[-empyre-] Residual Contamination
catherine.grau at googlemail.com
Mon Nov 13 03:40:46 AEDT 2017
Today the new group of contamination thinkers will be introduced, and I
look forward to seeing where the conversation goes!!
I want to end this week by sharing a few thoughts...
I heard something interesting yesterday in a documentary about agriculture
(called "Inhabit"): If you consider that agriculture is supposed to be "the
culture of soil" and we look at how industrial monoculture is practiced
today, then it's actually more accurate to think of it in the terms of
mining - which means extracting (the life from soil) vs generating /
creating soil...more life. This extracting, breaking down components,
separating, taking life in order to maximize capital, and disposing the
in-organic byproducts, seems to be at the core of industrial contamination. So,
mining is a potent metaphor, in terms of the depletion of resources but
also the depletion of life. (Which inevitably leads to engineered life,
obviously with GMOs)
These technologies are carried forward upon the great myth that there is
not enough food for our growing population, when the more accurate
description is that there is no other easy way to control and capitalize on
the food supply in the hands of few. One third of the food produced today
is wasted, while millions of people are starving. In that sense
contamination is also a direct product of colonialism. We cannot battle
contamination without battling colonialism.
The other thing I wanted to continue thinking about is engaging with the
realm of not knowing...
One example that ties over from the farming as mining metaphor - I have
been contemplating on the idea (fact?) that much commercial food produce is
resulting to have less and less nutrition, in terms of vitamins, minerals,
amino acids etc. Where is that depletion coming from? Is it depleted soils? Do
we know enough about the complexity of nutrient production to
soil functions in current aquaponic practices? Are the residual pesticides
like glyphosate making nutrients unavailable for the body to absorb? And
again, coming back to our own bodies, how can we know how much residual
contamination is accumulating in our bodies? There are over 1000 EPA
approved chemicals that are used in pesticides * !!
Many of these questions operate in the realm of what is not visible to us.
We can't see, smell it or taste it. And the phenomenon is much much bigger
than our individual body in terms of geographic scale and temporarliy
(again, the hyperopbject by T.Morton). As Renate says, contamination can be
very slow and seeping, resulting far away from its original place of
application, distributed globally. And as our exposure has been happening
over two generations, for many people it is not possible to do a
comparative study of how they feel before and after.
So, coming back to the sourdough...
The sourdough bread making is actually a wonderful experience of working
with some of these issues on a micro-scale. Growing the living culture and
making the dough rise is a process of mutual contamination, working with
invisible ingredients, such as bacteria and yeast. Working with time.
Testing with touch, smell and taste. And going into the so-called esoteric
- experimenting (like so many hand-made food making processes) with how our
mood, our patience, presence, love and attention affect the dough. Finally,
sharing the bread (in ritual, even if not explicit) and evaluating how the
bread makes us feel...
What I think this process enables, is a reclaiming of visceral ways of
knowing. And gathering with other people and reconnecting to / training our
feeling and intuition as valuable forms of knowing becomes very powerful, I
think. That - in dialogue and paired with a whole lot of independent
This is the very beginning of growing sourdough as an art/activist
project... More soon!
Be in touch!
* full list here: http://scorecard.goodguide.com/chemical-groups/one-list.
And interesting fact to continue researching: The US EPA is currently
(re)assessing 9 of the most contested EPA approved pesticides as part of
their endangered species protection program:
EPA - environmentalperformanceagency.com
On Sat, Nov 11, 2017 at 12:36 AM, Catherine Grau <
catherine.grau at googlemail.com> wrote:
> Hi Ellie, Marisa, and Renate,
> So nice to have a chiming of voices in here and reconnect to the
> de-centering possibilities enabled by multi-species narrative, as well as
> the question of what artists/activists can do in terms of intervening and
> bringing decolonizing narratives into a broader awareness!!
> Defending, recovering, dreaming up and living by other narratives is the
> big underlying project so many of us are engaged in, and the one that most
> deeply stirs my soul and inspires me. To me the challenge is how those
> moments of embodying other narratives can seep back into "real life".
> Personally I am not so much invested in the idea of the artist as a mirror
> of society... That has value, of course! But there is a whole history of
> artist-activists and also less explicitly "activist" artists that work in
> the realm of social engagement and intervention. And I think the underlying
> drive is the idea of a slow counter-contamination (or detox) that enables
> new narratives to be imagined by engaging within real life / site /
> Reed's article starts off asking why our collective comprehension /
> imagination is so dull when it comes to questioning / altering dominant
> narratives. Of course, as she writes "There are powerful interest investing
> in sustaining 'what is', ...vs 'what could be'." I find that to be really
> true (even though it's painfully ironic that 'what is' is actually a total
> farce). Often when I try to engage conversations about my despair about our
> modes of production, the argument of "there is no way back" comes up. (And
> in many ways I agree that there is no way back). But it's interesting that
> the only even imaginable alternative to Settler-Colonialism-Capitalism-Ecocide
> is "back". Forward is so much harder to imagine.
> I think, the hardest part -- but also the most exciting part -- is that we
> have to engage a very large field of *not knowing*!
> And I think engaging that not knowing from within the painful place of
> man-made contamination; the physical realities of pollution, species
> extinction, sea level rise, environmental disasters, cancer and other
> diseases... is where there maybe is the potential to start imagining new
> In the two most recent project's I have co-initiated (Chance Ecologies and
> EPA - Environmental Performance Agency), artists invite the "audience" into
> direct encounter with contaminated landfills / post-industrial sites, and
> the struggling but also surviving and adapting ecosystems and the diversity
> of species that thrive there. Together with the collaborating artists we
> reject the narrative of "invasive / native", we celebrate the narrative of
> "weeds" as resilient resistors of the monoculture, and we advocate for
> spaces that are not designed for human-centric use... sometimes just as
> acts of listening, and sometimes in the form of interventions.
> I want to share this link to a really great art + media project, that is
> doing this work on the realm of mineral resources, and equally speaks to
> And the book I referenced in my first post was Timothy Morton's
> "Hyperobjects", 2013,
> Feeling excited to dig deeper together!!
> Catherine Grau
> EPA - environmentalperformanceagency.com
> On Fri, Nov 10, 2017 at 11:04 PM, Renate Terese Ferro <rferro at cornell.edu>
>> ----------empyre- soft-skinned space----------------------
>> Dear Ellie, Marisa, Catherine and all,
>> What a web of information In your posts. There are so many points that I
>> want to pick up on and now that it is the weekend I’ll have a bit more time
>> to chime in. For now I will begin here.
>> Ellie thanks for all of these references. I am going to begin a
>> bibliography as our guests mention readings. See below and I hope you will
>> all add as the month proceeds.
>> I have always been interested in the contamination and slow seepage of
>> bad things into our bodies and our environment but like you all these
>> interests have intermittently manifested themselves into my art practice.
>> Over the next few weeks we will have both artists, theorists and creative
>> writers and performers who want to consider the topic so it will be
>> interesting to see this evolve. I am so happy that you mentioned the notion
>> of the intervention in relationship to remediation. For me an intervention
>> comes from a covert place and potentially intervenes by affecting a
>> change. The Interventionists exhibition as Mass MOCA curated by Nato
>> Thompson included a number of artists whose work attempted to intervene to
>> create social change or justice. I have added the reference below in the
>> I wanted to interject here that our friend and colleague Ricardo
>> Dominguez who will be a guest in a couple of weeks makes a clear
>> distinction between activist gestures in the political and social realm and
>> what the artist does. From Ricardo’s point of view artists can critically
>> reflect and compose but activists engage and protest. There is a clear
>> distinction for him between the artist and the activist and they have very
>> different purposes.
>> Fascinating to hear Marissa that you made cakes. I conceived of The Rum
>> Cake Brigade a few years ago in solidarity with the activist Mary Anne
>> Grady. The Rum Cake Brigade was conceived to provide solidarity and
>> support for anti-drone activist, peace activist, and culinary
>> extraordinaire, Mary Anne Grady Flores. My mission was also to cultivate a
>> grass-roots network to raise awareness of military drone activity but also
>> to help Mary Anne who was facing charges stemming from her protests. This
>> small food intervention was a way to raise community awareness and support
>> Mary Anne the activist. Perhaps in response to Catherine and Marisa, the
>> sour dough becomes a tool to think through conceptually the links between
>> body and the environment and the slow residual contamination that has
>> evidenced itself in both. Both the sour dough bread and the rum cakes can
>> be thought of as Duchamp did of his ‘readymades’ in that the ordinary
>> object became elevated to critically engage the viewer.
>> More tomorrow. I will be introducing our Week 2 guests on Sunday.
>> Catherine you mentioned one of Timothy Morton’s articles earlier? Can
>> you add the reference?
>> Feel free to add to this bibliography:
>> Bibliography on Contamination
>> Patricia Reed’s recent article "Xenophily and
>> Computational Denaturalization <http://www.e-flux.com/archite
>> Stephen J. Gould’s “An Evolutionary Perspective on Strengths, Fallacies,
>> and Confusions in the Concept of Native Plants” (Arnoldia, Spring 1998)
>> Anna Tsing "Arts of Living on a Damaged Planet":http://edgeeffects.net
>> Edited by Nato Thompson <https://mitpress.mit.edu/authors/nato-thompson>
>> and Gregory Sholette <https://mitpress.mit.edu/authors/gregory-sholette>,
>> “The *Interventionists *Users' Manual for the Creative Disruption of
>> Everyday Life (MIT Press, 2004
>> Renate Ferro
>> Visiting Associate Professor
>> Director of Undergraduate Studies
>> Department of Art
>> Tjaden Hall 306
>> rferro at cornell.edu
>> *From: *<empyre-bounces at lists.artdesign.unsw.edu.au> on behalf of Ellie
>> Irons <ellieirons at gmail.com>
>> *Reply-To: *soft_skinned_space <empyre at lists.artdesign.unsw.edu.au>
>> *Date: *Friday, November 10, 2017 at 4:59 PM
>> *To: *soft_skinned_space <empyre at lists.artdesign.unsw.edu.au>
>> *Subject: *Re: [-empyre-] Residual Contamination
>> *Resent-From: *Renate Ferro <rferro at cornell.edu>
>> Hi Catherine, Marisa, Renate, and the rest of you out there,
>> Thanks for these thoughts and meditations- I’m enjoying the way you are
>> weaving in the positive side of contamination alongside its horrors. The
>> contamination narrative is omnipresent as toxicity (I just came from a
>> workshop involving Hawaii-based artists and ocean plastics- the amount of
>> plastic being ingested by phytoplankton and entering the food chain is
>> truly harrowing) BUT, as you suggest, it's important to work on reclaiming
>> the contamination metaphor in the sense of eschewing the search
>> for/heralding of purity- Tsing gets at this nicely in her work (I’ll need
>> to listen to the edge effects interview!) As Catherine knows from our work
>> at the Environmental Performance Agency, working with weedy plant species
>> we come up against the narrative of “bad contamination” a lot- the idea
>> that species boundaries and geographies should be immutable, and “pure”
>> native genomes are more desirable, leading to a denial of the flexibility
>> and fluidity of the way plants share genetic material, hybridize, evolve
>> even in short periods of time (this ready ability to be “contaminated” is a
>> feature, not a fault, in a rapidly changing and unpredictable climate). I
>> find that looking back at Stephen J. Gould’s “An Evolutionary Perspective
>> on Strengths,Fallacies, and Confusions in the Concept of Native Plants”
>> (Arnoldia, Spring 1998) is helpful in laying out common misconceptions
>> around nativeness, fitness, and genetic superiority. I should probably read
>> it again ;)
>> Also in terms of eschewing purity, and connecting back to last month’s
>> multispecies conversations, I find passages in Patricia Reed’s recent
>> article "Xenophily and Computational Denaturalization <
>> xenophily-and-computational-denaturalization/>” to be spot on- she
>> reminds us that it’s not a zero-sum game. It’s so common when contemplating
>> the bettering of one thing to assume it means the deterioration of
>> something else- a kind of binary purity that is in dire need of
>> contamination. She puts it this way (referencing Haraway’s concept of
>> “staying with the trouble”, also relevant here):
>> "To stay with the trouble means there is no easy way out, forcing us to
>> navigate through it…not with an “anything goes” attitude, but with careful
>> attention paid to how the “trouble” informs the way we fashion distinctions
>> in the world…a clear, fundamental distinction must be drawn between
>> decentering and dehumanization. The decentering of the human does not equal
>> dehumanization; rather, it can simply enable something other. That said,
>> this process will not just “naturally” occur, so to care for and nurture
>> this important non-equation requires a corresponding perspectival
>> recalibration; plotting where we are, in the generic, and provoking a
>> reframing of the human in view of its humiliation.”
>> Looking forward to the rest of the month!
>> Best wishes,
>> -Ellie Irons
>> empyre forum
>> empyre at lists.artdesign.unsw.edu.au
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