some preliminary questions
- When is the aesthetic necessary, either for the actor or the environment in which this aesthetic practice occurs? Why is a specific practice necessary?
- Given the endless production of exploitative, instrumental, and profitable “needs,” how can aesthetic practice serve as a place, ground, or set of relations in which necessities are formed in response to these unbearable productions of “needs”?
- If necessity is the mother of invention, does beauty’s parentage also involve immensity? Is the relationship (confluence, tension, disparity) between necessity and immensity a generating force for art today?
- How can the aesthetic generate, maintain, or put in tension a plurality of necessities? What place does necessity take within the immensity of the multiple? Is incommensurability a necessity today?
- When is difficulty a necessary experience or form of resistance? What kinds of resistance can the aesthetic offer within the immensity of current crises?
- How does art elaborate the necessity of public life, resources, and spaces? When the commons have become constricted, instrumentalized, or obliterated, can aesthetic practices recover or define some kind of common potential?
- What is the role of aesthetic practice in affecting the real needs and suffering of others which exceed our existing frameworks for identity, political formation, social relation, etc.? Another way of asking this: how does necessity respond to the immensity of history, truth, and the intractable demands of the other?
- If aesthetic practices bear within themselves, and create, notions of history, how can these histories be understood as divergent immensities / necessities?