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Future Has Desires
2022-2025 Research Project

Future has Desires is a research-based project that investigates the nature and structure of being a collective. 


With the pandemic period, a new understanding of coexistence emerges, leading up to a new type of discussion on the need and condition of collectivity in today’s world. Now, in this new state where everything can be questioned and shaken from its root as Bruno Latour states*, this can be an opportunity to question the current contemporary art scene and even a perfect time to express our common desire to change it and to unite around this desire. 


In this project, we would like to investigate further questions such as: 

- What is the nature and conditions of the collectivity today?

- What are the ways of organizing new associations, setting collective decision-making processes, and acting together?

- How does collective work continue in the long run?

- Why do members of a collective leave the group after they line up with their common goals?


This one-year research project consists of four chapters: Literature review focusing not only on art writings but also those from the fields of philosophy, sociology, and psychology; Survey created for collective working groups to fill in; Online meetings with the matched groups and specified contents as a result of the survey, and finally, Book consisting of the transcription of the meetings from audio to text that would be pieced together as a final product. Each step is complementary: the previous step will add elements to the content of the next step. 


The program will be developed together with participants from Turkey and nearby geography. It is desired to bring together structures that are similar in social, economic, and political tensions, that can mutually try the methods they apply and the solutions they reach, and that can adapt to their own conditions. Apart from these collectives cited above, it is planned to invite other collective structures to the project as a result of the survey phase. 


The program has a flow suggested by PASAJ, the whole process is open to be shaped by common decisions. Nil Mutluer in the field of sociology, İpek Altun in the field of psychology, and Leila Haghighat in the field of philosophy support research. 



Small pains, great songs. – Contemporary mass culture is historically necessary not merely as the consequence of the embrace of the entire life by monster enterprises, but as the consequence of what today seems most utterly opposed to the prevailing standardization of consciousness, aesthetic subjectification. Indeed the more that artists went towards the inner, the more they learned to renounce the infantile fun of imitating of what is external. But at the same time, they learned, by virtue of reflecting on the soul, to control themselves more and more. The progress of its technics, which constantly brought greater freedom and independence from what is heterogenous, resulted in a kind of reification, the technification of inwardness as such. The greater the virtuosity by which artists express themselves, the less must they “be” what they express, and the more what is to be expressed, indeed the content of subjectivity itself, becomes a mere function of the production process. Nietzsche sensed this, when he accused Wagner, the tamer of expression, of hypocrisy, without recognizing that it was not a question of psychology, but of a historical tendency. The transformation of expressive content from an unguided impulse into a material for manipulation makes it however simultaneously tangible, presentable, salable. The lyric subjectification in Heine, for example, does not stand in a simple contradiction to his commercial traits, rather what is salable is itself a subjectivity administered by subjectivity. The virtuoso usage of the “scale,” which has defined artists since the 19th century, crosses over out of its own drive-energy into journalism, spectacle, and calculation, not primarily through betrayal. The law of movement of art, which amounts to the control and thereby the objectification of the subject by itself, means its downfall: the hostility to art of film, which administratively looks over all materials and emotions, in order to deliver them to the customer, the second exteriority, originates in art as the increasing domination over inner nature. The oft-cited play-acting of the modern artists, however, their exhibitionism, is the gesture, through which they put themselves as goods on the market.

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