Oliver Kellhammer okellhammer at gmail.com
Tue Sep 17 00:45:45 AEST 2019

I wanted to direct some questions to Fabi and anyone else who is on the
ground in the Amazonia/Brazil.
In Hobbes' notion of the 'The Leviathan' the state via some kind of
sovereign power mitigates in 'the war of all against all.'
It seems now what we are seeing is the emergence of 'anti-states' in which
the only governing principle is the imposition of raw power, not based on
any rational, even maliciously rational, program.
America under Trump has felt like this. It is the administration's
pervasive irrationalism that has made it so hard for the left to respond
rationally. The more contradictions and falsehoods the anti-state
promulgates, the more its asserts its raw power.
I was wondering if this is what is happening under the Bolsonaro. Are
irrationality and brutality its main selling points to a nihilistic


On Mon, Sep 16, 2019 at 9:45 AM Shu Lea Cheang <shulea at earthlink.net> wrote:

> ----------empyre- soft-skinned space----------------------
> 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
> https://edgeeffects.net/haraway-tsing-plantationocene/
> a good pot-mix.
> best
> sl
> 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
> 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.
> --
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> --
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