<div dir="ltr">Thanks Tim, your sentence<i> "</i><font face="Arial"><i>Now there is (only) DNA to inform you of who you are and then
to re/form you" </i>had a big reaction for me.</font><div><font face="Arial">I was thinking what does it mean to discovering your DNA sequence. What would mean to discovering your DNA sequence in a toxic site. What would change? Does by learning our genetics enables us to optimize our health and would it help to understand what chemical toxins our body could easier handle?</font></div><div><font face="Arial"><br></font></div><div><font face="Arial">Thinking outside of our own species. Human try to change the DNA of plants conscious and as well the plant changes their own DNA by dealing with disturbing sites. DowDuPont US Giant chemical factory advertise always new pesticides to "kill" the <i>herbicide - resistant weeds.</i> DNA change of plants is so much faster then human. Could it be a possibility by observing weeds we may as well can see what does it mean to change your DNA as an act of resistance to "monoculture farming'. </font></div><div><font face="Arial"><br></font></div><div><font face="Arial">Thinking about our organs and contamination of our organs through information. What happens we let our organs to be contaminate ( contaminate in a positive way) not from media information but through other species in the hope to find a new body of becoming "uncivilized, radical persistent like the Weeds". As I mentioned in a different post I practice movement " becoming with" the weeds. The latest process I encounter is to create an <i>Urban Weeds Alphabet (UWA) </i> . This UWA </font><span style="font-family:'Helvetica Neue';color:rgb(29,33,41)">is a collaboration with 27 plant species. Through working with these urban weeds, I am searching for a new movement language where non-humans have agency and the female body becomes a weedy new body. Will in that process my DNA get a slightly change?. </span></div><div><span style="font-family:'Helvetica Neue';color:rgb(29,33,41)"><br></span></div><div><font color="#1d2129" face="Helvetica Neue">I attached a drawing I did as part of the long process of many different ways to approach the urban weeds of the alphabet. I re-draw the organs in the way how and where I sense the weed in my body…can in this practice we sense our "residue contamination" (catherine mention of residue contamination) and could we find away to transform it?</font></div><div>
<p class="MsoNormal"><br></p></div><div><div><div><br></div><div><div style="font-size:12.800000190734863px">in weedy solidarity andrea</div><div style="font-size:12.800000190734863px"><br></div><div style="font-size:12.800000190734863px"><font size="1">———————————</font></div><div style="font-size:12.800000190734863px"><font size="1">andrea haenggi</font></div><div style="font-size:12.800000190734863px"><font size="1">artist, choreographer, dancer, educator, radical care sitter</font></div><div style="font-size:12.800000190734863px"><font size="1">CMA/faculty at LIMS</font></div><div style="font-size:12.800000190734863px"><font size="1"><a href="http://weedychoreography.com/" target="_blank">http://weedychoreography.com</a></font></div><div style="font-size:12.800000190734863px"><font size="1"><a href="http://1067pacificpeople.nyc/" target="_blank">http://1067pacificpeople.nyc</a><br></font></div><div style="font-size:12.800000190734863px"><font size="1"><a href="http://envrionmentalperformanceagency.com/" target="_blank">http://<wbr>envrionmentalperformanceagency<wbr>.com</a></font><br></div></div><div><br></div></div></div></div><div class="gmail_extra"><br><div class="gmail_quote">On Sun, Nov 26, 2017 at 11:44 AM, Timothy Conway Murray <span dir="ltr"><<a href="mailto:tcm1@cornell.edu" target="_blank">tcm1@cornell.edu</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br>
Thanks, Rahul and Andrea, for describing such compelling medial reflections on contaminations. I posted earlier on the “Wired Ruins” issue of CTHEORY Multimedia that Arthur & Marilouise Kroker and I edited on ethnic paranoia. Your postings also bring to mind a prior issue we did on “Tech Flesh: The Promise and Perils of the Human Genome Project.” The net.art pieces in that issue commented on the confusing infections of capital into body by the rising genome industry. One of the pieces, “Machine Organs,” by Norie Neumark and Maria Maranda (Norie was active in last month’s –empyre- discussion) went a step further to figure the contamination of the body by “information” itself. While speaking of ‘machine organs’ metaphorically, Rahul’s work transforms the metaphorical into the symbolic as the rare earth materials sustaining digital culture contaminate the body as well as the machine. Neumark and Miranda also maintain, in their writing on “Machine Organs” that information, as the symbolic, has the added effect of contaminating cultural representation by effacing difference: “Information culture's promise of pure exchangabilty masks its paradigm of sameness. This degradation of information theory is a cultural move parallel to the way psychoanalysis was reduced to ego psychology, thus eliminating the frightening, messy, noisy unconscious. With its trajectory across races, species and places, information crosses out differences. Excising excess as it goes. We are learning to know the body as if outside culture and history. And we are being habituated to understand corporeality only in the narrowest of biological discourses. Now there is (only) DNA to inform you of who you are and then to re/form you.” Whether in performance, documentary, or net.art, medial interventions can give rise to the very messiness at the core of the projects featured by Neumark & Miranda, Andrea and Rahul. Best, Tim<br>
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Timothy Murray<br>
Director, Cornell Council for the Arts and Curator, CCA Biennial<br>
<a href="http://cca.cornell.edu" rel="noreferrer" target="_blank">http://cca.cornell.edu</a><br>
Curator, Rose Goldsen Archive of New Media Art<br>
<a href="http://goldsen.library.cornell.edu" rel="noreferrer" target="_blank">http://goldsen.library.<wbr>cornell.edu</a> <<a href="http://goldsen.library.cornell.edu/" rel="noreferrer" target="_blank">http://goldsen.library.<wbr>cornell.edu/</a>><br>
Professor of Comparative Literature and English<br>
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114 West Sibley Hall<br>
Cornell University<br>
Ithaca, New York 14853<br>
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2017-18 International Sea-Sky Scholar, School of Architecture and Fine Art, Dalian University of Technology, China<br>
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On 11/26/17, 9:36 AM, "<a href="mailto:empyre-bounces@lists.artdesign.unsw.edu.au">empyre-bounces@lists.<wbr>artdesign.unsw.edu.au</a> on behalf of Rahul Mukherjee" <<a href="mailto:empyre-bounces@lists.artdesign.unsw.edu.au">empyre-bounces@lists.<wbr>artdesign.unsw.edu.au</a> on behalf of <a href="mailto:rm954@cornell.edu">rm954@cornell.edu</a>> wrote:<br>
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----------empyre- soft-skinned space----------------------<br>
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empyre forum<br>
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