Guest House Preparations

The next Guest House meetings:

– 16th April

– 6th of May

– 22nd of May

Invitation  Basic Text

Dear ….,

In the context of our artistic research practice Milieu, organized by a.pass* (advanced performance and scenography studies) we would like to invite you to join us for (…period…) to (…task…).(… reason for inviting that person).



Milieu is a collective artistic research environment for the participants, mentors and other workers of the a.pass program. In a shared workspace we develop their practices in a collaborative context, on the basis of self-organisation and self-rule. Through individual actions Milieu generates a dynamic territory for exchange, cooperation and (tacit) negotiation. A mutual creation of the individual and the common.

We invite different guests to enter into this environment with us, to participate, open up the proposals and issues addressed in the collective work and/or to problematize the situation, fueling the ecology of ideas and practices in Milieu.

Milieu is taking place between the 28th of  April to the 3rd of August 2014, in the common space of the 4th floor of the a.pass studio in de Bottelarij.


Naturally your travel expenses will be reimbursed and a fee will be proposed…..Conditions of the invitation (fee… etc…)

*a.pass is an artistic research environment that develops performative and spatial research in an international artistic and educational context. a.pass emphasizes the relation between the research practices and a broader societal field, and encourages engaged transdisciplinary practices.

a.pass offers a one-year artistic research training program at post-master level for artists and theoreticians, based on the principles of self-organization, collaboration and transdisciplinarity. a.pass participants develop an independent artistic research project, with a personalized curriculum in a shared and collectively created research environment.

The a.pass artistic research center develops,documents and archives tools for qualitative and relevant artistic research practices. The research center uses this growing archive to communicate and interact with the artistic and educational field and functions as a forum for the development of a critical approach on
artistic research. In the context of its artistic research center, a.pass offers a tailor-made PhD trajectory for doctoral students that gives the possibility to develop the practice-based part of their PhD research in collective research environment.

Content, and proposals to be discussed



AUDREY’s proposals

I would like to Invite Lucy, she does not have a last name, her name can’t be mentioned public, because she develop protected networks for activists communications. 

Peter and I meet her the first time on the 15th March contest against EU SUMMIT BUSINESS MEETING.(Lobbyists Big Meeting) 

I would like to invite her 2 days in June or July, she will be already in Belgium no need for transport neither for hotel.First Day : It will be a morning presentation about her activities, in the afternoon activists experiences (activists will be invited to join us from the morning) + some basic applications toward basic privacy, let say a tool box!

Second Day : It will be a day of Privacy/Commons science fiction scenario making. That every a.pass participant could relate to his/her own practice and interest.
Peter, Nicolas and Femke might be interested to join (?).


I would like to invite visual artist François Deck for one weekend.
I don’t know him personally, even if I got recently in contact with him.
It is hard for me to describe his work, I only saw once a game that generate inter-exchanges.
His art work has not been showed much in France neither in Belgium.
He has been as well a life pedagogue in Grenoble where he teached to Pierre Huyghe, Philippe Parreno, Dominique Gonzalez Foerster.
I would like to meet with him in your companies during one weekend.

As it might be July already I propose to Walk Brussels with some of François Deck games and exchanges protocols to experiment in Cafés, Gardens, Markets and others stops can be proposed according to the city activities.

Camila and Hans: host the artist Julien Maire

on the techniques used in his work, workshop to share his practice


… and some perspectives on technology?

Asking Femke Snelting from Constant ?


Also Simon Allemeersch might be interesting with Julien, bringing social contexts and Community work in relation to the machine.

Philippine, Gosie and Damla: Jan Masschelein – professor in Leuven – pedagogical

common learning space / back to the cave /the cave with the first drawings as a space.

What is common learning / He might be interested in us (apss) as an experiment / lab for learning./ Milieu as a school

Early in the block + at the end of the block (?) / one day every 14 days / full week (?-might needs preparation)

Nicolas added – knows someone who uses walking as a learning and teaching method, that follows the idea of the pedagog (peda-gogy).

(already some of his writings are in the apass reader: “E-ducating the gaze: the idea of a poor pedagogy” / Jan Masschelein


Who is Jan Masschelein?

Professor at the university of Leuven, theory of pedagogy, experimental pedagogy. Special interests, among others, pedagogy of cinema and the camera, the architecture of the learning environment etc.

Why him?

The idea to invite Jan Masschelein arose because:

-Philippine saw a lecture by him at the Witte de With in Rotterdam about collective learning, the ‘public school’ and the common

-he was Gosies professor and she can imagine he could be interested in our  Milieu experiment

-he was Kristiens research adviser and she has a high regard for his ideas on Poor Pedagogy, walking practices etc.

-Nicolas is very interested in his ideas on commonality, as is Damla.

What would we do with him?

Our idea is to invite him to come twice or several times. The first time he could perhaps feed into the milieu ideas on commonality, community and collective learning. And we could share with him the intentions and ‘ideology’ of the milieu. At a later date or dates we could try to, together with him or through him, come to some reflection on how these expectations are playing out or played out, why and how.

Some additional information/notes on his ideas and writings

In relation to current education and knowledge, he talks about consumerism  (students as consumers of education, the entrepreneurial student), he is critical of the demand for everything to be made productive (productive time, time as a commodity, and also knowledge production) making the ‘school’ a place of formation, he calls this the taming of the school.

He calls the space of learning a public space, not in the sense that it has been appropriated or disappropriated but because what is ‘put on the table’ (Hanah Arendt) is put ‘at the disposal of-‘. The world is made common, put on the table. Around the table gathers a community of singular beings.

On the world ‘put on the table’ he says: “According to Agamben: ‘Pure, profane, freed from sacred names is that thing that is being replaced in view of the common use by people”. A condition of profane time, space and material thus is not being a place of emptiness, but being a condition where time, space and things are disconnected from their regular use, no longer sacred or occupied in that sense, and therefore referring to a condition where something of the world is open for common use. “

On Attentiveness: “E-ducating the gaze is not about arriving at a liberated or critical view, but about liberating or displacing our view. It is not about becoming conscious or aware, but about becoming attentive, about paying attention. Consciousness is the state of mind of a subject that has or constitutes an object(ive) and aims at knowledge. Attention is the state of mind in which the subject and the object are brought into play. It is a state of mind which opens up to the world in such a way that the world can present itself to me (that I can ‘come’ to see) and I can be transformed. Attention opens up an atopical (and not an utopical or heterotopical) space: a space of possible self-transformation and self-displacement, i.e. a space of practical freedom.”


He describes different learning environments such as the seminar, the workshop and the lecture hall: “In this sense, the lecture hall can be described as a heterotopia; a ‘place without place’ or ‘location’ with its own order, its own technologies, rituals, ways of speaking and discipline. According to Michel Foucault, it is a space where we are exposed, that is to say ‘drawn out of ourselves, in which the erosion of our lives. Our time and our history occurs’. It is a place where we are exposed to a thing-in-common and are engaged in public thinking.”

Raressocial sculpture: a space, or group in Oxford. to invite one of the people there, maybe one of the students.


They talk about  a lot of theoretical texts.

connecting with educational platforms that are similar to us.

Pierre: will take a lot of time to get into their project, so maybe invite one person perhaps, and maybe it becomes a long-term collaboration.



“An ecology of practices … aims at the construction of new ‘practical identities’ for practices, that is, new possibilities for them to be present, or in other words to connect.”

“each achievement in the ecology of practice, that is, each (always partial) relation between practices as such, as they diverge, must be celebrated as… a mutation which does not depend on humans only, but on humans as belonging”

“… enacting the relation between belonging and becoming, producing belonging as experimentation”

Joseph Beuys, What is Art? Clairview, 2004

“You see, we all still live in a culture that says: there are artists and there are non-artists. This becomes something inhuman, giving rise to the concept of alienation between people. No, every person continually performs material processes. He continually creates interrelationships. Even when he gives, when he defers to another, or the way he behaves in a crowd, there are always, let’s say, form processes at work. Dancers, after all, do nothing other than move, on their feet. And people on a crowded street are basically dancers too. So the moment you become conscious of this, you are involved in this problem. I want to get away from this: from the way the issue of form is laid on artists, or on art in the traditional sense. I want to get things to the stage where people experience themselves as continually involved in this question; and then, as they keep experiencing and creating these material processes, that they basically also experience that social sculpture is a necessity. And that it is necessary to take things in that they normally don’t perceive. …our social organism exists like a living being…

nicolas: the god of silk screen – collaging imagery in relation to each other. Jean-Pierre Müller. Vinke (consult with her) might know him.

Also, Simon Allemeersch could be also interesting to consider- the machine and the people he meets on the street



invite > Michael Kliën (based in Ireland/ Athens)

(check availability  3 days between 16-25 june)

Lecture TALK KLIËN @ HZT, BERLIN: WORK RETROSPECTIVE 2002-2012 (1h4m)  reference social choreography Andrew Hewitt


“These choreographies are rehearsals of utopia, nevertheless real social relations.

… To pro-actively engage with it as a choreographer. Rather than just commenting on it or deconstructing it, … using that aspect that those are rehearsals for our emerging social relations.”

Practices (to invite Michael) to propose to milieu:



A choreographic site for citizens

by Michael Kliën, 2014


Concept a Parliament is a discussion; in its modern meaning it has come to be used for a body of people (in an institutional sense) meeting to discuss matters of state.

This new adaptation of the word Parliament aims to get the body politic into a state of dance: ‘in truth, the right way to begin to think about the pattern which connects is to think of it as primarily a dance of interacting parts.’ (Bateson—

Mind and Nature)

Parliament enables communal situations in which the depth and workings of human relations can be sensed and made palpable to participants and audience alike.

In this instance the aims to act as catalysts and amplifier for embodied knowledge to formulate, for mammalian intelligence to unfold, specifically in respect to recursive, inter-personal/social relations and their governance. Fundamental to these processes is choreography’s unique position in its regard of the body being simultaneously subject, theme, material, tool and terrain (colberg). as in Kliën’s previous works, choreography is approached as a discipline developing into a cultural practice that contributes to the creation of original politics as well as a social-political consciousness. in fact, Parliament reveals the necessity of embodied aesthetics in the process

and evolution of ethics.

in particular

Content to discuss (with Michael):


Complex, interdependent issues are increasingly shaping the context for strategic thinking in our world. Yet the pressures created by these very phenomena tend to keep everyone in a continual“doing”mode, with little or no time for reflection and real thinking. The number of people who believe there are profound flaws in the current process of globalization is growing, yet the environment of trust needed to think about these problems is fragile. Only when people begin to see from within the forces that shape their reality and to see their part in how those forces might evolve, can a vision, a way out of the crisis, become manifest.


People are searching for ways to develop a new source of action, one that lies beyond preconceived plans or narrow self interest, beyond past experiences. For this to be possible it is necessary to provide opportunities to experience acting in the world, not on the world, to explore places and possibilities, strategies and prototypes for shifting from the past, to opening up to what might be emerging from the future. A place to do what needs to be done, for action as a spontaneous product of the whole.





The schizophrenic split between supersensible conditions and physical conditions is something we have overcome and we can now head towards a new cultural epoch; or you can say: we have a new “cultural epoch”.

(reading from an interview with Joseph Beuys What is Art?, p. 77)

Michael Klien: This development that has been going on… towards a notion of “social” choreography… could it have a real impact in the wider social sphere… or will it remain on an abstract level as a terminology with a lot of potential but without physical effects?”

in particular


Further Reading


Where are the connections: social choreography – milieu – naked milieu?

Formulate entry points for a.pass participants to practice the ensemble of ideas and not remain passive spectators.

Kristien: if there is a shared interest in a writing practice, maybe someone from the imprint collective iam (information as material). They make and support publications, but they call them ‘conceptualist reading performances’. The books are often a reading and a reproduction of another book, or someone elses steps (eg: the travels of Freud).

One of them, Morris, gives sometimes workshops under the banner of ‘uncreative writing’, a term coined by Kenneth Goldsmith (ubuweb), I think.

But I like more the work of Nick Thurston, who made the Blanchot book I spoke about on monday.


Here is more information:

Nicolas: Raising the question of democracy, decision taking procedures: Luigi Coppola, Christoph Maierhans, Teatro Valle Occupato… ev. in relation to Hatred of Democracy.



Grant Morrison

MEETING 22nd of May

all the proposals will be announced and worked out on the blog MILIEU


proposals on the way


Michael Kliën

Stef is not at the meeting but send message


I need to be at sign6 studio today to prepare the perfocillinne event, so won’t be at the GHmeeting…


I’ve send an invitation to Michael Kliën,

Awaiting his response for 2-3 days availability between 26 june-4 july.

I’ll inform you asap on his reply.


Friendly greetings,


Enrique Vargas

(Veronica’s Proposal)


The poetics of the senses. From this starting point, Teatro de los Sentidos develops immersive experiences that tour from Antwerp to South America. In Destelheide (Belgium), artistic director Enrique Vargas and company members of their educational platform Caixa d’Eines teach a unique hands-on masterclass for only twenty six participants, June 7th to 14th.


Enrique Vargas Biography

In 1946, at the age of six, Enrique Vargas entered the world of theatre by inventing games in the Andean landscape of his Colombian hometown. He used to invite neighbours and friends to play with him, and hide from grownups in the intricate and mazelike coffee plantations, where they created fantastic stories full of surprise and imagery.As an adult, he set his sights in recovering the spirit of those “forbidden” games and into developing a poetic of the senses that would endow them with meaning.

This research took him to the National Drama School in Bogota- Escuela Nacional de Arte Dramático de Bogotá- and to Michigan where he studied theatre anthropology. There, he set up street performances Commedia dell´Arte style as part of Harlem´s neighbourhood festivities with New York´s “La Mamma” theatre, and worked on Poetics of the Object with Peter Schuman from “Bread and Puppet” theatre.

Afterwards, he spent 20 years researching games, myths and rituals from the Colombian Amazonic region, and teaching Dramatic Art of the Sensory Image at Colombia´s National University- Universidad Nacional de Colombia.

He also worked as art director for the Time Festival in Gent (Belgium) on the subject of “Ars Vivendi, Ars Moriendi” Now Enrique lives in Barcelona, where he is producing Caixa d’Eines, a box of research and creative tools in “El Polvorín”, an old gunpowder factory near Montjuic Castle, without any expectations of finding an answer.

Nicolas: Raising the question of democracy, decision taking procedures: Luigi Coppola, Christoph Maierhans, Teatro Valle Occupato… ev. in relation to Hatred of Democracy.


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