Cycles of Elements
raw materials - product - burned to energy - residues - rotten lands - compost
poisoned floors - ross and oxidation - poisoned bodies (ash - lungss) - poisoned crops
chemincal aspects in relation to the people
- Rost {m} [Befall durch Rostpilze]
- leaf rust [caused by pathogenic fungi of the order Pucciniales (previously known as Uredinales)]
Project Proposal
Step 1. Reading the Territory
how to read a territory?
- what is a territory
- who lives in the territory? liminal state --- who is in -- who is in between --- who lives --- who produces --- what do they produce --- cycles of lives
possible object of investigation
- how can how can toxic residues be detected? how do they look like? what can grow and thrive on them?
Plants/Beings as indicators:
- lychen ---------------- each lychen is indicating certain soil condition / light condition
- mushrooms -------- leaf rust (rostpilz) ----------indicator for...?
- moss? - relational condition
- condition of soil ("healthy" / draught / lively) and water in the area ("water is the designer of the territory")
Liminal State - Conditions of lifes
what lives here? what does it mean to live? ------- set in relationship with spectre of live to cyborg / ki / where does life start? (ref becky chambers 2) -------- or ghost / zombie allegory ?
what does it mean to live here? conversation with humans - -- -social / economical conditions / political fears / emotions in this place
story of uprising and decay of industrialisation - human nature relationship - soviet regime? (sublayer)
approaches and methods
field recordings - sound explorations - to here invisble forms of life ----> get contact microphone?
create visuals ~ video / fotos / bildbearbeitung verfremdung glitch / illustration / touchdesigner
interviews
relational mapping
potential outcomes / desires
room / space concept - video sound installation exploring liminal space / - hörstück: soundexploration of invisble life in territory through field recordings and interviews /- relational mapping with 4 characters in relation -------- suitable for potential exhibition and aimed website
collect footage of water scenes for other water visual project
projects on the way
chromatypie - time laps video
cyanotypie - experiments with gradients of dye - various objects - metal [spiral] - plastic - chlor - and obviously plants ---- verfremdung --- zombie --- cyborg moments in the visuality
--- > experimentation with old documents (maybe from the ghost village / archive footage) and changing colour through (towards) rust
vibrant matter / vitalität by jane bennett
„By ,vitality‘ I mean the capacity of things—edibles, commodities, storms, metals—not only to impede or block the will and designs of humans but also to act as quasi agents or forces with trajectories, propensities, or tendencies of their own. My aspiration is to articulate a vibrant materiality that runs alongside and inside humans to see how analyses of political events might change if we gave the force of things more due.“23
Sie betrachtet Vitalität also als eine der Materie intrinsische Eigenschaft. Materie kann in einem solchen Sinn als fundamentale Substanz verstanden werden, aus der alle Phänomene und Bewusstseinszustände entstehen. Dies relativiert die zentrale Stellung des menschlichen Subjekts, stellt den biologischen Begriff des ,Lebens‘24 in Frage und steht im Einklang mit posthumanistischen Ansätzen, die den starren Dualismus von Subjekt/Objekt, Mensch/Nicht-Mensch, Natur/Kultur, Geist/Materie aufzulösen suchen und diese Gefüge stattdessen als dynamische, miteinander verflochtene Relationen betrachten.
Diese Sichtweise umfasst die Auffassung, dass Materie alle Aspekte der Realität umfasst – neben den physischen auch die anzestralen und affektiven Dimensionen. Auf diese weiterführenden Dimensionen zielen wir bei der Umkreisung des Konzepts der troubled matter (beunruhigende Materie) ab.
,(Be-)unruhige(nde)‘ Materie hebt die Dynamik und Eigenbewegung von Materie hervor und verweist auf die Fähigkeit der Materie, sowohl innerlich aktiv und unruhig zu sein als auch durch äußere Einflüsse in Unruhe versetzt zu werden: ,Unruhige‘ Materie betont ihre innere Lebendigkeit und ihr Potenzial, unabhängig von äußeren (menschlichen) Einflüssen aktiv zu sein. ,Beunruhigende‘ Materie beschreibt vor allem die Zustände, die durch soziale, politische oder kulturelle Eingriffe entstehen und Materie in aufgewühlte Zustände versetzen können.
Das Konzept der troubled matter thematisiert die Auswirkungen dieser Verflechtungen und reflektiert die Beziehungen zwischen Mensch und Materie neu.
Hyperobjekte
Bezugnehmend auf den Philosophen Timothy Morton, betont der Schriftsteller Amitav Gosh die seit Mitte der 2000er-Jahre in den Geisteswissenschaften erneut aufkeimende Bedeutung von nicht-menschlichen Agencies, die mitunter die Kapazitäten eines Willens, Denkens und Bewusstseins aufweisen.27 Gosh bringt diese neu gewonnene Aufmerksamkeit für mehr-als-menschliche Entitäten (wie beispielsweise Wälder oder Moore), andere Seinsarten und ungesehene Präsenzen mit der unheimlichen Dimension des Klimawandels in Verbindung.28
Menschen weisen affektive Reaktionen auf Veränderungen in ihrer Umwelt auf. Eine der Herausforderung besteht darin, dass wir aufgrund der überwältigenden Konkretion der Symptome des Klimawandels bei dessen gleichzeitiger Abstraktheit – wie zum Beispiel der globalen Erwärmung – jeden Tag von Timothy Mortons sogenannten Hyperobjekten verfolgt werden.29 Diese lassen sich nicht immer direkt visuell erfassen, wiederholen sich permanent in Grund und Effekt, sind aber stets in einer liminalen und beunruhigenden Form präsent.
Places and non-places, Marc Auge, S. 77 - 79
The presence of the past in a present that supersedes it but still lays claim to it: it is in this reconciliation that Jean Starobinski sees the essence of modernity. In a recent article he points out in this connection that certain authors, indubitably representative of modernity in art, outlined
the possibility of a polyphony in which the virtually infinite interlacing of destinies, actions, thoughts and reminiscences would rest on a bass line that chimed the hours of the terrestrial day, and marked the position that used to be (and could still be) occupied there by ancient ritual.
These 'premodern figures of continuous temporality, which the modern writer tries to show he has not forgotten even as he is becoming free of them' are also specific spatial figures from a world which since the Middle Ages, as Jacques Le Goff has shown, had built itself around its church and bell tower by reconciling
a recentred space with a reordered time.
Vincent Descombes writes of Proust's Franrroise that she defines a 'rhetorical' territory shared with everyone who is capable of following her reasoning, those whose aphorisms, vocabulary and modes of thought form a 'cosmology ' : what the narrator of Things Past calls the 'Combray philosophy'
If a place can be defined as relational, historical and concerned with identity, then a space which cannot be defined as relational, or historical, or concerned with identity will be a non-place.
The hypothesis advanced here is that supermodernity produces non-places. meaning spaces which are not themselves anthropological places and which. Unlike Baudelairean modernity, do not integrate the earlier places: instead these are listed, classified, promoted to the status of 'places of memory', and assigned to a circumscribed and specific position.
We should add that the same things apply to the non-place as to the place. It never exists in pure form; places reconstitute themselves in it; relations are restored and resumed in it; the 'millennial ruses' of 'the invention of the everyday' and 'the arts of doing' , so subtly analysed by Michel de Certeau , can clear a path there and deploy their strategies.
Place and non-place are rather like opposed polarities: the first is never completely erased, the second never totally completed; they are like palimpsests on which the scrambled game of identity and relations is ceaselessly rewritten .
But non-places are the real measure of our time; one that could be quantified - with the aid of a few conversions between area, volume and distance – by totalling all the air, rail and motorway routes , the mobile cabins called 'means of transport' (aircraft, trains and road vehicles) , the airports and railway stations, hotel chains, leisure parks, large retail outlets, and finally the complex skein of cable and wireless networks that mobilize extraterrestrial space for the purposes of a communication so peculiar that it often puts the individual in contact only with another image of himself