:mentalKLINIK////Obscure Object presentation text

Obscure Object
1
We are here to produce neither a certain result, nor a final product. However, we are not aiming at an uncertain and play-like image which can be considered as opposite. We just intend to negotiate the limits that close the object, therefore to make the realization of object itself possible.
2
We are living in a world of obscure, uncertain, mysterious objects. We are surfing Internet where has already been a tremendous library in which knowledge seems to have a meaning anymore; we are logging in a friendship-site Facebook where friends are turned into relations and links and choosing one of the coded mode of relations.

We are buying already-outmoded products which are out of date even before use. Even image does not save the object. In the 21st century, image is replaced by network blockages. In the time of “butterfly objects”, appearing and in a moment disappearing without letting to experience, in the world of images and objects that are not aware of their non-living, we are following the possibilities that appear in this very moment.
3
In a world where consumers are considered as producers, and products are sold as beta-version, individualized; what do mediating these relations, keeping the distance between object and ourselves mean?

As distinction between producers and consumers no longer exists; their works are not products existing as discrete, complete packages; and their activities are not a defined form of production.
4
We are deliberately keeping away from a real encounter, getting closer and touch. How can we find a way to change our look and transform our relation into a real experience? How can we use our senses to understand the constructed on a different ground?
5
Can it be a meaningful attempt to feel the uneasiness of the object while coming closer to it? Rather more preeminently, does it make sense if trying to reach back side of such uneasiness, to the thing whose absence is concealed from us? Though may be inadequate and even wrong, one should try, even only one time, to save oneself from the pleasure of symptoms that we see in the object and to de-contextualize it. We need a misunderstanding. A misunderstanding that diverges from the mystery of the object. Only then, we can leave a legacy of possibility of true and valuable experience. We need an encounter that we can no more delay and an experience of understanding that questions our own mode of relations.
6
Rather than giving a short cut answer to the question “how can a real experince be material?”, it is necessary to circle it. As Benjamin said, it is necessary to catch the object’s disclosing itself at a moment and not to resist while drifting further to the center of this disclosure and shining.

You are expected to review your activities with the light of understanding presented and with the short texts read to you; and to create a language of transfer for the process of experience that you have gained as a result of creating slight differences in the activities.
7
We suggest to begin with rejection of usage and mode of receptions that objects themselves imposed on us; sending our questions and intense looks back to the world of objects and reflecting back from there with a new look; and making the doubt concerning objects’ mode of production and living, your starting point for your own production.

We do not expect to end this productive process with a concrete product. Rather in your presentations, every narrative and/or form which can be an abstraction of a certain awareness and critique will be considered as an end by itself.
8
If we try to abstract our own method which is itself a little bit concealed, we may say:
that “ (We are…) trying to know the object to the extent of our senses, thinking of its process of production and usage, considering the relations emerged around it, viewing its material and immaterial structure, differentiating its way of becoming. While doing all these, wandering within the moment when we feel congested, get confused and need to stop and take a breath, we aim at taking the keystone in the heart of obscurity.”
9
Just like a thesis with a negative conclusion does not lose its characteristic of being a thesis when it gives a systematic answer to the question that it rises; a production process operated with a correct method, though not brought forth a product, will also have valuable results. Consciously using senses with different configurations can be a significant entry point for “fragmenting the object through itself”.