[...]ement 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
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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
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
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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
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 there, you are a visitor
a place that is both wasteland and ="trms">wilderness at the same time
wasteland tourism (museum in chernobyl)
="lstsrd">1. the christian tradition='lgc'>: it was our ="trms">obligation to use up the earth before the apocalypse
="lstsrd">2. the romantic view='lgc'>: we humans are the servants of the land, we are its eyes, we are its expression
we are becoming visitors of waste ="trms">wilderness, most ="trms">natural and un="trms">natural land ="trms">simultaneously
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the moment the ="trms">world enters my body it has al="trms"nttrm="already,spread">ready been transformed
for ="frds scrmbld">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 ="trms">trapped between the ="trms">natural and the man-made.
“we are forever collecting ourselves” (="ppl">Baudrillard)
we have always encountered the ="trms">world via ="trms">technology
(now ="trms">internet)
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(="ppl">Zoe ="ppl">Todd)
Zapatista (a revolutionary leftist political and militant group based in Chiapas, the southernmost state of Mexico) principles of “walking the ="trms">world into being” (as locus of thought and practice to decolonize posthumanist geographies)
(for ="frds scrmbld">Juanita Sundberg) the zapatista movement theorizes walking as an important practice in building the p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">luriversale, a ="trms">world in which many ="trms">worlds fit. ='lgc'>[...='lgc'>] as we humans move, work, play, and ="trms">narrate with multiplicity of beings in place, we enact ="trms">historically ="trms">contingent and radically distinct ="trms">worlds/="trms">ontologies.
the ="trms">epistemic violence inherent both in academic treatment and dance (they both bring things to life='qstn'>?) (is dance controlled form of violence='qstn'>? does violence always bring things to life contrary to the belief that it kills life='qstn'>?)
(i don't want to) trivialize (Amazon and my Amazon trip) as case-study and neutralize its indigenous ="trms">ontologies
(John Hartingan='lgc'>:) ="trms">Anthropo="trms">cene as “charismatic mega-="trms">category”
(of the white intellectual space of the Euro-Western academy)
(which sweeps many competing ="trms">narratives under its roof='qstn'>?)
(indigenous artists, Rebecca Belmore ='and'>& Jolene Rickard='lgc'>:) ="trms">material might act as a bridge, instead of a mirror
(="trms">narcissistic obsession of Western civilization/art with ="trms">material-as-mirror)
(Dwayne Donald='lgc'>:) place-based cultures and knowl="trms"nttrm="knowledge,Knowledge">edge ="trms">systems
colonialism is basicly “disconnection”, denial of ="trms">relation
(in its heart is ="trms">written “we are not related”)
(so few indigenous bodies are ="trms">present in sites where academic discourse are being forged and practiced) when they are ="trms">present, they are often dismissed as biased, overly emotional, or unable to maintain objectivity over the issues they ="trms">present. (can i say the same treat is with ="nms">iranians='qstn'>? and in which s="trms">cene or context='qstn'>? ='lgc'>-- ="nms">iranians are “not” famous for exhaustive discursive unemotional and unopinionated maintenances)
(around me / around here) ='lgc'>=> importances and pleasures of going from “around me” to “around here”
(how can we stop in art to) recreate exploitative patterns from the ="trms">past (='qstn'>?)
="trms">ecological ="trms">imagination is a turn towards reciprocity and ="trms">relationship
in Kinect the path of a journey is refracted, mirroring a critical site of refraction, as a practice. walking with ="frds scrmbld">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 “="trms">relationships”
how can we problematize ="trms">narcissism='qstn'>? what if it is the wrong word describing a certain property of life='qstn'>? ="trms">Narcissus is recognizing himself in his environment and he dissolves himself in that image. the main thing about this ="trms">story is that he is most alive via the ="trms">story, ="trms">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='qstn'>?
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 ='lgc'>=> refer to project Standing on the Shoulders of Giants (2015, ="frds">Sina)
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forest's “space”
Hernri Lefebvre distinguishes Re="trms">presentation of space and Re="trms">presentational spaces. ... Re="trms">presentational spaces are “directly lived” through as="trms">sociated images and ="trms">symbols which overlay physical space, making ="trms">symbolic use of its objects.
Re="trms">presentation is a distinctive manner of ="trms">imagining the real, and is a fundamental ="trms">phenomenon upon which all culture rests.
or instead of how a forest looks like, what is the forest made of='qstn'>? and for whom='qstn'>? what is the forest made of is the ="trms">matter of negotiation (between the ="trms">different kinds of beings who think ="trms">differently about the forest)
in order not to neutralise the forest to culture (cultural ="trms">history as an explanatory ="trms">priority to the ="trms">historically ="trms">contingent circumstances) we can propose two ="trms">questions of older critique of perspectival perception='lgc'>:
="lstsrd">1. that the body accounts for perspective (='qstn'>?)
="lstsrd">2. re="trms">presentation is ex="trms">="trms"nttrm="cluster,club">clusively mental (='qstn'>?)
of course both ="trms">questions are ="trms">phenomenological ="trms">positions, but that does not mean that we no longer need re="trms">presentation to understand ="trms">relationality. (Konh words)
needing or not needing re="trms">presentation to understand ="trms">relationality
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(="ppl">="ppl">Latour)
not a philosophical argument, but a cabinet of curiosities assembled by “friends of ="trms">interpretable objects”
... not an encyclopedic undertaking ... we have chosen only those sites, objects, and ="trms">situations where there is ambiguity, a hesitation, an iconoclash on how to ="trms">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 ="trms">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 (="ppl">Platonism run mad='qstn'>?) ='lgc'>-- 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 al="trms"nttrm="already,spread">ready='qstn'>?
do we really have to spend another century alternating violently between constructivism and realism, between artificiality and authenticity='qstn'>?
="trms">science deserves better than naive worship and naive contempt. its regime of invisibility is uplifting as that of ="trms">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='qstn'>?)
Kinect recordings as ethnography='qstn'>?
how to escape from the tyranny of “simply objective”, “purely re="trms">presentative” quasi-="trms">scientific illustrations='qstn'>? Freeing one's gaze from this dual ="trms">obligation accounts....
="trms">religious icons and their obsession for real ="trms">presence
they have never been about ="trms">presenting something other than absence
="trms">scientific imagery
no isolated ="trms">scientific image has any ="trms">mimetic power; there is nothing less re="trms">presentational, less ="trms">figurative, than the pictures produced by ="trms">science, which are nonetheless said to give us the best grasp of the visible ="trms">world.
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is Aruz (عروض) ="trms">interface='qstn'>? surface/face and meaning/inhalt/content dualism in Tasavof, ="ppl">Rumi breakings of Aruz. Tsavof believes that only through appearance one can get into the depth
="trms">science, ="trms">religion, and politics all three take for granted an image of ="trms">nature.
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(="ppl">Peter ="ppl">="ppl">Galison, in iconoclash)
wanting to know with eyes-open
it was by way of intuition “that the mathematical ="trms">world remains In contact with the real ="trms">world; and even though pure mathematics could do without it, it is always necessary to come back to intuition to bridge the ="trms">abyss which separates ="trms">symbol from reality.”
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(="ppl">Dipesh ="ppl">Chakrabarty)
(="trms">history of ="trms">nature='qstn'>?) the ="trms">nature of ="trms">history as a form of knowl="trms"nttrm="knowledge,Knowledge">edge
(Croce essay 1893 ="trms">history subsumed under the concept of art) Croce drew on the ="trms">writings of Ernst Mach and Henri Poincare to argue that “the concepts of the ="trms">natural ="trms">sciences are human constructs elaborated for human purposes.” “when we peer into ="trms">nature, we find only ourselves” we do not “understand ourselves best as part of the ="trms">natural ="trms">world” (is that not the image of ="trms">Narcissus who looks into the ="trms">nature and can only see himself='lgc'>--="trms">nature observation as mirror ="trms">stage)
so as ="frds scrmbld"nttrm="Robin,Robot,Robert,Robocop">Roberts puts it “Croce proclaimed that there is no ="trms">world but the human ="trms">world, then took over the central doctrine of Vico that we can know the human ="trms">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 ="trms">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 ="trms">symbolic ="trms">system of thought)
man 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. ='strcls'>***
the ="trms">history of man's ="trms">relationship to the environment was so slow as to be almost timeless
but now scholars are ="trms">writing significantly ="trms">different='lgc'>: destroying the artificial but time-honored distinction between ="trms">natural and human ="trms">histories, climate ="trms">scientists ="trms">posit that the human beings has become something much larger than the simple biological ="trms">agent that he or she always has been.
vision of man “as a prisoner of climate” and not of man as the maker of it
is the ="trms">Anthropo="trms">cene a critique of the ="trms">narratives of freedom='qstn'>?
price we pay for the pursuit of freedom
politics='lgc'>: the most common shape that freedom takes in human ="trms">societies.
politics has never been based on reason alone. (it seems politics is something that is out of control)
(Maslin, Global warming) ='lgc'>[Global warming='lgc'>] requires nations and regions to plan for the next 50 years, something that most ="trms">societies are unable to do because of the very short-term ="trms">nature of politics.
="trms">Anthropo="trms">cene was neither an ancient nor an inevitable happening
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the crisis of climate change calls for thinking ="trms">simultaneously on both registers, to mix together the immiscible chronologies of capital and ="trms">species ="trms">history.
as ="ppl">Gadamer pointed out, Dilthey saw “the individual's private ="trms">world of experience as the starting point for an expansion that, in a living trans="trms">position, fills out the narrowness and fortuitousness of his private experience with the in="trms">finity of what is available by re-experiencing the ="trms">historical ="trms">world.”
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(="ppl">Peter ="ppl">="ppl">Galison, in Image of Objectivity)
“let ="trms">nature speak for itself” (!) a new brand of ="trms">scientific objectivity that emerged in the 19th century ='lgc'>=> restrain themse[...]