[...]2. posthumanism (between cubism and experimental film)
3. non-grounded form of vision (from experimental film to digital media)

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

“vision cancelled”

linearity of the Renaissance perspective plan created the illusion of a view to the outside world, analogous to a window.

cubism: showing a perpetual present in a parallel temporality.
perspectival multiplicity became embedded in the picture plane.
invented a discontinuous space, making identity and difference relative (questioning the classical metaphysics), by subverting the relations between subject and object.

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

epitomize

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 [...] 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. [...] the very activity of taking pictures [...] assuages (erleichtern) general feelings of disorientation that are likely to be exacerbated (worsened) by 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

the contemporary political economy: communicative capitalism derives surplus value from the volume and velocity of sings and data circulating in the infosphere.

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)

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(Ada Smailbegovic)

nature of things (2013, Sina + Elisa)

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

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 (anthropocene) temporality involves developing a poetics of description as a mode of affective and aesthetic amplification

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

(organic or inorganic/technological?) processes that constitute the planet/plant

=> intimacy with the organic/inorganic/technological processes that constitute the planet

(my work is to create or find out) poetics and the methodologies that register the bite and indexes its significance
(+ bite of the critter on my skins)

(Chakrabarty in The climate of history:) “man's 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 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 metaphorical

modes of materiality

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

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nature of things (2013, Sina + Elisa)

places marked with zones of limited habitation--you can't live there, you are a visitor

a place that is both wasteland and wilderness at the same time

wasteland tourism (museum in chernobyl)

1. the christian tradition: it was our obligation to use up the earth before the apocalypse
2. the romantic view: we humans are the servants of the land, we are its eyes, we are its expression

we are becoming visitors of waste wilderness, most natural and unnatural land simultaneously

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the moment the world enters my body it has already been transformed

for Elisa and me Bochum's forest was a location, with its decay, it's subtropical humidity and toxins, and because of the way it is trapped between the natural and the man-made.

“we are forever collecting ourselves” (Baudrillard)

we have always encountered the world via technology
(now internet)

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(Zoe Todd)
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 Juanita Sundberg) the zapatista movement theorizes walking as an important practice in building the pluriversale, a world in which many worlds fit. [...] as we humans move, work, play, and narrate with multiplicity of beings in place, we enact historically contingent and radically distinct worlds/ontologies.

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:) Anthropocene as “charismatic mega-category”
(of the white intellectual space of the Euro-Western academy)
(which sweeps many competing narratives under its roof?)

(indigenous artists, Rebecca Belmore & Jolene Rickard:) material might act as a bridge, instead of a mirror
(narcissistic obsession of Western civilization/art with material-as-mirror)

(Dwayne Donald:) place-based cultures and knowledge systems
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? -- iranians are “not” famous for exhaustive discursive unemotional and unopinionated maintenances)

(around me / around here) => importances and pleasures of going from “around me” to “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 Hanno in the Amazon forest is a joyful and critical engagement through a form of practice that resists universalizing tendencies.

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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.

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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 => refer to project Standing on the Shoulders of Giants (2015, Sina)

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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:
1. that the body accounts for perspective (?)
2. representation is exclusively mental (?)
of course both questions are phenomenological positions, but that does not mean that we no longer need representation to understand relationality. (Konh words)

needing or not needing representation to understand relationality

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(Latour)

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?) -- redirecting of attention to another image

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.

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is Aruz (عروض) interface? surface/face and meaning/inhalt/content dualism in Tasavof, Rumi breakings of Aruz. Tsavof believes that only through appearance one can get into the depth


science, religion, and politics all three take for granted an image of nature.

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(Peter Galison, in iconoclash)

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.”

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(Dipesh Chakrabarty)

(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--nature observation as mirror stage)
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: destroying the artificial but time-honored distinction between natural and human histories, climate scientists posit that the human beings has become something much larger than the simple biological agent that he or she always has been.

vision of man “as a prisoner of [...]