[...]litics 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

="large lg2" stl="font-size:112%"> ='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

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)

="large lg1" stl="font-size:131%"> 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.

="large lg4" stl="font-size:112%"> 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 i[...]