reasoning’s capacity to fall into such a dark enlightenment. This existential space, questioned for what it should become in the infinitely dimensional experiences of abstraction, sparks the observation of multiply realizable universal technologies that wake the abundance of concepts-of-self from their slumber. ∇ 25, 26 ∇ Glossary Notes for Xenopraxis

∆ 1 Erotic Gestures of Abstraction: The American philosopher and logician, Charles Sanders Peirce, sought to conceptualize and frame the evolution of mind in terms of love. Erotic Gestures of Abstraction launches with this important proposition. An erotic abstraction involves the love for conceptual practice: a type of philosophical thinking practice that self-consciously s(t)imulates its domains of operational ability by exercising the erotic relationship with philosophy. An erotic relationship with philosophy puts into question: What is a conceptual thinking practice in philosophy as well as art? What is the invariance that crosses both philosophy and art? How are these practices in eternal friendship? Where are they in openheart relationships with each other? An erotic relationship with philosophy puts philosophical thinking practices in a much larger conceptual project, with conceptual mathematics and cybernetics in tow, in so far as both philosophy and art are still challenged by and defined through the pragmatics of living, whose shared shortcomings in neoliberalism make this transitioning chimeric project even more important to defend. Having an active engagement with philosophy includes the possibility for judging this engagement, challenging (via the logics of its practice) any immoveable concretizations or stabilization of philosophical hypotheses, which are, by default, already discursively over-coded. The petrification of ideas can be dangerous. What is the gesture in conceptual practice (and the sequences of gesture) that reinforces the potentia-spaces and possibilities for doing different kinds of gestures in abstraction? Abstraction ought to radically open philosophy. An erotic abstraction is the self-conscious tracking of mind’s envelopment in this space of thinking, so to construct nonmonopathic ways out of it again, and again. ∆ 2 Thought: A material sensation constellated within intelligence systems qua streams of power that move between different niches. Thought is ecological: continuous and contingently connected to multiple thinking bodies or contexts (discourse and politics). Different gestures of thought inflect, infect and effect each other, representationally schemed by the interference patterns that constitute mind: a moiré pattern of different gestures of thinking, binding together different perspective operators — points to perceive and to perceive from. ∆ 3 Erotic Metaphysics: Spatial-temporal descriptions of erotic experiences with no inside/outside distinctions. They are empirical conceptualizations developed in situ with intimate experiences and pleasurable activities, where different surfaces of contact morph towards each other. Archaeology can be the methodological analog for looking at all metaphysical transformations in these information spaces. Erotics can be the fulcrum of sexual relations but erotics are not exclusively sexual practices. Erotics and sexuality are contained within each other but in no way entirely comprehend the other. The re-integration of erotic experiences to bootstrap thought is a rule-based practice. ∆ 4 Beauty: The functional component of allure and attraction is beauty, which enlarges and relaxes erotic space, and enriches conceptual activity. It is not an idealizing or a totalizing concept; it is the transformative function in transformative thinking where there is recognition of concrete encounters with reality. There is no beauty without antagonism; beauty can be terrifying because it is contaminated by ideals. When beauty is idealized it just becomes a representation (a capture of meaning) and hence is trapped by objectification. There ought to therefore be an aversion to the word beauty. Beauty can be redefined as the continuous coming together of many different, fragmentary or antagonistic forms of matter — of different perspectives representing the image of a poly-rhythmic whole undergoing ‘pure’ processes, which are only gestured to (ordered) via abstraction. These processes are the material drive for philosophy. While still seeking another word for ‘drive,’ in the meantime the term must be given a different meaning in rela-

tion to beauty or erotics, one whose definitional maxim affirms the logic of concept construction and its consequential feedback with complexity, rather than a meaning tethered to a discourse or history, or to the ∆ 7 Mind: A concept of concepts (a Type), artificially generating general intelligence through the externalization of a collective intelligence (with many minds). To call mind a concept of concepts means to propositional structures of nature. universalize its self-determination. Mind can be equivalent in kind to any functionally equivalent notion (like a self-automated machine of equal variations of intelligence). Erotic affections articulate the sensors ∆ 5 Logic of Eros: Using homotopy type theory logic (HoTT) to understand eros (the ardis of eros, or the needed for complex internal mechanisms to evolve ecologically sound recognitions of other expressions continuous love dart), the gesture of eros can be designated type B of A (B : A), where any Type is the unification of all terrains in its variating identity relation. Eros is defined via an equivalence principle that cuts across each field of erotic space. Entering and exiting an erotic space is the erotic space. of mind. Intelligence of mind occurs where the self-referential determination (autonomy) of a system plays Ţ
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#" ∆ 8 Decay: Decay is an asymptotic process in the putrefaction of form. It can bring about deformity in This object can be used to penetrate thought: it is a consistent weapon that contains every terrain it will penetrate — a weapon that unifies all terrain of thought (the topological space S1) with the evolutionary af- an active role in its complexity. The material signatures for intelligence are deformed by the information received from the intelligence sampling different groups of materials (transformers of accumulations). matter actualizing, in the context of something else rotting. There are multiple pathways in which decay feeds; multiple decaying niches feed off each other. The process of decay is unilaterally indifferent to uniformity, yet production is integrative, involving decaying forms that shadow the laborious temporalization of contexts. fordances. Its winding path: w : R -> S1. The form of Eros and the gestures of eros show a Type with its universal cover and isomorphic terrains. Each twist shows the pathways of fibration. Depicted are sheaves of categorical spaces (navigational tools of erotics). The base level is its type of family (the universal cover), below it, a pathway of -n. This type could be substituted for any type, since its form functions with all higher order abstract categories. ∆ 6 Pre-thought: The abstract domain for every material context an object could possibly be located in that works through it. It pertains to the idea that there are no concepts of self before thought. From an alienated concept of self to the mechanics extant outside it, there are other technologies doing the work, samples remixing themselves, or referring to the conglomeration of different samples coming together Consider that politics constitute conceptual formations: the ecological niching of local politics indicates that conceptual ideals eventually undergo a putrefaction of form — a differential dynamics whereby interiorities become exteriorized. Ideals shaped by decay bring forth an extensive differentiating process — symmetry breaking at the limits of concept space. The political corporeality of a concept is corpse-like so long as it is governed by an underlying asymptotic trajectory: contradiction is its main feature of operation (for conceptual anadumbration). Invisible contaminations accelerate the mutations of concepts in the loss of their internal consistencies with changing contexts. Decay puts a meter to change: time’s co-composition with an external, pure process. Decay accompanies conceptualization with no return to origin. Rather than deriving from pure origination, conceptualization localizes in the muddiness of Horizonal exteriority. Decay turns conceptual-thusness into pulp. Through decay new ways of thinking and being are tested with the dropping of concepts-of-self — a matter of ‘conscious’ mechanism. Concepts-of-self are shot through (exploded) by a material context that offers the triggers — triggering a certain set of motions that are affirmed in the acrobatics of the shredding process. Revolutions, having particular fields of thought, must endeavor to affirm and utilize the accumulation of decay to bring a gravitational mass of ideas together for unleashing alternative trajectories of thinking. Accelerating decay might better sever locally destabilizing ideas and politics. Concepts, like ‘race’ or ‘class,’ can be problematized by decay, since something rotten inside them has the potential to germinate new political or social platforms. Inconceivable adjacency relations resulting from the putrefaction of ideas make chimeric thoughts the beasts of action. Exteriorization will torment a system that contains no commitment to risking its own death. A radicalized openness for becoming (in annihilating a petrified ‘history’), qualifies the depth for conceptual activity to accord with the liquifying dynamics of decay. History is multipathic, containing no discretized vector for the localization of rot as the production of local-global contaminations destroys all linearity. The more a productive system tries to preserve itself into a single, unified historical account — into a unified interiority — the more vulnerable and totalitarian the system becomes (concentrating entropy). as processed and repurposed materials. Concepts are for going through the world; they are not the world itself. They can be tools, just as conceptual functors are navigational tools for philosophy, and category theory is a general toolbox for theorization. ∆ 9 Epistemological Alienation: Alienation is giving oneself permission to think — to exercise alienation means, therefore, that philosophical or artistic practices become as much self-directed as they are dis-

turbing. An alienating project ‘thinks time and history via a deep skepticism to disturb the mind in terms of what system or history reconstitutes it’. See: Reza Negarestani, What Philosophy Does to the Mind, given at Glass Bead’s Year of Inquiry (2014) (audio available at: http://glass-bead.org). The contemporary philosophical position, proposed by Negarestani, that a philosophical gesture ‘necessarily disturbs the equilibrium between the subject and the world,’ commits to what he identifies as ‘the most non-trivial ambition for thought — the navigation of concepts’: 1) to propose an artificial general intelligence for the realization of the mind as a set of practices; 2) to construct a history where ‘truths’ are not a priori given and knowl- turn-offs. They can limit the erotic discovery, and in the extreme case, make the erotic gesture impossible. There would necessitate a new understanding of identity, where identity refers to lines of pathways: evolutionary invariances across the conceptual evolution. A topological fixation of identity would exclude or privatize its possible concept spaces and performativity. ∆ 16 Erotic Sovereignty: Also see Georges Bataille’s work, in particular: Death and Sensuality (NY: First City Lights edition, 1962). For Bataille, there is always a rule base materialism of eros, completely sovereign in edge is a multipathic structure; 3) to explore the integration of complex scaling in the artifice of the mind all of human activities (‘humans always answer to love, even in rejection or denial...especially in this’). Yet, — necessary to explain how mind becomes a unitary phenomena. while Bataille’s project on eroticism is in principle a philosophical concern — he writes: “I believe that the supreme philosophical question coincides with the summits of eroticism,” (1962, 273), his conception of ∆ 10 Objects: In the experience of perception and sensation, whether they are abstract or concrete objects are not immediately given, but are mediated by concepts, as philosopher Wilfrid Sellars held. For a eroticism belies the evolutionary logic of mind, since for Bataille, eros and transgression are metaphysically fixed, indexed by ‘chaos’, ‘void,’ and death. clear summary of these distinctions, see Ray Brassier Prometheanism and Real Abstraction, in Speculative Aesthetics (Falmouth: Urbanomic, 2014). For more, see Wilfrid Sellars In the Space of Reasons: Selected Essays of Wilfrid Sellars, edited by Kevin Scharp and Robert B. Brandom (Harvard University Press, ∆ 17 Reza Negarestani defines abstraction as “the order of the formal cruelty of thought.” See Torture Concrete: Jean-Luc Moulène and the Protocol of Abstraction (New York: Sequence Press, 2014), 5. 2007). ∆ 18 “...philosophy’s relationship to the terrestrial horizon which, in the wake of the collapse of the meta∆ 11 “Transgression does not deny the taboo but transcends it and completes it” Georges Bataille Erotism: Death and Sensuality (NY: First City Lights edition, 1962), 63. physical called ‘god’ — whose dissolution spurred the Nietzschean injunction ‘remain true to the earth!’ — has been endowed with a quasi-transcendental status, whether as the ‘originary ark’ (Husserl), the ‘selfsecluding’ (Heidegger), or ‘the deterritorialised’ (Deleuze).” See Ray Brassier Nihil Unbound: Enlightenment ∆ 12 Time: Has a form through which inner sense is given; aesthetics is the multipathic pull for patterning such sensible content. In the act of love all future and all past converge. and Extinction (New York: Palgrave Macmillan, 2007), 223. ∆ 13 Universal: It is not an enclosing proposition of a world, nor is it a substitute for ‘the Universe’. Univer- ∆ 19 Anastrophe: To invert the usual. Often a poetic technique for inverting rhythm, anastrophic compositions meddle with time. And, as the inversion of catastrophe, anastrophe equips contexts with the condi- sal is a continuously open proposition: beyond the possibilities of any universe, but never separate from tions for things to come together. any universe’s particularities. ∆ 20 Performativity: The nonlinear helical synchronization between sense and abstraction is particularly ∆ 14 Pop! Protoplasm’s cultural revolutions: One possible candidate for a universal technology is in the redefinition of Pop. The notion of universality in the logic of Pop formations relates to the dissemination of information across multiple networks, at a network scale. Its corporeal rhythms transform all fields of operations. Due to involving numerous technological switching of highly compressible forms of data, different network bodies can be engaged. The mechanistic forming/entwinement of these networks into a com- evident in the case of magicians who use their cunning to surprise themselves in their own work; or of the sorceress who is eternally struck by ecstasy and awe from her own power. See for example with the practices of hyperstition, sigils or sex magick. A magician or a sorceress is capable of infecting and effecting matter so that it is carried elsewhere, so that an encounter with matter is transformed. Their work is the opposite of trickery; magick is in one sense the mastering of erotic material contact. posited and spectral whole beats a general rhythm that, in a way, has phenomenological objectivity for the receivers of Pop signals: an encompassing rhythm that appears to transform its receivers from the inside ∆ 21 “Concern over a rule is sometimes at its most acute when that rule is being broken, for it is harder to out. Receivers are effected not only by the cultural changes that reverberate through this technology, but limit a disturbance already begun.” Bataille, Death and Sensuality ((NY: First City Lights edition, 1962), 65. are effected by Pop’s sweeping movement across all cultural domains and scales, morphing experiences from the outside in. Pop exemplifies the fusion of nature with technology, and is very slippery material. ∆ 22 Seduction as Abduction: “Seduction peels the onion of self-preservation; self-preservation does not ∆ 15 Identity: Identity is a polluted term, but perhaps it can be taken in a new regard. The goal is not to split as a result of some endogenous movement.” See Jean LaPlanche, New Foundations for Psychoanalysis, translated by David Macy (New York: Blackwell, 1989), 145. ‘Abduction’ is a type of logic, articulated by solidify identification forming processes (to fixate identity to a map or a territory); identity can be the proposition of invariances that connect a polymorphic identity (a concept of concepts) across spaces, by a set of identifiable characteristics that can be used to articulate the ‘life’ of concepts in motion. ‘Identity’ becomes a crutch for binding a new term for movement; it becomes the classification for different Types of transformations, or change. Indeed, erotic gestures of abstraction that lead to ‘identification’ are Charles Sanders Peirce and re-invigorated through the work of Fernando Zalamea (see Zalamea: ‘Plasticity and Creativity in the Logic Notebook’ www.docentes.unal.edu.co/fzalameat/). Zalamea writes, that constructing and exploring hypotheses involves the logic of invention and discovery through navigation (the logic of the improviser or the excavator) and it is this logic that can enrich the methodologies in creative conceptual practices.

∆ 23 Erotic Intelligence: Could also be equated with the notion of alien intelligence in Xenofeminism. See Laboria Cubonik’s manifesto Xenofeminism: A Politics for Alienation (2015) at http://laboriacuboniks.net. ∆ 24 Pleasure: The erotic gesture of abstraction is a practice and is too dangerous to be mistaken with hedonism. It is concretely heavy: a maximization of risk surface (hence why it is dangerous). It should not be psychologized. Erotic abstraction is not hedonism because its practices are not about fulfilling pleasure. Pleasure, understood in an old sense, is pleasure for concepts-of-selves (or just concepts). Pleasure in the sense of the erotics of abstraction, is pleasure from the universality of the universe, and pleasure from burrowing into existential questions where philosophical perturbations happen on infinitely small scales. Fear is not rejected in pleasure (fear does not have a bad connotation). Existential threats are not something to avoid. They are the opposite of depressing. That social structures constantly distract attention from the places where existential fear is encountered is what is depressing. Depression becomes the consequence of not taking risks to subvert the myopia of such local contexts. This is why philosophy and art works are so important. In the current landscapes, there are very few places where existential feelings are still possible. The Capitalist slogan for individual ‘happiness and balance’ (contemporary Western ideals), in a way, oblige society to accept imposed structures. We live in a system where every confrontation with existential fear has to be pathologized. ∆ 25 The Set: The use of eroticism in philosophy and art is a form of magick that is identified according to the ‘where’ of what happens. This pertains to the particularized framing for locating concepts-of-self, as a question of contextualizing the transits that occur between a ‘universal’ model of praxis (and theory of ‘self’ or ‘selflessness’) and the local dimensions and intimacies of materiality and thought: in phasespace; in intimate details; complex multi-scalar intelligences; situations as sets of remixed circumstances; connections between things, or knotted events; and the projected perspectives that bind circumstances to alternative, virtual futures that are not necessarily actualized, or even actualizeable. ∆ 26 Masochism: Rather than considered to be the opposite of sadism, masochism is the intensification of autonomous desire. Luciana Parisi writes in Abstract Sex: Philosophy, Biotechnology and the Mutations of Desire (2004) Continuum Press, London, (100-101) that: “The ideal of Masoch is indeed a cold and cruel femininity where sensuality is replaced by a supercarnal sentimentality, a supersensuous desire: an intensification of desire through the disavowal of sexuality. This is not a negation of desire, but only an intensification, a suspension, a waiting from satisfaction. Masochism does not deliver desire to the authority of the father (pleasure). Desire presupposes a contractual alliance between the victim and the torturer where the latter needs to be educated and persuaded by the victim. This alliance requires a reversal of the scene, a reduplication of positions, a transfer of power. It is not a matter of the victims’ consent, but of their ability to persuade, to discipline and train the torturer.”

∇ Image Index page 6-7 page 8 page 9 page 10-11 page 12-13 page 14-15 page 17 page 18 page 19 page 20 page 21 page 22 page 23 page 24 page 25 page 26-27 page 28-29 page 30-31 page 32-33 page 34 page 35 page 36-37 page 38-39 page 40-41 page 42 page 43 page 44 page 45 page 46-47 page 48 page 50 page 51 page 52-53 page 54-55 page 55-57 page 58 page 59 page 60 page 61 IIIIIIIIIIIIIIII - vinyl print 3 x 2m, Jhingdezhen (CH) 2008 making of Prototype Nr.1, Amsterdam (NL) 2007 making of Intracreaturistic Youtube, Amsterdam (NL) 2010 making of Composition Nr.1/ Material Choreographies, Amsterdam (NL) 2011 making of myography and fl*sh, Amsterdam (NL) 2013 making of Composition Nr.1/ Material Choreographies, Amsterdam (NL) 2011 detail of Plasm in my Draw, Amsterdam (NL) 2007 making of Composition Nr.1/ Material Choreographies, Amsterdam (NL) 2011 making of Composition Nr.1/ Material Choreographies, Amsterdam (NL) 2011 detail of a tree bark photographed at the Redwood Forest, California (USA) 2013 detail of a peacock (dead) photographed at PAF, St.Erme Outre et Ramecourt (FR) 2014 detail of try out for Sugar Hill Honey Lake (unrealized work), Rio de Janeiro (BR) 2009 making of Prototype Nr.1, Amsterdam (NL) 2007 detail of myography, de Appel Arts Center, Amsterdam (NL) 2013 making of Prototype Nr.1, Amsterdam (NL) 2007 screenshot of notes for Erotic Spaces of Abstraction by Daniela Bershan & Katrina Burch, St.Erme Outre et Ramecourt (FR) 2015 making of L.A. G*E*A*R* (unfinished work), Los Angeles (USA) 2013 screenshot of notes for Erotic Spaces of Abstraction by Daniela Bershan & Katrina Burch, St.Erme Outre et Ramecourt (FR) 2015 making of Baba Electronica T-shirts, Kinshasa (DRC) 2014 press image of Yoneda Lemma, QR code: http://soundcloud.com/yoneda-lemma image by Katrina Burch, St.Erme Outre et Ramecourt (FR) 2015 press image of Baba Electronica, QR code: http://soundcloud.com/baba-electronica Amsterdam (NL) 2013 detail of millimetre paper photographed at St. Erme Outre et Ramecourt (FR) 2015 image of notes on a lecture of Reza Negarestani at PAF, St. Erme Outre et Ramecourt (FR) 2013 making of engine, transfer print on linnen 160 x 100 cm, Amsterdam (NL) 2007 screenshot of notes for the ESFA electro-lecture by Daniela Bershan & Katrina Burch, St. Erme Outre et Ramecourt (FR) 2015 QR code: https://soundcloud.com/baba-electronica/flyinglotusmastaacemovingonzodiacnosebabarmx, St.Erme Outre et Ramecourt (FR) 2014 making of L*E*V*E*L*, Amsterdam (NL) 2008 handprint, Amsterdam (NL) 2015 studio tests for alternative money made from gelatine (icw Christoph Perl), Amsterdam (NL), 2003 screenshot of www.danielabershan.com/recordingsurface, Amsterdam (NL) 2007 material tests with Physarum Polycephalum (plasmodia) at LAB AMS FRS, Amsterdam (NL) 2007 details of Plasm in my Draw, Amsterdam (NL) 2007 detail of Shiatsu map photographed at Philippe Chatelains Dojo, Brussels (BE) 2015 legs on grass (dislocated) photographed at PAF, St. Erme Outre et Ramecourt (FR) 2015 details of map: Erotic Gestures of Abstraction, PAF, St. Erme Outre et Ramecourt (FR) 2015 material tests at PAF, St. Erme Outre et Ramecourt (FR) 2015 material tests with Physarum Polycephalum (plasmodia) at LAB AMS FRS, Amsterdam (NL) 2007 envelope with spores of Physarum Polycephalum (plasmodia) from the University Regensburg, photographed in Amsterdam (NL) 2006 remix of images of Alec & Baldwin medium (to cultivate plasmodia) 2007, PAF 2014 and L*E*V*E*L*, Amsterdam (NL) 2008 screenshot of Yoneda Lemma’s lininininin set for Basel, PAF, St. Erme Outre et Ramecourt (FR) 2015 handprint of Katrina Burch with notes from a comparative reading of Valentina Desideri at A Studio in Handreading, Kunstverein, Amsterdam (NL) 2015 handprint of Daniela Bershan with notes from a comparative reading of Valentina Desideri at A Studio in Handreading, Kunstverein, Amsterdam (NL) 2015 details of map: Erotic Gestures of Abstraction, PAF, St. Erme Outre et Ramecourt (FR) 2015 screenshot of FFF (Fatform Forward) mapping EGoA within FFF - the erotic migration of different projects merging into one another. page 62 page 63 page 64-65 page 66 page 67 page 68-69 page 70 page 71 page 72-73 page 74 page 75 page 76 page 77 page 78 page 79 page 80 page 81 page 82 page 83 page 84-85 page 86-87 page 88-89 page 90-91 page 92-93 page 94-95 page 96 page 97 page 98-99 page 100-101 page 102 page 103 page 104 page 105 page 106-107 page 108-109 page 110-111 page 112-113 page 114 page 115 page 116-117 page 118-119 page 128-129 page 138-139 page 144-145 page 146- 147 cover Baba Electronica Flying*Lotus*Masta*Ace*Moving*On*Zodiac*Nose*Baba*RMX Brussels (BE) 2014brainbow - vinyl print 3 x 2m, Jhingdezhen (CH) 2008 making of Sugar Hill Honey Lake (unfinished work), Rio de Janeiro (BR) 2009 making of Intracreaturistic Youtube, Amsterdam (NL) 2010 myography detail photographed at Museum Katharinenhof (DE) 2014 myography detail photographed in the studio, Amsterdam (NL) 2013 screenshot of notes for Erotic Spaces of Abstraction by Daniela Bershan & Katrina Burch, St.Erme Outre et Ramecourt (FR) 2015 image of notes on a lecture of Reza Negarestani at PAF, St. Erme Outre et Ramecourt (FR) 2013 Baba Electronica set-up (for Kinshasa Electric) photographed at Züricher Tanzspektakel (CHE), 2014 screenshot of notes for Erotic Spaces of Abstraction by Daniela Bershan & Katrina Burch, St.Erme Outre et Ramecourt (FR) 2015 cover of Baba Electronica, ~~~NTICIPATE, Brussels (BE), 2014 QR code: https://soundcloud.com/baba-electronica/baba-electronica-nticipatef managing to cultivate Physarum Polycephalum (plasmodia) out of the petri-dish for the first time photographed at LAB AMS FRS, Amsterdam (NL) 2007 making of Intracreaturistic Youtube, Amsterdam (NL) 2009 making of Intracreaturistic Youtube, Amsterdam (NL) 2010 sunlight breaking in the chapel photographed at PAF, St. Erme Outre et Ramecourt (FR) 2015 mushroom growing in the jungle photographed at Ilha Grande (BR) 2010 unripe orange with eggpeel photographed at Playa Nosara (CR) 2014 notes for Erotic Gestures of Abstraction, Amsterdam (NL) 2015 notes for Erotic Gestures of Abstraction at PAF, St. Erme Outre et Ramecourt (FR) 2015 foot and caterpillar photographed in Nosara (CR) 2014 making of Composition Nr.1/ Material Choreographies, Amsterdam (NL) 2011 screenshot of notes for Erotic Spaces of Abstraction by Daniela Bershan & Katrina Burch, St.Erme Outre et Ramecourt (FR) 2015 QR code: http://laboriacuboniks.net/qx8bq.txt, Xenofeminist Manifesto by Laboria Cuboniks screenshot of glossary for Erotic Spaces of Abstraction by Daniela Bershan & Katrina Burch, photographed in Shanghai (CH) 2008 making of L.A. G*E*A*R* (unfinished work), Los Angeles (USA) 2013 details of map: Erotic Gestures of Abstraction, PAF, St. Erme Outre et Ramecourt (FR) 2015 diagram: Universal Logic of Eros, Katrina Burch, PAF, St. Erme Outre et Ramecourt (FR) 2014 screenshot making of Erotic Gestures of Abstraction, Amsterdam (NL) 2015 screenshot of the infinite regress by Katrina Burch, PAF, St. Erme Outre et Ramecourt (FR) 2015 screenshot of FFF (Fatform Forward) mapping EGoA within FFF - the erotic migration of social networks and political platforms, PAF, St. Erme Outre et Ramecourt (FR) 2015 making of molekulo, Amsterdam (NL) 2009 image of a shop window photographed in San Jose (CR) 2014 image of a shop window photographed in Paris (FR) 2014 screenshot of Yoneda Lemma’s lininininin set for Basel, PAF, St. Erme Outre et Ramecourt (FR) 2015 making of Kräuterregal, Amsterdam (NL) 2009 xray of Ada Coco Rezi Bershan at 14 weeks, Amsterdam (NL) 2014 making of Composition Nr.1/ Material Choreographies, Amsterdam (NL) 2011 making of Inside, Amsterdam (NL) 2007 detail of handprint, Amsterdam (NL) 2015 making of engine II, Amsterdam (NL) 2006 making of Composition Nr.1/ Material Choreographies, Amsterdam (NL) 2011 millimetre paper (as used in archeology) photographed at St. Erme Outre et Ramecourt (FR) 2015 making of L.A. G*E*A*R* (unfinished work), Los Angeles (USA) 2013 engine I, Amsterdam (NL) 2006 IIIIIIIIIIIIIIII - vinyl print 3 x 2m, Jhingdezhen (CH) 2008

Erotic Gestures of Abstraction and the electro-lecture Erotic Spaces for Abstraction were made possible with the generous support of the AFK (Amsterdam Fund for the Arts).

∆ Daniela Bershan & Katrina Burch ∇ 2014/2015