about scheme 2020 1


* The spacings betwwen the characters in the term – S e n s e – represent its non|sensical inherent cuts (factual and ontological).

** The movement of the Art Object (of the artistic and aesthetical object in the artistic project –not just displacement: change and dynamic of space, of time, of rythm, of nature; neutralizing of Sense and meaning–) to the Nonsense co-presence in the Open Project (art + non artistic –natural phenomenas / non-ontology–), makes possible the –Splitting: of the object of desire, of the object of representation and of the agency of the subject-object / the Dissociation of the subject's (existential void-trauma expiation) Self-projection/symbolical trascendence, and of his/its identification, and of the cultural-historical performative transformation of the reality and territorialization. All these splittings provide a suprasubjective position for the observation of the –structures of unconsciousness, subconsciousness and consciousness–, the splitting of the aesthetic negativity and of the desire negativity or compulsive desire spiral (Will to Power), the splitting of the positivity of the empir(e)ical (observation) or of the Sensical and ontological devices (Digital ressentiment of the hypermodern sensibility of the ‘last will: “will nothingness rather than not will at all” the essence of completed nihilism, surplus positivist), and the splitting of the artistic project functionality. These movements and splittings aim a preliminary and discontinuous neutralizing interval of the autonomous-symbolic production and of the sovereignity of Art –by its critique challenge to the rest of the discurses–(being so, always subordinated to the ontological, to the causality and functionality of Sense –and its inherent non-senses–), reaching the suprasubjetive contact mode for a co/real co-presence between the Sense (Splitting of its transimmanence, subjectivity, intentionality or its infinite deferrall) and the objectivity and undecidability of the Nonsense (without agency of Sense –configuratively discontinuous due to the interpretations of the inter-subjectivity– and without anthropocentric performativity). Thus, the artistic discontinuity –which interval cuts- the Art Object through that natural and external Nonsense–, enable an ‘Open Work’ (the unfinished) in con-tact with the Nonsense, not to be just anthropologically (viewer/author) completed, but where the Sense of the Being [neutralized its Will to Power (values) in the instinctive will to will (but assuming the natural discontinuity of life and possible multiverse) through the cut of the Ego negative reflection /symbolical trauma emancipation] and the Nonsense, are liberated and not mediated to generate free co-agency and an existence of Open present-Free present (non-chronomorfic time / non-capacity / non-production / non-demonstration). This splitting-off neutralizes respectively the different paths and layers of ‘differance’ freeing the Art Object in an Open Project [tra(n)sprojectual, beyond the project of the subject or his anthropic action or Faktizität, post-project beyond the postmodern and referential, reflexive or trascendental project] –where the Sense can be re-activated with a balanced instinctive will –pulsion–/+ desire, for a free subject: objective, subjective and presubjectively.




Now we may be at a new turning point, a radical change in what we accept as a legitimate foundation for a physical theory
Steven Weinberg. Living in the multiverse.


What this reflection on the Sense of the World has allowed one to understand and sense is in the end the consubstantiality or the co-ex-istence of sense and the world. Still, if the world, therefore, and its share of one and order, must be addressed again and consequently abandoned ("There is no longer any world: no longer a mundus, a cosmos"), perhaps the very idea of sense must be renewed.
Jean-Luc Nancy. What's These Worlds Coming To ?



Art discontinuity

I am a research-based artist working Situated Art Practices and the Art Project of monitoring Scientific and Aesthetic- Philosophic research, for the co-presence of the Sense production with the Natural Free Non|sense. The aspiration to The Free for the Sense, through-out the Art discontinuity given by the incidence of the exempt to the Sensical. Investigating how the Real Other –Free [and Exo-] Nature–, enables a non-subjective degree of experience that the investigation of the Sense experiment to release its very ontological paradigm of Autonomy toward the realm of Reason. Which entails being dis(-)posed, in coherence, to be applied of its own 'aesthetic sovereignty' –subverting, in this case, also the rule of its reflexive/projective Sense and the over-production of (hiper-)subjectivity. Do not holding Power, but emancipation even of One-self– by Other disjunction form of aesthetic experience of negativity to itself due to its exposition to the co-presence of the undecidable 1.

The possible from the current scientific conjecture of the –multiverse– and its impact on Philosophy and Aesthetics. ‘Struction’ of Sense. The change of philosophical-aesthetic paradigm in the Philosopher Jean-Luc Nancy and the Astrophysicist Aurélien Barrau; that today redefines the limitation for the projection of –particular– Sense to the Uni-versal in function of the [quasi-confirmed] existence of the Multiverse. Follow-up projects to the current Gravitational Age of the Multiverse. To experience how [the opened] Sense changes once re-activated after its exposition to the cut- intervals before the unobservable entities. Break(out) in the aesthetic appeal, the neural network reflexivity and the imaginal systems through undecidable (and the unfathomable) Free ontic and live phenomena. Study of quantum multidimensionality, Dark Matter-Energy, Gravity, Spacetime torsion, sense and feelings... In a similar form that Philosophy of Science contributes to Physics when dealing with the 'status of unobservable entities', being of interest for the trials of the experimental artistic research.

As one more among all the factors wich are considered of the particular Being in its reality and symbolical construction before the multiversal Other[s], the use of different disciplines, artistic techniques and the sensible instrumentalization of art objects and of the agents collaborations (who expose their presences, even putting at risk their process) are met in my work [Sculpture, Film, Video, Sound, Photography, Situations, Installation, ephemeral Land-scape interventions, -departing from geo-physical limits-, climatic or astrophysical events. Performance, Writings 2], the Artistic research [inclusive the art Workshops as paradiscipline, the Curatorial, the Museological / exhibitional, conferences, encounters, programmes, academic investigation, etc.], and the techno-logical means; are addressed and interrogated, including the calls for the collective co-participation in constructed and live art situations of Aesthetic-Subjects [active/'passive'/passerbies] Social-Self, artists, science experts - researchers, technicians, friends, love, animals... with their mediation and live process in the natural environment and their networked connections and relationships in the biosemiotic and in the Semiosphere realm and context –Umwelt–.
Trans-it: from the transdisciplinary, from the postconceptual, from the non-representational, further of the phenomenical art. ; to a post-performative and post-agency: Tra(n)S-project [with a gap in the n infinite deferral of Sense]. After the cut in the particular projection of the anthropocentric uni-versal Sense/Will. After the disciplining to a experimental 'post- disciplinary'.
The artistic/aesthetic objects here, for the most part, do not constitutes, per se, a final or an 'Open Art Work', they switch to cross-disciplinary art objects practiced in art projects –with different phases, many of them ongoing projects– to research the potential meanwhile the artistic-Objects and the aesthetic-Subjects (who don't complete the Work –in external process of cut open–) entails the questions for the Art project research, when those are exposed to the flux of the Raw, Natural [ab]Straction / [S]truction of Sense, to the indomitable Wild, non disciplining.

Seeking to overcome the ontological proposition of the ‘[post]-conceptual’ term: the artistic ‘Freed Time’ production, – opposed to the free-time designated by economy (material, immaterial) and politic power–. It is experienced from the questioning of the art project, in its transcendental-reflexive relationship with the Real, in the experimental Research of an non-subjective [Non|sensical, non-interpretative, non-subjection] cut-interval. Not only relative to the time of the Capital ‘objective’ productivity, measures, marks – signals, values; but also moving further in the question of the approach of the Symbolic Time Canon. The possibility of a break to the invocative / evocative –from the Symbolic autonomy–indications proposal for alternative (apparently) particular deliberations and decisions. The Real Free aspiration, trough the co-presence of the Nature unconditional discontinuity to the subjective-interpretative condition /symbolical category /author-ity–, to the paradoxical auto-affirmation and to the recursive legitimation versus reason (as convenience) of the Sense 'infinite deferral' – Aesthetic negativity / Art sovereignty

1 Beyond the undecidability that Gödel's mathematical incompleteness theorem describes / and overcoming the indefinite undecidability interpretation by the infinitely deferral of Sense. The undecidability of the physical and phenomenic Real, including the nature of the immanent Sense processed in the neural network.

2 Examining the configurative discontinuities, that I apply to the art object from the aesthetic definitions. Configurative Discontinuity of type 1 (T. Adorno) –the aesthetic negativity, infinite interpretation of the Sense according to the variable articulation of the internal parts / signs providing distinct significance depending of their order in the discourses / applied to the art object: the symbolic formal artistic composition; Configurative discontinuity of Type 2 (J. Derrida) –Strategic: Different interpretations depending on the intentional strategies from which is proposed one discourse or another./ In the art object: the artistic and aesthetical estrategies for the production, proposal and articulation for the interested reception of Sense.