[...]br />
="ppl">Nietzsche also said, at the very beginning of the second treatise of The Genealogy of Morals, that man is a promising ="trms">animal, by which he meant, underlining those words, an ="trms">animal that is permitted to make promises (das versprechen darf). ="trms">Nature is said to have given itself the task of raising, bringing up, domesticating and “disciplining” (heranziichten) this ="trms">animal that promises.


Microlandscapes='lgc'>:


the talk, also works ='thdf'>the notion of mirror ="trms">stage and what does it mean for us and for the companien ="trms">species that are entangled. what th="trms"nttrm="already,spread">reads of meaning are taken apart by pulling on the th="trms"nttrm="already,spread">read of self reflection and self vision, what will gets account as ="trms">nature for whom and when. the ="trms">animal that is in charge of her own image is the re="trms">presentation of the universala man.

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Appearance of eukaryotic cells around 2 billion years ago is probably the most significant event in the ="trms">history of life on earth. It gave the creatures with DNA two important things='lgc'>: a nucleus that contained all the genetic ="trms">materials and an ="trms">interface to ="trms">communicate with the ="trms">world outside of the cell='lgc'>--a complex ="trms">membrane='lgc'>--to talk with the ="trms">materials alien to itself. ="trms">Interface is a critical point of ="trms">intersection between ="trms">different life ="trms">worlds, fields, or levels of organization. They are the areas in which ="trms">social friction can be experienced and where diffusion of new ="trms">technology is leading to structural discontinuities (which can be either ="trms">positive or negative), the ="trms">interface is where they will occur. The argent issue of ="trms">interfaces in ="trms">social ="trms">interaction and flow between human ="trms">animal, nonhumans, and computers is today becoming a zone of ="trms">transition of ephemeral ="trms">technologies, physical contact, ="trms">socio-political boundaries, and ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor-re="trms">presentation.
Since antiquity, re="trms">presentation has been the foundational concept of ="trms">aesthetics and ="trms">semiotics. In the ="trms">modern era, it has also become a crucial concept in political theory. In a discussion of law and ethnography, ="ppl">Clifford ="ppl">="frds scrmbld">Geertz calls into ="trms">question the Western distinction between ="trms">matters of fact and ="trms">matters of value. “Facts and law we have perhaps everywhere; their polarization we perhaps have not.” ="ppl">="frds scrmbld">Geertz's hermeneutic approach leads him to focus on the ="trms">relation between the grounding of norms and the re="trms">presentation of fact. Therefore, he con="trms"nttrm="cluster,club">cludes, re="trms">presentation is a distinctive manner of ="trms">imagining the real, and is a fundamental ="trms">phenomenon upon which all culture rests.
The performance-talk is divided into three tangled ="trms">narratives, one the ="trms">social mode of ="trms">traveling that in="trms"nttrm="cluster,club">cludes the ="trms">child='lgc'>--the op="trms">posite of the lonely masculine ="trms">traveler='lgc'>--based on the real experience and a personal ="trms">story in a trip to Amazon in Colombia with ="frds scrmbld">Karin Demuth and her three years old boy='lgc'>--="frds scrmbld">Hanno='lgc'>--, second a multi-headed ="trms"nttrm="already,spread">reading of ="trms">technologies of ="trms">interfacing within computer culture and the ="trms">worlds of other ="trms">species, the meaning of ="trms">inter-facing with the other, and third a visual re="trms">presentation of the highly ="trms">technical images recorded by Kinect infrared 3D-scanner/motion-detector. The result of the visualization is a heavily glitchy image, which aims in the performance to link the spatial practice to the perceived and the re="trms">presentational spaces to the lived. Affirming the “un="trms">naturalness” of the image makes it a trans="trms">position of universal means of ="trms">communication='lgc'>--the ="trms">language='lgc'>--that would like to provide a direct, unmediated, and accurate re="trms">presentation of the jungle.
The performance is an engagement with ='thdf'>the notion of companion ="trms">species elaborated by ="ppl">Donna ="ppl">="ppl">Haraway, in an experience of walking in a tropical jungle with a computer in one hand and in the other hand the hand of the human ="trms">child. The work deals with ="trms">questions of the other-space that is mentally filled with projections and projects. The recording of the walking in the rain forest ='lgc'>--as spatial and ="trms">sensual experience='lgc'>-- is thus de="trms">materialized and has acquired a digital character. The ="trms">dense and hot environment of the Amazon is replaced by an abstract graphic structure, thus bringing a new understanding of the locality of the walk. The noise and the randomness of the ="trms">technical coloring the surface of the jungle provoke an ="trms">aesthetic fascination, and an appropriation of the imposible image of the forest.

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="trms">Traveling to the Amazon to experience its radical Otherness is a European tradition. It unintentional affirms the ideology of a “state of ="trms">nature” that is ="trms">prior to culture.


="ppl">Lacan='lgc'>: i am led to regard the function of the mirror ="trms">stage as a particular case of the function of the imago, which is to establish a ="trms">relation between the organism and its reality - or, as they say, between the Innenwelt and the Umwelt.

This developement is experienced as temporal dialectic that decisively projects the function of the individual into ="trms">history. the mirror ="trms">stage is a drama whose ="trms">internal thrust is precipitated from insufficiency to anticipation - and which manufactures for the subject, caught up in the ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure of spatial identification, the succession of phantasies that extends from a fragmented ="nms">body image to a form of its totality that i shall call orthhopaedic - and, lastly, to ='thdf'>the ='thdf'>assumption of the armour of an alienating identity, which will mark with its ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid structure the subject's entire mental development. thus, to break out of the circle of the Innenwelt into the Umwelt generates the inexhaustible quadrature of the ego's verifications.

Electronic Reserve Text='lgc'>: from Jacques ="ppl">Lacan, Ecrits, New York='lgc'>: W. W. Norton, 1977.
The Mirror ="trms">Stage as Formative of the Function of the I as Revealed in Psychoanalytic Experience

Delivered at the 16th ="trms">International Congress of Psychoanalysis, Zurich, July 17, 1949

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="ppl">Flusser, ="trms">Gestures - beyond machines (="trms"nttrm="already,spread">reading)


the project investigates the way in which ="frds">Seifee as an artist engages tactics of fieldwork, ="trms">embodiment and ="trms">materiality (in a manner that reveals or instigates processes of knowing).
(In this moment of increasing standardization and specialization regarding how people learn, art is a space for innovative thinking and experimentation outside given frameworks.)


...our ability to share the experience of the habits of the ="trms">world that we discover. (="ppl">Kohn)

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="ppl">Campbell on Harman's philosophy
(problem of) object-oriented ="trms">ontology as ="trms">social theory ='lgc'>[insights of object-orientation mechanically applied to the ="trms">social by Harman, “im="trms">materialism"='lgc'>]
="lsts lst1">•innovative adaptation of ="trms">phenomenology
="lsts lst1">•critique of how objects have been failed by philosophy
="lsts lst1">•insistence upon an ="trms">aesthetic attitude of investigation
='lgc'>--but='lgc'>='lgc'>-->
="lsts lst1">•object-oriented ="trms">social theory lacks the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor and ="trms">imaginative potential to envision the ="trms">ontology of the ="trms">social
="lsts lst1">•the way object-oriented ="trms">ontology is stuck in a no-man's-land of not-quite-nonhuman-not-quite-human
="lsts lst1">•as ooo enters ="trms">social theory it commits a performative fallacy ='lgc'>='lgc'>--> missing the fundamental starting point of ="trms">social theory='lgc'>: ='strcls'>***objects come into the ="trms">social ="trms">world as expressions of (negotiated, perceptual, political, ="trms">agentic) value='strcls'>*** ='lgc'>[="trms">social theory is fundamentally predicated on the ="trms">socius ='lgc'>='lgc'>--> ="trms">social theory is about the as="trms">sociation between things ='lgc'>=/= homogenous things='lgc'>]
='lgc'>}='lgc'>=/= ="ppl">Campbell's ='strcls'>*posthuman ="trms">relationism='strcls'>*='lgc'>: another form that better understands the ="trms">abyssal point between the non-human and the human


(2007 conference) speculative realism ='lgc'>{antipathy to “human-centred” intellectual traditions='lgc'>} ='lgc'>~=> object-oriented ="trms">ontology

(objectivity ='lgc'>=/= obliqtivity)
Harman's im="trms">materialism='lgc'>: realism without ="trms">materialism ='lgc'>: objects can only ever be captured obliquely

object-oriented ="trms">ontology's development='lgc'>:
="lsts lst1">•characterised by a consistent lament for how post-="ppl">Kantian philosophy in general (Continental philosophy in particular) has abandoned hope of describing objects as objects
="lsts lst1">•the real='lgc'>: absolute autonomy of objects (withdraw from subjects)
="lsts lst2">◦objects='lgc'>: sleeping giants holding their forces in reserve
="lsts lst1">•prefer the ="trms">excess of the ="trms">aesthetic over the reduction by the ="trms">scientific (="trms">materialism's tendency to reduce objects to a primary substratum ='lgc'>='lgc'>==> rendering them susceptible to mathematical capture) ='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> ='strcls'>*="trms">aesthetic foundationalism='strcls'>* ='lgc'>[='lgc'>==engender='lgc'>='lgc'>==> an attitudinal ="trms">response to objects='lgc'>] (='at'>@="nms">apass, this is also a problem in artistic research)='lgc'>:
="lsts lst2">◦="trms">aesthetic appreciation above the reduction of the ="trms">phenomenon achieved by ="trms">science ='lgc'>='lgc'>--> “art (art criticism) is a style that gets us closer to the ="trms">nature of objects” (='lgc'>+ bad ='thdf'>example of Clement Greenberg)
="lsts lst2">◦(to make the invisible deep conditions of objects perceivable) ="trms">prioritize ='strcls'>*allusive style='strcls'>* above ='strcls'>*="trms">literal description='strcls'>*
="lsts lst1">•claims to post-="trms">phenomenological sover[...]