[...] an outlook that) things are just as complex and ="trms">social as people
="lsts lst1">•brand='lgc'>: entities that talk to and ="trms">interact with other brands, entities that form ="trms">relationships with humans

(lives that seem to exist in on the ="trms"nttrm="knowledge,Knowledge">edges of simple humanist life='lgc'>:)
="lsts lst1">•='strcls'>*massive='strcls'>* life of ="trms">market
="lsts lst1">•='strcls'>*="trms">excessive='strcls'>* life of the brnad image
="lsts lst1">•='strcls'>*virtual='strcls'>* life of Face="trms">book
="lsts lst1">•

="trms">consumer research focuses on the ="trms">ontological and ="trms">epistemological givens of only the ="trms">consumer


(Turkle theorizing) how ="trms">consumers change through their ="trms">relationship with the nonhuman
="lsts lst1">•="trms">children view certain objects in the ="trms">world around them as having degrees of aliveness
="lsts lst1">•="trms">children who have grown up with computers do not experience a dichotomy between biological and computatinoal processes
="lsts lst1">•playing with a toy like transformers, the toy shifs from being machines to being robots to being ="trms">animals ='lgc'>--learning='lgc'>='lgc'>--> fluid boundaries between mechanism and flesh
="lsts lst1">•(the ="trms">ontological stickiness of the) ='lgc'>[='strcls'>*='lgc'>]computer='lgc'>: a mind that is not yet a mind, inanimate yet ="trms">interactive, it does not think yet neither is it external to thought
(Menser ='lgc'>+ Aronowitz) television='lgc'>: a complex object constituted by and related to many fields (solid-state physics, politics, etc.)
="ppl">="ppl">Latour...
='lgc'>}='lgc'>='lgc'>--> (such way of theorizing ='lgc'>='lgc'>==> precondition of) an era where radically mew ="trms">technologies produce entities as indefinable complex global (as the Human Genome project) biofuel supply-chains or climate change models ='lgc'>[='lgc'>='lgc'>--> also cryptocurrencies, blockchain='lgc'>]
='lgc'>}='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> ="trms">consumer rese="trms"nttrm="search">archers are creating new concepts and ="trms">figurations in order to expand the borders of waht constitutes life ='lgc'>[='thdf'>for example “living-product” ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor='lgc'>]

="large lg2" stl="font-size:110%">
(the problem of the) ='lgc'>[="trms">ontological division of='lgc'>] ="trms">consumer ='lgc'>=/= ="trms">world of objects ='lgc'>='lgc'>==> (ideological move ='lgc'>='lgc'>-->) privileges human ='lgc'>: it is understood by the human, because the human (the only source of analytical attention) is the only thing doing the ="trms">consuming, having the experience, making the meaning


="trms">figuration='lgc'>: new ways of taking account of the ="trms">world ='lgc'>=/= ="trms">anthropo="trms">morphism
='lgc'>--="ppl">="ppl">Haraway='lgc'>='lgc'>--> practices that create ='strcls'>*knots='strcls'>* of ="trms">material-="trms">semiotic actors ='lgc'>{='lgc'><='lgc'>-- art does that='qstn'>? art's sometimes unreal ="trms">figurations ='lgc'>=/= ='strcls'>**="trms">interpretative ="trms">consumer research makes the most rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic ="trms">figurations of this century='strcls'>**='lgc'>}='at'>@="frds scrmbld">="frds scrmbld">Chloe2

the ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors of our time='lgc'>:
="lsts lst1">•becoming (='lgc'>=/= being) ='lgc'><='lgc'>-- a shift towards a ='strcls'>*process ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics='strcls'>*
="lsts lst1">•

(Parsons ='lgc'>+ Maclaren)
items of disposal (do not fail to exists, but rather they) are ='strcls'>*moved along='strcls'>* to other spaces or politics and become other things
="lsts lst1">•becoming a precious antique
="lsts lst1">•becoming a water blockage
="lsts lst1">•becoming a source of marine death
="lsts lst1">•becoming a ="trms">materially precious thing (in another part of the ="trms">world)
="lsts lst1">•
='lgc'>='lgc'>--> ='strcls'>**how things actually move, how they ="trms">transition between many states='strcls'>**
='lgc'>='lgc'>--> ='strcls'>*object='lgc'> = ="trms">data about the object ='lgc'>=/= tangible thing='strcls'>* ='lgc'><='lgc'>-- (="trms">transition) from thinking of object as the primary reality ='lgc'>--to='lgc'>='lgc'>--> perceicing the object as ="trms">data in computatinoal environments
='lgc'>==='qstn'>?='lgc'>='lgc'>==> (change of the ="trms">nature of object ='lgc'>='lgc'>==>) radical shift in theorizing ="trms">consumer behavior


posthumanism
="lsts lst1">•a key term in contemporary western postindustrial era
="lsts lst1">•a term htat has been used ti describe a highly ="trms">technologized future existence

='lgc'>--variationally='lgc'>='lgc'>--> other ="trms">stories (="trms">fables) about ="trms">technology exists ='lgc'>=/=
="lstsrd">1. the claim of (often monolithic) novelty of the ="trms">historical moment in the west
="lstsrd">2. that ="trms">technology is a sterile ="trms">instrument
="lstsrd">3. that ="trms">technology aids the human in his ascent to ever greater degrees of humanity


(="trms">greek tradition ='lgc'>='lgc'>-->) ='strcls'>*to think deeply about ="trms">technology, we have to think about its ="trms">ontology='strcls'>*
="lsts lst1">•="trms">techno-="trms">sociology ='lgc'>='lgc'>--> ="ppl">="ppl">Latour
="lsts lst1">•="trms">ecological feminism ='lgc'>='lgc'>--> ="ppl">="ppl">Haraway
="lsts lst1">•post-="ppl">Marxism ='lgc'>='lgc'>--> Tiziana Terranova
="lsts lst1">•
="lsts lst1">•philosophy of tech ='lgc'>='lgc'>--> ="ppl">Heidegger='lgc'>: the most d="trms"nttrm="danger,stranger">angerous thing we can do is to think of ="trms">technology as something neutral ='lgc'>='lgc'>--> we often make two ='strcls'>***intuitive ideological jumps of reason='strcls'>*** when we think of ="trms">technology='lgc'>:
  1. “="trms">technology='lgc'> = means to an end”
  2. “="trms">technology is created by humans”
  ='lgc'>}='lgc'><='lgc'>-- ='thdf'>example of ="trms">anthropological truth (about ="trms">technology) ='lgc'>~ it is a truth as it appears to human beings ='and'>& it is an ='strcls'>*="trms">instrumental truth='lgc'>: truth aimed at getting things done or making things work='strcls'>* ='lgc'>=/= ='lgc'>[='strcls'>*='lgc'>]="trms">technology='lgc'>: the mode by which realities are brought into existence in the ="trms">world (hervorbringen) ='lgc'>{unconcealing ='lgc'>='lgc'>==> a concealment of another reality='lgc'>}= (process of) ='strcls'>*="trms">poiesis='lgc'> = bring out ='lgc'>+ conceal='strcls'>*
 ="prgrph prgrph2">-the ="trms">greek word ='strcls'>*="trms">techne='lgc'> = ="trms">technology ='lgc'>+ art='strcls'>* derived from the term ="trms">episteme (the ways in which one can know reality) ='lgc'>='lgc'>==> ='strcls'>****="trms">technology='lgc'>: a type of ="trms">epistemology, a way of knowing='strcls'>****
='lgc'>}='lgc'>==="ppl">Heidegger='lgc'>='lgc'>==> ='strcls'>*="trms">technology needs to be understood beyond its ="trms">instrumenta="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list humanist ="trms">history='strcls'>* ='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> ='strcls'>*seeing ="trms">technology ="trms">historically as an ancient ="trms">phenomenon='strcls'>*

="trms">technology thought of as something that comes from the west ='and'>& does something to other people in other placers ='lgc'><='lgc'>-- a framework (even well-intentioned) that denies both ="trms">agency ='and'>& contemporaneity to the ‘other’
(-McQuire)

(we are told that)
="lsts lst1">•the era we exist in is the “information age”
="lsts lst1">•the ="trms">world is “="trms">networked”
="lsts lst1">•marheting is “service-dominant”
='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> what realities do the terms “information” “="trms">network” “service-dominant” create, unconceal, conceal='qstn'>?
='lgc'>='lgc'>==> ="trms">questions of='lgc'>:
="prgrph">-what is the ="trms">consumer='qstn'>?
="prgrph">-the ="trms">nature of ="trms">consumer consciousness, knowl="trms"nttrm="knowledge,Knowledge">edge, desire

='strcls'>*far from being a neutral uncomplicated ="trms">relationship, ="trms">consumers develop strategic behaviors for ='strcls'>*coping with ="trms">technology='strcls'>* that is paradoxial ='lgc'>+ fantastical ='lgc'>+ ideological ='lgc'>+ multidimensional
(-Konzinets)
="lsts lst1">•DIY ="trms">technologies='lgc'>: forms of competence redefined ='lgc'>+ redistributed between hardware ='and'>& human
="lsts lst1">•="trms">technology ='and'>& identity ="trms">interpolate each other

global debates of='lgc'>:
="lsts lst1">•fear of genetic determination
="lsts lst1">•="trms">nature of consciousness ='lgc'>='lgc'>--> similarities and ="trms">differences between computation and human being
="lsts lst1">•
='lgc'>='lgc'>--> intimately concerned with the status of humanness

1990s theories of gift-giving, possession, labour, self-concept ='lgc'>=/= ='strcls'>*cyber ="trms">consumer='strcls'>* ='lgc'>='lgc'>--> circulation of desire and commodities in environments that are so highly mediated and ="trms">technological that it begins to generate behavior and ="trms">situations that are quite foreign to existing thinking about that ="trms">markets are and what ="trms">consumers want

="large lg10" stl="font-size:126%"> ='strcls'>**="trms">technology='lgc'>: an active force that both ="trms">consumes ='and'>& creates ="trms">consumers='strcls'>**


(problem of) sustainability
="lstsrd">1. to sustain='lgc'>: rest, retreat ='lgc'>='lgc'>--> humannes is a major threat to all nonhuman planetary existence ='lgc'>='lgc'>==> ='thdf'>the idea that radical threats to nonhumanness must be warded off by radical decreases in human population, ="trms">consumption, normtive standards of living
='lgc'><='lgc'>-- this notion of sustainability exists radically at the limits of human capability (more than ="trms">ecological crisis or human inequality, more than the threat of terrorism or nuclear proliferation)
="lstsrd">2. to sustain='lgc'>: to extend, strengthen ='lgc'>='lgc'>--> ='thdf'>the idea that if we are not here then nothing on the planet has worth; if humans ado not exists, then the earth does not exists ='lgc'>='lgc'>==> our efforts of ="trms">ecological sustainability are intrinsically human-centered ='lgc'>[='lgc'>--(implicit attitude)='lgc'>='lgc'>--> prolonging humanness='lgc'>]='lgc'>='lgc'>==> ="trms">ecological problem='lgc'> = crisis='lgc'>: an intense, short-lived episode in human ="trms">history ='lgc'>+ it will be solved by high-="trms">technology solutions


="trms">technology has co-evolved with being throughout billions of years ='lgc'>--Hayles='lgc'>='lgc'>--> (myriad profound subtle ways) to make ="trms">nature

='lgc'>--paradox='lgc'>='lgc'>--> ='strcls'>*it is “human ="trms">nature” to use ="trms">technology ='lgc'>+ ="trms">technology changes “human ="trms">nature”='strcls'>*

='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> ='strcls'>***while not everything is ="trms">technical, everything is ="trms">technological='strcls'>***

='strcls'>*posthuman stance (strategically oriented towards deep future, pays attention to the lives of nonhuman others) gets ="trms">ontological with ="trms">technology='strcls'>*

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McQuire
defining the ="trms">technological ='lgc'>--activate='lgc'>='lgc'>--> the border between ="trms">nature ='and'>& culture='lgc'> = (the heart of) what it means to be human

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='lgc'>[title='lgc'>]
="trms">system attic

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(in ='mywrk'>my work with ="nms">apass digital designs, i have been trying to negotiate with ='thdf'>the notion of)
='strcls'>*="trms">technological gaze='strcls'>*

what new modes of subjectivity are filtered through ="trms">technological gaze='qstn'>?

(='qstn'>?how) high-tech images are cultural artifacts

="trms">technological gaze's ="trms">method to put its meaning together='lgc'>:
="lstsrd">1. impossible subject-="trms">positioning
="lstsrd">2. ="trms">codification of flesh
="lstsrd">3. visualization of ="trms">scientific ="trms">narrative
="lstsrd">4. ="trms">aestheticization of information


(Maturana ='lgc'>+ Varela) everything said is said by an observer ='lgc'>=/= philosopher


="trms">marketing ="trms">communication theory

='lgc'>[='strcls'>*='lgc'>]gaze='lgc'>: (a ="trms">technical term for) the ways we visually ="trms">consume images of people and places ='lgc'>+ the ways images are constructed to entertain ='and'>& encourage certain ways of seeing

="lsts lst1">•(using psychoanalysis) ="ppl">Mulvey's gaze='lgc'>: the way in which the camera acts as the eyes and ears of the ="trms">spectator, ="trms">presenting ways of framing the ="trms">world (power-laden ='lgc'>+ not neutral ="trms">position) ='lgc'>='lgc'>==> certain understanding of the ="trms">world is assumed
="lsts lst1">•Shroeder ='lgc'>='lgc'>--> gaze signifies a psychological ="trms">relationship of power ='lgc'>='lgc'>--> the gazer is superior to the object of the gaze ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="trms">zoo='lgc'>]


how “human” ways of experiencing the ="trms">world are gradually being ="trms">integrated with non-human, ="trms">technological ways of perceiving and understanding reality='lgc'>:
="lsts lst1">•="ppl">Baudrillard ='lgc'>='lgc'>--> virtual gaze
="lsts lst1">•="ppl">Virilio ='lgc'>='lgc'>--> automation of perception (war weaponry ='lgc'>='lgc'>--> ='thdf'>the idea that in west we have ="trms">technologies so advanced we achieve absolute vision)
="lsts lst1">•Balsamo ='lgc'>='lgc'>--> cosmetic surgery (='lgc'>='lgc'>~= new visualization ="trms">technologies) ='lgc'>='lgc'>==> new forms of dominance ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to Kardashians TV shows='lgc'>], ='strcls'>*replacing the male gaze with a normative dis="trms">embodied ="trms">technical gaze
="lsts lst1">•="ppl">="ppl">Haraway ='lgc'>='lgc'>--> ="trms">technocratic gaze
="lsts lst1">•Strafford ='lgc'>='lgc'>--> (starting in enlightenment) ='strcls'>*automated spectralization='strcls'>* (in visual ="trms">presentation of the ="trms">world) ='lgc'>='lgc'>--> the intention and purpose of the gaze became medicalized and ="trms">technologized ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to cartography='lgc'>]
="lsts lst1">•
='lgc'>}='lgc'>='lgc'>--> (from ="trms">techno="trms">science to feminism) theorists have noticed a ='strcls'>*splicing='strcls'>* of direct and tactile human perception of reality with another reality, one that is mediated and ="trms">technical ='lgc'>==produce='lgc'>='lgc'>==> a new reality that negotiates the individual's knowl="trms"nttrm="knowledge,Knowledge">edge of the universe in diverse and complex ways (='lgc'><='lgc'>-- not catastrophic ='lgc'>=/= Hörl)


(time of) intellectual and artist upheaval ='lgc'>='lgc'>==> new and surprising modes of ="trms">imagining the human


1950s concept of cybernetics constituted a fundamental change in thinking about control, ="trms">communication, information, life itself (='lgc'>+ new ="trms">language of feedback, auto="trms">poiesis, cellular automata, neural net)

1990s
computers ='lgc'>+ information ='lgc'>='lgc'>--> cybernetic theory='lgc'>: (stressed that) information patterns are more important in understanding organisms than ="trms">materiality
='strcls'>*cybernetic view of the ="trms">world ='lgc'>='lgc'>--> information ="trms">coded in pattern ='and'>& randomness ='lgc'>=/= ="trms">material absence ='and'>& ="trms">presence='strcls'>*
="lsts lst1">•(both) human and ="trms">technological='lgc'> = informational entities
="lsts lst1">•human='lgc'> = cyborg='lgc'>: (human conceived as) cybernetic organism

='lgc'>[='qstn'>?how='lgc'>] discourses (="trms">narratives ='lgc'>+ ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors ='lgc'>+ ="trms">symbols) of ="trms">science and ="trms">technology ='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> use in advertisement to create meaning

='strcls'>**="trms">technological ="trms">imagination ='lgc'>--seize='lgc'>='lgc'>--> ="trms">social ="trms">imagination='strcls'>**
always reinforcing the ='strcls'>*awesome power of ="trms">technology to capture reality='strcls'>* (objectively ='lgc'>+ without any ="trms">agenda)
="lsts lst1">•movie Fantastic Voyage 1966 ='lgc'><='lgc'>--Dijck='lgc'>-- fascination with envisioning the body from a ="trms">different perspective
="lsts lst1">•status of foetus (float in black and white) ='lgc'><='lgc'>--="ppl">="ppl">Haraway='lgc'>-- meanings whose legitimacy comes from ="trms">technological ="trms">systems of perception
="lsts lst1">•='lgc'>[computer-generated images ='lgc'>=/=='qstn'>?='lgc'>] camera-generated images ='lgc'><='lgc'>--Cartw="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right='lgc'>-- (paradox of) camera's role in capturing the real ='lgc'>+ camera's capacity to evoke emotion and ="trms">present a sense of the unattainable ='lgc'>='lgc'>~= (to appear to be at once) both ='strcls'>*magical='strcls'>* ='and'>& ='strcls'>*truthful='strcls'>* ='lgc'>==introduce='lgc'>='lgc'>==> new subjectivities into ="trms">marketplace

mediation of visual ="trms">phenomena through the eye of ="trms">technology ='lgc'>='lgc'>='lgc'>~=> new sets of truths (about the body, environment, etc.) ='lgc'>--often='lgc'>='lgc'>--> a ='strcls'>**dis="trms">embodied ="trms">technological gaze looks at the body='strcls'>**


advertisement becomes more highly finished, ="trms">excessively produced, artificialized ='lgc'>='lgc'>--> a ="trms">technological gaze is found in the discourse of advertising ='lgc'>='lgc'>--> ="trms">scientized ='and'>& ="trms">technologized images celebrate a particular view of ='strcls'>***life as information='strcls'>***

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="trms">nature='lgc'> = figures ='lgc'>+ ="trms">stories ='lgc'>+ images (='lgc'>='lgc'>~= topos, commonplace)

paying attention to ="trms">nature like a ="trms">child ='lgc'><='lgc'>-- ="ppl">="ppl">Haraway

='lgc'>[='strcls'>*='lgc'>]="trms">trope='lgc'>: a verse ="trms">interpolated into a liturgical text عبادات to embellish or amplify its meaning

="trms">language ='lgc'>='lgc'>--> ="trms">material-="trms">semiotic flesh

liturgical possibilities of ="trms">nature
="lsts lst1">•="frds scrmbld"nttrm="Christianson">Christian liturgical year
="lsts lst1">•Zaratusztrian nowruz
="lsts lst1">•star wars ='lgc'>--='qstn'>?='lgc'>='lgc'>--> practice of turning ="trms">tropes into ="trms">worlds ='lgc'>[='lgc'>='lgc'>--> war of imagess='lgc'>]
="lsts lst1">•war of words
="lsts lst1">•

(agonistic fields='lgc'>:)
military combat
sexual domination
security maintenance
="trms">market strategy

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="brkr">
(="trms">techniques of the observer - september 9, 2012)
="lsts lst1">•What is the ="trms">relation between the de="trms">materialized digital imagery of the ="trms">present and the so-called age of mechanical reproduction='qstn'>?
="lsts lst1">•ongoing abstraction of vision - Problems of vision
="lsts lst1">•transformation in the makeup of vision
="lsts lst1">•="trms">history of art ='lgc'><-> ="trms">history of perception='qstn'>?
="lsts lst1">•onlooker (Zuschauer)
="lsts lst1">•="trms">historically important functions of the human eye ='lgc'>='lgc'>==> medical, military, and police hierarchies
="lsts lst1">•Most of the ="trms">historically important functions of the human eye are being supplanted by practices in which visual images no longer have any reference to the ="trms">position of an observer in a “real,” optically perceived ="trms">world.
="lsts lst1">•where abstract visual and ="trms">linguistic elements coincide
="lsts lst1">•avoid mystifying it by recourse to ="trms">technological explanations (this was my mistake!)
="lsts lst1">•an observer is more importantly one who sees within a prescribed set of possibilities, one who is embedded in a ="trms">system of conventions and limitations.
="lsts lst1">•="trms">measurable in terms of objects and signs
="lsts lst1">•newly constituted human ="trms">sciences in regulating and modifying the behavior of individuals.
="lsts lst1">•it was through these disciplines that the subject in a sense became visible
="lsts lst1">•passage from the ="trms">geometrical optics of the seventeenth and eighteenth centuries to physiological optics
="lsts lst1">•to expose the idio="trms">syncrasies of the “normal” eye
="lsts lst1">•Retinal afterimages, peripheral vision, binocular vision, and thresholds of attention
="lsts lst1">•outcome of a complex remaking of the individual as observer into something calculable-and regularizable and of human vision into something ="trms">measurable and thus, exchangeable.
="lsts lst1">•standardization of visual imagery
="lsts lst1">•in the amphitheatre / on the ="trms">stage / in the Panoptic machine
="lsts lst1">•dis="trms">sociation of touch from sight ='lgc'>='lgc'>==> “separation of the senses” and industrial remapping of the body in the nineteenth century
="lsts lst1">•unloosening of the eye from the ="trms">network of referentiality incarnated in tactility ='lgc'>='lgc'>==> fitted for the tasks of “="trms">spectacular” ="trms">consumption
="lsts lst1">•Perception for ="ppl">Benjamin was acutely temporal and kinetic;
="lsts lst1">•a mobile ="trms">consumer of a ceaseless succession of illusory commodity-like Images.
="lsts lst1">•Machines are ="trms">social before being ="trms">technical
="lsts lst1">•desiring machines
="lsts lst1">•The paintings of J-B. Chardin are lodged within these same ="trms">questions of knowl="trms"nttrm="knowledge,Knowledge">edge and perception His still lifes, especially, are a last great ="trms">presentation of the classical object in all its plenitude, before it is sundered irrevocably into exchangeable and ungrounded signifiers or into the pa="trms">interly traces of an autonomous vision.
="lsts lst1">•that the very process of becoming tired was in fact perception. “When the eye fixes itself on a single color...
="lsts lst1">•the clear eye of the ="trms">world
="lsts lst1">•The more ="ppl">Schopenhauer involved himself in the new collective knowl="trms"nttrm="knowledge,Knowledge">edge of a fragmented body ="trms">composed of separate organic ="trms">systems, subject to the opacity of the sensory organs and dominated by involuntary reflex activity, the more intensely he sought to establish a visuality that escaped the ="trms">demands of that body.
="lsts lst1">•the physiological makeup of the subject as the site on which the formation of re="trms">presentations occurs.
="lsts lst1">•Of these only the cerebrum, together with the sensory nerves attached to it, and the posterior spinal nerve fascicles are intended to take up the motives from the external ="trms">world. All the other parts, on the other hand, are intended only to transmit the motives to the muscles in which the will directly manifests itself. (="ppl">Schopenhauer)
="lsts lst1">•It is knowl="trms"nttrm="knowledge,Knowledge">edge that ="trms">Simultaneously provided ="trms">techniques for the external control and domination of the human subject and was the emancipating ground for notions of subjective vision within ="trms">modernist art theory and experimentation.


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bad visual ="trms">systems

="trms">narcissism as a cultural practice (that also motivates and steers ="trms">technological inventions)

accelerationism
(Accelerationism may also refer more broadly, and usually pejoratively, to support for the deepening of capitalism in the belief that this will hasten its self-destructive tendencies and ultimately eventuate its collapse.)

="large lg26" stl="font-size:112%"> Selfie
seems to me the perfect example for this sub="trms">mission of the unconscious to the globalized machine


latest theoretical buzzwords

control over the ="trms">interpretation of the ="trms">world

circulation of the global image machine

tree-made paper

who are (not) allowed (not) to have a body='qstn'>?

all forms of knowl="trms"nttrm="knowledge,Knowledge">edge claims,

acting on the ideological doctrines of dis="trms">embodied ="trms">scientific (cinematic) objectivity

all seem just effects of delayed render algorithms in the play of signifiers in a virtual force field

="large lg26" stl="font-size:106%"> space of simulations

not giving up to the ="trms">paranoid ="trms">science ="trms">fiction

getting to know the ="trms">world effectively by practising the ="trms">sciences

tools of ="trms">semiology

="trms">rhetorical ="trms">nature of truth

not Romantic nor ="trms">modernist objects='lgc'>:
="lstsrd">1. infective vectors (microbes)
="lstsrd">2. elementary particles (quarks)
="lstsrd">3. biomolecular ="trms">codes (genes)


view of the ="trms">relationship of body and ="trms">language (the problem of ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor)
those of us who would still like to talk about reality

imagery of moves in the fully textualized and ="trms">coded ="trms">world
high tech (military) field

recognizing our own ‘="trms">semiotic ="trms">technologies’ for making meanings,
life is ="trms">semiotic as well as ="trms">technology

(commitment='qstn'>?) to faithful accounts of a ‘real’ ="trms">world

="ppl">="ppl">Haraway ="trms">writes='lgc'>: All components of the desire are paradoxical and d="trms"nttrm="danger,stranger">angerous, and their combination is both contradictory and necessary.

We need the power of ="trms">modern critical theories of how meanings and bodies get made, not in order to deny meaning and bodies, but in order to live in meanings and bodies that have a chance for a future. (reductionism='qstn'>?)

insist on the ="trms">embodied ="trms">nature of all vision, and so reclaim the sensory ="trms">system that has been used to signify a leap out of the marked body and into a conquering gaze from nowhere. (how the exhibition can make visible my ="trms">positing in the work='qstn'>? ground me in an ="trms">embodied vision='qstn'>? my ="trms">situation. to ="trms">situate me. not necessarily organic ="trms">embodiment='qstn'>? what have i need to learn in my bodies='qstn'>?)

="large lg1" stl="font-size:142%"> ="trms">perverse capacity of the eye

culture dis="trms">embodies. (="trms">nature ="trms">embodies='qstn'>?)
to distance the knowing subject from everybody and everything

visualizing ="trms">technologies are without (apparent) limit='qstn'>?

linked to='lgc'>:
="prgrph">-artificial graphic manipulation ="trms">systems
="prgrph">-computer aided scanners
="prgrph">-colour enhancement ="trms">techniques

mapping is at stake. what kind of mapping the Kinect image provides='qstn'>? that is op="trms">posite to the zeiss lens='qstn'>?

how to go there with the ="trms">technology and not fuck the ="trms">world='qstn'>? carefully not give birth to mythical ideological seeing or promising transcendence

Kinect's generative, but not devouring vision

the ="trms">perversion of the zeiss lens is in that it tries to let the viewer ‘experience’ the moment of discovery in immediate vision of the ‘object’

the exhibition is about a ="trms">writing of the body that ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphorically emphasizes vision
= and commit to deconstruction and passionate construction.
= and passionate detachment, which is dependent on the impossibility of innocent ‘identity’ politics and ="trms">epistemologies as strategies for seeing from (any) standpoints, in order to see well. (refer to ="trms">lecture-performance Standing on the Shoulders of Giants - ="frds">Sina ="frds">Seifee 2015, on a critical ="trms">epistemology of seeing-from-far)
= whom to see with='qstn'>?

="ppl">="ppl">Haraway='lgc'>: only partial perspective promises objective vision. This is an objective vision that initiates, rather than closes off, the problem of ="trms">responsibility for the generativity of all visual practices.

The ‘eyes’ made available in ="trms">modern ="trms">technological ="trms">sciences shatter any idea of passive vision='qstn'>? these prosthetic devices show us that all eyes, in="trms"nttrm="cluster,club">cluding our own organic ones, are active perceptual ="trms">systems, building in ="trms">translations and ="trms">specific ways of seeing, that is, ways of life.


partial way of organizing ="trms">worlds

is unlocatable ir="trms">responsible='qstn'>?
is my visual exhibition a knowl="trms"nttrm="knowledge,Knowledge">edge claim='qstn'>?

To see from below (or the perspective of the mathematics, Kinect, hacker='qstn'>?) is neither easily learned nor unproblematic

ways of being nowhere while claiming to see comprehensively (i did not claim any of these - i didn't try even. i was there ="trms">traveling with ="trms">relation to my co-="trms">travelers and a ="trms">technology ="trms">relation) my issue with the images is their generality and perhaps that is their unlocatablilty. but to ="trms">situate my knowl="trms"nttrm="knowledge,Knowledge">edge and myself i am not solely depending on the image ="trms">rhetoric. i was committed to mobile ="trms">positioning, and that is critical.


mediate vision

knowl="trms"nttrm="knowledge,Knowledge">edge potent for constructing ="trms">worlds
trying to be less organized by axes of domination

="trms">Science has been utopian and visionary from the start='qstn'>? that is one reason ‘we’ need it.

my eye were ="trms">crafted by the blood of mosquitoes...

="trms">translations and exchanges, ="trms">material and ="trms">semiotic
what has the property of ="trms">systematicity in my Amazon='qstn'>?
orientations and ="trms">responsibility in ="trms">material ="trms">semiotic fields of meaning.

is Here, Kinect's vision not immediately a very powerful ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor or ="trms">technology (for political ="trms">epistemological clarification)='qstn'>?

The visual ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor invites us to investigate the varied ="trms">apparatuses of visual production, in="trms"nttrm="cluster,club">cluding the prosthetic ="trms">technologies ="trms">interfaced with our biological eyes and brains.

should i have an argue for (politics and) ="trms">epistemologies of location, ="trms">positioning, and ="trms">situating='qstn'>?

view from a structuring and structured body

we ="trms">love stuttering, and the partly understood

="trms">Translation is always ="trms">interpretative, critical, and partial

Amazon (location) resists (the politics of) closure

logic of culture (="trms">nature made flexible)

="trms">science ="trms">coded body
black ="trms">coded body
colonised ="trms">coded body
="trms">coded as self sufficient (when='qstn'>?)



the project and me are not boundary object (i am not tarzan)

suppress the lost text of aristotle on the ="trms">rhetoric of humor


how can something work and not work='qstn'>?!

mathematical competition


what is the other ="trms">story (of forest, journey, etc.) that i want urgently tell='qstn'>?
or the rhythm of what ="trms">story i want to change='qstn'>?

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In 1905 the French ="trms">neurologists G. Deny and P. Camus recounted the case of Madame I who had lost body awareness. She described her “general insensibility” as follows='lgc'>: “I'm no longer aware of myself as I used to be. I can no longer feel my arms, my legs, my head, and my hair. I have to touch myself constantly in order to know how I am. I have the feeling that my entire body is changed, even at times that it no longer exists. I touch an object, but it is not I who am touching it. I no longer feel as I used to. I cannot find myself. I cannot ="trms">imagine myself. My insensibility is f="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rightening, as if everything were empty.” Madame I was unable to recognize the ="trms">position of her arms and legs and was completely insensitive to pain. ="trms">According to Israel ="ppl">Rosenfeld's thesis, Madame I was unable to know her body as part of her ="trms">memory. (her brain could not create a ="nms">body image) She could not ="trms">imagine, or create in her mind, images of parents or the houses where she had lived. Lacking a continuous image of herself, she could re-create momentary images only when she was verifying to herself that she had a body. (see Strange, Familiar and Forgotten pp 40-42)

“If all self-reference were destroyed, consciousness and understanding would not be possible.

“Meaning and understanding are parts of the structure of consciousness that emerge from self-reference; they cannot exist without a ="nms">body image.” (p.55)

“Self-reference is not a hypothetical idea but a de="trms">monstrable part of the structure of consciousness; a partial breakdown in the physiological mechanisms that create it give us the ="trms">phenomenon of ="nms">phantom limbs.” (p.56)



Two English ="trms">neurologists, Lord Russell Brain and Henry Head (!) coined the phrase “="nms">body image” for the ="trms">internal image and ="trms">memory of one's body in space and time. The ="nms">body image is not only a picture of the body but also an anticipatory plan for the detailed movements of the body, and rather than a fixed structure, it is dynamic and plastic, capable of reorganizing itself radically with the ="trms">contingencies of experience.

The ="nms">body image can also incorporate external object, implements, and ="trms">instruments. When they are being used, they can become intimate, vital, even libidinally cathected parts of the ="nms">body image.



(Don ="ppl">="ppl">Ihde='lgc'>:) “To ="trms">embody one's praxis through ="trms">technologies is ultimately an existential ="trms">relation with the ="trms">world.” (="trms">Technology and Life="trms">world, p.72)

="trms">Embodied ="trms">relations such as the experience of “seeing through” glasses (or the use of hearing aids, blind man's cane, or driving a car) take the ="trms">technology into the perceptual-bodily self-experience. The mediating ="trms">technology becomes part of the ="nms">body image, and achieves “="trms">instrumental transparency”

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(="ppl">Giuliana ="ppl">Bruno)

This tangible, superficial contact, in fact, is what allows us to apprehend the objects and the spaces of art, turning contact into the ="trms">communicative ="trms">interface of a public intimacy. (but not in the Amazonian skin contact) (it is ="trms">different than ="ppl">="ppl">Lucretius reflecting upon the ="trms">nature of things)

(="trms">materiality of) cultural surfaces

As a form of dwelling that engages mediation between subjects and with objects, the surface also can be viewed as a site for screening and projection.

The surfaces of the screens that surround us today express a new ="trms">materiality as they convey the virtual transformation of our ="trms">material ="trms">relations. And these screens, which have become ="trms">membranes of contact, exist in our environments in close ="trms">relation to the surfaces of canvas and walls—also undergoing a process of substantial transformation. And so it is here—in this meeting place that is surface—that art forms are becoming reconnected and creating new, hybrid forms of admixture.

="large lg10" stl="font-size:106%"> who shares (deep) engagements with superficial ="trms">matters='qstn'>?

layered space of ="trms">interaction between subject and object

surface can be ="trms"nttrm="already,spread">read as an architecture

from mediated encounters with ="trms">material space to mobilization of cultural space (the exhibition)

="trms">memory, ="trms">imagination, and ="trms">affect are linked to movement ='lgc'>-- ="trms">embodied in jungle walk='qstn'>?



="trms">modernity's desire and fancy for tactile experience, driving and impulse to expand one's universe and eventually to project it, to exhibit personal passionate voyage of ="trms">imagination ='lgc'>-- effects of a ="trms">spectatorial movement that is evolving further in Selfie. that is the emergence of such sequential virtues motion capturing that comes to inhibit the train of thought='lgc'> = ="trms">interconnection in the sequence of ideas expressed during a connected discourse and how this sequence leads from one idea to another (="trms">modernity).  

(i don't do filmic voyage)

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By Consequence, or train of thoughts, I understand that succession of one thought to another which is called, to distinguish it from discourse in words, mental discourse.
“When a man thinketh on anything whatsoever, his next thought after is not altogether so casual as it seems to be. Not every thought to every thought succeeds in="trms">differently.” (— Thomas ="ppl">Hobbes, Leviathan, The First Part='lgc'>: Of Man, Chapter III='lgc'>: Of the Consequence or Train of ="trms">Imagination)

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the current forms of biotic forests is due to the sp="trms"nttrm="already,spread">reading of seed-dispersing plants millions years ago (what about abiotic='qstn'>? Kinect)

one of issues related with rate/speed is ="trms">synchronicity

the effects of bio="trms">technically / bioculturaly ="trms">situated people

Amazon's ="trms">nature in op="trms">position to slave gar="trms">dens (slave plantation ="trms">systems with factory machine) (along with imperial botanical gar="trms">dens)
for ="trms">travel and propagation of...
moving ="trms">material ="trms">semiotic
part-time organisms


when visuality is looked at in a haptic modality (the tentacular face for example), vision can be figured as touch, not distance. negatively curving in loops and frills, not surveying(/surviving) from above.

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when a depiction (="trms">poetic, visual, etc.) is d="trms"nttrm="danger,stranger">angerously ambiguous='qstn'>?

are we really immersed in ="trms">data realities='qstn'>? and that really means we are losing the sight on experiences fetched by our bodies='qstn'>?

co-existing and contradictory incomplete models that ground us in our critically limited existence. what does beyond the (="trms">techno-cartographic-episto-cogno-="trms">histo-) map's horizon means for this ="trms">situated “us”='qstn'>?

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(="ppl">Amanda ="ppl">Boezkes)

the ="trms">ontological purification ="trms">apparatus

we are now on an idea of the earth in so to calibrate our sensorial ="trms">systems to adjust to human-born unpre="trms">dictabilities that override and neutralize long-standing ="trms">histories of local knowl="trms"nttrm="knowledge,Knowledge">edge.

how an ="trms">ecological perspective can be incorporated into vision ='lgc'>-- become a visuality='qstn'>? ='lgc'>-- mobilization of visuality

how an artwork may account for the ways ="trms">ecological change registers in vision='qstn'>?

geo-="trms">aesthetics

="large lg14" stl="font-size:107%"> information is not energy-="trms">specific (="ppl">="ppl">Gibson)

theory of affordance ='lgc'>: information pick-up process ='lgc'>='lgc'>--> threshold between the sense-="trms">system of organism and the invariance of the environment
an experience of an observer that is not a property of the observer, it is invariant and ="trms">relational.
that is, it acknowl="trms"nttrm="knowledge,Knowledge">edges that objective information about an environmental ="trms">system can be obtained both in spite and because of perceptual change. in this respect an indigenous knowl="trms"nttrm="knowledge,Knowledge">edge is not simply an order of cultural perspective, they are rather a form of objective testimony, by the people who are attuned to the environment's invariant structure. they are not simply a traditional or local “point of view.”

in this sense what kind of info is the image of Kinect about the environment='qstn'>? it is not objective info nor culture, what is it='qstn'>? personal testimony='qstn'>? descriptions of a ="trms">technological ="trms"nttrm="already,spread">reading='qstn'>?!

affordance, as a concept, allows complexity and refusal to reduce environments, objects, and actions to the basic function they may have to the perceiver in her/his/its ="trms">world ='lgc'>-- it permits a level (horizon) of consciousness of the ="trms">world beyond function.

how a beetle may rest on the retina of ="trms">bird's eye like pieces of puzzle fitting together

facts of environment

to what extent can an ="trms">ecological perception become virtualized, re="trms">presented, and returned to vision as a condition, or style of being='qstn'>? that is how to take con="trms">scientious of the ="trms">ecological beings that we are in any project='qstn'>? ='lgc'>-- that is attuning vision to an ="trms">ecological reality

E. h. Gombrich understood the perception of art as a process of cultivating the visual ="trms">skills of recognition in the eye itself
="trms">historical ways of seeing
any ="trms">skill we have in spite of environmental variances, is operating from visual schema that are geared to t="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigger pattern recognition, (art='qstn'>?)

visuality vs vision
the caricaturist does not teach us how to see, but rather instantiates a new ="trms">code of recognition. a visuality is nested into vision; vision is reciprocally primed to recognize a visuality ='strcls'>***

visuality involves more than pattern recognition

perception is not the tool by which we experience art, but its very content and substance. john Onians con="trms"nttrm="cluster,club">cludes that “each painting forms its own ‘eye’.”

what kind of eye the art (of my Kinect) cultivates='qstn'>? (a ="trms">techno-="trms">aesthetic eye='qstn'>?) (the diagrammatic eye='qstn'>?) (referring to the diagram project “sadistic statistics”)

the ways we see ...ly (="trms">historically, ="trms">ecologically, evolutionary, ="trms">technologically,) more part and parcel of the visuality of the ="trms">anthropo="trms">cene

the ="trms">neuro-="trms">aesthetic eye

to “="trms"nttrm="already,spread">read” environment in terms of info pick-up and accommodation
to simply perceive as we do
but to parlay (double up) our perceptual ="trms">system into a modality of processing, ="trms">response, and ="trms">responsiveness
(the ="trms">aesthetics of) the visual brain is the contact (not contract) between the individual and the eco="trms">system

modulation of ethos in landscape='qstn'>?

Kinect is not bringing a knowl="trms"nttrm="knowledge,Knowledge">edge that is ="trms">neurobiologically imperceptible to the naked eye nor is it ="trms">technologically making a ="trms">worldview accessible.

“it is low tech”, its images are born of partial recognition, attunement, and attention

low-tech works may be critical for developing a visuality that is not yet ="trms">integral to or explicit within new media, visualising the ="trms">specifically ="trms">neurological dimension of ="trms">ecologicity and mobilizing vision as a perceiving organ to cultivate this self-awareness.

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(="ppl">McKenzie ="ppl">Wark)

climate ="trms">science, a key ="trms">science of our time, rests on an ="trms">apparatus of very powerful computers and ="trms">communication vectors, which overcome the “friction”, as ="ppl">Paul ="ppl">Edwards calls it, between ="trms">data and ="trms">communication. it brings together global ="trms">data ="trms">according to global standards, mathematical models of physics of climate drawn from fluid dynamics, and massive computational power. the model and ="trms">data coproduce each other in a way, as the ="trms">data sets are all partial, and many ="trms">data points have to be ="trms">interpolated to make the models work. and then all of that has to be mediated back to human awareness via tables, graphs, computer simulations, and so forth.

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(="ppl">Irmgard ="ppl">Emmelhainz)

="large lg18" stl="font-size:119%"> (="trms">anthropo="trms">cene) change in the conditions of visuality
transformation of the ="trms">world into images
="trms">phenomenological ='lgc'>+ ="trms">epistemological consequences

images participate now in the forming of ="trms">worlds, they have also become forms of thought

the optical mind

the radical change in the conditions of visuality has brought about a new subject ="trms">position or point of view, announce by the ="trms">trajectories of='lgc'>:
="lstsrd">1. antihumanism (between impressionism and cubism)
="lstsrd">2. posthumanism (between cubism and experimental film)
="lstsrd">3. non-grounded form of vision (from experimental film to digital media)

this regime of visuality implies='lgc'>: automatization, tautological vision, and signs leading to other signs
resulted to ='lgc'>=> the proliferation of images also implying the cancellation of vision

“vision cancelled”

="large lg22" stl="font-size:111%"> linearity of the Renaissance perspective plan created the illusion of a view to the outside ="trms">world, analogous to a window.

cubism='lgc'>: showing a perpetual ="trms">present in a parallel temporality.
perspectival multiplicity became embedded in the picture plane.
invented a discontinuous space, making identity and ="trms">difference relative (="trms">questioning the classical ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics), by subverting the ="trms">relations between subject and object.

does my Kinect pictural model employs the architectural space='qstn'>? is camera architectural='qstn'>?

in experimental film, duration became a key component of ="trms">aesthetic experience, analogous to human consciousness, a prosthetic vision

identity and ="trms">difference, rejection of a ="trms">priori space

how to release the subject from human coordinates='qstn'>? what are references to human coordinates='qstn'>? screen's rectangular frame='qstn'>?

the machine (optical perception) delivers a posthuman, prosthetic enhancement of vision, which announces, first the incipient (initial) normalization of perception as augmented reality and ="trms">data visualization

displacement of the subjective center of operations

epitomize

subvert

fragmentation brought by mechanization, has an alienating character

its impossibility to give back an image or serve a reflective mirror

it is in="trms">different to “me”

the exhaustive visualization and documentation of ="trms">wildlife is effectively concealing its ongoing extinction (one of the reasons i am not using the zeiss-lens-camera recordings)
(for Susan Sontag) taking photographs ='lgc'>[...='lgc'>] is a way of certifying experience, also a way of refusing it - by limiting experience to a search for the photographic, by converting experience to a souvenir. ='lgc'>[...='lgc'>] the very activity of taking pictures ='lgc'>[...='lgc'>] assuages (erleichtern) general feelings of disorientation that are likely to be exacerbated (worsened) by ="trms">travel.

cognitive activity

giving form to experience, also transforming things into signs, welding image and discourse

the contemporary experience is also made of sharing/tweeting/liking images

="large lg10" stl="font-size:110%"> the contemporary political economy='lgc'>: ="trms">communicative capitalism derives surplus value from the volume and velocity of sings and ="trms">data circulating in the infosphere.

proliferation of cognitive signs is another feature of ="trms">communicative capitalism, submitting the mind to an ever-increasing pace of perceptual stimuli

(for Berardi) seeing means accelerating perception in the fields of everyday experience, accelerated tautological vision derived from constant passive observation. this is another of ="trms">communicative capitalism's form of governance, as this kind of vision generates ="trms">techno-="trms">linguistic automatisms by carrying information without meaning

is Kinect image-compilation a creature of infosphere='qstn'>? (boring ="trms">question='qstn'>?)

normalization of groundless seeing (exemplified in google earth)

“picture does not make an image” (Serge Daney, before and after image)
image against vision

life persists irrationality, not given form by ="trms">imagination, ceasing to cohere into a higher truth. (Fox, cold ="trms">world)

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(="ppl">Ada ="ppl">Smailbegovic)

="trms">nature of things (2013, ="frds">Sina ='lgc'>+ ="frds scrmbld">Elisa)

related to temporalities and velocities (plant politics of movement)

the video registers ="trms">different rhythms and textures of change in the event of weather
="trms">methodological impulse to draw on descriptive practices of ="trms">natural ="trms">history
attuning to p="trms">articulate ="trms">differences that ="trms">compose change

the temporal dimension of human “umwelt” is tuned into a limited set of rhythms and durations. therefore many of the temporalities that are relevant for developing a politics of time (such as longe duration of geological time) may not be directly available to human sensorium.
not just something that it is difficult to sense, but temporality as a compound entity of other variables. (temperature, etc.)

binding times together

an alternative perspective on (="trms">anthropo="trms">cene) temporality involves developing a ="trms">poetics of description as a mode of ="trms">affective and ="trms">aesthetic amplification

='lgc'>=> developing an experimental ="trms">poetics of ="trms">technology as a mode of ="trms">aesthetic amplification towards a less perspectival visuality ='lgc'>-- the ="trms">writing tends to operate in a more tentacular mode of perception ='lgc'>='lgc'>--> sweating on every negative space
='lgc'>+='lgc'>+='lgc'>+ sweating again was crucial in our sensorial (and therefore cognitive) ="trms">relation when we were in Amazon. Kinect and sweating both propose modes of perception other than perspectival shadow casting ="trms">system of vision.

(organic or inorganic/="trms">technological='qstn'>?) processes that constitute the planet/plant

='lgc'>=> intimacy with the organic/inorganic/="trms">technological processes that constitute the planet

(='mywrk'>my work is to create or find out) ="trms">poetics and the ="trms">methodologies that register the bite and indexes its significance
(='lgc'>+ bite of the critter on my skins)

(="ppl">Chakrabarty in The climate of ="trms">history='lgc'>:) “man's environment did change but changed so slowly as to make the ="trms">history of man's ="trms">relation to his environment almost timeless and thus not a subject of ="trms">historiography at all”

the collapse of this age-old humanist distinction between ="trms">natural ="trms">history and human ="trms">history

plant ="trms">writing
="trms">formulate ="trms">transitional ="trms">categories that would be ="trms">responsive to ="trms">differentiated modes of activity attuned to the difficulties of depicting ="trms">natural ="trms">phenomena that are continuously in flux.

="trms"nttrm="already,spread">reader of the meteorological registers

envision the temporal flux

the shifting ="trms"nttrm="knowledge,Knowledge">edges (of the Kinect building generics)

(Kinect image) as architectural form ="trms">composed of ="trms">different (="trms">transitional) ="trms">materially instantiated temporalities

="large lg6" stl="font-size:120%"> trans="trms">position of qualities

within grammatical and ="trms">figurative textures (of ="trms">poetic)

between the ="trms">material and the ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphorical

modes of ="trms">materiality

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(W.A.G.E. working artists and greater economy)
for artists who don't have secondary jobs, their mobility='lgc'>--despite being under="trms">written in many cases by class privilege='lgc'>--is forced. they are wired-up, ="trms">networked carriers of ="trms">social and cultural capital set in perpetual motion, transforming cities in their passage through them on the art circuit='lgc'>--sophisticated nomadic clans who ="trms">travel to survive.

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="trms">nature of things (2013, ="frds">Sina ='lgc'>+ ="frds scrmbld">Elisa)

places marked with zones of limited habitation='lgc'>--you can't live[...]