martha rosler on Sun, 5 May 2019 23:53:18 +0200 (CEST)

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Re: <nettime> Studio-Office

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 <> wrote:

Notice: This project is blocked at Santa Fe after 'positive affirmation' from Argentina and Portugal.

Kundera: pls "interfere" at business English.
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:


After consideration that there may be a problem to reverse, the last point is the wave, onto paper into waste and dye to begin.

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