[...]perceiver in her/his/its world
how a beetle may rest on the retina of bird's eye like pieces of puzzle fitting together
facts of environment
to what extent can an ecological perception become virtualized, represented, and returned to vision as a condition, or style of being? that is how to take conscientious of the ecological beings that we are in any project?
E. h. Gombrich understood the perception of art as a process of cultivating the visual skills of recognition in the eye itself
historical ways of seeing
any skill we have in spite of environmental variances, is operating from visual schema that are geared to trigger pattern recognition, (art?)
visuality vs vision
the caricaturist does not teach us how to see, but rather instantiates a new code of recognition. a visuality is nested into vision; vision is reciprocally primed to recognize a visuality
perception is not the tool by which we experience art, but its very content and substance. john Onians concludes that “each painting forms its own ‘eye’.”
what kind of eye the art (of my Kinect) cultivates? (a techno-aesthetic eye?) (the diagrammatic eye?) (referring to the diagram project “sadistic statistics”)
the ways we see ...ly (historically, ecologically, evolutionary, technologically,) more part and parcel of the visuality of the anthropocene
the neuro-aesthetic eye
to “read” environment in terms of info pick-up and accommodation
to simply perceive as we do
but to parlay (double up) our perceptual system into a modality of processing, response, and responsiveness
(the aesthetics of) the visual brain is the contact (not contract) between the individual and the ecosystem
modulation of ethos in landscape?
Kinect is not bringing a knowledge that is neurobiologically imperceptible to the naked eye nor is it technologically making a 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 integral to or explicit within new media, visualising the specifically neurological dimension of ecologicity and mobilizing vision as a perceiving organ to cultivate this self-awareness.
(McKenzie Wark)
climate science, a key science of our time, rests on an apparatus of very powerful computers and communication vectors, which overcome the “friction”, as Paul
(Irmgard Emmelhainz)
transformation of the world into images
phenomenological
images participate now in the forming of 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 position or point of view, announce by the trajectories of
this regime of visuality implies
resulted to
“vision cancelled”
linearity of the Renaissance perspective plan created the illusion of a view to the outside world, analogous to a window.
cubism
perspectival multiplicity became embedded in the picture plane.
invented a discontinuous space, making identity and difference relative (questioning the classical
does my Kinect pictural model employs the architectural space? is camera architectural?
in experimental film, duration became a key component of aesthetic experience, analogous to human consciousness, a prosthetic vision
identity and difference, rejection of a priori space
how to release the subject from human coordinates? what are references to human coordinates? screen's rectangular frame?
the machine (optical perception) delivers a posthuman, prosthetic enhancement of vision, which announces, first the incipient (initial) normalization of perception as augmented reality and data visualization
displacement of the subjective center of operations
subvert
fragmentation brought by mechanization, has an alienating character
its impossibility to give back an image or serve a reflective mirror
it is indifferent to “me”
the exhaustive visualization and documentation of 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
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
the contemporary political economy
proliferation of cognitive signs is another feature of 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 communicative capitalism's form of governance, as this kind of vision generates techno-linguistic automatisms by carrying information without meaning
is Kinect image-compilation a creature of infosphere? (boring question?)
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 imagination, ceasing to cohere into a higher truth. (Fox, cold world)
(Ada
nature of things (2013,
related to temporalities and velocities (plant politics of movement)
the video registers different rhythms and textures of change in the event of weather
methodological impulse to draw on descriptive practices of natural history
attuning to particulate differences that compose change
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 (anthropocene) temporality involves developing a poetics of description as a mode of affective and aesthetic amplification
(organic or inorganic/technological?) processes that constitute the planet/plant
(my work is to create or find out) poetics and the methodologies that register the bite and indexes its significance
(
(Chakrabarty in The climate of history
the collapse of this age-old humanist distinction between natural history and human history
plant writing
formulate transitional categories that would be responsive to differentiated modes of activity attuned to the difficulties of depicting natural phenomena that are continuously in flux.
reader of the meteorological registers
envision the temporal flux
the shifting edges (of the Kinect building generics)
(Kinect image) as architectural form composed of different (transitional) materially instantiated temporalities
transposition of qualities
within grammatical and figurative textures (of poetic)
between the material and the
modes of materiality
(W.A.G.E. working artists and greater economy)
for artists who don't have secondary jobs, their mobility
nature of things (2013,
places marked with zones of limited habitation
a place that is both wasteland and wilderness at the same time
wasteland tourism (museum in chernobyl)
we are becoming visitors of waste wilderness, most natural and unnatural land simultaneously
the moment the world enters my body it has already been transformed
for
“we are forever collecting ourselves” (Baudrillard)
we have always encountered the world via technology
(now internet)
(Zoe
Zapatista (a revolutionary leftist political and militant group based in Chiapas, the southernmost state of Mexico) principles of “walking the world into being” (as locus of thought and practice to decolonize posthumanist geographies)
(for
the epistemic violence inherent both in academic treatment and dance (they both bring things to life?) (is dance controlled form of violence? does violence always bring things to life contrary to the belief that it kills life?)
(i don't want to) trivialize (Amazon and my Amazon trip) as case-study and neutralize its indigenous ontologies
(John Hartingan
(of the white intellectual space of the Euro-Western academy)
(which sweeps many competing narratives under its roof?)
(indigenous artists, Rebecca Belmore & Jolene Rickard
(narcissistic obsession of Western civilization/art with material-as-mirror)
(Dwayne Donald
colonialism is basicly “disconnection”, denial of relation
(in its heart is written “we are not related”)
(so few indigenous bodies are present in sites where academic discourse are being forged and practiced) when they are present, they are often dismissed as biased, overly emotional, or unable to maintain objectivity over the issues they present. (can i say the same treat is with iranians? and in which scene or context?
(around me / around here)
(how can we stop in art to) recreate exploitative patterns from the past (?)
ecological imagination is a turn towards reciprocity and relationship
in Kinect the path of a journey is refracted, mirroring a critical site of refraction, as a practice. walking with
tree is never tree-like (filial, Arborescent, versus rhizomatic)
vertical vs. lateral
Arborescent vs. reticulated (like the patterns on a giraffe or spots on the python)
stake at “relationships”
how can we problematize narcissism? what if it is the wrong word describing a certain property of life? Narcissus is recognizing himself in his environment and he dissolves himself in that image. the main thing about this story is that he is most alive via the story, Narcissus is basically undead.
close-range vision
how can we practice movement and touch in the physio-locality of the eyes?
tentacularity
touching was considered a cruder scanning at close range and seeing a more subtle touching at a distance
importance of far distance over close range
forest's “space”
Hernri Lefebvre distinguishes Representation of space and Representational spaces. ... Representational spaces are “directly lived” through associated images and symbols which overlay physical space, making symbolic use of its objects.
Representation is a distinctive manner of imagining the real, and is a fundamental phenomenon upon which all culture rests.
or instead of how a forest looks like, what is the forest made of? and for whom? what is the forest made of is the matter of negotiation (between the different kinds of beings who think differently about the forest)
in order not to neutralise the forest to culture (cultural history as an explanatory priority to the historically contingent circumstances) we can propose two questions of older critique of perspectival perception
needing or not needing representation to understand relationality
(
not a philosophical argument, but a cabinet of curiosities assembled by “friends of interpretable objects”
... not an encyclopedic undertaking ... we have chosen only those sites, objects, and situations where there is ambiguity, a hesitation, an iconoclash on how to interpret image-making and image-breaking. (going to sites or objects where there is ambiguity, hesitation)
(the exhibition is not about recollecting truth or objectivity)
christian religious paintings that do not try to show anything but, on the contrary, to obscure the vision.
redirecting the attention away from the image to the prototype (Platonism run mad?)
are we really going to spend another century naively re-destroying and deconstructing images that are so intelligently and subtly destroyed already?
do we really have to spend another century alternating violently between constructivism and realism, between artificiality and authenticity?
science deserves better than naive worship and naive contempt. its regime of invisibility is uplifting as that of religion and art. the subtlety of its traces requires a new form of care and attention.
(we need new forms of attention)
the more artifactual the inscription, the better its ability to connect, to ally with others, to generate even better objectivity (Kinect?)
Kinect recordings as ethnography?
how to escape from the tyranny of “simply objective”, “purely representative” quasi-scientific illustrations? Freeing one's gaze from this dual obligation accounts....
religious icons and their obsession for real presence
they have never been about presenting something other than absence
scientific imagery
no isolated scientific image has any mimetic power; there is nothing less representational, less figurative, than the pictures produced by science, which are nonetheless said to give us the best grasp of the visible world.
is Aruz (
science, religion, and politics all three take for granted an image of nature.
(Peter
wanting to know with eyes-open
it was by way of intuition “that the mathematical world remains In contact with the real world; and even though pure mathematics could do without it, it is always necessary to come back to intuition to bridge the abyss which separates symbol from reality.”
(Dipesh
(history of nature?) the nature of history as a form of knowledge
(Croce essay 1893 history subsumed under the concept of art) Croce drew on the writings of Ernst Mach and Henri Poincare to argue that “the concepts of the natural sciences are human constructs elaborated for human purposes.” “when we peer into nature, we find only ourselves” we do not “understand ourselves best as part of the natural world” (is that not the image of Narcissus who looks into the nature and can only see himself
so as Roberts puts it “Croce proclaimed that there is no world but the human world, then took over the central doctrine of Vico that we can know the human world because we have made it.”
Croce's idealism “does not mean that rocks, for example, ‘don't exist’ without human beings to think about them. apart from human concern and language, they neither exist nor do not exist, since ‘exist’ is a human concept that has meaning only within a context of human concerns and purposes” (not saying human symbolic system of thought)
man environment did change but changed so slowly as to make the history of man's relation to his environment almost timeless and thus not a subject of historiography at all.
the history of man's relationship to the environment was so slow as to be almost timeless
but now scholars are writing significantly different
vision of man “as a prisoner of climate” and not of man as the maker of it
is the Anthropocene a critique of the narratives of freedom?
price we pay for the pursuit of freedom
politics
politics has never been based on reason alone. (it seems politics is something that is out of control)
(Maslin, Global warming)
Anthropocene was neither an ancient nor an inevitable happening
the crisis of climate change calls for thinking simultaneously on both registers, to mix together the immiscible chronologies of capital and species history.
as Gadamer pointed out, Dilthey saw “the individual's private world of experience as the starting point for an expansion that, in a living transposition, fills out the narrowness and fortuitousness of his private experience with the infinity of what is available by re-experiencing the historical world.”
“let nature speak for itself” (!) a new brand of scientific objectivity that emerged in the 19th century
the present usage of objectivity can be applied to everything from
each component of objectivity opposes a distinct form of subjectivity; each is defined by censuring some (by no means all) aspects of the personal.
personal idiosyncrasies
this ideal of objectivity attempts to eliminate the mediating presence of the observer
the phenomena never sleep and neither should the observer
heroic self-discipline
profoundly moralized vision
and like almost all forms of moral virtuosity it preaches asceticism
human worker whose attention wandered, whose pace slackened, whose hand trembled
the self-recording instrument promised to replace the weary artist
machines offered freedom from will
being true to nature
-in its method (mechanical)
-in its moral (restrained)
-in its
early alternative approaches to creating picture that were true to nature, but not objective in the mechanical sense
atlases habituate the eye, they are perforce visual
(contrast to the scientific visual forms of photography where one is on the right place at the right time with the right
one problem of atlases is that they have to decide what nature is
they all have to solve the problem of choice
rejection of aesthetics (but what seduction exactly betrays? or what does it make accurate?)
average (is truth to nature?)
asceticism of noninterventionist objectivity
“straight photography” is above all a signature of a particular scene, a specific and localized representation only awkwardly adaptable to a mosaic composition from different individuals (Zeiss-lens-camera images)
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cosmic order world soul woman panpsychism psyche intensity conscious potential Sadra
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(for Martin Kusch - objectivity and historiography) truth-to-nature had its rationale in enlightenment sensationalist psychology, with its conception of the self as fragmented, passive, and excessively receptive.
eliminating judgment
the device would remove the process of abstraction from the artist's pen
what characterized the creation of late 19th century pictorial objectivity was self-surveillance
(note of Geppetto, Younus, Pinocchio)
personal equation
to produce reliable images