Shu Lea Cheang shulea at earthlink.net
Mon Sep 16 23:39:02 AEST 2019

oh, dear Margaretha

I apologize, yes,  I did revise to these keywords...

amazon is burning. on forest, machines, interspecies, interstellar, plantationocene, cows,
soybeans and global food/trade politics

Aya, so many versions at work, i posted the older one.

I correct.

let me bring up this recent (2019) post-

  Reflections on the Plantationocene: A Conversation with Donna Haraway
  and Anna Tsing


a good pot-mix.



On 16.09.19 14:04, margaretha haughwout wrote:
> ----------empyre- soft-skinned space----------------------
> I write from Oneida territory in what is currently central New York 
> within the so-called United States. The Oneida are one of the 5 
> nations that comprise the Haudenosaunee confederacy, and this land 
> from which I write has never been ceded. The apocalypse began here 500 
> years ago.
> ...
> Amazon is burning. forest, cows, soybeans, machines, trades, global 
> food/trade politics
> This week's discussants hope to think together about disasters, and 
> disaster capitalism/ vs. possibilities in ruins: how, as Oliver 
> Kellhammer puts it, ruins are the porous interface between imagining 
> possible futures on one hand and disaster capitalism on the other. 
> Here we must think hard about the relationships between Amazon fires, 
> opportunities for soybean production as food and feed, and cattle 
> ranching (noting the "soy-cattle pasture-deforestation dynamic"). We 
> must think hard about what emerges intentionally and unintentionally 
> from the disturbance. Soybeans (and we might think of the crop here as 
> cheap energy, nitrogen fixer, endocrine disruptor, as allergen 
> generator), and cows (as frontier, as cheap energy, cheap labor, as 
> domesticating 'wilderness')  are intentionally introduced of course, 
> and they are implicated in the larger dynamics of global capital, and 
> the processes of what Jason Moore calls "making cheap." Specifically 
> they are implicated in the trade poitics of the moment: Trump's trade 
> war with China. Soybeans were the biggest export from the US to China; 
> new tariffs position Brazil to take over the drop in US shipments.
> ...What other species emerge and travel from the fires? What viruses 
> hop, what ghosts.
> ...This week, let's also ask, how can we do time and dreams in 
> relation to food/ trade/ politics. To return, always to Benjamin's 9th 
> Thesis. How do we stop the storm of progress and tend to the 
> catastrophe? What are the practices that change time? Fabi Borges will 
> share with us (among other amazing interstellar work she is doing) 
> indigenous wisdom she has learned from the Amazon, asking, how do we 
> stop dreaming the same dream? How do we imagine more worlds than one?
> ...What are the ways that we know? Using interstellar satellite 
> imagery to know about fires, we use technology that itself emerges 
> from coloniality and ways of knowing from above, as if there can be a 
> whole, a point of neutrality not implicated in totalizing regimes of 
> control. How are we caught up and inadvertently worlding with this 
> technology -- can this entanglement make more than one world? More 
> than one dream?
> ...I'd love to ask the discussants and invite the readership to 
> imagine together what a revolt of  unpaid machines and unpaid natures 
> could look like. What plants can disrupt monocrop cultivation of 
> soybeans? What kin do soybeans thrive with? What invasive species will 
> act as a scab on the scorched earth? What technologies can be hijacked 
> for different ends than global capital and control.
> ...Always, we must recognize who and what worlds are lost. The 
> indigenous (Munduruku, Huni Kuin, Xingu to name 3 of over 300 in 
> Brazil) and their kin. The marmosets, the spider monkeys, the tamarin, 
> the jaguars, the sloths, frogs, lizards, parakeets, mahogany, 
> ironwood, brazil nuts, cocoa, passiflora vines, orchids, bromeliads....
> A few thoughts to begin.
> Amazon is burning. forest, cows, soybeans, machines, trades, global 
> food/trade politics
> (Note: originally the title She Lea gave me was: "amazon is burning. 
> on forest, machines, interspecies, interstellar, plantationocene, 
> cows, soybeans and global food/trade politics," and after agonizing 
> over it, now I realize I am somewhat attached to it. Consider the 
> additional terms stars in a constellation that are usually hard to see)
> ...
> I am honored to have a set of artists and thinkers with me this week 
> to work on remembering together -- re-member-ing as reassembling a 
> body, reassembling worlds. A forest.
> I like to mix up the format for -empyre- a little, and so I'm 
> introducing a *caravan* of creative thinkers, and Shu Lea will add as 
> the week goes on. This week will need a LOT of voices, to inch toward 
> the catastrophe, to try and turn away from the future, to deal with 
> NOW. So I hope the readership will feel very invited to participate. 
> Needed.
> Fabi Borges (BR)
> Fabiane M. Borges: Acts at the intersection between clinic, art and 
> technology. She works as a Psychologist (in person and online) and as 
> an essayist, having written and organized publications between 
> academic journals, collections and personal books. She articulates two 
> international networks/festivals: Technoshamanism (technology & 
> ancestry) and Intergalactic Commune (art & space sciences). She has a 
> Post-phd in Visual Arts at EBA / UFRJ - School of Fine Arts, Federal 
> University of Rio de Janeiro / 2016-2018. She did a Phd in Visual Arts 
> at Goldsmiths University of London / 2011, and currently she is doing 
> two post-phd: one at ECA / USP (School of Communication and Arts at 
> the University of São Paulo / 2019) the other at ETE / INPE (Space 
> Engineering and Technology at the National Institute for Space 
> Research / 2019), both dedicated to art and science focused on space 
> projects that also include terrestrial systems and Philosophy of 
> science. Since July 2019, she organizes SACIE (Subjectivity, Art and 
> Space Sciences) a research program and artistic residencies in the 
> Brazilian space program (INPE), where she develops a series of 
> activities focused on Space Culture. She is the organizer of 
> Extremophilia magazine, launched in 2018. As her academic background 
> is in Psychology, with a master's degree and phd in Clinical 
> Psychology (PUC / SP), all her work has a focus on the production of 
> subjectivity. Acting on the frontier between Art and Clinic, having 
> developed several immersive programs focused on dream and imaginary 
> levels, operating with fiction, speculation, creation. Some of her 
> actions have been supported by institutions such as Goethe Institute, 
> SESC, MAC, MAST, MAR, Museum of Tomorrow, Valongo Observatory, 
> Ibirapuera Planetarium, Nucleus of Arts and New Organisms PPGAV / UFRJ 
> - (Brazil), Center for Contemporary Art (Ecuador), Aarhus University - 
> Department of Information Studies & Digital Design (Denmark), STWST / 
> Ars Electronica (Austria), SenseLab Concordia University (Canada), 
> XenoEntities (Germany), Transmediale (Germany), Grow Tottenham, Si 
> Shang Art Museum (China), etc. She lives in São Paulo in a collective 
> house that plants organic, organizes parties, concerts, meetings, 
> workshops, etc (Casa Japuanga, SP).
> Amanda McDonald Crowley (USA)
> Amanda McDonald Crowley is an independent cultural worker and curator. 
> Amanda’s work has largely been at the intersection of art + technology 
> working with artists and groups who have a research based practice; 
> and current research interests include #artfoodtech #growfoodmakeart. 
> Amanda develops platforms to generate dialogue, bringing together 
> artists with professionals and amateurs from varied disciplines, and 
> creating space for audience engagement.  In recent years Amanda has 
> developed projects with Kulturföreningen Triennal (Malmo), Bronx Arts 
> Alliance, YMPJ (Bronx), New Media Scotland / Edinburgh Science 
> Festival (Edinburgh), Pixelache (Helsinki), PointB (Brooklyn), Bemis 
> Center (Omaha). Amanda has curatorial and advisor roles on Mary 
> Mattingly’s Swale (NYC), Di Mainstone’s Human Harp (UK), Juanli 
> Carrion’s OSS Project (NYC), Shu Lea Cheang’s CycleX (NY) and Vibha 
> Galhotra’s S.O.U.L Foundation (Delhi), and in summer 2019 Amanda 
> curated Amy Khoshbin’s pop up tattoo parlor in a hotel room for 
> Detroit Art Week in a project that addressed gun violence in America. 
> Amanda has previously worked with Eyebeam art + technology center NY, 
> Australian Network for Art and Technology, ISEA2004, Finland, Adelaide 
> Festival 2002 and has done curatorial residencies at Helsinki 
> International Artists Program (FI), Santa Fe Art Institute (US), 
> Bogliasco Foundation (IT), Sarai New Media Institute (IN), and Banff 
> Center for the Arts (CA). publicartaction.net <http://publicartaction.net>
> Oliver Kellhammer (USA)
> Oliver Kellhammer is an artist, writer, and researcher, who seeks, 
> through his botanical interventions and social art practice, to 
> demonstrate nature’s surprising ability to recover from damage. Recent 
> work has focused on the psychosocial effects of climate change, 
> decontaminating polluted soil, reintroducing prehistoric trees to 
> landscapes impacted by industrial logging, and cataloging the 
> biodiversity of brownfields. He is currently a lecturer in sustainable 
> systems at Parsons in NYC.
> He has lectured and given artists talks on bio-art, ecological design, 
> urban ecology and permaculture at universities and cultural 
> institutions throughout North America and abroad, including New 
> School, NYU, Rensselaer Polytechnic, OTIS College, University of 
> Oregon, Emily Carr University, Smith College, University of British 
> Columbia, Bainbridge Graduate Institute, University of Windsor, Aalto 
> University (Finland) Tohoku University (Japan).
> Escher Tsai (TW)
> Escher Tsai, New Media Art Artist, Producer, Creative Director of 
> Dimension Plus,
> Director of Arts and Technology: Creative Innovation and Counseling 
> Project, Production supervisor of “3x3x6”Taiwan Exhibition in 58th 
> Venice Biennale. He devotes himself into open culture and new media 
> art research, promotion and creation. He was project manager of Acer 
> Digital Art Centre, planner of many new media arts creation and 
> centre, host of Digital art exchange platform.
> Established by Escher Tsai and Keith Lam, well-known curator and 
> artist from Taiwan and Hong Kong, Dimension Plus is a creative team 
> that devotes themselves to the interactive digital environment. We are 
> constantly been generating new ideas that deal with digital and analog 
> technologies. We also dedicate ourselves to digital art education and 
> environment change. http://dimensionplus.co/, 
> http://www.dimensionplus.co/en/projects/soybean.html, (see also: 
> http://www.makery.info/2019/09/10/les-futurs-du-soja-nourrissent-le-debat-en-marge-dars-electronica/?fbclid=IwAR0zdRyzTktIVHHOsXsM1C1JHgec0eg5E7Yvz0g0JO-W0UDRa-AEZtDFRCE)
> Dan Phiffer (USA)
> Dan Phiffer is a software developer and artist who builds web-based 
> tools for the American Civil Liberties Union. His previous job was 
> working on an open data gazetteer called Who’s On First (part of the 
> open source mapping company Mapzen). This Fall he’s teaching a 
> hacktivism course at Rensselaer Polytechnic Institute and has started 
> organizing with Extinction Rebellion in the New York Capital Region.
> Dawn Weleski (USA)
> Dawn Weleski’s art practice administers a political stress test, 
> antagonizing routine cultural behavior by re-purposing underground 
> brawls, revolutionary protests, and political offices as 
> transformative social stages. Recent projects include The Black Draft 
> (with Justin Strong), a live
> mock sports draft event during which ten Black former Pittsburghers, 
> from all professions, are drafted to return home and City Council 
> Wrestling, a series of public wrestling matches where citizens, pro-am 
> wrestlers, and city council members personified their political 
> passions into wrestling characters. She co-founded and co-directs 
> Conflict Kitchen (with Jon Rubin), a take-out restaurant that serves 
> cuisine from countries with which the U.S. government is in conflict, 
> which has been covered by over 900 international media and news 
> outlets worldwide and was the North American finalist for the Second 
> Annual International Award for Public Art in 2015.
> Weleski has exhibited at The Mercosul Biennial, Brazil; the Hammer 
> Museum, Los Angeles; the San Jose Museum of Art, San Jose; Anyang 
> Public Art Project, South Korea; The CCA Wattis Institute for 
> Contemporary Art, San Francisco; Project Row Houses, Houston; 
> Townhouse Gallery, Cairo; Festival Belluard Bollwerk International, 
> Switzerland; The Mattress Factory Museum, Pittsburgh; Arts House, 
> Melbourne; and 91mQ, Berlin; has been a resident at The
> Headlands Center for the Arts, SOMA Mexico City, and The Atlantic 
> Center for the Arts; is a 2017 Andy Warhol Foundation for the Visual 
> Arts Curatorial Fellow.
> Currently, Weleski is NEH Visiting Assistant Professor of Art & Art 
> History at Colgate University.
> --
> beforebefore.net <http://beforebefore.net>
> --
> _______________________________________________
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
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