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DEBE BE wakollou sawt ka wak3i el7afer 3ala el2ard essolba

010_08 / 22 February 2017

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Out of the fields of high performance control and fervent study, The Society of False Witnesses has launched on 1 October 2015, an open call for scientists and engineers to game and be tested. The visual and quasi-readable call manifested itself to the visitors of the Military Industry of Terranova in the form of two copies of a 29.7 cm by 42 cm laminated poster hung strategically on two parallel walls within the Infrequency Corridor that students, unless taking the underground tunnels, have to tediously pass by on the way to everyday classes.[1] Since some students prefer to tarry all day long in their departments or laboratories, we have placed another matte copy with the size of 21 cm by 19.7 cm in every departmental building.[2] Many people wanted to join the society, yet the society had to be selective and accept everyone. At the end of the game of resemblance, that was presented as a dance performance, the Society of False Witnesses has asked every player to give themselves and each other a new name.

These were the granted names:


Universal Coupling, Adder, Kalman Filter, Dashpot, Semiko, Lit, Low-Pass Filter,  Register File, Raid Array, The SOFW, Null Byte, Data Logger, FN 10001, Kill-9, W H Auden, Multi-set, The Mill, Existential Quantifier, Multiplexer, Latch, Two Time Pad, Fourier Transform, Environment Variable, FN1001, Scion, Transient Time, Lambda-s, NAND Gate, Embedded System and Epsilon Iota



This was the poster before we knew we were going to dance:



These were the titles of the indisciplinary work that was derived from what you may be about to continue reading:


Instead of a Turret on Top


a دباب

We will be referring to the first as one, the second as four, and the third as four.

Concerning the title of the piece that you are still about to continue reading, hearing, seeing and scrolling on your screen, it is:


D B BE wakollou sawt ka wak3i el7afer 3ala el2ard essolba


To tell you the truth, if we were not dealing with the sonic, pedagogical and linguistic transmissions of military strategies into the political economy of knowledge production within institutions that propagate themselves as sound protean future labor training spaces (SPFLTS), we wouldn't have been committed to the labor of writing and you wouldn't have been reading.[3] All of our words would have been abridged with two phonemes or three aural couples. However, since we are all playing and tacitly repeating the forthcoming task for as long as the Word Why Went or Idraak or this screen page would survive (and that might be long) we do need to elaborate. When you feel tired, please remember that all of this project deals with a word, that is a sound and many words, only one or many. A word can never tire you even if it is:


According to the Military Industry of Terranova where Universal Coupling, Adder, Kalman Filter, Dashpot, Semiko, Lit, Low-Pass Filter,  Register File, Raid Array, The SOFW, Null Byte, Data Logger, FN 10001, Kill-9, W H Auden, Multi-set, The Mill, Existential Quantifier, Multiplexer, Latch, Two Time Pad, Fourier Transform, Environment Variable, FN1001, Scion, Transient Time, Lambda-s, NAND Gate, Embedded System and Epsilon Iota study and sometimes work, profuse funding was inaugurally granted to the field of art at the universal industry in the end of the 60s because art was seen as a 'way to humanize the sciences' in collaborations targeting 'the creation of monumental scale environmental forms'.[4] At that time, the universal industry was receiving a lot of criticism for its bountiful military funding and students began organizing in movements. Some dropped out, some were fired, some reached the industry's museum, others wrote or formed unions or a mixture of both. Switch disciplines so long you stay there. The Society looks at the ensuing protests extensively in four while exploring the ontological shift from anti-militarist to anti-war demonstration. The Society of False Witnesses spurs on the former. It does not want to contribute to the road to humanism even if it still doesn't see another way around. No problem, we want to see a forest. If we were all immortal, we could have played forever without the need of another body. Someone told me that you can't count when your mouth is numb.


Debebe is the vernacular and my personal preference, as far as speech doesn't go. In Modern Standard Arabic, we say debābā for military tank. Debbā signifies the verb to crawl or to toddle , deb denotes bear, the mammal of the Ursidae family, and dāba means crawling animal. 

Debdaba could also mean to toddle or to clamour and cause a great noise. The more onomatopoeic a language is, the more animal I am without your accord. I am not an onomatopoeia.[5] The 2erth is stiff, yet I can still hear deb debba debdaba debdebdeb dbb.


Play 4:



Step 1: Stand in a corner while facing me so that my/your body is parallel to two walls and yours/mine is parallel to one

Step 2: Let's extend our arms horizontally


Step 3: Open our hands


Step 4: Take a step further towards me, facing you


Step 5: Hold my hands in your hands


Step 6: Look with me straight in the direction opposite to the wall behind both of us


Step 7: Lower our pair of arms that are parallel to the wall behind both of us and bring them to the forefront while bringing the pair of arms facing the open to the back


Step 8: We have now made a 'debebe debebe debebe debebe debebe debebe'. Please move in space.


Step 9: Look around, dance with the other 'debebe debebe debebe debebe debebe debebe's



Debdaba could also mean: every sound as a hoof/digger's drop on stiff Earth.


Null Byte, Transient or Raid Array or Register File reported after performing the instructions in our first rehearsal as follows:

A couple random-modeled agent-driven dyad-body was generated to run synchronously allowing for a set of equilibrium movements to emerge as phenomena. Movements were ambulatory as well as limb-based like a kinematic semi-oscillatory pattern that was instantiated in the bodies' 'arms'.

In order to provide maximal coupling, bodies were instructed to form a visual link using standard gazing/pupil matching methods. While this was shown to provide adequate responses (I've opened parentheses here for example, traversing long distances without breaking dyadic linkage I've closed the parentheses), another unstable solution was found, where bodies counteracted each other's movements forming asynchronous and damaging movements which seemed to be goal-oriented in nature.This kinematic pattern insatiation was also seen to exhibit higher-order phenomena, where multiple-dyad interactions led to a similar distribution of synchronous/asynchronous movements (as in the single dyad case). From these results, it is hypothesized that behaviour of different group sizes of dyads are self-similar and higher-order behavior at the macroscopic scale cannot be distinguished from behavior at the microscopic scale.


In the essay 'Thinking Between Disciplines: an Aesthetic of Knowledge', a philosopher recalls the importance of conte or 'story' in history and discipline.[6] They furthermore contend that it is through the experience of art that one encounters the ignorance asserted through story as form of knowledge, belief and imposition. A particular strain has caught my attention; whenever they talk about disciplines, the philosopher uses combat lexicon, a language of the battlefield.[7] 'A war machine', 'the scientific war against allodoxy', 'to speak of war', 'dehiscence', 'engage in a war against the war', 'hemorrhage', 'it (disciplinary thought) must ceaselessly pursue war but pursue it as a pacifist operation', "the context of the war", 'the distant roar of battles', 'weapons in a dispute', 'weapons in a war', 'the war of forms', 'forewarning'. The philosopher later adds:


'To speak of war is not to disqualify the disciplines in question. It is to recall that a discipline is always much more than assemble of procedures which permit the thought of a given territory of objects. It is first the constitution of this territory itself, and therefore the establishment of a certain distribution of the thinkable. As such, it supposes a cut in the common fabric of manifestation of thought and language.[…] They must therefore engage in a war against the claim that there is another knowledge and another ignorance than that which belongs to their conditions. In other words, they must engage against a war that the worker is himself fighting.'.[8]


The war against ignorance. We are ignorant we claim, yet the forthcoming modes of carrying life and relating is still ignorant to us.


Fourier Transform, Environment Variable, FN1001, Scion, Transient Time reported as:


We first thought that we would go to school. A crawling bear does not hide beneath a bridge because in times of alleged peace disporting inclement security a crawling bear wants to be seen even when a crawling bear is beneath a bridge and I am not asked to stop.  Vision scampers when I move but slows down when I stop in undigested observations. Every army needs a ghost army. It took me 6 years to realize that a crawling bear does not eat me nor that the man who lives in the crawling bear is eaten nor is he living there but when I die. When I die, a crawling bear won't eat me because a crawling bear cannot eat nor shit. The army does not shit, it only updates. When crawling bear dies, no one will eat crawling bear. Hence the crawling bear is not a crawling bear not an animal. His eyes are one. They want to be bigger than the sun. When my eyes dawdle, I know I am making a stop. Stop. His eye was patented in Kill-9 or W H Auden's classroom. It took 3 years of research.














































The question of why we are playing does not interest us. How to never cease being players is our concern. I was born in 1991. From around 1995 till 1998 I used to become a tank with someone else. For four years or so, I would play debebe at school, or in a quasi-empty parking lot. During  recess, I would congregate with around 19 of my friends or schoolmates. Ten would stand on one side of the playground, another ten would stand on the other parallel end. With this configuration, we would have ten tanks. Were we ten players or twenty? I ask because each one of us when paired with another in the d b dyad would become and embody a debebe. In the middle of any round, some couples would, spontaneously, or not, decide to switch pairs or break asunder or get killed, or leave the game. 1, 2, 3, release. We would run while repeating our names, debebe debebe debebe, to the opposite direction. Hit debebe each other's debebe, bond and fire debebe with our joined debebe protruding, debebe debebe arms – a debebe turret debebe. It was weaker than a single punch. I can't remember how many times I died at school, at home, on the computer or in the parking lot. In 2015, I began conversing with children, instructors and friends to see if they played or still play debebe. In 2015, I also began inviting other people to play debebe with me. We would call these gameplays rehearsals, exercises, dance performances or workshops. After every rehearsal, performance, exercise or workshop, I would ask my fellow debebes to write a report on what we did using the lexica common to the discipline of their labor or field of study I didn't tell them to say anything. Resurrection however persisted.


I was always afraid I would die in the museum. Actually, we were lying with the order. We resumed playing after we were invited in a training session which led to inviting other people on 1 October 2015. To tell you another truth, we love having conversations with technicians on history and belaboring through that, but we rarely like working with curators and directors. We are indisciplinary. We often study other false witnesses and what they do with knowledge, ignorance or institutions. We discuss each other's work, dance together in case they were alive, show their work and expropriate ourselves from the configurations of our own said labor to rethink of the political economy of life, trace and continuity. We actually like working a lot.  We are obstinate, privileged, and disturbed. So when we work with people who identify when paying taxes or when studying or teaching as, let's say, hydrogeologists or air hostesses or cryptographers, they often tell us they are happy to be working in art for a change. We also tell them that we are very happy to be working in hydrogeology, flight attendance and cryptography for a change. They laugh. We remind them then that before accepting our invitation to collaborate, they retorted with, 'but we don't know anything about art'. I said, 'ditto' but some people abeit insist on the artist identification. Every war has left us with new games. Most games leave us with new names, some of which we have never wanted. We confess that we want to investigate the histories of your work, their beliefs and convulse what we can epistemologically. Your work affects us politically, so let's try to see how.


We also like studying a lot. When I was proposed to make a performance at the Institute of Contemporary Art in the City Where We Came to Learn (ICACWWCL) as part of the public programming of an exhibition on what was presented as the pioneering experimental + international liberal art school known as Bleak Missing Cosmopolitanisms (BMC), paragraph One and Two took place. We, scientists and engineers, looked at the exhibition, played between the works that members of the Bleak Missing Cosmopolitanisms did, read our reports and hid new names. Debebe.

I will write on Four in another essay forthcoming at Idraak. I don't want to teach the army.




This is a decrypted forest.




Prior to encryption, the following images were found as frames forming the video documentation shot by Mariana Luna who didn't accept to give others and herself a new name.



This is an encrypted image that cannot be decollaged. If a decollage is attempted, the image will forever fail to load on your machine.





This is an encrypted image that cannot be decollaged. If a decollage is attempted, the image will forever disappear from your machine.





This sentence is inserted with liminality so you wouldn't know which image we are referring to in case you think we are referring to them.





This is a liminal space.



This is an adversial example to 1.



This occurs in practice.



This is an incorrect answer with high confidence. Please reduce the test set error of the maxout network, we are winning.



This is an end to end image, i.e. I am now seeing you seeing me. If we were all immortal, we could have played games forever. The earth is not yet stiff.



Multi-set, The Mill, Existential Quantifier or Multiplexer wrote to describe the game or read while dancing :



Null Byte or Data Logger or FN 10001 wrote:



Kalman Filter or Two Time Pad wrote:


 A singular being is suspended in a series of set motions in time and space. Roving and wandering through with mechanical precision, the arms are the eyes gazing into the singular being's core. A cyclic nature accompanies the movement round and round like tic arid toc of a clock. The eyes move through the space like probes, taking in the surroundings while following a playful method of movement. The ends of the apparatus are joined in an interlocking pattern, resulting in a single symmetric unit. Another being enters the space. The movement resumes. One end is retracted inward while the other swings over and lands in a fixed horizontal mode. The tension and energy each figure holds explode when the two units are joined into one. Bodies flip. Following this process, the apparatus is aligned through an internal twist ninety degrees to its original orientation. Am I in a ball room dancing or is the machine making rounds? Something lies in uncertainty.  Stop then go, fast then slow. The minds of these beings are clear and devoid of thought, all their focus is on moving and feeling the space. Let go, whispers the mind, so you can simply be. A game of give and take orchestrates the actions and reactions. I watch. The end goal remains unknown, I watch. The end goal remains unknown, but it is okay as a sense of calm and peace penetrates the world the apparatus resides in.

Where does the apparatus reside after production and loss?


[1] The first form was fixated on a closed-cell PVC foam-board, framed within four slightly larger acrylic- white, wooden pieces nailed to the wall for eight years. The board accommodated eight forms, of different sizes, before ours came in propinquity. We didn't measure nor image them. Six forms had survived when ours was removed 12 days later with the aid of two thumbs and index fingers. Four out of six forms were heretofore new. Two out of six read,


"Learn Arabic in Israel: The Start-Up Nation!

Apply now by sending **** to ******* at *****@***.edu

Before ********* ** ****"


One of the two out of six was new. One looked like two. Four primary red devices known as push-pins, patented by Edwin Moore, and witnessed by both Edward Brenen and Douglas Moore in 1899, were used to penetrate both the form and the foam-board.  They act as a momentary fixture, so that the former could be seen without falling. This was achieved through thrusting what is known as the "sharpened body portion" of the device into the two surface materials. The sharpened body portion is an 8mm thin wire micro steel with a pointy end. The body portion is connected to what is known as the "head". The head is used to insert or remove the body. When deployed, the head looks like a horizontal hat – a red miniature.


The other form was fixated with three white thumbtacks on the door of a dun office without a number.


[2] ibid, push-pins, four each.


[3] Speaking of language contact, not with other living tongues but with lexica, please find linked below a friendly game.  The game is pertinent to our subject matter; however, it is limited to the rhetorics of debate not to translation within disciplinary boundaries as we will be further elaborating: http://www.mediaartnet.org/works/agonistics/. We will be playing it in a discussion within four


[4] This was stated in the first three publications of the first centre mentioned above. We also sometimes hear it mentioned in our training session.


[5] A friend of ours who also often shows her work in art settings such as this one, did a trenchant work on onomatopoeia and military memory that is often filled with things like debebe debebe debebe and other conversations with friends. When she was showing her aforementioned mock-work at an expanded forum, four was put inside of it as a sound essay that visitors could lie next to listen. Even if the army sounds like the animal it distances, some armies have language schools that teach the secrets of any language in 60 days: https://www.youtube.com/watch?v=FS6s2N350w0.


[vi] an anti-philosopher, 'an essay on the dimension of ignorance which divides the idea and the practice of knowledge…'  a Journal on Free Speech with a Number (2006).


[7] an anti-philosopher and Dr M. A. M. B., 'An Anti-philosopher and Indisciplinarity' in a Journal on Contexts and Methods with Volumes and Numbers (*****: University of ******, 2007).


[8] an anti-philosopher, 'an essay on the dimension of ignorance which divides the idea and the practice of knowledge…'  a Journal on Free Speech with a Number (2006), 9.


[9] The rueful poet quoted above stretches your lips when I joy in the loose ends and jumble of our common world. This reactionary tract for the times still pervading, was written and presented at the 1946 Victory Commencement in the Military Industry of Terranova's neighbor that we shall herein refer to as 'Hovel'.

About the author

The Society of False Witnesses

The Society of False Witnesses is an indisciplinary platform that investigates the correlation between the production of space and the production of knowledge. Through occupying disciplines in collaborations, expropriations, theatre, writing and cryptography, The Society of False Witnesses playfully probes the poetics of exile in the internet, battlefields, laboratories and dumps and their epistemological repercussions on the performance and lexica of attestation. Their recent unraveled work include the performance The First Repository (Beirut Art Center, 2015), the dance performance Instead of a Turret on Top (ICA Boston, 2015), the exhibition 'Content and Danger' (Edgerton Center, Boston, 2015), the radioplay I Hate the Past but It Seduces Me (The Lebanese Broadcasting Station, 2016) and the tour 'Anything but Being (Buried) Underground: The Normandy We Want' (Sursock Museum, 2016).