Records

 
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The Faculty of Invisibility,
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expressing
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INTERPRETER
They seem to use me more than I use them, even though it might be that I make use of the text as my very own voice.
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INTERMEDIARY an empty place that can be taken by different persons on behalf of the Faculty thus remains without work in its ceaseless activity. The position of the helper, interpreter or courier cannot but initiate translations, by functioning as a threshold between different realms.
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GUEST
I can never be anything but a guest. Maybe
this is what we have agreed on from the start:
the possibility of appearing and disappearing in one
single gesture. I had to learn about a replaceability
that is inherent in the place at your table I
have been invited to take. This could easily make me
sad. I guess, I should have known to relate this
replaceability to my habit of writing. Maybe this is
precisely what you have asked me to do.
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offering in hospitality a place one has not
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the figure of the helper remains by means of his ceaseless activity without an oeuvre
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assistants
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invites
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the representatives to take the seats reserved for them at the table
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on behalf of
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ghost
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LETTERS
I apologize for my hastiness. If I have the time, I will try to speak of the space in between my letters, the gaps and silences that I write as passageways.
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RESOLUTION
Jede Resolution fällt zwar unter den Oberbegriff "Beschluß", zeichnet sich jedoch durch besondere Förmlichkeit aus, insbesondere in den streng formalisierten und standardisierten Formeln der in der Präambel (preamble; préambule) aufgeführten Entschließungsgründen und des Beschlußteils (operative part; dispositif) mit seinen einzelnen (Beschluß-)Ziffern (paragraph od. para.; paragraphe; in deutsch dagegen "Paragraph" nur bei Gesetzen etc.) wie diese im Unterschied zu den Präambelabsätzen (engl. ebenfalls paragraph od. para.; frz. jedoch hier: alinéa) heißen.
Wörterbuch der Vereinten Nationen, S. 514 (Ruprecht Paqué)
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"None of these figures has a firm place in the world, or firm, inalienable outlines. There is not one that is not either rising or falling, none that is not trading its qualities with its enemy or neighbor, none that is not deeply exhausted and yet is only at the beginning" of a long duration.
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archival documents,
prison records, and lettres de
cachet
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recommendation
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amendment
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The tired mode of language (Ariane Müller) employed by the UN, a language at the end of its poetic means, may show a likeness with the highest officials in Franz Kafka's castle who suffer from constant fatigue.
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PROCEEDINGS
Observably in the proceedings in which the world's greatest conflicts are at issue and subject of negotiation, still the last act of expression seems to be drawn from the faces and voices of the delegates. Possibly taken into those proceedings, which were developed to accommodate them.
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The institution is established rather as a constant work within and on language. In the roles and positions it evokes, in its convening function, in addressing its audience, through permanence and constancy it establishes visibility and achieves recognition.
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terminus
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WITNESS
who borrows the own voice to the event. Sakho: Faithfulness to an event in the past, a question of hospitality towards that what has already taken place
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enfants de langue
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memory
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contract
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INTERRUPTION
My appearance as well as my actions mean an interruption.
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POURPARLERS
points to a use of language as a gap. Language breaks the silence that has become unbearable. But this kind of diplomatic language also is silence. That is to interrupt silence with silence.
'Since powers not only are outside, but also are passing through each of us, it is each of us who find himself in pourparlers.'
Pourparlers 1972-1990, Gilles Deleuze
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EXPERIENCE
the interruption of language when an experience exceeds that what can be conveyed in it. The setting in of the pourparlers: offering proceedings through which one transfers the unspeakable into the realm of numbers, reports and witnesses.
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PROTOCOLE
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VIOLENCE
I would have to insist on a certain violence that is at work in my writing. This is easy for me to say as my writing has at the same time and for very good reasons always tried to avoid becoming entangled in such a violent act. It is almost too easy to say, since this violence inhabits my writing at all times.
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habit
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law
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psychonalysis
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ordinary
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universal
transparent
neutral
Blue on blue
camaïeu
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subconscious
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COMMON
At stake is an adjacency of and within language that coincides with anonymity, that is an appearance without name and a use without signature. Echo, the guest in language, suggests an anonymity within intimacy. Echo exposes a manner of being in language, which is similar to the experience that the taking-place of every single being is always already common.
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these infamous lives appear only
through quotes in the discourse
of power,


vollkommen unausgedrückt
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deprived of
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PLAYED OUT
But what does it mean for a life to put itself or to be put into play? A life is ethical not when it simply submits to moral laws but when it accepts putting itself into play in its gestures, irrevocably and without reserve even at the risk that its happiness or its disgrace will be decided once and for all
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with respect to the very appearance of their being in language
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REDEMPTION

written language to listen to
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DARK LIGHT
the encounter with power pulls from darkness these human existences that would otherwise not have left any traces shine for a brief moment in the beam of light cast upon them by power.
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requires
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EXAMPLE This might require of us nothing but to be patient, to be aware that it always remains completely up to those invited if and how they will take their place of being in language exemplarily within the Faculty of Invisibility.
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A light that makes a space. The emotional quality of a space.
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The mural is cadmium yellow medium, toned down, United Nations blue, and white on a dark grey background.
    
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Emma
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MAKING VISIBLE like walking with mirrors that only reflect the light that meets them and thus drawing the outlines of that space we are in; something can appear unexpected and come to light
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calling upon
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COLORS

Grey: as each use of a color is a sign, many things are just grey, the suits, the corridors, the stairs, the elevator, everything that does not make sign is grey. But grey itself becomes a sign, the sign of functionality.

Green: the representative must represent the color of the party, she is wearing a green ring. The ring use to be the seal of the king, the signature of power. The design of the ring is trying to avoid to have any other attribute than color: the form, the material are chosen to be as non-existent as possible.
The other members, who do not have to represent the colors, don't have to wear them.

Blue: the room called the "Blue room" is not blue. Only a row of panels covering completely one of the short wall (front wall) is blue, more as a part of the sign system of the building than as a character of the room.
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GESTURES

Almost constantly, the secretary is typing the acts of the meeting on a keyboard.

From time to time, someone raise a hand to ask the authorization to speak.

Rarely, someone hits the table, as if to knock in the words pronounced. This is a very violent insisting gesture bordering on the esoteric of the round table, when the spirits are knocking on the table.
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LIGHT

The whole space of the room is lit by a homogeneous soft light. The shadows are under the table. The light is not strong, shining or cold but a warm and diffuse light.

The switches allows for two different lighting: 'seating' and 'projection'.
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OBJECTS

The beamer screen is in the middle of the small blue wall. On its right side is the TV screen, suspended onto the ceiling, so that everyone can see it. On the opposite side is the paper board.
There are long black curtain to block the light coming from outside.
Piles of A4 paper are stacked aside and in front of the members. They are often stapled in the top left corner. That creates a point, as opposed to a line, that would be the spine of a bound volume, when one open the stack, the opened spread introduces a diagonal, with a gap in between.
The line of text on the documents are very long, very horizontal, perhaps about thirty words per lines.
Maps showing the future plans for the territory are unfolded. They most often fold back into the stack of A4 papers.
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SOUNDS

Long monologues and small typing sounds. The monologues are sometimes calm but most often animated, sometimes interrupted by dry, fast, names pronounced to direct the speech to whom has asked.

Rarely, someone hits the table, as if to knock in the words pronounced. This is a very violent insisting gesture bordering on the esoteric of the round table, when the spirits are knocking on the table.
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TRANSLUCENT

The wall between the corridor and the room has in its middle two door frames in which translucent glass windows are mounted. This allow the light to go through, thus preserving the transparency of the institution's building, but only let vague silhouettes appear in the adjacent space, thus preserving the anonymity of that those passing by and those sitting in have for each other.
  
 
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.
  
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To hold a MANDATE to be as if not being there, to be on behalf of, to be without ones own voice
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Repeating word by word, what has been written, the reader therefore enters the text in the place of a gesture that remains to be inexpressible.
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The General Assembly as a place in which a text has to be spoken in order to be taken into effect, enter the records of scribes and recorders and to become universally enforceable.
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.
   
    
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They were given the chance of becoming kings or the kings' MESSENGERS. As is the way with children, they all wanted to be messengers. That is why there are only messengers, racing through the world and, since there are no kings, calling out to each other the messages that have now become meaningless. They would gladly put an end to their miserable life, but they do not dare to do so because of their oath of loyalty.
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The MESSAGE is a structural trick. Each act of speaking, whether an announcement or subsequent comment, is bound to an event from which it is chronologically separated while, at the same time, being inseparably connected with it. The message introduces a TIME LAG into the event of which it speaks.
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Law cannot make its appearance without announcement. At the same time, it has to substantially differentiate itself from its message. It may not coincide with the moment which is occupied by its own announcement.
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Law seals its foundation through its embedding into language. In order to accomplish its institutionalisation, it establishes the act it originated from as an inaccessible empty space within language. Law actually is mute. The validity of the law is only guaranteed through excluding its institutionalisation from the reach of possible acts.
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Within each speech act lingers its own hesitation, its own indetermination, which as a weak force is always intrinsically operative in it, thus including the possibility of its own non-execution. The more horses you yoke, the faster it goes - namely not pulling out a block from the foundation, which is impossible, but the tearing apart of the reins and thereby the empty cheerful ride.
 
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Dear
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In the work The Invitation the Department of Haunting, the Department of Reading and the Department of Practice developed a series of six letters and two postcards which were sent to 550 receivers whom the authors remembered personally.
 
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considering
  
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stating
  
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recalling
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commending
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notes
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reminding
 
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Maaike
 
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would like to
  
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.
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I would like to
  
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that
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THE FACULTY OF INVISIBILITY was founded in 2006 as a fictional institution.
The initial manifestation of the Faculty of Invisibility, The Speech took place on December 6. 7. 8. 2006 at the Jan van Eyck Academie where the Faculty of Invisibility was founded by Roe Cherpac, Wim Cuyvers (Department of Common Spaces), Paul Gangloff (Department of Haunting), David Goldenberg (Department of Post Autonomy), Sonke Hallmann (Department of Reading), Ingela Johansson (Department of Uncertainty), Nikita Kadan (Department of Parasitism and Symbioses), Lesya Khomenko (Department of Play), Volodymyr Kuznetsov (Department of Survival), Nebojsa Milikic (Department of Learning), One Day Nation, Hinrich Sachs (Department of Speech Genres), Monika Vykoukal (Department of Doubt), Inga Zimprich (Department of Practice).
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Emma
 
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suggests