[-empyre-] starting at the edge of water
Johannes.Birringer at brunel.ac.uk
Wed Oct 18 23:19:31 AEDT 2017
It occured to me, after reading Adam's last posting on his labs about animal enrichment arts, enrichment devices and enrichment provisions, as brilliantly as its strategies are formulated,
and as captivating as I also found Christopher's proposition that we could all be weeds or feel like weeds or work with "scores on behalf of weeds", that it is not so easy for me to imagine
starting at the edge of the water and dancing with fish, crows, stones, cats, algae and trees, since I would not really know how stones or plants would want to collaborate with me, and are
your propositions not generally formulated in one particular language (linguistic and conceptual), even the somatic one, and so how do you translate or come up with the devices for the scores?
And why would stones want to collaborate with us or recover kinship, in the first place? How do you know?
I remember some years back, in a performance lab, the musicians (Liquid Penguin) sat a plant on the eating table, with electrodes attached to it, and we listened to its sound and how it taught us
its alphabet, yet I figured the amplified sonics were deviced in the Max patch, and wondered afterwards how perverse it may have sounded to the plant to hear this translation collaboration; so my question is
how you want to persist in your language (including the harawayan etc reference systems brought to the table)? And I'd agree with Adam that plants, fish, and other not human species may assess things
showing signs of alienation.
yes how do I access their art critique?
[Christopher Kennedy schreibt]
"resistance" is happening all around us. And sometimes its merely a matter of honing what John Cage describes as our "powers of observation" so that we can see all the mushrooms in our lives -.....
This is all to say -- I would like to offer a score on behalf of the weeds -- a voice for them, an invitation for movement and reflection. They have so much to say... and at the EPA were developing all kinds of ways to translate between the human and non-human entanglements all around us.
Feel free to adapt and translate, to try out and share with the list or a friend....
. To gain access to some non-humans and to inquire through trans-species
communication as to their aesthetic preferences and methods of expressing
of art critique
7. To wonder at human culture and personality through the lens of assessing
human needs as if we were just another non-human in captivity, showing
signs of alienation.
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