[...]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)
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”
(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?)
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 s[...]