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LKI/UCUM/COGSE/- Zeplz L0/01-001 5886-04-01 [daft0.i]PP!0!.FQ1.a.

.Party.Poltics.!0!.{Draft of chapter ONe) try and find some old notes. otherwise.
.Party.Poltics.!0!.|editionl_FirstQuarter2013.#a\_ the serialized representation of the themes integral to the milieu. well, being presented in the form of chapter-like aphorisms. Aphorisms, why? for i fully believe that each one is no more important or less apart of or of value in regards to another point. Furthermore, i feel there is no real definitive way to apply a systematic chronological order in which to present them. Each will often aid or be a major part of the performance of any other. thus, taken as as a collection, they build a kind of ethos, a constellation of a edict, a system from which one can navigate the milieu. There is no path to completely aware of all aspects all at once, nor is there a correct way, these, general guidelines and descriptions are only to provide illumination onto a very small yet often universally applicable edict, decorum, and concept of this space-mullie-time. -which you wish to navigate. Thus, to know where the primary aspects of what one seeks to engage, or operate under, to illustrate the styles and forms which can be performed. thus, i will travel onto some exchanges and archetypes. -\\welcome to the first chapter in a the series. different modes yield different exchanges. as the currencies balances on many planes. there are sets of rules and codes, which permeate all aspects, of the trade.

| CHapter|||Eventzfromself|\_ preparedness_Objectz et archtypalez well before you get there you need to arrive! Knowing when to arrive, when to leave, might seem rudimentary, however, really it

doesn't matter, significantly most importantly is how! There's no need to be early, or late, or stay for any amount of time, anything can be accomplished in a varying degrees or ways of time; for it depends on how you are to spend the flow. preparedness_.i.|if you want a long haul but don't want to actually maintain a high profile, notebooks, or index cards, a newspaper. | ObjectZ.i.|\_-a_book? books are more tricky, show up to a party read a book, you might get some reading done, mais, more than likely, you will spend more time talking about the book, then reading it, a lot of people like books, and it is obvious you are Reading this countered to drawing an activity, and people don't want to unlock you as easily, (you're not done the picture/note) but a book can be started and stopped, so people are more likely to break in. this is not always a bad thing, which takes us to types of wallflowerz. position archtypale: anintroduction to a wallflowerz|\est souvent utilis comme une position archtypale, mais it can be split many ways, as it is a preformative operation, which depending on the form you choice, will yield different ques, results, exchanges and their placement of how they occur.. knowing which ones you want will help determine how you pick these traits, or refine a form. preparedness_.ii.| -where is that other, glass? | ObjectZ.ii.a|\_<one drink, in hand.[atleast threee on the side] anything, or nearly, the drink should preferably be in the glass you brought,{nevertheless, one of the first things you find, once you arrive, this action should be done before almost any other necessity is completed{forced introductions, and basic acknowledgments of people who catch it, however, before you even go beyond directives; FIND A GLASS; to work with} preferable christal but glass works too,{never get caught with a plastic, if you MUST transport in one, never drink from it EVER}. As well Never drink out of the primary container if you bought alcohol,-unless it is a flask, ou a jar{whiskey, and homemade spirits can be served in jam jars} Try to make sure the glass is suited for the primary drink of choice(PDC) [even if you dont have said drink on you-].-as an asset, it could come up at anytime,{either actually, or a point of turn in

exchange}.this object is to be held, whichever weather the sky, says. ObjectZ.ii.b.|\_<drinkmisi one can always be slamming the cocktails but, know what your hackin; the key is, also to know where to lie, -drink in hand. keep the mix complex, or if simple have a reson, story, history, retort to have something to formalize it with. {even if you REALLYonly did it cuz you were lazzy, -nothin wrong with this, and no need to lie, best to have something true about it, even the lazzy truth}and try to avoid anything to suggeyic for your primary, why? your already gona get alot from all the hands, and cups. soo, your hangover tmr, is not worth it. -there's alwayzgona be more, somewhere, cash, or vice. position archtypale:high.scolitlets{|/ too transverse milieu, and develop your .-knowin all the nooks and crannies of a pasture could help, a little more is to know where labour should be deployed. Nevertheless, really the art is in the execution, this iz a workin. your not here to have a good time, theres some business goinon down, and you need to work over it. Sipin along les pastis well, stackin the dredges of a bottle, the fact is not important here, as along as in the end, you flip the trade. whether it is shot for a long or short move, know what the possible exchanges are, and ratios ready. this is about awareness and the ability to transverse the uncovered motions, sharpness and Projet de loi manant d'un dput, should always be kept in mind, though notwithstanding, influence in soft ques forms purely an organizational agent. it has little to do with, the dance. As always decorum holds here, access to all the nodes, a party will have a power structure often there is different points of emanation they may, and are likely along in conflict, competition, even if mutually-inclusive, the role is to find where the bottleneck is, where the flow is not costing smoothly, this market has not cleared, and this is want manifest the active space, the open mulie of the the party itself this is the polis space which one takeup agency and enters into the realms. preparedness_.iii.| -textiles | ObjectZ.iii.|\_and fabric, cloth and colour,

Soz les mode of Abiz/t{Dress} , should not be just accepted as you takena form; le style d'un ou some le prsentation, des textiles que vous dployez. -Not only are you left abided with these primary aspects belonging to their occurrences, themselves occupy, furtherly you must be aware the manners and methods of how THROUGH which you are wearing, essentially it becomes how the conditional agency of which the textiles activate along the factors in how they appear along and amongst concessions prescribed by aspects of the environmental. these agencies of fabrics occur in an openness to the awareness of engagement, announcement, percreisionz. Dress encodes yourself, your body; it opens your queues for any number of paths to appearance via perception, knowing how these can interact with yourself, or your milieu is key to both playing convention and manipulating it. not only do different environments function with different flows the nature of how or the temperament of these interaction will manifest differently, to your encoded assemblage of textual choice. some will pass through others bounce off, defuses, others may accent. knowing what you want and what the flows of the place you're entering are necessary. hence, having a grasp on how certain things will go over, is in fact more keyed towards how they interact with the set in place modes already active in the milieu itself,this includes others, as well as the space itself-{le Mise-en-scne}. Hardcoding,-the fibers which are grasped, between the movements. You want to know what you're announcing as well as have CONTROL over what that announcements proclaims, with its interaction it invokes. you're not just a passive agent in this, you can actively condition the way in which the clothing interact via your actions with it and use of it, knowing how your clothing will interact on a physical level with your body, with lights, motion, objects, others clothing,m bodies, and thoughts. furthermore, if the textiles travers into the abstract , such as how you speak of it. if it indeed becomes or is made a topic of discourse. Make sure you you know how to handle the results. know how to capture flows or, relegated them redirect them to provide an opens, or possibilities of an opens, to a clearing, preferable clearing where you still can maintain an advantage on . know this is one of the ways one can change the tributary{directions} and constitution of the flows. -clothing is an agent of power relations. encourage or disavowed,

The level or volume of your dress encodes the surfaces of your perceivability, it announces immediacy, it can be used to overcode yourself. However, you should be aware that this also has an influence on concepts of the nature which travels along the lines of envoketion in the world composition. These undercurrents of agency, will encourage attention, perceptibility, announcements accents in the formal way beyond just gaze, it will influences the discursive and interactive elements of how you will fit in to the flows. your aesthetic object as a part of the environment will also manifest its opening into the world, and upon the milieu. Another dimension of textiles assemblage is the possibility of disavowment, something can disavow flows, or contact, or limit, in refinement, as if it is very focused will produce a powerful aura which some flows, may not be able to experiences in a rational encounter, may not be opened to, iz being is unconcealment which it is engaging in, not all worlds are receptive to all other.s this is not necessarily a bad thing isolating out passive filtering agents are powerful tools to be deployed. On the other hand, a high volume, restricted piece will proved a wild open to those, flows and other which DO connect with it. thus allowing for a much more focused engagement. Thus a proper alignment of both passive filtering and volumed regulated accents of openness can be crafted to maximise the efffexty of what you're trying to achieve at a particular time. ALWAYS REMEMBER YOU CAN CHANGE< IT IS ALMOST A RULE IF NOT GOLDEN TO HAVE AT LEAST ONE POSSIBLE SHIFT< IF NOT MANY||- change at least once, if not a few times over a night. so you may cover other worlds, also feel free to flow between these shifts, how subtle or large these shifts are, is completely at direction of desired outcomes, a small changes may be need, or a large one which might then shift subtly, later. Nevertheless, elements of narrative constructivity should be remembered throughout; such that someone who encounters you will have entered upon the zones of aural presence in the immediacy of the current projection, yet, will be influenced both, subtextual, and potentially conceptually in a direct provynce of historical experiences of the outfit and its work..

On the one end, perhaps not even witness too the other acts, or agent flows, by the ever nature of others whom have come in contact with and are a part of the active historical world of the event. such as, via comments,active dispositions or the abstract flows, will be of influence to other experiences concurrently. Structurally in the same night, common sense would follow such as it is more likely someone will remember a large shift. (particularly if the first was high volume, and it occurred not too far into the night. however, gauging and keeping barometer along the flows, awareness of fact such as the turnover at the event, as well as levels of distraction or state of being of the others, will care the information need to make sound judgments on in what manner to carry out the shifts. for example, a too subtle, too late occurrence may have little disconcernable availability to the vernace of shift pontinental in ratio with impact, thus more dramatic would be required wheres something softer would have sufficed earlier, However, it is not a clear exchange through volumes and sharp shifts cadence and will still arrive with their price and own complex assertions, whether they may be dulled orr may even trip up on the higher flows, however, they would still occur along the same hue, and the application of which would reside in a case of judgment and necessity. [it would be good place to note that the length of the chronotope exposure to the embodied piece., a topic which will will be elaborated on elsewhere.] As is the case with many elements throughout and will never be stated enough it is awareness of what is within the scope of pragmatic perceivable possibilities as well as the active agency in how to place, which are pivotal to the flows which drives the plots, thus, sometimes a sacrifice of some elements is need to arrive somewhere else.{Queens gambitz are always allowed}. and always immediacy will take precedence, particularly to anyone who is further from any linage historical. However, les not also forget History is not content only to this environment, but as well if youre no debtante. then YOU have a phenomenal history! know it. as people might.

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