[...] 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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="large lg2" stl="font-size:112%">
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”)

="large lg1" stl="font-size:121%"> (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


="large lg3" stl="font-size:112%"> ="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)

="large lg4" stl="font-size:112%"> 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)

="large lg5" stl="font-size:127%"> (="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 t[...]