[...]an have an impact on your thinking, concepts, ="trms">ontology ='lgc'>='lgc'>==> unlocking what is most “of the ="trms">past” about things
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="ppl">Alberti
Ingold
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cor="trms">respondence='lgc'>: (a pre-conceptual practice ='lgc'>='lgc'>-->) ="trms">epistemological intimacy in the practices of art, ="trms">science, and ="trms">anthropology
="lsts lst1">•a way to understand one's own research process
(="trms"nttrm="search">archeology='lgc'>: a ="trms">science of cor="trms">respondence)
="ppl">Alberti sug="trms">gesting to separate arts and ="trms">crafts (for analytical purposes)
artwork='lgc'>: non-conceptual outcomes of practice
artwork ='and'>& ="trms"nttrm="search">archeological things ='lgc'>--share='lgc'>='lgc'>--> ="trms">ontological problem of how to make something new ='lgc'>[='lgc'>~ ='strcls'>*sensations/="trms">past never before experienced/thought='strcls'>*='lgc'>] out of (circumscribed body of) ="trms">materials
="trms"nttrm="search">archeological things carry both sensation ='and'>& ='strcls'>*residue of concepts='strcls'>* with them (='lgc'>='lgc'>~='lgc'>~> artistic research ='lgc'>=/= artworks)
='lgc'>='lgc'>==> resurrect the conceptual potential immanent to the ="trms">specific arrangement of ="trms">materials (and their temporary forms)
(="trms">ontological dilemma ='lgc'>[of both art and ="trms"nttrm="search">archeology='lgc'>]='lgc'>:) ='strcls'>*how to anticipate the coming into being of something sensed but as yet not thought='qstn'>?='strcls'>*
(='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor)
="trms">scientific ="trms">interpretation and explanation of the ="trms">past ='lgc'><-='lgc'>~ ="trms"nttrm="search">archeology
='lgc'>{='mywrk'>my work='lgc'>: speculative ="trms">interpretation and explanation of the ="trms">past ='lgc'>[='lgc'>='lgc'>--> prefigure new becomings ='lgc'>+ intensification and unleashing of ‘i am part of what i seek to understand’ (= my subjectivity)='lgc'>] ='lgc'>=/= lock the ="trms">past into pre="trms">dictability='lgc'>}
="lsts lst1">•my ‘things’ in ="nms">ajayeb are to an extent ‘="trms"nttrm="search">archeological things’
contemporary ="trms">science ='lgc'>--gives='lgc'>='lgc'>--> ="trms">ontologically ="trms">relational ="trms">world (='lgc'><='lgc'>-- to be acknowl="trms"nttrm="knowledge,Knowledge">edged by art and ="trms"nttrm="search">archeology)
="trms"nttrm="search">archeology ='lgc'>--="ppl">Alberti='lgc'>='lgc'>--> fostering ='strcls'>**a particular sensibility to what is of the ="trms">past in things='strcls'>**
="trms">anthropology='lgc'>: the art of inquiry
(something you can learn from)
='lgc'>[='strcls'>*='lgc'>]="trms"nttrm="search">archeological sensibility='lgc'>: a ="trms">pervasive set of attitudes towards traces and remains, towards ="trms">memory, time and temporality, the fabric of ="trms">history
="prgrph">-Shanks
="trms">craft ='lgc'>--Ingold='lgc'>='lgc'>--> knowl="trms"nttrm="knowledge,Knowledge">edge grow from the crucible of our practical and observational engagement with being and things
(="ppl">Aristotlean ="trms">poiesis ='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>-->) ='lgc'>[='strcls'>*='lgc'>]="trms">craft='lgc'>: slow and intimate knowl="trms"nttrm="knowledge,Knowledge">edgeable work (of how we get along with the ="trms">world; that cultivates in oneself the ="trms">skill for discerning the ='strcls'>*meanings that are al="trms"nttrm="already,spread">ready there='strcls'>*) ='lgc'>='lgc'>--> ="trms">ontological paring of conceptual ="trms">language ='and'>& physical condition
='lgc'>='lgc'>==> meaning and concepts are drawn out of objects (not given to them)
="lsts lst1">•="ppl">="ppl">Haraway ='lgc'>='lgc'>--> companion ="trms">species='lgc'> = biologist ='lgc'>+ creatures
="lsts lst1">•="ppl">="ppl">Barad ='lgc'>='lgc'>--> concepts are ="trms">literally ="trms">embodied by the differing physical ="trms">apparatuses
="lsts lst1">•
(we need more) art='lgc'>: careful accumulation of ="trms">skills
21st century ="trms">historiographic trends in art
artists increasingly ='strcls'>*deploy simulacra of ="trms"nttrm="search">archeological practices and motifs='strcls'>* in their work
art practiced as ="trms">craft (but not all the time) ='lgc'>==allow='lgc'>='lgc'>==> knowl="trms"nttrm="knowledge,Knowledge">edge grow from the insight of being in the ="trms">folding of life ='lgc'>[of infantile grandious fantasy, as well='lgc'>] ='lgc'>='lgc'>~=='qstn'>? ="trms">anthropology
producing contemporary ruins to draw attention to ='strcls'>*the work of the ="trms">present in the production of the ="trms">past='strcls'>*
='strcls'>*artists take ="trms"nttrm="search">archeology as muse='strcls'>*
(through borrowing from ="trms"nttrm="search">archeology artists)
="lsts lst1">•create a kind of intellectual framing
="lsts lst1">•incorporate archival research
="lsts lst1">•themes of ="trms">memory and entropy
="lsts lst1">•="trms">question of absence
="lsts lst1">•
prosaic ="trms">nature of ="trms"nttrm="search">archeological research
production of the finds
the way Dion distorts ="trms"nttrm="search">archeological work (allegorizing ="trms"nttrm="search">archeological practice) ='lgc'>--="ppl">Alberti='lgc'>='lgc'>-->
="lsts lst1">•consequence of sleight of hand
="lsts lst1">•he is dibbling at, performing being an ="trms"nttrm="search">archeologist
="lsts lst1">•‘play at’ ="trms"nttrm="search">archeology
='lgc'>=/= Simon Callery
="ppl">Alberti > Russell
transform ="trms"nttrm="search">archeology from ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor to allegory ='lgc'>--play='lgc'>='lgc'>--> ="trms"nttrm="search">archeology-as-="trms">aesthetics through performance ='lgc'>[='lgc'>='lgc'>--> risk of undermining and reinforcing art as a subjective practice concerned with only ="trms">aesthetics and ="trms">affective='lgc'>]
="trms">craft='lgc'>: a model for careful practices and knowing the ="trms">world ='lgc'>=/= artwork='lgc'>: a model for how to break out of disciplinary frames and how to think of the ="trms">ontology of ="trms"nttrm="search">archeological things ='lgc'>[='lgc'>='lgc'>--> what ="ppl">Sennett calls ="trms">epistemic breaking='lgc'>]
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="trms">questions for the art='lgc'>:
="lsts lst1">•what effect is produced='qstn'>?
="lsts lst1">•how does this effect wrench from its ="trms">materiality what has not been perceived or sensed before='qstn'>?
='lgc'>='lgc'>--> for ="trms"nttrm="search">archeology same ="trms">question, from the ="trms">material that remain from the ="trms">past in the ="trms">present
(the traditional task of art='lgc'>:)
="lsts lst1">•defamiliarization='lgc'>: to estrange our common consciousness and sensations of the ="trms">world
="lsts lst1">•place of immanence='lgc'>: to project the coming of something ="trms">materially new that is latent in our current reality. to ='strcls'>*treat facts as events='strcls'>* that are about to come into being
="lsts lst1">•art is non-conceptual ='lgc'>: impacting the nervous ="trms">system without conceptual mediation ='lgc'>='lgc'>--> sensations are monumentalized in the artwork for the future
="lsts lst1">•
...to treat the ="trms">material of the ="trms">past as anticipating something new
(='mywrk'>my research and work on ="trms">bestiary='lgc'>:)
="lsts lst1">•how can we produce new works that challenge us to think and experience ="trms"nttrm="search">archeological things (="nms">ajayeb) in new ways without re="trms">sort to explanation or ="trms">interpretation through a process of dis="trms">articulation, repurposing, and disruption of ="trms"nttrm="search">archeological artworks with a political intent in mind='qstn'>? (="trms">interpretive framework)
="lsts lst1">•how to allow ="nms">ajayeb to continue to operate effectively on us='qstn'>?
both ="trms">affective and ="trms">historical force (of ="nms">ajayeb)
art engenders ="trms">material becomings (classical de="trms">finition)
art engenders ="trms">imaginative becomings
learning from ="trms"nttrm="search">archeology='lgc'>: to be pre-conceptual ='lgc'>: the process of ="trms">craft, to grasp how concepts make their way into things
undisciplinary space (instead of transdisciplinary)
dis="trms">articulation='lgc'>: repurposing and disruption of ="trms"nttrm="search">archeological artworks with a political intent in mind
='lgc'>='lgc'>--> cannot escape the anecdotal when it comes to ="trms">interpretation ='lgc'>='lgc'>--> artifacts (='thdf'>for example a neolithic Balkon clay figurine) become ="trms">symbols for ="trms">social ="trms">position ='lgc'>='lgc'>~= allegorizing (='lgc'>=/= speculation)
="trms">historical energy (force) of things='lgc'> = something of the ="trms">past that endures in them
(old and unhelpful de="trms">finition of) art='lgc'>: impacting nervous ="trms">system without conceptual mediation (directly impact living bodies) ='lgc'>--engender='lgc'>='lgc'>--> ="trms">material becomings ='lgc'>["art='lgc'> = giving birth"='lgc'>]
='lgc'>--="ppl">Alberti='lgc'>='lgc'>--> art (and ="trms">anthropology) need the pre-conceptual='lgc'>: the process of ="trms">craft (to grasp how concepts make their way into things)
='lgc'>[='strcls'>*='lgc'>]concept='lgc'>: fragment of ="trms">past ="trms">world
maker ='lgc'>+ ="trms">material ='lgc'>==emerge='lgc'>='lgc'>==> concept
="prgrph">-in artistic research ='at'>@="nms">apass are we dealing with the simulacra of knowl="trms"nttrm="knowledge,Knowledge">edge='qstn'>?
understanding the potters (and artists) who made the ceramics as ="trms">crafters='lgc'> = understanding them as ='strcls'>*intimately connected with a particular ="trms">world='strcls'>* ='lgc'><='lgc'>-- knowl="trms"nttrm="knowledge,Knowledge">edge of which came through ="trms">skilled ="trms">material practice
='at'>#feedback
="prgrph">-how does it apply to digital ="trms">relations='qstn'>?
="lsts lst1">•practiced caressing of hand over clay forms (='lgc'>~ handling, nurturance) ='lgc'>='lgc'>==> ="trms">zoo="trms">morphic, ="trms">anthropo="trms">morphic bodies (Ingold call it ="trms">anthropogenic)
="lsts lst1">•digital ="trms">interface ="trms">CG ='lgc'>='lgc'>==> ='qstn'>?
="lsts lst1">•
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="prgrph">-how to ="trms"nttrm="already,spread">read or confront ="nms">ajayeb ="trms">bestiary artifacts and think of them as ='strcls'>*taking on something of the pre-conceptual labour that went into them='strcls'>*='qstn'>? ='lgc'>='lgc'>--> (='qstn'>?how can it) provoke an art-like ="trms">response ='lgc'>[<='lgc'>=='lgc'>~ sleepwalking='lgc'>: no ="trms">ontological ="trms">difference between then and now ='lgc'>='lgc'>==> you are confronted with a raw ="trms">material of ="trms">affect and concept ='lgc'>=/= ="trms">past artifacts as vehicle for complex belief ="trms">systems='lgc'>] ='lgc'>}='lgc'>==drive='lgc'>='lgc'>==>
="lsts lst1">•new sensorial experience
="lsts lst1">•new conceptual work
='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to description, ="ppl">="ppl">Stewart
coalescing of ="trms">language ='and'>& concept ='and'>& ...
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='lgc'>[='strcls'>*='lgc'>]drawing='lgc'>: (the effect of being) harassed by reality
to be harassed by ="nms">ajayeb ="trms">past people ="trms">animals (struggling in their reality)
='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to haunted, possession
='lgc'>[='strcls'>*='lgc'>]art='lgc'>: risk of something new
="trms"nttrm="search">archeology ='lgc'>='lgc'>--> intimate knowl="trms"nttrm="knowledge,Knowledge">edge of ="trms">materials (='lgc'>='lgc'>--> appealing to art, ="trms">crafter attune to their ="trms">material)
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my ="trms">lecture-performances='lgc'> = exploring how to make my knowl="trms"nttrm="knowledge,Knowledge">edge ="trms">present (to myself so it has a chance to be reconsidered) and how things (="nms">ajayeb ="trms">past ="trms">bestiary telegram ="trms">animal) ="trms">affect me and to ='strcls'>*allow them to engender their own concepts and meanings='strcls'>*
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(="trms">modern western) human='lgc'>: ="trms">composed of cultural clothing that hides an[...]