ON NOT NECESSARIRILY NEEDING TO LIKE TO ENGAGE WITH MOVING NECESSITY

SKYPE
weird people gather, sometimes they don't understand each other, and they don't have to

they dont have too, I love that

is there a way to rethink habits of entering,

theres a phrase that says: we are not here to like each other. Meaning a bit that theres more
than I work with you if I like it or if I like you, that theres other ways beyond liking, theres other
ways to work together without necessarily being on the same cord ok likeness, more as if we
could suspend the liking and start trying!

HUB
on appetite
how to move with appetite?

appetite has little to do with what one wants or where one wants to move to, and more with how
to move-with or toward where the event needs more attentiveness.

not about what you want but where the event is wanting you to be

the first one wold be going to where one think is interesting, the second way would be to go to
where theres a sense of the events urgency, this does not mean homogeneity for sure, nor
everyone goes to the same, but theres a difference between tending as a listening to the urgency
and attending to one owns wanting.

tending to an events urgency does not mean to remove oneself from the event.

one may discover than by tending to the event one may also be tending to ones affinities.

trying to grasp: how does one differentiate between these two pulls?

perhaps these words by Whitehead may help to move with this differing:

In what sense can unrealized abstract form be relevant? What is the basis of relevance?
Relevance must express some real fact of togetherness amongst forms. The principle can be
expressed as: all real togetherness is togetherness in the formal constitution of an actuality. So if
there be a relevance of what in the temporal world is unrealized, the relevance must express a
fact of togetherness in the formal constitution of a non-temporal actuality. But by the principle of
relativity there can only e one non-derivative actuality unbounded by its prehensions of an actual
world. Such a primordial superject of creativity, achieves in its unity of satisfaction the complete
conceptual valuation of all eternal objects. This is the ultimate basic adjustment of the
togetherness of eternal objects on which creative order depends. It is the conceptual adjustment
of all appetites in the form of aversions and adversions. It constitutes the meaning of relevance.
Whitehead, Process and Reality p.32

For those of you that are not familiar with Whitehead, perhaps to think conceptual valuation of
eternal objects as a kind of feeling-for, feeling-with, a weighting of the options in feeling for
relevance. eternal objects could be think as qualitative traits-particles making a difference and
carrying vibrations of potential, toward a what-else could this thing do for a better life. Also
aversions and adversions although not necessarily but they could be understood as pulls and
pushes, many many goings around fielding us: how we field through-with them into co-
composing?

That for now on appetite.

On affective tonalities

On attunement

could we make a picnic of/with this map of appetites ? not picnic in the
sense of a meal, and more, the picnic blanket (for
processes/propositions)? We are already instigating these nomadic
architectures, mostly by materials, bags, boots, tape scraps and threads
strewn around the floor space where bodies may have once sat cross-legged- but i wondering
what invitational work and also refreshing the
field- work, might come from inviting people to bring a blanket or cloth
to work on in the last full day of work
not a blanket per person, per say, but more just a something to help in the
landing (and visiting) these islands and processes .and/or creating a bit
of a more visible space for the intention of a work-area. and tools.

On grabbed

something grabs. [twisted hand gesture trying to catch air in a rapid way]. Something grabs.
PUM. Grabbed. Something grabs. Things are grabbed. Grabbed things grab. Something grabs
before you know that something was already highlighted. Then in the afterthought of things a felt
dim sense of the grabbed. Something grabs more than a voluntarily paying attention. More than a
conscious selection of what would seem relevant. Something pushes forth, like some things craft
involuntary peaks of stronger sound that keeps rippling long enough for one to notice that it
already grabbed. Not like you pay attention to something but that something grabs attention and
then one exercises staying close with the peaks, not necessarily the visible ones or the
discernible ones. The grabbed carries all kinds of tones of indiscern-ability. Keeps moving.

Something grabs before voluntarily deciding what to grab.