[-empyre-] rehearsal of a network - [week 2]
aud at fraud.la
Mon Jun 18 02:35:30 AEST 2018
Bleeding into week 3.
@Christina: In brief, the installation is composed of a whaler wreck
(used to be used to harpoon the whale from), a scale showing the 'value'
of wood in carbon futures, and documentation of the process of
collecting wreck wood. This is accompanied by scrolling text tracing a
genealogy of carbon emission trading through whale oil, the whale oil
myth, pitch, boat building, colonialism, slavery, witch burning and
forestry. We hope to put it online soon (txt/doco).
Also >>> Feral MBA <3
Would happily contribute in explorations of feral bond trading and trusts!
On 15/06/2018 17:28, Christina McPhee wrote:
> ----------empyre- soft-skinned space----------------------
> Dear Audrey and Francisco of FRAUD-
> How great to have the chance to bring this intervention on lichen, the
> incalculable /-financialization abstractions, and forest culture into
> the heart of London at Somerset House. Please could you describe the
> physical attributes of your installation (?) - how you are carrying
> these ideas into the space ?
> On Sun, Jun 10, 2018 at 3:09 PM FRAUD <aud at fraud.la
> <mailto:aud at fraud.la>> wrote:
> ----------empyre- soft-skinned space----------------------
> Dear all,
> We are delighted to join the network discussion (and with such
> great company!).
> Some little bits to begin.
> In our case, we are interested in the materiality and
> necropolitics of the network and critical ecologies. Of late, we
> have been thinking through the finantialisation of nature through
> emission trading systems and green bonds. We are producing a
> genealogy of the conception of the forest as a space of carbon
> flows which has carbon circulation, exchange and storage as a
> nominal abstractions. Emission trading and green markets are
> popping up globally (China just started its own), it is predicted
> to be the biggest trading market by 2020. Carbon Futures is a
> speculative valuation system that captures and extracts 'natural
> resources'. We are also inquiring into how these markets are
> networked and we are investigating what is obfuscated by this
> abstraction (cultural conflicts, subaltern knowledges and
> environmental violence). Happy to expand, also we have a show
> opening Tuesday in London on this topic :)
> **The incomputable:*
> During related research (in the Finnish forests) we were
> fascinated about the reindeer lichen in East Fennoscandia, a
> disappearing species that problematises the management of
> industrial forestry in Finland. Generally lichen species are
> interesting because they constitute the majority of diversity in
> the northern forests--there are only 5 tree species, whereas there
> are thousands of lichens. Being a composite of a algae or
> cyanobacteria and a fungi, their genetic make-up is more exposed
> to mutation, hence diversity. They also have an interesting
> cultural relevance as both a delicacy and a famine food. Lichen
> presents itself as an non-computer readable element in the
> forestry modelling calculations. While the efficiency of
> industrial forests is heralded, validating the move to increase
> production and cutting down of trees, 'inefficient' old growth
> forests provide essential elements such as beard moss the source
> of food for reindeer in winter. The post World War massive clear
> cutting in the north and subsequent forestry is a scarification
> leaving Finland with approximately 5% of its old growth forest.
> Calculations have deemed industrial forests more efficient in
> terms of carbon sequestration, and consequently enriches the
> Finnish economy with carbon credits. In addition, forestry growth
> provides jobs and fuels many by-product economies. We explore
> these complex entanglements and scales of power. How are forests
> calculated? Which forms of knowledge are privileged in this
> discussion? What is deemed an acceptable compromise/sacrifice? How
> does one begin to discuss the simultaneous cultural livelihood and
> destruction of a nation?
> Also, something to throw out there, there is an interesting
> tension between the incomputable, the uncapturable, as a method of
> resistance and survival, as well as disappearance/extinction from
> the network.
> "[P]ower is in fact grounded in the very ability to calculate,
> count, measure, balance and act on these calculations.
> Inversely to make oneself ungovernable one much make oneself
> incalculable, immeasurable uncountable" [Eyal Weizman:
> *A footnote on invasive / native* (mentioned last week):
> Those definitions in themselves are quite problematic. Usually
> there is a point in time after which a species' arrival is
> determined to be invasive. That point is heavily imbued in
> politics of immigration, colonialism and other ways of viewing the
> world that have little to do with the plant or animal's 'threat'.
> Without expanding further here, we did a project exploring this
> some time ago, Dreaming in tongues/舌頭/langues/ بألسنة/tunger, and
> Cooking Sections do great work on this subject.
> Look forward to continuing the discussion over the week.
> Audrey & Francisco of FRAUD
> On 09/06/2018 10:41, Shu Lea Cheang wrote:
>> dear all
>> It seems like our week1 focus on Mycelium network is just heating
>> up, i am sure we will be coming back to reflect on mycelium's
>> network nature...
>> Now we enter rehearsal of a network - [week 2], with a focus on
>> networked activism and performance.
>> We are interested in reviewing a glory past/present/future with
>> update on strategies of intervention including applications with
>> social networks and analogue tactics of 'body counts matter".
>> I introduce the very very special guests for this week2.
>> with great respect.
>> John Jordan (UK/France)
>> Labelled a "Domestic Extremist" by the police, and “a magician
>> of rebellion” by the press, John Jordan has spent the last 25
>> years merging art and activism. Working in various settings from
>> Museums to squatted social centres, International Theatre
>> Festivals to climate camps, he Co-founded /Reclaim the Streets/
>> and the /Clown Army/, Co-edited /We Are Everywhere: the
>> irresistible rise of global anti-capitalism/" (Verso), and
>> co-wrote the film/book /Les Sentiers de l’Utopie/ (Editions
>> Zones,2012). He now co-facilitates the /Laboratory of
>> Insurrectionary Imagination (Labofii)/, with Isabelle Fremeaux.
>> Infamous for fermenting mass disobedience on bicycles, throwing
>> snowballs at bankers, launching a rebel raft regatta to shut down
>> a power station, running workshops in postcapitalism and refusing
>> to be censored by the Tate Modern,/t/he Labofii now lives on the
>> autonomous zone of la zad of Notre-dame-des-Landes, 'a territory
>> lost to the republic,' according to the French government. For
>> more info about the zad see www.zadforever.blog
>> Nitasha Dhillon (India/USA)
>> Nitasha Dhillon is one of two artists who make up the MTL
>> Collective, a collaboration joining research and aesthetic,
>> theory and practice, action and organizing. With Amin Husain as
>> MTL, they are co-founders of Tidal: Occupy Theory, Occupy
>> Strategy magazine, Global Ultra Luxury Faction (G.U.L.F.), the
>> direct action arm of Gulf Labor Artist Coalition, Strike Debt and
>> Rolling Jubilee, Direct Action Front for Palestine (DAFP), and
>> most recently, as MTL+, Decolonize This Place, a movement space
>> and decolonial formation in New York City that combine
>> organizing, art, and action around five strands of struggle:
>> Indigenous Struggle, Black Liberation, Free Palestine, Global
>> Wage Worker, and De-Gentrification. Nitasha is currently a PhD
>> candidate at Department of Media Study, University at Buffalo.
>> Ricardo Dominguez(USA)
>> Ricardo Dominguezis a co-founder of The Electronic Disturbance
>> Theater (EDT), a group who developed virtual sit-in technologies
>> in solidarity with the Zapatistas communities in Chiapas, Mexico,
>> in 1998. His recent Electronic Disturbance Theater 2.0/b.a.n.g.
>> lab project (http://tbt.tome.press/) with Brett Stalbaum, Micha
>> Cardenas, Amy Sara Carroll, and Elle Mehrmand, the /Transborder
>> Immigrant Tool/ (a GPS cell phone safety net tool for crossing
>> the Mexico/US border) was the winner of “Transnational
>> Communities Award” (2008), an award funded by Cultural Contact,
>> Endowment for Culture Mexico–US and handed out by the US Embassy
>> in Mexico. It also was funded by CALIT2 and the UCSD Center for
>> the Humanities. The /Transborder Immigrant Tool/ has been
>> exhibited at the 2010 California Biennial (OCMA), Toronto Free
>> Gallery, Canada (2011), The Van Abbemuseum, Netherlands (2013),
>> ZKM, Germany (2013), as well as a number of other national and
>> international venues. The project was also under investigation by
>> the US Congress in 2009-2010 and was reviewed by Glenn Beck in
>> 2010 as a gesture that potentially “dissolved” the U.S. border
>> with its poetry. Dominguez is Associate Professor of Visual Arts
>> at the University of California, San Diego, a Hellman Fellow, a
>> Society for the Humanities Fellow at Cornell University (2018),
>> and a Rockefeller Arts & Humanities Fellow (2019) and Principal
>> Investigator at CALIT2/QI, UCSD. He also is co-founder of
>> *particle group*, with artists Diane Ludin, Nina Waisman, Amy
>> Sara Carroll, whose art project about nano-toxicology entitled
>> *Particles of Interest: Tales of the Matter Market* has been
>> presented at the House of World Cultures, Berlin (2007), the San
>> Diego Museum of Art (2008), Oi Futuro, Brazil (2008), CAL
>> NanoSystems Institute, UCLA (2009), Medialab-Prado, Madrid
>> (2009), E-Poetry Festival, Barcelona, Spain (2009), Nanosférica,
>> NYU (2010), and SOMA, Mexico City, Mexico (2014):
>> FRAUDis a /métis/ duo of critical art practitioners. Their
>> backgrounds include computational culture, post-colonial and
>> critical feminism, performance, disruptive design, and space
>> system engineering. They develop art-led inquiries into the
>> multiple scales of power and governmentality that flow through
>> physical and cultural landscapes. The duo focuses on critical
>> ecologies, exploring forms of slow violence and necropolitics
>> that are embedded in the entanglement of archiving practices and
>> technical objects, and erasure as a disruptive technology in
>> knowledge production.
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
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