To Live and To Think Like Pigs, The Incitement of Envy and Boredom in Market Democracies, Gilles Châtelet, 2014

Injuring, Wagering, Controlling: Looking Back at a Metalanguage, Diedrich Diederichsen, 2018

Kathy Acker. Blood and Guts in High School (1978)

Notes on ‘Camp’, Susan Sontag, 1964

The Exhausted (1995), Gilles Deleuze

LANDSCAPE MODERN OIL PAINTING CANVAS PAINTING ABSTRACT OIL PAINTING WALL HANGING, group show by Jir Sandel

Towards a Metalanguage of Evil, Cady Noland, Balcon No. 4, 1989

Barbara Kruger. Job Description

Why Does Fred Sandback’s Work Make Me Cry?, Andrea Fraser, Grey Room NO. 22 / Winter 2006 p.30-47

Dominique Gonzalez-Foerster & Eva Marisaldi. Film

Saw myself in film. Odd, seeing one’s self as a puppet. Heightening of mirror effect. Narcissus stirs, walks, sees himself from the back, as he cannot see and could not imagine himself. Becomes aware of a whole area indissociable from him, a host of hidden bonds, a whole Other sustaining the Same. Receives the invisible self. One is cast out of one’s self, change into another. One passes judgement upon one’s self – If it could see or perceive, through this artifice, the mind thus externalized, and from forbidden angles – what awareness would one have? What effect on one’s sense of self? To see one’s self thinking, responding, sleeping. – Paul Valéry, Ego, 1973 from On the Eve of the Future, Selected Writings on Film, Annette Michelson

Once published, a Script, as a social form, is resolved only by reacting toward reactions toward it. It is an algorithmic social construction that seek to shift or create Objects, Object-relations, and social-relations within the material world in a manner that necessitates the unexpected. To embrace the unexpected is: a) to desire to see, despite knowing that there is a brutality to see (realism), b) to desire to keep moving, despite knowing that pain is certain (optimism), and c) to desire a future, despite knowing it will get worse (hope). Scripts are blueprints for unknowableness: hopeful gestures of realist optimism or optimistic realism. A Spectator engaged in Script-forming and/or Script-enacting engages with the present in order to suspend the future by imagining its alternatives. The Future is also not an Object. – The Function of a Script (in relation to a Spectactor), In Relation to a Spectator: Studio for Propositional Cinema, October 2017

Art Without Rules, Texte Zur Kunst, No.109, March 2018

Agnes Martin, Writings / Schriften (English and German Edition), Kunstmuseum Winterthur and Edition Cantz, 1991

Seth Price. Wrong Seeing, Odd Thinking, Strange Action