[...]s 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
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
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
(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?)
(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)
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
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 o[...]