Modus Operandi AND in 10 Positions



Versão revista 2019; versão original 2013


Texto original, cuja versão inicial foi escrita por ocasião do evento AND Hap Zero (2013, Atelier Real, Lisboa), para funcionar como sucinto “manual” para o jogo AND. Por sua característica sintética, tornou-se numa espécie de texto introdutório e portátil, sendo frequentemente usado em oficinas e/ou como complemento a outros textos. Foi revisto em 2014, 2016 e 2017, e possivelmente ainda o será outras vezes (a versão mais recente será sempre esta publicada no AND Doc), para absorver micro-variações do MO_AND enquanto pesquisa viva e sempre em processo.



Versões publicadas deste texto | Versions Published:

2013. Modo Operativo AND em 10 Posições, Modus Operandi AND in 10 Positions, Modo Operativo AND en 10 Posiciones (Dossier AND Lab). In Revista A.Dnz, ano 1, no.1, Santiago de Chile: Universidade de Chile, Facultad de Artes, Departamento de Danza.

2017. Modus Operandi AND in 10 Positions. In A Sick Logic, by Anna Chrystal Stephens and Glen Stoker. Sheffield: Site Gallery.

Para citar a versão revista em português:

2017. Modo Operativo AND em 10 Posições [on-line]. Disponível em: AND Doc | Acervo Digital do AND Lab.






1. In this game, the “rules” emerge as you play. Conditions to find them: a) inhibit the habit of wanting to understand, trying to figure out, thinking you know; b) activate the sensitivity of “savouring”, that is to say, letting the event itself manifest what it tastes like. In a word: replace knowledge (saber) by flavour (sabor).


2. The game starts when the unexpected bursts in. When an accident occurs. Facing emptiness as it settles down: do nothing. “Doing nothing” is not to stop (parar) – to be stuck, paralysed – but to stop again (re-parar) in order to notice (reparar).


3. While you “do nothing”, notice what is there, what is around, in “What” presents itself – the unspeakable “That” which is manifested by the accident, every time a singular “This”. Also notice what you have to offer, in case you suit the event.


4. If there is a goal in this game, it is to transfer the protagonism of the subject to the event. That transfer can happen by replacing the usual questions of the subject – who and why – with the questions that the event addresses us: what, how, where, and when. Ask the situation that presents itself: What, in what is there? How, with this what? Where-when, with this how?


5. To participate in the game, do not try to contribute having an end in mind, and even less having the beginning as a starting point. This game always starts by the middle/milieu.


6. The rules are found after a minimum of 3 position takings and 2 relation activations: a) The first position provides the milieu to be noticed; b) The second position enters in relation with the matter offered by the first, suggesting a direction; c) The third position enters in relation with the relation suggested by the second, confirming a shared direction, the common plane.


7. Once the common plane has been found – a direction-sense and not a meaning-sense –, to play the game is to postpone the end. The only task: to sustain the vitality of that plane by handling the amounts of difference and repetition introduced in the relation, at each moment. Conditions to postpone the end: accept and anticipate the end. Accept “finiteness” in order to work for “limitlessness”; anticipate signs of “finiteness” in order to use them as you handle “limitlessness”. That is to say, activate a third modulation of the Portuguese verb reparar, besides of stopping again and noticing: repairing.


8. This is a game of silent questions: each move is offered and received with no answer, explanation or interpretation. For a position taking to dispense justifications, it has to be at once open and autonomous (rather than closed and independent), and explicit and consistent (rather than implicit and coherent).


9. When played according to the principles set forth herein, the game AND never ends. Unless it is interrupted by an accident.


10. In that case, stop again, notice, play again – and, whenever possible, repair.

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Fernanda Eugenio, 2018

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