Unsorcery is an esthetic entity that operates in art and philosophy. Unsorcery is a dimension of productive alienation from concepts through experience and from experience through thought. Unsorcery is an environment in which Florin Flueras and Alina Popa are working together, each following a separate path. There are direct and indirect correspondences between their processes so their works are usually presented together.

Performances/ Artworks:
Black Hyperbox
Point of Indifference
Artificial Emotional Intelligence
All of Nothing
Dreaming the End of Dreaming
Dead Thinking 1
Dead Thinking 2
Second Body

Imitation of Dream
Dreaming the End of Dreaming
Dead Thinking 1
Dead Thinking 2
The Second Body and the Multiple Outside
Second Body

Follow @unsorcery and its initiators:
Florin Flueras & Alina Popa

Black Hyperbox

A point alienates from itself and becomes a line. A line alienates from itself and becomes a square. A square alienates from itself and becomes a cube. A cube alienates from itself and becomes a hypercube. Black Hyperbox is a dimension of productive alienation from concepts through experience and from experience through thinking. Black Hyperbox is a productive lie, a future-oriented spatiotemporal ruse, where the conceptual horizon is mutilated through doing and the horizon of imagination is mutilated through thought. In Black Hyperbox, any known can be black-boxed and the unknown can turn out to be most banal. Black Hyperbox is a spatiotemporality where, through the inevitable involvement in someone else's method and research, systematic alienation becomes a method of production in itself. The theatre's black box was here for a while, striving to empty the reality and make space for other worlds to be produced. Black Hyperbox is next.

Performances by:

Bogdan Bălan, The Central Metaphor
“[...] the central metaphor will guide the discussion from here onward, it will be helpful to consider an experiment that strongly suggests the purely experimental nature of the self.” (Th. M.)

Larisa Crunțeanu, Do as I do as I do as I do as I do
With mouth open, eyes sink. With mouth closed, eyes bulge. Holding breath, eyes bulge out completely. They wouldn’t like it if I dropped one on the floor. They don’t like it if I drop food either, they ask me to eat it. I wouldn’t want them to ask me to eat my eye.

Andreea David, I am Just About to Go Further or I am Just About to Change my Mind
How do we distinguish between the actual space of the theater and the reality of the imaginary space? How can one linger in-between them? What if the middle is the beginning?

Ion Dumitrescu, Present by Forfeit
I will not be there

Florin Flueras, Artificial Emotional Intelligence 
The theater’s black box ends the outside reality with the reality of the performance. It is possible for a performance to suspend its reality with its own means? But is this suspension not part of the performance, the performance part of reality, and reality part of the suspension?

Adriana Gheorghe, Spoils
Receiving a performance implicitly builds you as a subject. Doubt that subject that you’re shaped into by what is visible and languaged. I devoted myself to hiding most of what I address to you, getting in and out of subjectivities. You’ll be comforted to know that something else is hiding me.

Ioana Gheorghiu, Synthetic Sophisms
Testing reductions with a penchant for denotative perfection and maximum of synthesis: not necessarily false, but necessarily insufficient.
There is nothing else but sound.
C: “How do you say white?” C: “Night.” C: “No. White, not Night.” C: “White.”

Cătălina Gubandru, The Tiger in the Box
The tiger lives in the jungle. No description available for this feature.

Alexandra Ivanciu and Anastasia Jurescu, Re-sistering
In the state of Possession, my false Self possesses my real Self. I turn against my Self. I try to kill my Self and my Sister Self. I am reversed imitation. Once mindful of the Sister, I am her, I am her Self, spinning into the deep Background of the Self. A tribute to Mary Daly.

Cristian Nanculescu, Neither Head Nor Tail
Score for actions, movement, states of mind, people, the empty stage and the memory gap. Contents exhibited that are forming, deforming and erasing themselves. The interpretation of this content is corrupted by the presence on stage and the imagination of the viewer. Without beginning or end.

Alina Popa, Point of Indifference
You throw out a point to see if the space helps you think or do.
Every step deforms the map. Every deformation deforms the step.
You move the point of indifference.
A structure emerges only as that which holds vagueness together.
Leave the point alone in the black box and look.

Cosima Opartan, The Sound of the One Hand Clapping
Hearing tutorial for the sound produced by the one handed clap.

Xandra Popescu, If we want Things to change, Things will have to stay as they are
How to come up with a method? A method for being here and now. I write a method. It is a good method. I like it. But I could come up with a better method. I am told that until I find the better method, I could use the good method. I refuse. I won’t accept anything less than the optimal method.

On April 15&16, 18h00 at CNDB.

Initiated by Florin Flueras and Alina Popa
With the suport of CNDB

Point of Indifference, performance by Alina Popa

You throw out a point to see if the space helps you think or do.
Every step deforms the map. Every deformation deforms the step.
You move the point of indifference.
A structure emerges only as that which holds vagueness together.
Leave the point alone in the black box and look.

Made in Black Hyperbox
Connected to the performance Artificial Emotional Intelligence by Florin Flueras.

Artificial Emotional Intelligence, performance by Florin Flueras

The current science and technology can foresee an AI with some capacities equal or superior to those of humans - attention, perception, use of language, intelligence, imagination. But this kind of AI would be a philosophical zombie, not capable of experiencing its capacities. It can perform subjectivity, emotions and mental states, without living and feeling them. The philosophical zombie is the perfect performer because her interiority is the outside world.

Made in Black Hyperbox
Connected to the performance Point of Indifference by Alina Popa.

Imitation of Dream, text fragment by Alina Popa

Through holes one falls. Through falling one loses. Through losing one loses again.

To stage an imitation of dream of life.

To afford a world is to afford one perspective. To afford more worlds is to switch between incompatible perspectives. To afford all worlds is to afford no perspective. To afford all worlds is to be universally objective, and subjectively extinct.

To speak from a perspective is to speak as someone. To speak from multiple perspectives is to speak as someone on behalf of someone else. To speak from the horizon is to speak as no one.

I speak from the dream.

I want to live in the last dream dreamed on Earth.

The dreamworld and waking life are part of the field of experience, equally. To have consciousness, or to dream, involves a virtual immersion in a spacetime. 

“How much of yourself can you stand? Maybe you need eight hours off a day just to get over the shock of being yourself" (J.G. Ballard).

The impersonal space knows itself as another in a proliferation of stages. The stage of wakefulness is a dream-stage. The mirror stage of the impersonal.

A stage appears when "an organism cognizes one environment as another environment" (Scott Bakker). Cognition is the proliferation and intensification of spatiotemporal deception.

Given that sleep entails a quasi-radical retreat from the actual spatiotemporality, and from the relative homogeneity of the experience field in the waking world, certain practices, from scientific to shamanic, resemble those of the somnambulant. All practices that lead to spatiotemporal complexification through distortion and perturbation of the well-designed relationship between self and world involve a risky falling (asleep) of the self from itself. The self is constructed by falling asleep to itself, by falling for the space of what is not the self, by dreaming the environment of another over one's own. All spatiotemporal ruses and topological distortions, as those of the shaman or the geometer or even of the animal predator, necessitate sleep-within-wakefulness, a falling asleep to the world. Both the shaman and the geometer afford a cortege of ghost-bodies and carry a multitude of virtual somatic maps. The predator learns to carry the somatic map of its prey. The shaman and the geometer are dreamers of multiple worlds, are falling asleep from multiple worlds, falling through worlds. Worlds which do not possess interchangeable syntaxes. The impersonal world falls prey to itself.

To maintain available incompatible mediums, worlds whose parameters do not sustain each other, languages which do not speak each other.

Spatiotemporal gangsters.
World losers. 
Medium smugglers.

Awake one gives thought to the body. Dreams give body to thought. Thinking as daydreaming.

To take a walk in a fake dimension. Every step in the fake deforms the walk in the everyday. Every deformation in the everyday deforms the step in the fake, and everyday. To set up a spatiotemporal ruse is to engage in a walk you could not have taken. Cognition is the immersion in staged Umwelts. To act within thought is to give body to thought and then walk. The body has walked before thought. Reason is a somnambulant feeling.

The conceptual horizon is mutilated through doing, and the horizon of imagination is mutilated through thought. The ruse excises a cut that bleeds real.

Don't let your gaze take a halt at the horizon. Contemplate the horizon of the horizon, the plane arriving at a dead line, the line arriving at a dead point, the hyperspace arriving dead and real.

The fish are daydreaming and swimming in the depths of the mirror.

Time is a strange burrow of the space exiting itself by re-entering itself ad infinitum.


"[L]iving organisms are bouquets or blades of time, ... they are exchangers of time." (Michel Serres). The logical is riddled with the material, and the material is always more than itself. Time flows in the waves of its dramas, like the river, a formalized cannibalism of space. A formalism is a series of temporal crimes undercover.

Spatiotemporal variation is the somnambulant militancy for the liberation of the dream from human sopor.

I have solutions without a problem.

Space fell asleep dreaming of time.

I had a chance to fall.

Published in Plinth IV http://plinth.us/ edited by Garrett Strickland
Connected to the text Dreaming the End of Dreaming by Florin Flueras and to the performances All of Nothing and Dreaming the End of Dreaming.

Dreaming the End of Dreaming, text fragment by Florin Flueras

Usually dreaming is something that happens to us, not so much something that we perform. According to Jennifer Windt and Thomas Metzinger, we live our lives and the majority of dreams as "naive realists", having the "impression of being in direct contact with external reality" and being unable to recognize "the simulational character of consciousness". The dreaming operations are hidden, we experience just their results. A question for further consideration and experimentation is what happens if dreaming becomes explicit or if the implicit dreaming is speculatively doubled with a consciously performed one? What happens if an excess of dreaming is applied to a reality, if we overdream the world in which we are caught?

Maybe there is an optimum degree of dreaming for a reality to remain a reality, for a world to be natural. Probably if some limits of dreaming are surpassed, the natural solidity and coherence of the respective reality is shaken. Windt and Metzinger noticed that somehow an ability to exercise supernatural powers is linked with "the availability of the dreamlike nature of one's ongoing state of consciousness on the level of behavior." An intervention at the level of dream creation seems to be a necessary perturbation in the complete coincidence with one's own nature, the step that must be made not to be totally inscribed in nature like an animal. Or from another perspective a way for nature to accelerate itself. At least this seems to be the vision in this Buddhist prayer: "Do not sleep like an animal. Do the practice which mixes sleep and reality."

A possible way to follow the prayer is to constantly consider the eventuality of being asleep, dreaming what is happening. The "reality checks" of lucid dreamers can be amplified to a habit of radical doubt - from time to time to doubt that you are awake and that you are perceiving a reality. One of the consequences of amplifying this kind of doubts could be the sensation that everything is a dream. This is usually seen as a degradation because dreams are considered weaker forms of reality. But this degradation has its advantages - when the world is a dream, it becomes available to dreaming practices. Another consequence of the fact that you are dreaming is that you can wake up. And when you wake up you wake up in a superior reality. A hierarchical relation between realities is created through a retroactive degradation of experience - after you wake up you can acknowledge that your previous experience was "just a dream".

A complication of this dynamic is that dream from which you continuously wake up in another dream, till you end up in reality - a reality that could be seen as the most stable available dream at that moment. But nothing guarantees that you will not wake up again, even from the most solid "reality". In one of these types of dreams I was scared because I didn't know where to come back, I felt that I could choose from more realities and I didn't know where to wake up. I woke up in the wrong places and I was struggling to return, anxious about the idea that maybe there is no way back. It is a strange homelessness to feel that you are everywhere in dreams, nowhere in reality. But an alienation is a necessary consequence of a transversal navigation between realities or worlds.

In another one of my dreams I woke up in the same reality as that of the dream. In a paradoxical way, the awakening, what Windt and Metzinger call the "shift into another global state of reality-modeling", was felt as just a different way of being in the same world. The awakening, instead of being a switch between realities, was just a subtle change in quality. The minimal aspect of an awakening seems to be a sensation of an increased lucidity more than a switch of realities. For Windt and Metzinger, we are more aware in a lucid dream than in waking life because the system "is able to grasp the simulational character of its overall state". The awareness increases even more in the lucid false awakening "because it combines both concurrent and retrospective insight into the dream state". If we radicalize this perspective, we can say that the maximum awareness is a series of lucid awakenings, a falling from a dream to another dream.

On the other hand, this can only accelerate and make continuous a retro-degradation of existence. For Bergson "a dream is this: I perceive objects and there is nothing there. I see men; I seem to speak to them and I hear what they answer; there is no one there and I have not spoken. It is all as if real things and real persons were there, then on waking all has disappeared, both persons and things. How does this happen?" Retrospectively everything is just a dream, just nothing, it doesn't exist. To fall from a dream to another dream is an endless catastrophe, an infinite falling into a black hole. You kill realities one by one looking for an exit, haunted by a overwhelming feeling that you have to escape, but there is nowhere to go, just a serial exiting, an empty awakening. Seen from the other side, a repeated waking up is a continual falling asleep, because any waking up means a falling asleep somewhere else.

Sometimes a nightmare, a dream of the end, an apocalypse can give a sensation of waking up, in another dream. This is particularly relevant now when many signs indicate that we may be in a process of extinction, when our personal and collective realities are ending. It is important to imaginatively and practically speculate about what happens when the worlds are ending. Maybe, following a Vedånta twist - “the world is included within the state and not in the world the states occur” - to make the serial births and killings of worlds as easy as waking up and falling asleep, a meta-state is needed. A meta-dream in which you constantly wake up only to realize that you are actually in another dream. A meta-dream of endings, of falling from a dream into another dream, dreaming the end of dreaming.

Published in Serial Killing: A Philosophical Anthology. Eds. Edia Connole and Gary J. Shipley. London: Schism Press, 2015
Connected to the text Imitation of Dream by Alina Popa and to the performances All of Nothing and Dreaming the End of Dreaming.

Dreaming the End of Dreaming Program

3-7 July at Akademie Schloss Solitude, Stuttgart

When dreaming is treated as a real praxis, and the dream as just another medium, like the actual world, then to pass from waking life to the dreamworld is to switch between equally existent worlds, to travel from one medium to another. The transversal navigation between these worlds-as-medium is made possible by the disruptive moments of waking up and falling asleep. A medium is a full behavioural space with its own affective and logical syntax. The theatre's black box, like the broader notion of black box, is a space which is not primarily architectural, but a relational mesh of percepts, gestures and acts—a net of possible behaviours. The black box of performance is a medium that resembles the oneiric space, since it is also not taken for granted as being real, or is rather thought to be cut off from the surrounding reality. It is usually said that in order to reach the real world, one has to wake up from the black box. There are many symptoms nowadays of a contemporary art that needs to wake up to reality. But what if the real itself is a black box? What if waking up from art to reality is like travelling from box to box? Black-boxing the obvious reveals a black box more Real than what we prosaically call reality.

If power today operates environmentally, it does so by treating fictions as true in a world that is like a black box. The transference of knowledge and practices between the black box and the dreamworld are relevant now, as the only way to respond to the oneiric sovereignty of capital seems to be to overdream, to accelerate the dreaming not of fictional and alternative worlds, but of reality itself. If the world is treated as the black box, what does it entail to treat the dream as real? The answer to this question is all the more interesting now when many signs indicate that we may be in a process of extinction. It is important to imaginatively and practically speculate about what happens when the worlds are ending. A starting point for this could be the special dream in which you constantly wake up only to realize that you are actually in another dream. You are just falling from a dream into another dream, from one box into another (black) box, dreaming the end of dreaming.

With the event Dreaming the End of Dreaming, the two Romanian artists and fellows in the program art, science & business ALINA POPA and FLORIN FLUERAS take up the notion of the dream as a real praxis, presenting lectures by the Argentinian philosopher GABRIEL CATREN, the Brazilian literary and cultural theorist of Latin America DENEB KOZIKOSKI, and the Canadian researcher VICTOR BLAKE. The presentations will be followed by the performance Eternal Feeding by Florin Flueras and Alina Popa at 9 p.m. on the same day. From July 4 to July 7, there will be a workshop with the invited lecturers and the Romanian artists ION DUMITRESCU, BOGDAN DRAGANESCU and ADRIANA GHEORGHE.

FRIDAY, JULY 03, 2015

Welcoming Remarks and Introduction
Alina Popa, Florin Flueras, Sophie-Charlotte Thieroff

Calling Sister Midnight: The End of the Seizure of Dreaming for Political Ends
Deneb Kozikoski

Socio-political dreaming is a historically salient mode of expression in the 20th and the 21st centuries, and is manifested in several modalities of modernism, from architecture, to cinema and textual genres such as the manifesto. Exploring the ways in which dreaming, imagination, projection, and more recently simulation, are leveraged as techniques and media for socio-political change, this presentation elaborates techniques of engagements with reality as to break the grip of political dreaming. The de-trivialization of “coming to grips with reality” is an arduous process, and demands the deflation of speculation as a philosophical meme and end unto itself. This presentation explores the basic dynamics between fiction and reality, dreaming and awakening, by drawing on texts such as Macrobius’ Commentary on Scipio’s Dream, Philip K. Dick’s “Cosmogony and Cosmology,” and selected moments in Clarice Lispector’s writings. The idea, however, is not to dwell on the literary and ideational aspects of these textual interventions but to elaborate practices other than the socio-political modernization of dreaming.

Stalking the chiasmatic cataract: posthistorical intelligence and the lost arts of dreaming
Victor Blake

In order to focus attention on the practice of dreaming, this presentation will examine and explore the following questions: What is the relationship between dreaming and technology? Would a practice of dreaming entail specific techniques? One of the hypotheses orienting this approach is that the stance or disposition appropriate to dreaming has been harnessed––radically interrupted, suppressed, and controlled––via the hyperstitional armoury of the imperial technosciences, and that the ‘vector’ of this entrainment, so to speak, can be modeled as the diametric opposite (the reflection, or dual) of the ancient practices that aim to harness and control hyperstition (via hypostitional orientation: yogascittavrttinirodha in Patanjali). It is, hyperintelligibly (rather than ironically), through the obsolescence of hypostition (qua final causation) that the hyperstitionalization of ‘history’ proceeds to reify itself concretely as an ‘externalized’ imagination whose installation occurs simultaneously psycho-interioristically and physico-environmentally. Now that the dream is becoming hyperreal, dreaming will have to retrieve its realistic orientation, integrating hyperstition with hypostition to achieve something approximated by Castaneda’s ethno-cosmological theory-fiction: to dream the real we have to learn how to stalk the dream.

We thus find ourselves poised on a threshold: Aquarius, the water-bearer, pours out the contents of hir urn, transposing the extrinsic stabilization of unconscious habits of self-identification into the hyper-objective form of code, at once fragmenting ‘traditional’ social corporealities and privileging hyperstitional opportunisms. In a revery, this pouring-out of the contents of the Aquarian vessel could take the form of a cosmic cataract, turning inside-out and reducing to their limits––of reversibility qua ‘identity of indiscernables’––the dialectical categories which had ‘grasped’ difference, which in turn becomes ‘positive’ (pace Deleuze). Ideology as ‘overcoded structure’ (in Marxian idiom) is thereby rendered susceptible to an occultic (abductive) interpretation, whereupon Heideggerian ‘enframing’, Foucauldian ‘dispositivity’, and McLuhanian ‘formal causation’ become roughly equivalent descriptions of the (many) ways in which the imaginary prevails or supervenes upon the substratic techno-instantiations of––at once, and complementarily––our inner and outer world(s).

The Phenoumenodelic Fields
Gabriel Catren

In this lecture we shall address the problem of sublating the Kantian interdiction regarding the possibility of extending human experience beyond the realm of constituted phenomenality. We shall argue that a full-fledged existencialization of the subject of experience entails the possibility of performing (what we could call) shamanic variations of its very transcendental structure. This speculative perturbation of the transcendental subject permits to activate transumweltic degrees of freedom and thereby gain access to a phenoumenodelic field of experience. The central notion of phenoumenon diagonalizes the Kantian dichotomy between phenomena and noumena by upholding the identity between being and appearing without succumbing either to any form of subjective idealism or to any critical limitation of (theoretical, aesthetical, affective, and/or political) experience.


Eternal Feeding
Performance by Alina Popa, Florin Flueras,

Given the simulational character of consciousness we are always involved in a sort of dreaming, despite the feeling of being in direct contact with external reality. Even when we feel awake, the transparent dreaming-operations are what makes a world appear to us. But what happens if the implicit simulation is speculatively doubled with a consciously performed one? The black box seems to be a good place for pushing the generalized dreaming to extremes:

1. Nothing (underdreaming)
If the minimal model of dreaming, and of consciousness, is just a point immersed in the hallucination of an abstract, contentless space, how to consciously minimize the modes of being? How to asymptotically reach the state of being an empty point in an empty space, and navigate the room with the map of nothing?

2. Everything (overdreaming)
What happens if an excess of dreaming is applied to a reality, if we overdream the world in which we are caught? Maybe there is an optimum degree of dreaming for a reality to remain a reality, for a world to be natural. A self-referential paradox induces anomalies and shakes the entire frame, context, environment, theoretical construction, wherever it appears. Whatever the paradox of dreaming the dreaming will produce, you can stop it at anytime, and say that everything was just a performance, or wake up and say that all was just a dream.

JULY 04 to JULY 07, 2015
15h00 - 18h00

Dreaming Praxis
The meetings will be focused on expanding the presentations from July 3 through discussions, readings, and performative practices. In a relaxed frame, we will explore possibilities of alienation from concepts through practices, and from practices through thinking.
With Alina Popa, Florin Flueras, Deneb Kozikoski, Victor Blake, Gabriel Catren, Adriana Gheorghe, Ion Dumitrescu, Bogdan Draganescu.

And a selection of #endream films in the evenings, for the open air cinema.

All of Nothing, performance by Alina Popa

Dreaming the map of nothing creates the world.

Nothing is a piece about the gap between saying and doing. Saying that you do nothing and doing it is productive. Dreaming the map of nothing creates the world. ‘Nothing’ is about the corrupt logic of language (especially in English) when the word ‘nothing’ is affirmed. The piece is an exploration of how language in its most negative form deforms space and warps time. Doing nothing is not about doing nothing, a piece about nothing is about something else. ‘Nothing’ is about holding on to the idea of emptiness by negating it, since everything is invited on stage, even the public. Commanding others to do nothing is a weak command: one always has the option to do nothing. The participation of the audience on stage is a corrupt participation. ‘Nothing’ is a piece that negates that the performance happens where and when it is performed. It is lingers in vagueness and dissipation, looking for something that appears in the blind spots of nothing.

The minimal model of dreaming, and of consciousness, is the feeling of being a point immersed in an abstract, contentless space. How to reach the state of an empty point in an empty space, and navigate the room with the map of nothing? Trying to become a point leaves traces. Trying to dream nothing, everything is produced.

Performed at CNDB, Bucharest; Akademie Schloss Solitude, Stuttgart; Het Bos, Antwerpen; Atelier 35, Bucharest.
Connected to the performance Dreaming the End of Dreaming by Florin Flueras and to the texts Imitation of Dream and Dreaming the End of Dreaming.

Dreaming the End of Dreaming, performance by Florin Flueras

Dreaming the map of nothing creates the world.

We are constantly dreaming and our realism is naive. Even when we feel awake, the simulational capacities of consciousness are what makes a world appear to us. There is an optimal degree of simulation (dreaming) for a reality to remain solid, for a world to remain real. Is it possible for a performance to suspend its reality with its own means? But is this suspension not part of the performance, the performance part of reality, and reality part of the suspension?

Dreaming everything, nothing is produced.

Performed at CNDB, Bucharest; Akademie Schloss Solitude, Stuttgart; Het Bos, Antwerpen; Atelier 35, Bucharest.
Connected to the performance All of Nothing by Alina Popa and to the texts Imitation of Dream and Dreaming the End of Dreaming.

Interview with Unsorcery by Francis Russell

Given that unsorcery sits at the nexus of performance, theory, art, and mysticism, to what extent can we know what unsorcery is? Or, to put it differently, how do you feel about the conventional practice of attributing essences to projects such as the one the two of you have been developing for the past few years?

We like this difficulty of being placed. All of these domains are dragging along their social pressures and their implicit orientations and frames for action. We cannot really be independent or outside of them, but by playing with these contexts and intentionally not quite fitting into one or another (staying para-) and by shifting between perspectives at will (or unwillingly) a necessary un-homing, a productive confusion is being generated.

One of the intentions behind the three Unsorcery concepts is to follow them around, to let them absorb us into their vortex-potential, into the what they can be. Basically, these concepts are purposefully posited in a way that allows for their inaccessibility or for the incompleteness of their accessibility - naming them is first and foremost an act, it produces further events rather than pure interpretative gestures. They set in motion certain vectors of intention, orientate our practices and act as attractors to further thoughts. These ideas that we have been working with usually start from vague intuitions, and, in time, thinking and practices coagulate around them, making them more substantial. We don't use these to merely conceptualize some sort of past experience, but to create conditions for new possibility of thought and practice. Moreover, there is no applicability presently envisioned for none of these concepts. In a way, they (retro)act on us from the future. And the workless work consists in being prepared to go wherever this Unsorcery-process is taking us, without being too concerned about the discipline we might belong to if we follow its drift.

At times you have discussed your projects in terms of a certain refusal of application (i.e., in your discussion of what you have referred to as “dead thinking”), which seems to suggest that the present state-of-affairs could not support the application of unsorcery — or, put another way, that unsorcery appears to look towards the fundamental disruptive as opposed to being applicable in any immediately intelligible way. Assuming that you would accept such a reductive summation of your projects, do you believe that it is possible to produce a purely negative work? By which I mean, regardless of whether this work is a piece of writing, art, or some kind of mystical practice, do you think that it is possible to produce a work that will fully resist all and any attempted recuperation into the present and competing calculi of application?

With Dead Thinking we are not so much against applicability. We are more concerned with the implicit current base of all applicability which we call 'healthy thinking' or 'alive thinking'. Healthy Thinking is impregnated with a optimist conception and appreciation of life, with an implicit impulse towards improvement, development of (our) life. But in this thinking of life the fact that the concept of life already contains the prototype for the current politics should also be included. Identity, separation, territorialization, a certain violence, attack on the environment, are implicit ingredients of life. Nowadays, this conception of life is accelerated towards its final consequences - the expression and affirmation of life accelerates in a paradoxical way the end of life - the love of life equals the extinction of life. Any applicability seems pointless from this perspective, that is, if we take into account the current inconceivability of the world approaching ecological collapse. It rather resembles blind, naive desperation, a symptom of denial. So, if one really wants to be radical, in the sense of going to the roots of the present problems, one has to confront the healthy, alive thinking and its behavioral irradiation. Something more basic needs to be changed and then maybe the question of applicability comes into play.

Future Nature Program

As a step towards Eternal Feeding, Unsorcery presents the Future Nature Program, at Academie Solitude and in the surrounding forests:

There are some tendencies lately to minimize or ignore nature, to start from zero, to construct everything from minimal assumptions, in a clean space of reasons which is ironically imagined as a desert. Or if nature is acknowledged it is not much more than the domain of the sentients and an impediment to freedom, a source of nonemancipated instincts and habits that should be domesticated and instrumentalized. The potential of nature is annihilated in this way, everything is reduced to human dimensions (even if in the case of accelerationism and new rationalism the human dimensions are inflated). On the other hand there are tendencies towards nostalgia for nature and for a past when there was more sensibility for the natural layers of reality. Here nature is a continuous source of primitive phantasies and lamentations about how capitalism destroys nature and any possibility to relate with it. We are interested in the enabling or construction of a different attitude - not submissive but not arrogant either. We are in a moment in which a horrendous, monstrous nature seems to accelerate towards us from the future and we need all human and inhuman capacities, natural, unnatural and supernatural to be able at least to acknowledge and connect with the immensity of what is going on, and maybe, if we are lucky, some new capacities and occasions can emerge in the scary encounter with the future nature.

July 23, 19h00, Presentation: Ben Woodard & discussion with Bogdan Draganescu, Florin Flueras, Irina Gheorghe, Anastasia Jurescu, Mihai Pecingine, Alina Popa.

July 24 - August 4 the program will alternate between days of theoretical sessions, presentations, discussions, reading groups and days of Future Nature and Eternal Feeding practices. You can follow one of these two ramifications, both or none of course.

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Dead Thinking 1, performance by Alina Popa

Dead Thinking is the attempt to live, think and act from the perspective of the current gloomy ecological conditions. In the age of Anthropocene and the coming catastrophe as a result of climate change and global pandemics a new mode of thought and action must emerge, another subjectivity haunted by the inhuman and unknown. 

Dead Thinking (Session 1) is about language as a means of externalization of the actual performance to an imagined (and equally existent) black box under the black box of the theatre, one with the same dimensions, but fully black, material, filled with biological density—the real black box. It is about the confusion of the material aspects of a real black box with the abstraction of the actual black box, and vice versa, and the confusion of the meaning of language with the materiality of language. It constructs through language a way of perceiving a nonhuman darkness that which doesn’t reveal itself to immediate experience. To perform deadly or pathologically is to externalize the performance to the understage of worms and other minuscule animals, of extremophiles that will outlive the human species.

Atelier 35 (white cube version)

CNDB premiere (solo)

Presented at Fabrica de Pensule Cluj; CNDB Bucharest; Platforma Bucharest; PAF St-Erme; Theater Rampe Stuttgart; Atelier 35, Bucharest.
Connected to the performance Dead Thinking 2 by Florin Flueras and to the texts Dead Thinking 1 and Dead Thinking 2.

Dead Thinking 2, performance by Florin Flueras

Performance suppression, collapse yoga, graveyard somatics, postmortem choreography.

In a strange YouTube tutorial a man on an empty beach teaches the viewers how to arrive to a shadow-body showing repeatedly how: “my consciousness tells my mind to tell my body to move his hand, and the hand moves the shadow”. By showing how his shadow follows the body he demonstrates that the shadow obeys his consciousness. Dead Thinking ‘teaches’ us an opposite type of approach: to start from the shadows and let them affect the body, mind, consciousness – instead of increasing control of consciousness over the shadows, allow the thinking and feeling to come from the shadows.

Presented at Fabrica de Pensule Cluj; CNDB Bucharest; Platforma Bucharest; PAF St-Erme; Theater Rampe Stuttgart; Atelier 35, Bucharest.
Connected to the performance Dead Thinking 1 by Alina Popa and to the texts Dead Thinking 1 and Dead Thinking 2.

Unsorcery Launch

Unsorcery is a frame created to accomodate both performance and philosophy, and to test if art can be a transversal journey through different levels of experience and knowledge that aim at what is impossible to experience.

Unsorcery is a dimension of alienation from practices through thinking and from concepts through practice.

Unsorcery tries to expand the realm of experience to what is beyond subjective experience, and to perform through the body what needs to get rid of the body.

Unsorcery plays with the confusion between the formal and material aspects of the black box of contemporary dance.

Unsorcery constructs chroreography as a travel guide through a black box.

Unsorcery regards choreography as a writing of space anchored in a concept, and dance as that which corrupts the initial or apparent concept.

Through Unsorcery, anyone can write the space, by following or not following the weak commands of the choreographer. Unsorcery corrupts participation as we know it.

Unsorcery poses the question not of ‘what is a performance?’, but ‘where and when is a performance?’.

Unsorcery unfolds in a time which is not the time of subjectivity but a nonhuman, thingly time.

Unsorcery has until now developed three concept-practices: Second Body, Dead Thinking, Eternal Feeding. These are the names of three performances and three texts.
UNSORCERY launch: Thursday, 20 Feb, 19h30, at Salonul de Proiecte, Bucharest. Between 20 Feb – 13 Apr 2014 you will have the occasion to enter in contact with the Unsorcery concepts and practices and, if you are lucky enough, to meet the Unsorcery founders in person. 

Dead Thinking, text fragment by Alina Popa

In a cosmical staring at the world-without-us the iconic black square seems to have enveiled the whole universe. The eternal night of a cosmos that excreted an accidental human world looms over the banal and familiar, even while basking in the sun. A void gapped into geometry (the measure of the geo, the earth). Every irreducible dot is the bearer of an infinite hole. In-finite is the body of the finite as black is the body of light.

The impersonal form of ‘it’ lurks upon any comforting sensation. “The mind does not find itself faced with an apprehended exterior. The exterior remains uncorrelated with an interior. It is no long given. It is no longer a world. What we call the I is itself submerged by the night, invaded, depersonalized, stifled by it”(EL).

Gazing into the night, I try to amplify its indistinctness until something is distinguished. In darkness something is never somewhere, it is everywhere. The more I strain my retinal muscles, the more I am driven mad by the ceaseless swarming of minuscule points. I am pointless, bathing in the waver of the night till annihilation. Nothing is something and I am fading away in the sea of dotted infinity. The night is a swarm of points that cripples my sight and swirls my anonymous thoughts. “I am from the never”(CL).

I cannot wipe away my night-thoughts, expectorate my existence, disarticulate the continuum between the whiteness of persistent bones and the bland error of my soft life. I carry darkness inside a body that is not even mine. This body - sac of darkness, fluid entrapment of anonymity, blind to itself, blind to its thoughts.

The matter of darkness is boiling in silent night-bubbles. Pitch-lava erupting from the nano-volcanoes of my pupil – a pupil no longer mine but of night itself. In darkness I see my sight, I feel my eyes seeing, touching on nothingness. Culmination of sight: by the enormous dilatation of the pupil I become black itself. I am pure infra-noir.

Introspection is a dark speleology of the vague being that is you. The cavernous inside is blob of cosmic darkness. You and I - freak accidents of death. Our lethargy: melting the day into night each night, melting the day into night each day. Light is a wound of the night and we are the dark wounds of light.

The night is a swarm of points creeping off the exterior to melt with what we are most sure that is us. We inhale the night and exhale spores of darkness, we feed on the fear ingrained in the matter of our very (in)existence. We are sweating waves of night while wiping the sudor of fear. Life is in us to germinate death.

The body, unfolded, holds on to a less and less cosy bottom of terra firma. The only reference left by a night that “strips consciousness of its very subjectivity” is the pulling force of the Earth. Submerged in the sweeping anonymous night I am one step away from the fall. A fall like a smooth and instant drill through the soil or a fall upwards - horrific jerk of the earth hurling me off it. Engulfed by the earth like the Conqueror Worm or falling through it. Through the ()hole that is my own (in)existence. Trapped in life, on the surface, inside the lures of an overwhelming futility. An unbearable blackness absorbs my crooked humanness and thrusts in me the seed of unknown. Submerged in the sweeping anonymous night the earth too forgets its solidity. “Black universe is the dark body of the Real. Stop looking. Stand in black universe, and see. ‘Nigra sum, sed formosa’ (Song of Songs 1:4) [I am black, but beautiful]”(NM).

Published in the Unsorcery Book and Bezna 5.
Connected to the text Dead Thinking by Florin Flueras and to the performances Dead Thinking 1 and Dead Thinking 2.

Dead Thinking, text fragment by Florin Flueras

There is an absolutely obvious, normal step, almost a command, a silent requirement to do what we should do in order to secure and improve our life. We want to succeed, to achieve something in this world. Our thinking, perceiving, behaving are shaped by a belief in (the improvement of our) life which guides us in our daily activities, in our moral and political attitudes. An alive thinking is consolidated on and on and this alive, healthy thinking constantly forms us as healthy, functional humans. And as humans we want that a healthy, alive world takes shape around our healthy habits.

William James witnessed how healthy thinking became a new religion or at least a new background for old religions in the middle of the 19th century when the advance of liberalism brought about “a victory of healthy-mindedness” over the morbidity of the old ‘hell-fire theology’. Healthy-mindedness believes in universal evolution, ‘general meliorism’, progress, and appreciates “the conquering efficacy of courage, hope, trust”. Healthy-mindedness fosters an optimistic “muscular attitude”, similar to the one implicit in ‘Don’t Worry Movement’ which has a motto that one is encouraged to repeat to oneself often: ‘youth, health, vigor!’. But healthy-mindedness brings also contempt: for doubt, fear, worry, and “all nervously precautionary states of mind”. For a healthy mind “the attitude of unhappiness is not only painful, it is mean and ugly”. It is impossible to maintain this healthy-mindedness without “zealously emphasizing the brighter and minimizing the darker aspects of the objective sphere of things at the same time . . . we divert our attention from disease and death as much as we can; and the slaughter-houses and indecencies without end on which our life is founded are huddled out of sight and never mentioned.”

Healthy thinking avoids morbidity and tries to be optimistic but this doesn’t matter too much, the morbidity is in the world itself – we may abandon morbidity but morbidity is not abandoning us.
Light for Levinas is the condition for meaning, for thinking but also the condition for property, which “constitutes the world”: “through the light the world is given and apprehended. . .The miracle of light is the essence of thought: due to the light an object, while coming from without, is already ours in the horizon which precedes it.” Light is about registering information, about the known and knowable, it is the foundation of healthy and alive thinking. But something unsettling is camouflaged in light itself. A strange night can sometimes be felt in the most ordinary moments of plain healthy thinking, “different forms of night” can occur right in the daytime. “Illuminated objects can appear to us as if in twilight shapes. Like the unreal, inverted city we find after an exhausting trip, things and beings strike us as though they no longer are composing a world, and were swimming in the chaos of their existence.” Not only is light always encompassed by darkness but darkness lingers there, even in the most beautiful moments, in the most delightful sunny landscapes. We all know it and maybe feel it sometimes when we are ‘weak’: “something dark, something abysmal always finds its way into the bland beauty of such pictures, something that usually holds itself in abeyance, some entwining presence that we always know is there.”

If nothing else, time will dismantle our defenses and we will become weak and permeable to this darkness that is not just a rare and special ingredient of daylight but is the reality behind the superficial spectacle of light. Not only does night come again and again but it is there all the time. Or in Cioran words: “At first, we think we advance toward the light; then, wearied by an aimless march, we lose our way: the earth, less and less secure, no longer supports us; it opens under our feet. Vainly we should try to follow a path toward a sunlit goal; the shadows mount within and below us.” In this context the source of “all of life’s evils” is our “will to exist at once imperceptible and shameless” – a too optimistic conception of life which doesn’t account for the fact that “life is what decomposes at every moment; it is a monotonous loss of light, an insipid dissolution in the darkness, without scepters, without halos.” A minimum optimism can be maintained for a while, with great costs of energy, but slowly the effort needed to maintain the hope of life cannot be sustained anymore. From this point of view the obsession with life looks like a strange disease. We have to do amazing cognitive acrobatics to be able to maintain for a while our normal ‘irreality’, our petit healthy thinking. It is a great effort to keep holding it in this way, why not just let go?

Light is a deception, what appears is always below potential, below expectations. If you enter a dark place and turn the lights on, there is a moment, usually imperceptible, of deception (and relief): everything is so much less than what it could be. The promise of darkness is always betrayed when light invades. But darkness is usually a deception as well. For Cioran darkness can be “quite as mediocre as the light”. Probably because “night itself is never dark enough to keep us from being reflected in it.” Usually we implicitly add imaginary light and sight to every darkness, constantly forcing a light-continuity into it, automatically filling darkness with what we know, projecting our world into it. For Bataille the world of objects persists in ‘simple night’ because of an attention that functions by ‘way of words’. But there is a darkness that is not the absence of light but ‘absorption into the outside’ by way of a heart that has dilated and is no longer an organ but an ‘entire sensibility’.

The question is then how to escape the luminous prison, so sharply described by Clarice Lispector: “I can understand only what happens to me, but only what I understand happens?" A possible answer comes from John of the Cross: “to come to be what you are not you must go by a way in which you are not." The problem is that the only way in which you know how to go is the way in which you are. All what you are capable of comes from what you know. And the way in which you are is the result of going on known ways. Practically, this is a prison that you cannot leave and for which there is no knowledge about how to escape it because you and all the knowledge that you (can) have are the prison. You are always on known roads to known lands, there is no outside, no darkness – everywhere and everything is too much you.

In a strange YouTube tutorial a man on an empty beach teaches the viewers how to arrive to a shadow-body showing repeatedly how: “my consciousness tells my mind to tell my body to move his hand, and the hand moves the shadow”. By showing how his shadow follows the body he demonstrates that the shadow obeys his consciousness. Dead Thinking ‘teaches’ us an opposite type of approach: to start from the shadows and let them affect the body, mind, consciousness – instead of increasing control of consciousness over the shadows, allow the thinking and feeling to come from the shadows.

Published in Unsorcery book, Bezna 5 and Fractija.
Connected to the text Dead Thinking by Alina Popa and to the performances Dead Thinking 1 and Dead Thinking 2.

Second Body, performance by Florin Flueras and Alina Popa

Second Body is a lecture-performance that starts as a lecture and progressively turns into something else, through the recontextualization and abstractization of all the usual postures, gestures and attention needed for the task. The lecture stops being about the content, but about the body and its drift into a second, unknown body.

Paradoxically, we experience an infinite openness of the real, we are overwhelmed by the vastness of the possible and at the same time the reality is more and more something to consume in pre defined bits - packages of pre-fabricated, ready made life-slots. Our lives and world(s) are shaped by our type of culture, nature, society, economy, politics, especially in the unconscious layers, in the unknown - at the level of reflexes, habits, perception automatisms, affective circuits, etc. It’s not enough to deconstruct or to apply critical thinking to the tool-body or to the world. The free body -  obtained through hard experimentation with all kinds of substances, all kinds of sexuality and all sorts of techniques of freeing ourselves - got exhausted and turned up not that free after all. The joy and the sensation of freedom felt from getting out of the disciplined body was quickly consumed. To free your body it's not enough. One needs to reconstruct the body and that’s a different kind of work. If the worlds and the natures are organized around habits it is not possible to produce other world and other body through simple acts of volition nor just through theoretical approaches. Instead of changing ourselves and developing new practices, we can add layers of unknown to what we already do, by adding  a second nature, second intentions, shadow attention, shadow processes and activities to the everyday behaviours, to the first reality. The first body cannot and does not have to be annihilated or replaced, what we can do is to grow a second body by diverting attention from the known body and feeding the shadows and the unknown.

Presented in House of Drama, Olso; Teatru-Spalatorie, Chisinau; Jardim Equatorial Sao Paolo; Ujazdowsky Castle Warsaw; Politics of Feeling/ Economies of Love Project, Zagreb.

The Second Body and the Multiple Outside, text fragment by Alina Popa

In a visual field a thing which doesn't coincide with itself is a blurry thing whose position cannot but be approximated. This would correspond to an epistemology based on uncertainty - unlike the Western knowledge relying on truth and certainty, on identity and fixity of laws underpinning a logical system or a scientific theory. That is perhaps why blurry images bring about fear of unknown and are associated with terrorism, forensics, criminology or disabled sight thus poor logic.

A thing which doesn't coincide with itself is a frightful micro-cosmology. Healthy thought ceaselessly introduces a succession of time or a minimum causality in order to distance the indistinguishably different points and soften up the reasoning process. Usually, in classical philosophy time has privilege over space, so that space is created in time, one cannot think the emergence of form and space without the ticking causality of time, emergence without anteriority. Blurred thinking or better said patho-logical thinking (patho-logical is collapsing the logic of sense, of pathos and an impaired, diseased logic, a counterintuitive, stubborn and humiliating logic) can only grasp the necessity of uncertainty, of a blunt identity, of emergence without anteriority.

A diseased world from which time has been severed is a suffocating breathless world of absolute instance, of infinitesimal nowness where emergence equals eternity and events don't happen, they just are, frozen in a snapshot of overlapping actualized potentials. It is a deaf vibrancy, a non-acoustic oscillation of matter-strings, a traumatic sensorium, an inhuman regime. It is not anymore a vibrant matter(l) which folded onto a plane produces an unstable map of forces and trajectories, but a stabile instability, a map of the untraceable, the unrepresentable only a sadistic, suicidal thought could try to think. A productive paralysis similar with the "cruel thought" of Antonin Artaud. This collapse of movement and stability, this grounding of the ungroundable would be a world at the limit of thought, without process, a world of contradiction and paradox, of despair and catastrophic reason.

In mathematics, a point which doesn't coincide with itself is a collapse of a regime of representation, the one made available and habitual by the Cartesian coordinates, where two values - the abscissa respectively the ordinate - determine uniquely a point. Taking seriously a non-Euclidean geometry (where there exist two lines that never will or can meet) and thinking intensely two different points with the same coordinates (a contradictory identity) can produce psychic unrest and nervous breakdowns. Under this regime of representation coming infinitely close to nonrepresentation, where analogy is out of place and analysis is close enough to paralysis new corrupt concepts can emerge: concepts that are dangerously closer to the unreasonable and can be rather produced than interpreted.

Published in Cadernos de Subjetividade No 15. Sao Paulo: n-1, 2013, and  Bezna #4.
Connected to the text Second Body by Florin Flueras and to the performance Second Body.

Second Body, text fragment by Florin Flueras

The free body -  obtained through hard experimentation with all kinds of substances, all kinds of sexuality and all sorts of techniques of freeing ourselves - got exhausted and turned up not that free after all. The enthusiasm and the joy of the freedom lasted for a while but, after years and years of self-expression, a depressive moment arrived when the realization that there is no ‘itself’ to express couldn’t be postponed. The joy and the sensation of freedom felt from getting out of the disciplined body was quickly consumed. The effort of setting free this tool-body is not enough because, similarly to what happened when this is tried in dance, what remains after the 'liberation' are just stereotypes and clichés. Our bodies are shaped by our type of culture, nature, society, economy, politics, especially in the unconscious layers, in the unknown - at the level of reflexes, habits, perception automatisms, affective circuits, etc. It’s not enough to deconstruct or to apply critical thinking to the tool-body or to the world. You need to reconstruct the body and that’s a different kind of work. On the other hand we need this tool-body too because it is what we have for navigating this world.

The familiar habits and patterns of perception and movement are silencing the inhuman factors in the body. "One instinctually arranges one’s life so that the tasks, the tools and the problems and the encounters will recur the same each day, one avoids the limits”. In this way the first body constantly confirms the world and its behaviours, the first body always encounters a known, stabilized world. The quantity of known is constantly expanding until it becomes the totality of perception, until we actually perfectly know what a body can do and what a body is. Our bodies are impregnated with a biological conception, there is a scientific knowledge that we put automatically into bodies and objects. We just know that they are made of molecules and atoms not of affects, spirits, or something similar and we take for granted that a body cannot be in two locations at the same time.

Even if this seems a very solid, grounded reality, there are spaces where this type of thinking is just an impotent fiction. It is possible that an Amazonian continues the end of the last paragraph about the impossibility of the same body to be in two locations at the same time by saying: “maybe not so much in Europe but in Amazonia it can”. Viveiros de Castro was aware that in this kind of worlds a dematerialization of the body and of the thinking was necessary: “What I call ‘body’ is not a synonym with a distinct substance or fixed shape; it is an assemblage of affects or ways of being that constitutes a habitus”. This type of Amazonian material, says Aparecida Vilaça, will allow us to discern a body that is not impregnated with a biological conception, “a body whose existence is fleeting and whose reality lies in the eyes of others”.

The main technique for lucid dreaming and for out of body experiences is to become aware of your body or a part of your body while asleep. This creates a strange feedback loop which initiates awareness and intensifies the presence in the ‘dream world’. By making the dreams real or by becoming real in the dream the 'dreaming body' appears. This kind of body-attention is an interesting way of creating a body and probably there is a key here about how the first body is constituted, and about how the second body can be created. Maybe by deviating a certain amount of attention, of affection, of energy from the first body and the first world in the direction of an intensification of the Unknown, a second attention and a second body can appear, in the same way that, by deviating attention from the dream activity, a dreaming body appears. Maybe by stabilizing this second attention, and by making it a habit, a second body and other worlds can acquire some consistency.

Published in Frontpaper magazine Portland, Cadernos de Subjetividade No 15. Sao Paulo: n-1, 2013, and  Bezna #4.
Connected to the text The Second Body and the Multiple Outside and to the performance Second Body.

Eternal Feeding Technique

In the wake of climate disaster, global pandemics, species extinction, when a world without the human is not just an adrenalin boost of Hollywood blockbusters but is slowly entering our perception and mode of thought, we have to get ready to face hard times of famine and scarcity even in the more privileged parts of the world.
Our method will not only raise the chances of your survival in the future but will provide an admirable graveyard aesthetics. Nowadays aesthetics cannot be just aesthetics, it should be useful as well!

Four useful steps to follow the Eternal Feeding Technique:
1. pick up a grave of any of your loved ones
2. plant vegetables on it (tomatoes, cucumbers etc), herbs or, if you are willing to be patient, you can seed a fruit tree as well
3. when they are ripe pick them up, eat them or share them with your friends
4. make sure you include in your will your wish to be eaten by your dear ones in your turn.

Dylan Trigg at Unsorcery

The Congress of Pessimism started with Dylan Trigg's philosophy-performance On an Unhuman Phenomenology: Horror of the Cosmos & Horror of the Body at the Unsorcery stand.

These lectures take their inspiration from a question central to contemporary philosophy: to what extent is our sense of identity informed by the materiality of our bodies? If phenomenology has attended to this question, then it has done so largely from the perspective of lived experience within a personal history. But there is another side to this relation between materiality and subjectivity which resists experience. Darker and more obscure, and at all times portending to something unknowable, this other side of the body has for the most part been overlooked by phenomenology. It is a body that is alien, alienated, and alienating. These two lectures approach the alien materiality of the body from joint perspectives: cosmic horror and body horror, both poles are united by an overarching thesis: the horror of the cosmos is the horror of the body and the horror of the body is the horror of the cosmos. This intertwining of the alien and the human inhabiting the same body is termed unhumanity.

More here