<div><div dir="auto">Dear all,</div><div dir="auto"><br></div><div dir="auto">Hope it’s not too late!</div><div dir="auto"><br></div><div dir="auto">Thank for sublease and margaretha’s help~</div><div dir="auto"><br></div><div dir="auto">This is Escher, some comments for the topic:</div><div dir="auto"><br></div><div dir="auto">At the beginning, the work of the "Soybean Futures" explores the true state of supply and demand of global soybeans under histroical and the US_China trade war. Because US_China trade is deadlocked, the demand for soybeans is transferred to Brazil, and the demand for farmland in Brazil has caused one of the causes of the Amazon fire. .</div><div dir="auto"><br></div><div dir="auto">The demand for soy beans around the world is still increasing. In addition to the demand for bean dregs in animal husbandry and oil refining ,cheap food is also a point. "A History of the World in Seven Cheap Things review – how capitalism works”, the capitalist approached the cheap foods, "Chicken McNuggets" that is designed by the combination of fast-growing chickens and soybeans.</div><div dir="auto"><br></div><div dir="auto">Perhaps the regional “soybean planting revival movement” can reduce some of the global dependence on the main producers of soybeans, especially the need to expand Brazil's farmland expansion and the speed of burning the forest.</div><div dir="auto"><br></div><div dir="auto">Those small farmers in Taiwan have begun to plant Taiwan's local high-quality soybean varieties, hoping to reduce the import of soybeans. People should consume eco-friendly soybeans. At the same time, Finland has also pushed not to import soybean dregs in 2025, and to supplement it with domestic production of feva beans. </div><div dir="auto"><br></div><div dir="auto">Hope that seemingly inconspicuous minor changes can reverse the forces that undermine the environment.</div><div dir="auto"><br></div><div dir="auto"><br></div><div dir="auto">* Push for Finland to be soy free by 2025 <a href="https://www.feednavigator.com/Article/2019/08/29/Push-for-Finland-to-be-soy-free-by-2025">https://www.feednavigator.com/Article/2019/08/29/Push-for-Finland-to-be-soy-free-by-2025</a></div><div dir="auto"> </div><div dir="auto">* Unwilling to face the truth _ soyebean</div><div dir="auto"><a href="http://www.rhythmsmonthly.com/?p=13826">http://www.rhythmsmonthly.com/?p=13826</a></div></div><div dir="auto"><br></div><div dir="auto">Cheers,</div><div dir="auto">Escher</div><div dir="auto"><br></div><div><br><div class="gmail_quote"><div dir="ltr" class="gmail_attr"><<a href="mailto:empyre-request@lists.artdesign.unsw.edu.au">empyre-request@lists.artdesign.unsw.edu.au</a>>於 2019年9月17日 週二，下午1:58寫道：<br></div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">Send empyre mailing list submissions to<br>
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----------empyre- soft-skinned space----------------------<br>
<br>
Today's Topics:<br>
<br>
1. Re: AMAZON IS BURNING (Ana Vald?s)<br>
2. Re: AMAZON IS BURNING (Lucas Bambozzi [comum])<br>
3. Re: AMAZON IS BURNING (Oliver Kellhammer)<br>
4. Re: AMAZON IS BURNING (Sergio Basbaum)<br>
5. Re: AMAZON IS BURNING (fabi borges)<br>
<br>
<br>
----------------------------------------------------------------------<br>
<br>
Message: 1<br>
Date: Mon, 16 Sep 2019 20:47:47 -0300<br>
From: Ana Vald?s <<a href="mailto:agora158@gmail.com" target="_blank">agora158@gmail.com</a>><br>
To: soft_skinned_space <<a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank">empyre@lists.artdesign.unsw.edu.au</a>><br>
Subject: Re: [-empyre-] AMAZON IS BURNING<br>
Message-ID:<br>
<CAFbYiELi4=<a href="mailto:1cSLFM45Qi17o08dFCsbQUeAO13hr_maky0DuX_w@mail.gmail.com" target="_blank">1cSLFM45Qi17o08dFCsbQUeAO13hr_maky0DuX_w@mail.gmail.com</a>><br>
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<br>
Hi folks as living in Uruguay a few hours below the Amazon we are deeply<br>
concerned, last weeks we saw the smoke coming from Amazon fires and we<br>
could not see our Rio de la Plata river for it.<br>
We are too changing our agricultural matrix leaving cattle and crops for<br>
soy more profitable for land owners.<br>
Blackstone one of the most invasive companies in the world invested<br>
millions of dollars buying land at the Amazon and contributing to the<br>
eviction of indigenous tribes.<br>
The Xigu and the Yanomami are being exterminated and every day we get news<br>
from killed indigenous leaders.<br>
Trumps cronies are in the board of Blackstone and we are trying to boycott<br>
the companies.<br>
They own many suburbs in Stockholm my hometown more than 30 years and are<br>
now raising the rents and evicting poor people.<br>
One of the biggest Swedish banks, Swedebank, known for its practices of<br>
washing dirty money is one of the major investor in Blackstone.<br>
We are trying to have people taking away they money from the bank.<br>
Cheers<br>
Ana<br>
<br>
m?n 16 sep. 2019 kl. 18:14 skrev Sergio Basbaum <<a href="mailto:sbasbaum@gmail.com" target="_blank">sbasbaum@gmail.com</a>>:<br>
<br>
> ----------empyre- soft-skinned space----------------------<br>
> From Brazil, I reinforce that the situation is really very very bad and it<br>
> may come up to a point in which there's no return. The government in Brazil<br>
> is committing every conceivable crime in terms of violations of native<br>
> people territories and environmental rules. It's been so explicit up to the<br>
> point of people not being able to believe this is true.<br>
><br>
> Every support and every help spreading this state of things may help us<br>
> stop this nightmare.<br>
><br>
> best<br>
> s<br>
><br>
> On Mon, Sep 16, 2019 at 10:32 AM margaretha haughwout <<br>
> <a href="mailto:margaretha.anne.haughwout@gmail.com" target="_blank">margaretha.anne.haughwout@gmail.com</a>> wrote:<br>
><br>
>> ----------empyre- soft-skinned space----------------------<br>
>> I write from Oneida territory in what is currently central New York<br>
>> within the so-called United States. The Oneida are one of the 5 nations<br>
>> that comprise the Haudenosaunee confederacy, and this land from which I<br>
>> write has never been ceded. The apocalypse began here 500 years ago.<br>
>><br>
>> ...<br>
>><br>
>> Amazon is burning. forest, cows, soybeans, machines, trades, global<br>
>> food/trade politics<br>
>><br>
>> This week's discussants hope to think together about disasters, and<br>
>> disaster capitalism/ vs. possibilities in ruins: how, as Oliver Kellhammer<br>
>> puts it, ruins are the porous interface between imagining possible futures<br>
>> on one hand and disaster capitalism on the other. Here we must think hard<br>
>> about the relationships between Amazon fires, opportunities for soybean<br>
>> production as food and feed, and cattle ranching (noting the "soy-cattle<br>
>> pasture-deforestation dynamic"). We must think hard about what emerges<br>
>> intentionally and unintentionally from the disturbance. Soybeans (and we<br>
>> might think of the crop here as cheap energy, nitrogen fixer, endocrine<br>
>> disruptor, as allergen generator), and cows (as frontier, as cheap energy,<br>
>> cheap labor, as domesticating 'wilderness') are intentionally introduced<br>
>> of course, and they are implicated in the larger dynamics of global<br>
>> capital, and the processes of what Jason Moore calls "making cheap."<br>
>> Specifically they are implicated in the trade poitics of the moment:<br>
>> Trump's trade war with China. Soybeans were the biggest export from the US<br>
>> to China; new tariffs position Brazil to take over the drop in US shipments.<br>
>><br>
>> ...What other species emerge and travel from the fires? What viruses hop,<br>
>> what ghosts.<br>
>><br>
>> ...This week, let's also ask, how can we do time and dreams in relation<br>
>> to food/ trade/ politics. To return, always to Benjamin's 9th Thesis. How<br>
>> do we stop the storm of progress and tend to the catastrophe? What are the<br>
>> practices that change time? Fabi Borges will share with us (among other<br>
>> amazing interstellar work she is doing) indigenous wisdom she has learned<br>
>> from the Amazon, asking, how do we stop dreaming the same dream? How do we<br>
>> imagine more worlds than one?<br>
>><br>
>> ...What are the ways that we know? Using interstellar satellite imagery<br>
>> to know about fires, we use technology that itself emerges from coloniality<br>
>> and ways of knowing from above, as if there can be a whole, a point of<br>
>> neutrality not implicated in totalizing regimes of control. How are we<br>
>> caught up and inadvertently worlding with this technology -- can this<br>
>> entanglement make more than one world? More than one dream?<br>
>><br>
>> ...I'd love to ask the discussants and invite the readership to imagine<br>
>> together what a revolt of unpaid machines and unpaid natures could look<br>
>> like. What plants can disrupt monocrop cultivation of soybeans? What kin do<br>
>> soybeans thrive with? What invasive species will act as a scab on the<br>
>> scorched earth? What technologies can be hijacked for different ends than<br>
>> global capital and control.<br>
>><br>
>> ...Always, we must recognize who and what worlds are lost. The indigenous<br>
>> (Munduruku, Huni Kuin, Xingu to name 3 of over 300 in Brazil) and their<br>
>> kin. The marmosets, the spider monkeys, the tamarin, the jaguars, the<br>
>> sloths, frogs, lizards, parakeets, mahogany, ironwood, brazil nuts, cocoa,<br>
>> passiflora vines, orchids, bromeliads....<br>
>><br>
>> A few thoughts to begin.<br>
>><br>
>> Amazon is burning. forest, cows, soybeans, machines, trades, global<br>
>> food/trade politics<br>
>><br>
>> (Note: originally the title She Lea gave me was: "amazon is burning. on<br>
>> forest, machines, interspecies, interstellar, plantationocene, cows,<br>
>> soybeans and global food/trade politics," and after agonizing over it, now<br>
>> I realize I am somewhat attached to it. Consider the additional terms stars<br>
>> in a constellation that are usually hard to see)<br>
>><br>
>> ...<br>
>><br>
>> I am honored to have a set of artists and thinkers with me this week to<br>
>> work on remembering together -- re-member-ing as reassembling a body,<br>
>> reassembling worlds. A forest.<br>
>><br>
>> I like to mix up the format for -empyre- a little, and so I'm introducing<br>
>> a *caravan* of creative thinkers, and Shu Lea will add as the week goes on.<br>
>> This week will need a LOT of voices, to inch toward the catastrophe, to try<br>
>> and turn away from the future, to deal with NOW. So I hope the readership<br>
>> will feel very invited to participate. Needed.<br>
>><br>
>> Fabi Borges (BR)<br>
>> Fabiane M. Borges: Acts at the intersection between clinic, art and<br>
>> technology. She works as a Psychologist (in person and online) and as an<br>
>> essayist, having written and organized publications between academic<br>
>> journals, collections and personal books. She articulates two international<br>
>> networks/festivals: Technoshamanism (technology & ancestry) and<br>
>> Intergalactic Commune (art & space sciences). She has a Post-phd in Visual<br>
>> Arts at EBA / UFRJ - School of Fine Arts, Federal University of Rio de<br>
>> Janeiro / 2016-2018. She did a Phd in Visual Arts at Goldsmiths University<br>
>> of London / 2011, and currently she is doing two post-phd: one at ECA / USP<br>
>> (School of Communication and Arts at the University of S?o Paulo / 2019)<br>
>> the other at ETE / INPE (Space Engineering and Technology at the National<br>
>> Institute for Space Research / 2019), both dedicated to art and science<br>
>> focused on space projects that also include terrestrial systems and<br>
>> Philosophy of science. Since July 2019, she organizes SACIE (Subjectivity,<br>
>> Art and Space Sciences) a research program and artistic residencies in the<br>
>> Brazilian space program (INPE), where she develops a series of activities<br>
>> focused on Space Culture. She is the organizer of Extremophilia magazine,<br>
>> launched in 2018. As her academic background is in Psychology, with a<br>
>> master's degree and phd in Clinical Psychology (PUC / SP), all her work has<br>
>> a focus on the production of subjectivity. Acting on the frontier between<br>
>> Art and Clinic, having developed several immersive programs focused on<br>
>> dream and imaginary levels, operating with fiction, speculation, creation.<br>
>> Some of her actions have been supported by institutions such as Goethe<br>
>> Institute, SESC, MAC, MAST, MAR, Museum of Tomorrow, Valongo Observatory,<br>
>> Ibirapuera Planetarium, Nucleus of Arts and New Organisms PPGAV / UFRJ -<br>
>> (Brazil), Center for Contemporary Art (Ecuador), Aarhus University -<br>
>> Department of Information Studies & Digital Design (Denmark), STWST / Ars<br>
>> Electronica (Austria), SenseLab Concordia University (Canada), XenoEntities<br>
>> (Germany), Transmediale (Germany), Grow Tottenham, Si Shang Art Museum<br>
>> (China), etc. She lives in S?o Paulo in a collective house that plants<br>
>> organic, organizes parties, concerts, meetings, workshops, etc (Casa<br>
>> Japuanga, SP).<br>
>><br>
>> Amanda McDonald Crowley (USA)<br>
>> Amanda McDonald Crowley is an independent cultural worker and curator.<br>
>> Amanda?s work has largely been at the intersection of art + technology<br>
>> working with artists and groups who have a research based practice; and<br>
>> current research interests include #artfoodtech #growfoodmakeart. Amanda<br>
>> develops platforms to generate dialogue, bringing together artists with<br>
>> professionals and amateurs from varied disciplines, and creating space for<br>
>> audience engagement. In recent years Amanda has developed projects with<br>
>> Kulturf?reningen Triennal (Malmo), Bronx Arts Alliance, YMPJ (Bronx), New<br>
>> Media Scotland / Edinburgh Science Festival (Edinburgh), Pixelache<br>
>> (Helsinki), PointB (Brooklyn), Bemis Center (Omaha). Amanda has curatorial<br>
>> and advisor roles on Mary Mattingly?s Swale (NYC), Di Mainstone?s Human<br>
>> Harp (UK), Juanli Carrion?s OSS Project (NYC), Shu Lea Cheang?s CycleX (NY)<br>
>> and Vibha Galhotra?s S.O.U.L Foundation (Delhi), and in summer 2019 Amanda<br>
>> curated Amy Khoshbin?s pop up tattoo parlor in a hotel room for Detroit Art<br>
>> Week in a project that addressed gun violence in America. Amanda has<br>
>> previously worked with Eyebeam art + technology center NY, Australian<br>
>> Network for Art and Technology, ISEA2004, Finland, Adelaide Festival 2002<br>
>> and has done curatorial residencies at Helsinki International Artists<br>
>> Program (FI), Santa Fe Art Institute (US), Bogliasco Foundation (IT), Sarai<br>
>> New Media Institute (IN), and Banff Center for the Arts (CA).<br>
>> <a href="http://publicartaction.net" rel="noreferrer" target="_blank">publicartaction.net</a><br>
>><br>
>> Oliver Kellhammer (USA)<br>
>> Oliver Kellhammer is an artist, writer, and researcher, who seeks,<br>
>> through his botanical interventions and social art practice, to demonstrate<br>
>> nature?s surprising ability to recover from damage. Recent work has focused<br>
>> on the psychosocial effects of climate change, decontaminating polluted<br>
>> soil, reintroducing prehistoric trees to landscapes impacted by industrial<br>
>> logging, and cataloging the biodiversity of brownfields. He is currently a<br>
>> lecturer in sustainable systems at Parsons in NYC.<br>
>><br>
>> He has lectured and given artists talks on bio-art, ecological design,<br>
>> urban ecology and permaculture at universities and cultural institutions<br>
>> throughout North America and abroad, including New School, NYU, Rensselaer<br>
>> Polytechnic, OTIS College, University of Oregon, Emily Carr University,<br>
>> Smith College, University of British Columbia, Bainbridge Graduate<br>
>> Institute, University of Windsor, Aalto University (Finland) Tohoku<br>
>> University (Japan).<br>
>><br>
>> Escher Tsai (TW)<br>
>> Escher Tsai, New Media Art Artist, Producer, Creative Director of<br>
>> Dimension Plus,<br>
>> Director of Arts and Technology: Creative Innovation and Counseling<br>
>> Project, Production supervisor of ?3x3x6?Taiwan Exhibition in 58th Venice<br>
>> Biennale. He devotes himself into open culture and new media art research,<br>
>> promotion and creation. He was project manager of Acer Digital Art Centre,<br>
>> planner of many new media arts creation and centre, host of Digital art<br>
>> exchange platform.<br>
>><br>
>> Established by Escher Tsai and Keith Lam, well-known curator and artist<br>
>> from Taiwan and Hong Kong, Dimension Plus is a creative team that devotes<br>
>> themselves to the interactive digital environment. We are constantly been<br>
>> generating new ideas that deal with digital and analog technologies. We<br>
>> also dedicate ourselves to digital art education and environment change.<br>
>> <a href="http://dimensionplus.co/" rel="noreferrer" target="_blank">http://dimensionplus.co/</a>,<br>
>> <a href="http://www.dimensionplus.co/en/projects/soybean.html" rel="noreferrer" target="_blank">http://www.dimensionplus.co/en/projects/soybean.html</a>, (see also:<br>
>> <a href="http://www.makery.info/2019/09/10/les-futurs-du-soja-nourrissent-le-debat-en-marge-dars-electronica/?fbclid=IwAR0zdRyzTktIVHHOsXsM1C1JHgec0eg5E7Yvz0g0JO-W0UDRa-AEZtDFRCE" rel="noreferrer" target="_blank">http://www.makery.info/2019/09/10/les-futurs-du-soja-nourrissent-le-debat-en-marge-dars-electronica/?fbclid=IwAR0zdRyzTktIVHHOsXsM1C1JHgec0eg5E7Yvz0g0JO-W0UDRa-AEZtDFRCE</a><br>
>> )<br>
>><br>
>> Dan Phiffer (USA)<br>
>> Dan Phiffer is a software developer and artist who builds web-based tools<br>
>> for the American Civil Liberties Union. His previous job was working on an<br>
>> open data gazetteer called Who?s On First (part of the open source mapping<br>
>> company Mapzen). This Fall he?s teaching a hacktivism course at Rensselaer<br>
>> Polytechnic Institute and has started organizing with Extinction Rebellion<br>
>> in the New York Capital Region.<br>
>><br>
>> Dawn Weleski (USA)<br>
>> Dawn Weleski?s art practice administers a political stress test,<br>
>> antagonizing routine cultural behavior by re-purposing underground brawls,<br>
>> revolutionary protests, and political offices as transformative social<br>
>> stages. Recent projects include The Black Draft (with Justin Strong), a live<br>
>> mock sports draft event during which ten Black former Pittsburghers, from<br>
>> all professions, are drafted to return home and City Council Wrestling, a<br>
>> series of public wrestling matches where citizens, pro-am wrestlers, and<br>
>> city council members personified their political passions into wrestling<br>
>> characters. She co-founded and co-directs Conflict Kitchen (with Jon<br>
>> Rubin), a take-out restaurant that serves cuisine from countries with which<br>
>> the U.S. government is in conflict, which has been covered by over 900<br>
>> international media and news outlets worldwide and was the North American<br>
>> finalist for the Second Annual International Award for Public Art in 2015.<br>
>><br>
>> Weleski has exhibited at The Mercosul Biennial, Brazil; the Hammer<br>
>> Museum, Los Angeles; the San Jose Museum of Art, San Jose; Anyang Public<br>
>> Art Project, South Korea; The CCA Wattis Institute for Contemporary Art,<br>
>> San Francisco; Project Row Houses, Houston; Townhouse Gallery, Cairo;<br>
>> Festival Belluard Bollwerk International, Switzerland; The Mattress Factory<br>
>> Museum, Pittsburgh; Arts House, Melbourne; and 91mQ, Berlin; has been a<br>
>> resident at The<br>
>> Headlands Center for the Arts, SOMA Mexico City, and The Atlantic Center<br>
>> for the Arts; is a 2017 Andy Warhol Foundation for the Visual Arts<br>
>> Curatorial Fellow.<br>
>><br>
>> Currently, Weleski is NEH Visiting Assistant Professor of Art & Art<br>
>> History at Colgate University.<br>
>><br>
>> --<br>
>> <a href="http://beforebefore.net" rel="noreferrer" target="_blank">beforebefore.net</a><br>
>> --<br>
>><br>
>><br>
>> _______________________________________________<br>
>> empyre forum<br>
>> <a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank">empyre@lists.artdesign.unsw.edu.au</a><br>
>> <a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">http://empyre.library.cornell.edu</a><br>
><br>
><br>
><br>
> --<br>
> -- Prof. Dr. S?rgio Roclaw Basbaum<br>
> -- P?s-Gradua??o Tec.da Intelig?ncia e Design Digital - TIDD (PUC-SP)<br>
> -- Coordenador P?s-Gradua??o em M?sica e Imagem (FASM)<br>
><br>
> -- <a href="http://soundcloud.com/sergiobasbaum" rel="noreferrer" target="_blank">http://soundcloud.com/sergiobasbaum</a><br>
> -- <a href="http://soundcloud.com/pantharei" rel="noreferrer" target="_blank">http://soundcloud.com/pantharei</a> <<a href="https://soundcloud.com/pantharei" rel="noreferrer" target="_blank">https://soundcloud.com/pantharei</a>><br>
> -- [:a.cinema:] <<a href="http://acinemaperformance.blogspot.com.br/" rel="noreferrer" target="_blank">http://acinemaperformance.blogspot.com.br/</a>><br>
> ...sai dessa fila, vem pra roda festejar..<br>
> <<a href="http://soundcloud.com/sergiobasbaum/choror-bye-bye" rel="noreferrer" target="_blank">http://soundcloud.com/sergiobasbaum/choror-bye-bye</a>><br>
> -- a.cinema <<a href="http://acinemaperformance.blogspot.com" rel="noreferrer" target="_blank">http://acinemaperformance.blogspot.com</a>><br>
> -- pantharei_tube<br>
> <<a href="https://www.youtube.com/channel/UCXlPdYtxV5bj5uAQwXC-M_Q" rel="noreferrer" target="_blank">https://www.youtube.com/channel/UCXlPdYtxV5bj5uAQwXC-M_Q</a>><br>
><br>
> B'H'<br>
><br>
> "Do mesmo modo como a percep??o da coisa me abre ao ser, realizando a<br>
> s?ntese paradoxal de uma infinidade de aspectos perspectivos, a percep??o<br>
> do outro funda a moralidade (...)"<br>
> Maurice Merleau-Ponty<br>
><br>
><br>
> _______________________________________________<br>
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your eyes turned skyward, for there you have been and there you will always<br>
long to return.<br>
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------------------------------<br>
<br>
Message: 2<br>
Date: Mon, 16 Sep 2019 22:35:01 -0300<br>
From: "Lucas Bambozzi [comum]" <<a href="mailto:lbambozzi@comum.com" target="_blank">lbambozzi@comum.com</a>><br>
To: Shu Lea Cheang <<a href="mailto:shulea@earthlink.net" target="_blank">shulea@earthlink.net</a>><br>
Cc: <a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank">empyre@lists.artdesign.unsw.edu.au</a><br>
Subject: Re: [-empyre-] AMAZON IS BURNING<br>
Message-ID:<br>
<CANVRDaC=n79J-g+OwHtjqmmsxSqQbH=-<a href="mailto:z8gsxJRjLmZLxL%2B13w@mail.gmail.com" target="_blank">z8gsxJRjLmZLxL+13w@mail.gmail.com</a>><br>
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<br>
Dear Shu Lea,<br>
<br>
Thank you for encouraging my participation on this topic.<br>
<br>
There is a long time I do not engage on any discussion on any list, so<br>
forgive me for the eventual lack of proper net-etiquette.<br>
<br>
It seems I was not introduced as part of a joined team, so my bio was not<br>
listed, but I am proud to be mentioned by Shu as one of those coming "from<br>
the frontline of resistance". Thanks ;-)<br>
<br>
I was grown and raised in Minas Gerais, Brazil and saw whole mountains<br>
being wiped out and landscapes being destroyed by multinational companies<br>
behind mass exploitation of iron ore in the region, in the sake of an<br>
economy driven by international interests and national submission since the<br>
early times of the colonization to the post-industrial capitalism in the<br>
country.<br>
<br>
On November 5, 2015, Mariana, a small city in the countryside of Minas<br>
Gerais gained international prominence due to the massive<br>
socio-environmental disaster resulting from the disruption of Barragem do<br>
Fund?o (a big iron ore dam). About 60 million m3 of iron ore tailings were<br>
released directly into the environment, sweeping two entire<br>
communities, producing<br>
irreparable damage to a whole river (Rio Doce) and leaving destruction and<br>
death behind. About 20 people died and the toxic mud followed the river,<br>
leaving a trail of destruction and death.<br>
<br>
Since then, I am dealing with a feature film about this context, following<br>
the environmental tragic consequences, mapping the related conflicts in the<br>
state ? saying it again, a region historically impacted by colonialist<br>
exploitation practices since the diamond and gold ages, and is still one of<br>
the largest exporters of iron ore in the world. The project has been taking<br>
shape of a hybrid documentary, made possible through a series of journeys<br>
around regions impacted by the iron ore tailings in the state, drifting<br>
through themes such as topophilia and solastalgia.<br>
<br>
<br>
<br>
>From the bucolic landscape of mountains that was part of one's affective<br>
memory [this was once very commonly associated to the state of Minas<br>
Gerais] only huge craters remained. While on the trip we meet locals who<br>
have lost all they had and are facing an uncertain future. The meetings has<br>
been conducted by Camilla, a character who sees herself straightening her<br>
empathy in relation to the people's big losses, while facing their<br>
attachment to the environment.<br>
<br>
The company behind the environmental crime (the transnational Vale,<br>
formerly a national company founded in 1942 to sustain Brazilian's path to<br>
the industry, which was then privatized in 1988 after a boom on neo-liberal<br>
politics in the country) brings up the idea of repeating itself both as<br>
tragedy and as farce. At the beginning of this year, on January 25, another<br>
dam broke, in Brumadinho, this time killing more than 300 people (!) and<br>
another river, Paraopeba, was also sentenced to death. As if the state were<br>
a minefield, two other villages were evacuated for risk of dam rupture -<br>
Macacos and Bar?o de Cocais. As a sudden, another 40 dams were put at risk<br>
only in 2019, some of them nearby bigger cities in the state, which<br>
evidences that it is not just a single event, but a whole region is<br>
threatened. It has been clear that managing the risk by installing and<br>
exception state, helps the company to better manage the land by expanding<br>
its borders and mining fields through the conflict areas. It all has been<br>
happening in a complex thread involving big amounts of compensation for the<br>
damages it caused, but in a context where the government policies does not<br>
have environment protection aimed as a political agenda.<br>
<br>
<br>
<br>
Fear is generalized: for many communities, the exploitation companies<br>
provide employment and income, since most people depend on the mining<br>
activities for their jobs. But the harm is everywhere, the damage has been<br>
deeply impacting their life, their small properties, their livelihoods. A<br>
whole landscape is altered.<br>
As such, Lavra is a film about disappearing landscapes, the losses of a<br>
world and the attempts to recover them, in the ongoing war between<br>
capitalism and nature.<br>
<br>
While doing the film, we have been witnessing the upraising of awareness<br>
movements, such as MAM ? Movimento dos Atingidos por Barragens<br>
<<a href="http://mamnacional.org.br/" rel="noreferrer" target="_blank">http://mamnacional.org.br/</a>> and MAB ? Movimento dos Atingidos por Barragens<br>
<<a href="https://www.mabnacional.org.br/" rel="noreferrer" target="_blank">https://www.mabnacional.org.br/</a>>, assisting impacted communities about<br>
their rights and also helping people to review one's relationship with<br>
nature, consumption. and the notion of progress.<br>
<br>
<br>
<br>
*References:*<br>
<br>
LAVRA [teaser] <<a href="https://vimeo.com/manage/327084774/general" rel="noreferrer" target="_blank">https://vimeo.com/manage/327084774/general</a>> ? password:<br>
lavra<br>
REVENGE IS A KIND OF WILD JUSTICE<br>
<<a href="http://www.lucasbambozzi.net/projetosprojects/a-vinganca-e-uma-especie-de-justica-selvagem" rel="noreferrer" target="_blank">http://www.lucasbambozzi.net/projetosprojects/a-vinganca-e-uma-especie-de-justica-selvagem</a>><br>
(2016) [ongoing project, about nature and industrialization]<br>
<br>
*Previous related films:*<br>
<br>
ACROSS THE RIVER <<a href="https://vimeo.com/197975316" rel="noreferrer" target="_blank">https://vimeo.com/197975316</a>> (Oiapoque - English sutitles)<br>
<br>
O FIM DO SEM FIM <<a href="https://vimeo.com/169642027" rel="noreferrer" target="_blank">https://vimeo.com/169642027</a>> [English subtitles]<br>
<br>
<br>
<br>
*Related authors: *<br>
<br>
Guimar?es Rosa, Carlos Drummond de Andrade, Christiane Tassis [my script<br>
writer], Walter de Maria, Robert Smithson, Cildo Meirelles, Nelson Felix,<br>
Paulo Nazareth, Robert Kramer [Route One], Jorge Bodanzky [Iracema], Walter<br>
Benjamin, Georges Didi-Huberman, Stephan Lessenich, Suely Rolnik.<br>
<br>
<br>
<br>
<br>
*Lucas Bambozzi*<br>
<br>
*<a href="http://www.lucasbambozzi.net" rel="noreferrer" target="_blank">www.lucasbambozzi.net</a> <<a href="http://www.lucasbambozzi.net" rel="noreferrer" target="_blank">http://www.lucasbambozzi.net</a>>*<br>
<br>
<br>
<br>
*FAU USPLabOUTROS *<br>
*<a href="http://outrosurbanismos.fau.usp.br/author/laboutros" rel="noreferrer" target="_blank">http://outrosurbanismos.fau.usp.br/author/laboutros</a><br>
<<a href="http://outrosurbanismos.fau.usp.br/author/laboutros" rel="noreferrer" target="_blank">http://outrosurbanismos.fau.usp.br/author/laboutros</a>>*<br>
<br>
*Labmovel*<br>
*<a href="https://labmovel.net/" rel="noreferrer" target="_blank">https://labmovel.net/</a> <<a href="https://labmovel.net/" rel="noreferrer" target="_blank">https://labmovel.net/</a>>*<br>
<br>
<br>
*AVXLab <<a href="http://avxlab.org/" rel="noreferrer" target="_blank">http://avxlab.org/</a>>*<br>
*<a href="http://avxlab.org/" rel="noreferrer" target="_blank">http://avxlab.org/</a> <<a href="http://avxlab.org/" rel="noreferrer" target="_blank">http://avxlab.org/</a>>*<br>
<br>
*Faap [visual arts]*<br>
<a href="http://www.faap.br" rel="noreferrer" target="_blank">www.faap.br</a><br>
<br>
<br>
Em seg, 16 de set de 2019 ?s 11:25, Shu Lea Cheang <<a href="mailto:shulea@earthlink.net" target="_blank">shulea@earthlink.net</a>><br>
escreveu:<br>
<br>
> ----------empyre- soft-skinned space----------------------<br>
><br>
> dear Brian<br>
><br>
> So good to hear from you!!! and thanks for always here! I read you,. yes,<br>
> washington post article definitely.<br>
><br>
> There was this landmark case took place at the Supreme Court of the United<br>
> States , Bowman v, Monsanto Co.ET AL.<br>
><br>
> <a href="https://www.supremecourt.gov/opinions/12pdf/11-796_c07d.pdf" rel="noreferrer" target="_blank">https://www.supremecourt.gov/opinions/12pdf/11-796_c07d.pdf</a><br>
><br>
> At issue is the patented Roundup Ready soybean seeds by Monsanto, the<br>
> farmer Vernon Hugh Bowman lost the case in 2013.<br>
><br>
> and i made a web work out of this case-<br>
> <a href="http://fields.seedsunderground.net/" rel="noreferrer" target="_blank">http://fields.seedsunderground.net/</a><br>
><br>
> the site renders the entire court document taken from the Supreme Court<br>
> of the United States? Vernon Hugh Bowman v. Monsanto case (held in Washington,<br>
> D.C. on February 19, 2013) into ever-replicating seeds, transmitted by<br>
> divine wind and distributed by human/machine power across the vast<br>
> farmland.<br>
><br>
> (totally forgot this work, but it was included in FIELDS exhibition (Rixc,<br>
> Riga) curated by the late Armin Medosch.<br>
><br>
><br>
><br>
> soybeans!<br>
><br>
><br>
> I quote also a newly published article at MAKERY (fr) by Ewen Chardronnet<br>
> in which it recounts Dimension Plus' Soybean Futures exhibition at<br>
> STWST48x5 this past september.<br>
> <a href="http://www.makery.info/en/2019/09/10/les-futurs-du-soja-nourrissent-le-debat-en-marge-dars-electronica/" rel="noreferrer" target="_blank">http://www.makery.info/en/2019/09/10/les-futurs-du-soja-nourrissent-le-debat-en-marge-dars-electronica/</a><br>
><br>
> i trust Escher Tsai of Dimension Plus will also be join us here with a<br>
> focus of soybean war between China and Taiwan.<br>
><br>
><br>
> thanks<br>
><br>
> sl<br>
><br>
><br>
><br>
><br>
><br>
> On 16.09.19 15:28, Brian Holmes wrote:<br>
><br>
> ----------empyre- soft-skinned space----------------------<br>
><br>
><br>
><br>
> The global political economy alters the face of the earth.<br>
><br>
> Since the introduction of GMO soybeans in 1996, followed by the entry of<br>
> China into the World Trade Organization in 2001, land-use changes across<br>
> the southern half of Latin America have been extreme. Pools of financial<br>
> investors gather capital for slash-and-burn conversion of lightly forested<br>
> land where cattle were formerly run. The "technological package" of<br>
> modified seeds, no-till sowing, and heavy doses of RoundUp is applied to<br>
> vast acreages under corporate ownership, dwarfing the size of US farms.<br>
> Airplanes slosh pesticides over oceans of fresh green beans.<br>
><br>
> In 2003, a notorious advertisement of the Syngenta corporation proclaimed<br>
> the "Republic of Soy," a new territory governed by agro-capital, including<br>
> parts of Brazil, Bolivia, Paraguay, Uruguay and Argentina. Most of the<br>
> beans will be made into animal feed to meet the rising demand for meat<br>
> among the new planetary middle classes. Soy is to South America what<br>
> fracking is to the North: a consequence of inceasing world population and<br>
> burgeoning desire, coupled with the capitalist search for profit in an<br>
> expanded global market.<br>
><br>
> In Chicago, which is surrounded by an infinity of GMO corn and soy, we<br>
> partnered with folks in Argentina and Brazil to do an exhibition about<br>
> exactly these issues. It was also shown in Carbondale, Illinois; Portland,<br>
> Oregon; and Rosario, Argentina:<br>
><br>
> <a href="https://www.regionalrelationships.org/tewna" rel="noreferrer" target="_blank">https://www.regionalrelationships.org/tewna</a><br>
><br>
> Concerning the article that Shu Lea sent, it's good and I have no doubt<br>
> that the demand for soybeans contributes to the fires. But this piece from<br>
> the Washington Post is a little more precise about everything:<br>
><br>
><br>
> <a href="https://www.washingtonpost.com/opinions/2019/09/05/were-thinking-about-amazon-fires-all-wrong-these-maps-show-why" rel="noreferrer" target="_blank">https://www.washingtonpost.com/opinions/2019/09/05/were-thinking-about-amazon-fires-all-wrong-these-maps-show-why</a><br>
><br>
> best, Brian<br>
><br>
> On Mon, Sep 16, 2019 at 1:53 AM Shu Lea Cheang <<a href="mailto:shulea@earthlink.net" target="_blank">shulea@earthlink.net</a>><br>
> wrote:<br>
><br>
>> ----------empyre- soft-skinned space----------------------<br>
>><br>
>> to empyre-ers<br>
>><br>
>><br>
>><br>
>> We start the third week of STAY UNFINISHEDxxxYours Sincerely, a special<br>
>> month long online edition of STWST48x5 EXPANDED hosted by -empyre-.<br>
>><br>
>> This past August, news from the streets of Hong Kong hit us with tear<br>
>> gas, cannons of blue water, batons and sticks, meanwhile, AMAZON is burning.<br>
>> The fire spread, The Brazilian government refused any help from the<br>
>> 'first' world. Let it burn!! Some speculative news articles started<br>
>> showing up in various press.<br>
>> Soybean, trade war with China and amazon fires, can you weave these<br>
>> threads?<br>
>><br>
>> <a href="https://www.bloomberg.com/opinion/articles/2019-08-25/china-s-soybean-demand-in-trade-war-could-fuel-amazon-fires" rel="noreferrer" target="_blank">https://www.bloomberg.com/opinion/articles/2019-08-25/china-s-soybean-demand-in-trade-war-could-fuel-amazon-fires</a>?<br>
>><br>
>><br>
>><br>
>><br>
>> forest, cows, soybeans, machines, trades, global food/trade politics++++++<br>
>><br>
>> Some keywords to start this week.<br>
>><br>
>><br>
>> I have invited Margaretha Haughwout, who also serves as a empyre board<br>
>> of director, to be the moderator for this week's discussion.<br>
>><br>
>> Margaretha's personal and collaborative artwork is perhaps best<br>
>> understood as a kind of *multispecies worlding, *a co-becoming that<br>
>><br>
>> occurs through entanglements with other life forms. Moving across<br>
>> technology and wilderness, digital networks and the urban commons,<br>
>><br>
>> cybernetics and whole systems permaculture, her practice seeks to<br>
>> antagonize proprietary regimes, colonial temporalities, and capitalist<br>
>> forms of labor.<br>
>><br>
>> For STWST48x5 (Linz, September 6-8), Margaretha presented her recent<br>
>> collaborative project, APRIORI, a faux research and development group<br>
>><br>
>> that uncovers revolutionary ecologies between plants and machines with<br>
>> Efr?n Cort?s Cruz, Lynn DeSilva Johnson[El?], and Suzanne Husky.<br>
>><br>
>><br>
>> We are joined by<br>
>><br>
>> Fabi Borges (Brazil)<br>
>><br>
>> Amanda McDonald Crowley (USA)<br>
>><br>
>> Oliver Kellhammer (USA)<br>
>><br>
>> Escher Tsai (Taiwan)<br>
>><br>
>> Dawn Weleski (USA)<br>
>><br>
>> Dan Phiffer (USA)<br>
>><br>
>> who Margaretha will further introduce.<br>
>><br>
>> From the frontline of resistance, we also hope to bring in updates from Lucas<br>
>> Bambozzi (Sao Paulo) who is working on disappearing landscapes and<br>
>> jamie.kelsey-fry (London) of<br>
>><br>
>> #ExtinctionRebellion.<br>
>><br>
>><br>
>> Has the fall arrived in your part of the timezone yet?<br>
>><br>
>> We surely welcome all insights, input from you, the readers, the lurkers,<br>
>> let the amazon fire smokes you out of the cave!!<br>
>><br>
>><br>
>> sl<br>
>><br>
>><br>
>><br>
>><br>
>><br>
>><br>
>><br>
>> _______________________________________________<br>
>> empyre forum<br>
>> <a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank">empyre@lists.artdesign.unsw.edu.au</a><br>
>> <a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">http://empyre.library.cornell.edu</a><br>
><br>
><br>
><br>
> _______________________________________________<br>
> empyre forumempyre@lists.artdesign.unsw.edu.auhttp://<a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">empyre.library.cornell.edu</a><br>
><br>
><br>
> _______________________________________________<br>
> empyre forum<br>
> <a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank">empyre@lists.artdesign.unsw.edu.au</a><br>
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Message: 3<br>
Date: Mon, 16 Sep 2019 22:45:05 -0400<br>
From: Oliver Kellhammer <<a href="mailto:okellhammer@gmail.com" target="_blank">okellhammer@gmail.com</a>><br>
To: soft_skinned_space <<a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank">empyre@lists.artdesign.unsw.edu.au</a>><br>
Subject: Re: [-empyre-] AMAZON IS BURNING<br>
Message-ID:<br>
<CAMUQEHowoDkLpPBdVSW4cUGT6Fq9zA=<a href="mailto:SEWxP-TRdu8ZDiHH9wA@mail.gmail.com" target="_blank">SEWxP-TRdu8ZDiHH9wA@mail.gmail.com</a>><br>
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<br>
Sergio:<br>
<br>
Firstly, my heart goes out to you and everyone (human and nonhuman)<br>
suffering from this cataclysm.<br>
I am interested too in your description of 'people not being able to<br>
believe it is true.' I wonder how much shock and disavowal play into the<br>
global stasis around the climate emergency and the extinction crisis. Real<br>
disasters are unfolding globally in the biosphere, but also in the<br>
psychoanalytical space. Yes, there are repressive, ecocidal and genocidal<br>
regimes but they are aided and abetted by a significant portion of the<br>
population. The hypnotic powers of populists seem almost a type of dark<br>
magic. Do you and Fabi and any of the others on the ground there in Brazil<br>
have any thoughts on that? What is happening here in America seems so<br>
analogous but I am sure there are major differences too?<br>
<br>
On Mon, Sep 16, 2019 at 5:15 PM Sergio Basbaum <<a href="mailto:sbasbaum@gmail.com" target="_blank">sbasbaum@gmail.com</a>> wrote:<br>
<br>
> ----------empyre- soft-skinned space----------------------<br>
> From Brazil, I reinforce that the situation is really very very bad and it<br>
> may come up to a point in which there's no return. The government in Brazil<br>
> is committing every conceivable crime in terms of violations of native<br>
> people territories and environmental rules. It's been so explicit up to the<br>
> point of people not being able to believe this is true.<br>
><br>
> Every support and every help spreading this state of things may help us<br>
> stop this nightmare.<br>
><br>
> best<br>
> s<br>
><br>
> On Mon, Sep 16, 2019 at 10:32 AM margaretha haughwout <<br>
> <a href="mailto:margaretha.anne.haughwout@gmail.com" target="_blank">margaretha.anne.haughwout@gmail.com</a>> wrote:<br>
><br>
>> ----------empyre- soft-skinned space----------------------<br>
>> I write from Oneida territory in what is currently central New York<br>
>> within the so-called United States. The Oneida are one of the 5 nations<br>
>> that comprise the Haudenosaunee confederacy, and this land from which I<br>
>> write has never been ceded. The apocalypse began here 500 years ago.<br>
>><br>
>> ...<br>
>><br>
>> Amazon is burning. forest, cows, soybeans, machines, trades, global<br>
>> food/trade politics<br>
>><br>
>> This week's discussants hope to think together about disasters, and<br>
>> disaster capitalism/ vs. possibilities in ruins: how, as Oliver Kellhammer<br>
>> puts it, ruins are the porous interface between imagining possible futures<br>
>> on one hand and disaster capitalism on the other. Here we must think hard<br>
>> about the relationships between Amazon fires, opportunities for soybean<br>
>> production as food and feed, and cattle ranching (noting the "soy-cattle<br>
>> pasture-deforestation dynamic"). We must think hard about what emerges<br>
>> intentionally and unintentionally from the disturbance. Soybeans (and we<br>
>> might think of the crop here as cheap energy, nitrogen fixer, endocrine<br>
>> disruptor, as allergen generator), and cows (as frontier, as cheap energy,<br>
>> cheap labor, as domesticating 'wilderness') are intentionally introduced<br>
>> of course, and they are implicated in the larger dynamics of global<br>
>> capital, and the processes of what Jason Moore calls "making cheap."<br>
>> Specifically they are implicated in the trade poitics of the moment:<br>
>> Trump's trade war with China. Soybeans were the biggest export from the US<br>
>> to China; new tariffs position Brazil to take over the drop in US shipments.<br>
>><br>
>> ...What other species emerge and travel from the fires? What viruses hop,<br>
>> what ghosts.<br>
>><br>
>> ...This week, let's also ask, how can we do time and dreams in relation<br>
>> to food/ trade/ politics. To return, always to Benjamin's 9th Thesis. How<br>
>> do we stop the storm of progress and tend to the catastrophe? What are the<br>
>> practices that change time? Fabi Borges will share with us (among other<br>
>> amazing interstellar work she is doing) indigenous wisdom she has learned<br>
>> from the Amazon, asking, how do we stop dreaming the same dream? How do we<br>
>> imagine more worlds than one?<br>
>><br>
>> ...What are the ways that we know? Using interstellar satellite imagery<br>
>> to know about fires, we use technology that itself emerges from coloniality<br>
>> and ways of knowing from above, as if there can be a whole, a point of<br>
>> neutrality not implicated in totalizing regimes of control. How are we<br>
>> caught up and inadvertently worlding with this technology -- can this<br>
>> entanglement make more than one world? More than one dream?<br>
>><br>
>> ...I'd love to ask the discussants and invite the readership to imagine<br>
>> together what a revolt of unpaid machines and unpaid natures could look<br>
>> like. What plants can disrupt monocrop cultivation of soybeans? What kin do<br>
>> soybeans thrive with? What invasive species will act as a scab on the<br>
>> scorched earth? What technologies can be hijacked for different ends than<br>
>> global capital and control.<br>
>><br>
>> ...Always, we must recognize who and what worlds are lost. The indigenous<br>
>> (Munduruku, Huni Kuin, Xingu to name 3 of over 300 in Brazil) and their<br>
>> kin. The marmosets, the spider monkeys, the tamarin, the jaguars, the<br>
>> sloths, frogs, lizards, parakeets, mahogany, ironwood, brazil nuts, cocoa,<br>
>> passiflora vines, orchids, bromeliads....<br>
>><br>
>> A few thoughts to begin.<br>
>><br>
>> Amazon is burning. forest, cows, soybeans, machines, trades, global<br>
>> food/trade politics<br>
>><br>
>> (Note: originally the title She Lea gave me was: "amazon is burning. on<br>
>> forest, machines, interspecies, interstellar, plantationocene, cows,<br>
>> soybeans and global food/trade politics," and after agonizing over it, now<br>
>> I realize I am somewhat attached to it. Consider the additional terms stars<br>
>> in a constellation that are usually hard to see)<br>
>><br>
>> ...<br>
>><br>
>> I am honored to have a set of artists and thinkers with me this week to<br>
>> work on remembering together -- re-member-ing as reassembling a body,<br>
>> reassembling worlds. A forest.<br>
>><br>
>> I like to mix up the format for -empyre- a little, and so I'm introducing<br>
>> a *caravan* of creative thinkers, and Shu Lea will add as the week goes on.<br>
>> This week will need a LOT of voices, to inch toward the catastrophe, to try<br>
>> and turn away from the future, to deal with NOW. So I hope the readership<br>
>> will feel very invited to participate. Needed.<br>
>><br>
>> Fabi Borges (BR)<br>
>> Fabiane M. Borges: Acts at the intersection between clinic, art and<br>
>> technology. She works as a Psychologist (in person and online) and as an<br>
>> essayist, having written and organized publications between academic<br>
>> journals, collections and personal books. She articulates two international<br>
>> networks/festivals: Technoshamanism (technology & ancestry) and<br>
>> Intergalactic Commune (art & space sciences). She has a Post-phd in Visual<br>
>> Arts at EBA / UFRJ - School of Fine Arts, Federal University of Rio de<br>
>> Janeiro / 2016-2018. She did a Phd in Visual Arts at Goldsmiths University<br>
>> of London / 2011, and currently she is doing two post-phd: one at ECA / USP<br>
>> (School of Communication and Arts at the University of S?o Paulo / 2019)<br>
>> the other at ETE / INPE (Space Engineering and Technology at the National<br>
>> Institute for Space Research / 2019), both dedicated to art and science<br>
>> focused on space projects that also include terrestrial systems and<br>
>> Philosophy of science. Since July 2019, she organizes SACIE (Subjectivity,<br>
>> Art and Space Sciences) a research program and artistic residencies in the<br>
>> Brazilian space program (INPE), where she develops a series of activities<br>
>> focused on Space Culture. She is the organizer of Extremophilia magazine,<br>
>> launched in 2018. As her academic background is in Psychology, with a<br>
>> master's degree and phd in Clinical Psychology (PUC / SP), all her work has<br>
>> a focus on the production of subjectivity. Acting on the frontier between<br>
>> Art and Clinic, having developed several immersive programs focused on<br>
>> dream and imaginary levels, operating with fiction, speculation, creation.<br>
>> Some of her actions have been supported by institutions such as Goethe<br>
>> Institute, SESC, MAC, MAST, MAR, Museum of Tomorrow, Valongo Observatory,<br>
>> Ibirapuera Planetarium, Nucleus of Arts and New Organisms PPGAV / UFRJ -<br>
>> (Brazil), Center for Contemporary Art (Ecuador), Aarhus University -<br>
>> Department of Information Studies & Digital Design (Denmark), STWST / Ars<br>
>> Electronica (Austria), SenseLab Concordia University (Canada), XenoEntities<br>
>> (Germany), Transmediale (Germany), Grow Tottenham, Si Shang Art Museum<br>
>> (China), etc. She lives in S?o Paulo in a collective house that plants<br>
>> organic, organizes parties, concerts, meetings, workshops, etc (Casa<br>
>> Japuanga, SP).<br>
>><br>
>> Amanda McDonald Crowley (USA)<br>
>> Amanda McDonald Crowley is an independent cultural worker and curator.<br>
>> Amanda?s work has largely been at the intersection of art + technology<br>
>> working with artists and groups who have a research based practice; and<br>
>> current research interests include #artfoodtech #growfoodmakeart. Amanda<br>
>> develops platforms to generate dialogue, bringing together artists with<br>
>> professionals and amateurs from varied disciplines, and creating space for<br>
>> audience engagement. In recent years Amanda has developed projects with<br>
>> Kulturf?reningen Triennal (Malmo), Bronx Arts Alliance, YMPJ (Bronx), New<br>
>> Media Scotland / Edinburgh Science Festival (Edinburgh), Pixelache<br>
>> (Helsinki), PointB (Brooklyn), Bemis Center (Omaha). Amanda has curatorial<br>
>> and advisor roles on Mary Mattingly?s Swale (NYC), Di Mainstone?s Human<br>
>> Harp (UK), Juanli Carrion?s OSS Project (NYC), Shu Lea Cheang?s CycleX (NY)<br>
>> and Vibha Galhotra?s S.O.U.L Foundation (Delhi), and in summer 2019 Amanda<br>
>> curated Amy Khoshbin?s pop up tattoo parlor in a hotel room for Detroit Art<br>
>> Week in a project that addressed gun violence in America. Amanda has<br>
>> previously worked with Eyebeam art + technology center NY, Australian<br>
>> Network for Art and Technology, ISEA2004, Finland, Adelaide Festival 2002<br>
>> and has done curatorial residencies at Helsinki International Artists<br>
>> Program (FI), Santa Fe Art Institute (US), Bogliasco Foundation (IT), Sarai<br>
>> New Media Institute (IN), and Banff Center for the Arts (CA).<br>
>> <a href="http://publicartaction.net" rel="noreferrer" target="_blank">publicartaction.net</a><br>
>><br>
>> Oliver Kellhammer (USA)<br>
>> Oliver Kellhammer is an artist, writer, and researcher, who seeks,<br>
>> through his botanical interventions and social art practice, to demonstrate<br>
>> nature?s surprising ability to recover from damage. Recent work has focused<br>
>> on the psychosocial effects of climate change, decontaminating polluted<br>
>> soil, reintroducing prehistoric trees to landscapes impacted by industrial<br>
>> logging, and cataloging the biodiversity of brownfields. He is currently a<br>
>> lecturer in sustainable systems at Parsons in NYC.<br>
>><br>
>> He has lectured and given artists talks on bio-art, ecological design,<br>
>> urban ecology and permaculture at universities and cultural institutions<br>
>> throughout North America and abroad, including New School, NYU, Rensselaer<br>
>> Polytechnic, OTIS College, University of Oregon, Emily Carr University,<br>
>> Smith College, University of British Columbia, Bainbridge Graduate<br>
>> Institute, University of Windsor, Aalto University (Finland) Tohoku<br>
>> University (Japan).<br>
>><br>
>> Escher Tsai (TW)<br>
>> Escher Tsai, New Media Art Artist, Producer, Creative Director of<br>
>> Dimension Plus,<br>
>> Director of Arts and Technology: Creative Innovation and Counseling<br>
>> Project, Production supervisor of ?3x3x6?Taiwan Exhibition in 58th Venice<br>
>> Biennale. He devotes himself into open culture and new media art research,<br>
>> promotion and creation. He was project manager of Acer Digital Art Centre,<br>
>> planner of many new media arts creation and centre, host of Digital art<br>
>> exchange platform.<br>
>><br>
>> Established by Escher Tsai and Keith Lam, well-known curator and artist<br>
>> from Taiwan and Hong Kong, Dimension Plus is a creative team that devotes<br>
>> themselves to the interactive digital environment. We are constantly been<br>
>> generating new ideas that deal with digital and analog technologies. We<br>
>> also dedicate ourselves to digital art education and environment change.<br>
>> <a href="http://dimensionplus.co/" rel="noreferrer" target="_blank">http://dimensionplus.co/</a>,<br>
>> <a href="http://www.dimensionplus.co/en/projects/soybean.html" rel="noreferrer" target="_blank">http://www.dimensionplus.co/en/projects/soybean.html</a>, (see also:<br>
>> <a href="http://www.makery.info/2019/09/10/les-futurs-du-soja-nourrissent-le-debat-en-marge-dars-electronica/?fbclid=IwAR0zdRyzTktIVHHOsXsM1C1JHgec0eg5E7Yvz0g0JO-W0UDRa-AEZtDFRCE" rel="noreferrer" target="_blank">http://www.makery.info/2019/09/10/les-futurs-du-soja-nourrissent-le-debat-en-marge-dars-electronica/?fbclid=IwAR0zdRyzTktIVHHOsXsM1C1JHgec0eg5E7Yvz0g0JO-W0UDRa-AEZtDFRCE</a><br>
>> )<br>
>><br>
>> Dan Phiffer (USA)<br>
>> Dan Phiffer is a software developer and artist who builds web-based tools<br>
>> for the American Civil Liberties Union. His previous job was working on an<br>
>> open data gazetteer called Who?s On First (part of the open source mapping<br>
>> company Mapzen). This Fall he?s teaching a hacktivism course at Rensselaer<br>
>> Polytechnic Institute and has started organizing with Extinction Rebellion<br>
>> in the New York Capital Region.<br>
>><br>
>> Dawn Weleski (USA)<br>
>> Dawn Weleski?s art practice administers a political stress test,<br>
>> antagonizing routine cultural behavior by re-purposing underground brawls,<br>
>> revolutionary protests, and political offices as transformative social<br>
>> stages. Recent projects include The Black Draft (with Justin Strong), a live<br>
>> mock sports draft event during which ten Black former Pittsburghers, from<br>
>> all professions, are drafted to return home and City Council Wrestling, a<br>
>> series of public wrestling matches where citizens, pro-am wrestlers, and<br>
>> city council members personified their political passions into wrestling<br>
>> characters. She co-founded and co-directs Conflict Kitchen (with Jon<br>
>> Rubin), a take-out restaurant that serves cuisine from countries with which<br>
>> the U.S. government is in conflict, which has been covered by over 900<br>
>> international media and news outlets worldwide and was the North American<br>
>> finalist for the Second Annual International Award for Public Art in 2015.<br>
>><br>
>> Weleski has exhibited at The Mercosul Biennial, Brazil; the Hammer<br>
>> Museum, Los Angeles; the San Jose Museum of Art, San Jose; Anyang Public<br>
>> Art Project, South Korea; The CCA Wattis Institute for Contemporary Art,<br>
>> San Francisco; Project Row Houses, Houston; Townhouse Gallery, Cairo;<br>
>> Festival Belluard Bollwerk International, Switzerland; The Mattress Factory<br>
>> Museum, Pittsburgh; Arts House, Melbourne; and 91mQ, Berlin; has been a<br>
>> resident at The<br>
>> Headlands Center for the Arts, SOMA Mexico City, and The Atlantic Center<br>
>> for the Arts; is a 2017 Andy Warhol Foundation for the Visual Arts<br>
>> Curatorial Fellow.<br>
>><br>
>> Currently, Weleski is NEH Visiting Assistant Professor of Art & Art<br>
>> History at Colgate University.<br>
>><br>
>> --<br>
>> <a href="http://beforebefore.net" rel="noreferrer" target="_blank">beforebefore.net</a><br>
>> --<br>
>><br>
>><br>
>> _______________________________________________<br>
>> empyre forum<br>
>> <a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank">empyre@lists.artdesign.unsw.edu.au</a><br>
>> <a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">http://empyre.library.cornell.edu</a><br>
><br>
><br>
><br>
> --<br>
> -- Prof. Dr. S?rgio Roclaw Basbaum<br>
> -- P?s-Gradua??o Tec.da Intelig?ncia e Design Digital - TIDD (PUC-SP)<br>
> -- Coordenador P?s-Gradua??o em M?sica e Imagem (FASM)<br>
><br>
> -- <a href="http://soundcloud.com/sergiobasbaum" rel="noreferrer" target="_blank">http://soundcloud.com/sergiobasbaum</a><br>
> -- <a href="http://soundcloud.com/pantharei" rel="noreferrer" target="_blank">http://soundcloud.com/pantharei</a> <<a href="https://soundcloud.com/pantharei" rel="noreferrer" target="_blank">https://soundcloud.com/pantharei</a>><br>
> -- [:a.cinema:] <<a href="http://acinemaperformance.blogspot.com.br/" rel="noreferrer" target="_blank">http://acinemaperformance.blogspot.com.br/</a>><br>
> ...sai dessa fila, vem pra roda festejar..<br>
> <<a href="http://soundcloud.com/sergiobasbaum/choror-bye-bye" rel="noreferrer" target="_blank">http://soundcloud.com/sergiobasbaum/choror-bye-bye</a>><br>
> -- a.cinema <<a href="http://acinemaperformance.blogspot.com" rel="noreferrer" target="_blank">http://acinemaperformance.blogspot.com</a>><br>
> -- pantharei_tube<br>
> <<a href="https://www.youtube.com/channel/UCXlPdYtxV5bj5uAQwXC-M_Q" rel="noreferrer" target="_blank">https://www.youtube.com/channel/UCXlPdYtxV5bj5uAQwXC-M_Q</a>><br>
><br>
> B'H'<br>
><br>
> "Do mesmo modo como a percep??o da coisa me abre ao ser, realizando a<br>
> s?ntese paradoxal de uma infinidade de aspectos perspectivos, a percep??o<br>
> do outro funda a moralidade (...)"<br>
> Maurice Merleau-Ponty<br>
><br>
><br>
> _______________________________________________<br>
> empyre forum<br>
> <a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank">empyre@lists.artdesign.unsw.edu.au</a><br>
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<br>
<br>
-- <br>
<a href="http://www.oliverk.org" rel="noreferrer" target="_blank">http://www.oliverk.org</a><br>
twitter: @okellhammer<br>
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Message: 4<br>
Date: Tue, 17 Sep 2019 01:38:12 -0300<br>
From: Sergio Basbaum <<a href="mailto:sbasbaum@gmail.com" target="_blank">sbasbaum@gmail.com</a>><br>
To: soft_skinned_space <<a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank">empyre@lists.artdesign.unsw.edu.au</a>><br>
Subject: Re: [-empyre-] AMAZON IS BURNING<br>
Message-ID:<br>
<<a href="mailto:CAFRkYLY-ki21ZimevrqC6Giuvs5QrhVSQT_hf9KjDcR5DammGA@mail.gmail.com" target="_blank">CAFRkYLY-ki21ZimevrqC6Giuvs5QrhVSQT_hf9KjDcR5DammGA@mail.gmail.com</a>><br>
Content-Type: text/plain; charset="utf-8"<br>
<br>
Oliver,<br>
<br>
Dark times. The way that has lead to that tragedy is very controversial,<br>
since it involves populist goverments in all Latin America, with certain<br>
social impact but other aspects not so healthy, to say the least, and out<br>
the scope of the debate. Also, an impeachment process in Brazil. But I<br>
don't think it is too radical to say that the controversy about what was<br>
right or wrong in these governments is paralizing mass resistance in<br>
Brazil. There's no party or leadership or set of discourses able to capture<br>
mass participation in the process of resistance. On the other hand,<br>
Bolsonaro's government is violently destroying all social structures in<br>
which resistence usually develops: culture, arts, education, universities<br>
and anything which may resemble any kind of free thinking. Public<br>
universities, post graduate programs, research scholarships are being<br>
explicitly attacked.<br>
<br>
You mention psychonalysis. I will make use this space precious freedom to<br>
advance some insights of mine in the current state of things. However, the<br>
state of things demands urgent reaction we don't see, and the conditions<br>
here resemble the kind of apathy mentioned by Geert Lovink in a recent<br>
email, but, still, I think here things are more severe.<br>
<br>
I mean that, as I see it, Brazil as an enormous country, full of<br>
sub-cultures and different dialects and peoples, has always been unified by<br>
fictional narratives. The pre-republic stage, when Brazil was a kingdom<br>
governed by an emperor, created a narrative of its grandeur, and the<br>
grandeur of colonizers, which is almost fictional, with heroes that were<br>
not, real monsters in fact. In the XXth century, during the populist Vargas<br>
dictatorship, from 1937-1945, another fake identity, with new fake heroes<br>
like Tiradentes -- who's been hanged and quartered by the Portuguese, in<br>
the XVIIIth century --, whose was created for public opinion resembling<br>
Jesus in the cross, and also creating the known image of Brazil as a<br>
country free of racial conflicts -- also fake,<br>
<br>
Later, the military dictatorship (1964-85) also created its official<br>
ufanist version of the country, full of lies, and kept intelectuals and<br>
artists silent through all kind of repressive means. When the dictatorship<br>
was over, once again we haven't been able to face the truth of the horrible<br>
crimes committed by the military governments: a general amnesty has<br>
guaranteed many torturers and murderers to remain free, sometimes<br>
celebrated as heroes in an imaginary war against communism. Ironically,<br>
president Jair Bolsonaro, a radical right-wing captain who had expelled<br>
from the army because he was -- believe me -- planning to set off a bomb at<br>
the barracks to demand better pay -- was also benefited with amnesty, and<br>
was free to become a congressman, and later, surfing in this strange<br>
conservative wave we're experiencing in the globe (also with the help of<br>
Cambridge Analytica election strategies), suddenly became the<br>
representative of all the worse forces in the country, in a time when<br>
progressive forces are under a huge crisis.<br>
<br>
This is how I see things.<br>
<br>
In terms of resistance strategies, we're trying to react this radical-right<br>
tsunami.I'm sure the strategies will emerge. As for Amazon, I think it is<br>
very importat now to support<br>
Chief Raoni Metuktire of the Kayap? tribe as a candidate for the 2020 Peace<br>
Nobel Prize, both because of his lifetime fight for the fores as for his<br>
lifetime fight for native peoples in Brazil.<br>
<br>
<a href="https://www.nytimes.com/reuters/2019/09/14/world/europe/14reuters-brazil-environment-raoni.html?fbclid=IwAR1H-5wdgTTiGN8HTGXa_HBHs_R_qA56--6MWIFFpV3PoWEOFKIv_oI47_Y" rel="noreferrer" target="_blank">https://www.nytimes.com/reuters/2019/09/14/world/europe/14reuters-brazil-environment-raoni.html?fbclid=IwAR1H-5wdgTTiGN8HTGXa_HBHs_R_qA56--6MWIFFpV3PoWEOFKIv_oI47_Y</a><br>
<br>
<br>
That's not much, but that's something.<br>
<br>
Best from Brazil<br>
<br>
s<br>
<br>
<br>
On Tue, Sep 17, 2019 at 12:52 AM Oliver Kellhammer <<a href="mailto:okellhammer@gmail.com" target="_blank">okellhammer@gmail.com</a>><br>
wrote:<br>
<br>
> ----------empyre- soft-skinned space----------------------<br>
> Sergio:<br>
><br>
> Firstly, my heart goes out to you and everyone (human and nonhuman)<br>
> suffering from this cataclysm.<br>
> I am interested too in your description of 'people not being able to<br>
> believe it is true.' I wonder how much shock and disavowal play into the<br>
> global stasis around the climate emergency and the extinction crisis. Real<br>
> disasters are unfolding globally in the biosphere, but also in the<br>
> psychoanalytical space. Yes, there are repressive, ecocidal and genocidal<br>
> regimes but they are aided and abetted by a significant portion of the<br>
> population. The hypnotic powers of populists seem almost a type of dark<br>
> magic. Do you and Fabi and any of the others on the ground there in Brazil<br>
> have any thoughts on that? What is happening here in America seems so<br>
> analogous but I am sure there are major differences too?<br>
><br>
> On Mon, Sep 16, 2019 at 5:15 PM Sergio Basbaum <<a href="mailto:sbasbaum@gmail.com" target="_blank">sbasbaum@gmail.com</a>> wrote:<br>
><br>
>> ----------empyre- soft-skinned space----------------------<br>
>> From Brazil, I reinforce that the situation is really very very bad and<br>
>> it may come up to a point in which there's no return. The government in<br>
>> Brazil is committing every conceivable crime in terms of violations of<br>
>> native people territories and environmental rules. It's been so explicit up<br>
>> to the point of people not being able to believe this is true.<br>
>><br>
>> Every support and every help spreading this state of things may help us<br>
>> stop this nightmare.<br>
>><br>
>> best<br>
>> s<br>
>><br>
>> On Mon, Sep 16, 2019 at 10:32 AM margaretha haughwout <<br>
>> <a href="mailto:margaretha.anne.haughwout@gmail.com" target="_blank">margaretha.anne.haughwout@gmail.com</a>> wrote:<br>
>><br>
>>> ----------empyre- soft-skinned space----------------------<br>
>>> I write from Oneida territory in what is currently central New York<br>
>>> within the so-called United States. The Oneida are one of the 5 nations<br>
>>> that comprise the Haudenosaunee confederacy, and this land from which I<br>
>>> write has never been ceded. The apocalypse began here 500 years ago.<br>
>>><br>
>>> ...<br>
>>><br>
>>> Amazon is burning. forest, cows, soybeans, machines, trades, global<br>
>>> food/trade politics<br>
>>><br>
>>> This week's discussants hope to think together about disasters, and<br>
>>> disaster capitalism/ vs. possibilities in ruins: how, as Oliver Kellhammer<br>
>>> puts it, ruins are the porous interface between imagining possible futures<br>
>>> on one hand and disaster capitalism on the other. Here we must think hard<br>
>>> about the relationships between Amazon fires, opportunities for soybean<br>
>>> production as food and feed, and cattle ranching (noting the "soy-cattle<br>
>>> pasture-deforestation dynamic"). We must think hard about what emerges<br>
>>> intentionally and unintentionally from the disturbance. Soybeans (and we<br>
>>> might think of the crop here as cheap energy, nitrogen fixer, endocrine<br>
>>> disruptor, as allergen generator), and cows (as frontier, as cheap energy,<br>
>>> cheap labor, as domesticating 'wilderness') are intentionally introduced<br>
>>> of course, and they are implicated in the larger dynamics of global<br>
>>> capital, and the processes of what Jason Moore calls "making cheap."<br>
>>> Specifically they are implicated in the trade poitics of the moment:<br>
>>> Trump's trade war with China. Soybeans were the biggest export from the US<br>
>>> to China; new tariffs position Brazil to take over the drop in US shipments.<br>
>>><br>
>>> ...What other species emerge and travel from the fires? What viruses<br>
>>> hop, what ghosts.<br>
>>><br>
>>> ...This week, let's also ask, how can we do time and dreams in relation<br>
>>> to food/ trade/ politics. To return, always to Benjamin's 9th Thesis. How<br>
>>> do we stop the storm of progress and tend to the catastrophe? What are the<br>
>>> practices that change time? Fabi Borges will share with us (among other<br>
>>> amazing interstellar work she is doing) indigenous wisdom she has learned<br>
>>> from the Amazon, asking, how do we stop dreaming the same dream? How do we<br>
>>> imagine more worlds than one?<br>
>>><br>
>>> ...What are the ways that we know? Using interstellar satellite imagery<br>
>>> to know about fires, we use technology that itself emerges from coloniality<br>
>>> and ways of knowing from above, as if there can be a whole, a point of<br>
>>> neutrality not implicated in totalizing regimes of control. How are we<br>
>>> caught up and inadvertently worlding with this technology -- can this<br>
>>> entanglement make more than one world? More than one dream?<br>
>>><br>
>>> ...I'd love to ask the discussants and invite the readership to imagine<br>
>>> together what a revolt of unpaid machines and unpaid natures could look<br>
>>> like. What plants can disrupt monocrop cultivation of soybeans? What kin do<br>
>>> soybeans thrive with? What invasive species will act as a scab on the<br>
>>> scorched earth? What technologies can be hijacked for different ends than<br>
>>> global capital and control.<br>
>>><br>
>>> ...Always, we must recognize who and what worlds are lost. The<br>
>>> indigenous (Munduruku, Huni Kuin, Xingu to name 3 of over 300 in Brazil)<br>
>>> and their kin. The marmosets, the spider monkeys, the tamarin, the jaguars,<br>
>>> the sloths, frogs, lizards, parakeets, mahogany, ironwood, brazil nuts,<br>
>>> cocoa, passiflora vines, orchids, bromeliads....<br>
>>><br>
>>> A few thoughts to begin.<br>
>>><br>
>>> Amazon is burning. forest, cows, soybeans, machines, trades, global<br>
>>> food/trade politics<br>
>>><br>
>>> (Note: originally the title She Lea gave me was: "amazon is burning. on<br>
>>> forest, machines, interspecies, interstellar, plantationocene, cows,<br>
>>> soybeans and global food/trade politics," and after agonizing over it, now<br>
>>> I realize I am somewhat attached to it. Consider the additional terms stars<br>
>>> in a constellation that are usually hard to see)<br>
>>><br>
>>> ...<br>
>>><br>
>>> I am honored to have a set of artists and thinkers with me this week to<br>
>>> work on remembering together -- re-member-ing as reassembling a body,<br>
>>> reassembling worlds. A forest.<br>
>>><br>
>>> I like to mix up the format for -empyre- a little, and so I'm<br>
>>> introducing a *caravan* of creative thinkers, and Shu Lea will add as the<br>
>>> week goes on. This week will need a LOT of voices, to inch toward the<br>
>>> catastrophe, to try and turn away from the future, to deal with NOW. So I<br>
>>> hope the readership will feel very invited to participate. Needed.<br>
>>><br>
>>> Fabi Borges (BR)<br>
>>> Fabiane M. Borges: Acts at the intersection between clinic, art and<br>
>>> technology. She works as a Psychologist (in person and online) and as an<br>
>>> essayist, having written and organized publications between academic<br>
>>> journals, collections and personal books. She articulates two international<br>
>>> networks/festivals: Technoshamanism (technology & ancestry) and<br>
>>> Intergalactic Commune (art & space sciences). She has a Post-phd in Visual<br>
>>> Arts at EBA / UFRJ - School of Fine Arts, Federal University of Rio de<br>
>>> Janeiro / 2016-2018. She did a Phd in Visual Arts at Goldsmiths University<br>
>>> of London / 2011, and currently she is doing two post-phd: one at ECA / USP<br>
>>> (School of Communication and Arts at the University of S?o Paulo / 2019)<br>
>>> the other at ETE / INPE (Space Engineering and Technology at the National<br>
>>> Institute for Space Research / 2019), both dedicated to art and science<br>
>>> focused on space projects that also include terrestrial systems and<br>
>>> Philosophy of science. Since July 2019, she organizes SACIE (Subjectivity,<br>
>>> Art and Space Sciences) a research program and artistic residencies in the<br>
>>> Brazilian space program (INPE), where she develops a series of activities<br>
>>> focused on Space Culture. She is the organizer of Extremophilia magazine,<br>
>>> launched in 2018. As her academic background is in Psychology, with a<br>
>>> master's degree and phd in Clinical Psychology (PUC / SP), all her work has<br>
>>> a focus on the production of subjectivity. Acting on the frontier between<br>
>>> Art and Clinic, having developed several immersive programs focused on<br>
>>> dream and imaginary levels, operating with fiction, speculation, creation.<br>
>>> Some of her actions have been supported by institutions such as Goethe<br>
>>> Institute, SESC, MAC, MAST, MAR, Museum of Tomorrow, Valongo Observatory,<br>
>>> Ibirapuera Planetarium, Nucleus of Arts and New Organisms PPGAV / UFRJ -<br>
>>> (Brazil), Center for Contemporary Art (Ecuador), Aarhus University -<br>
>>> Department of Information Studies & Digital Design (Denmark), STWST / Ars<br>
>>> Electronica (Austria), SenseLab Concordia University (Canada), XenoEntities<br>
>>> (Germany), Transmediale (Germany), Grow Tottenham, Si Shang Art Museum<br>
>>> (China), etc. She lives in S?o Paulo in a collective house that plants<br>
>>> organic, organizes parties, concerts, meetings, workshops, etc (Casa<br>
>>> Japuanga, SP).<br>
>>><br>
>>> Amanda McDonald Crowley (USA)<br>
>>> Amanda McDonald Crowley is an independent cultural worker and curator.<br>
>>> Amanda?s work has largely been at the intersection of art + technology<br>
>>> working with artists and groups who have a research based practice; and<br>
>>> current research interests include #artfoodtech #growfoodmakeart. Amanda<br>
>>> develops platforms to generate dialogue, bringing together artists with<br>
>>> professionals and amateurs from varied disciplines, and creating space for<br>
>>> audience engagement. In recent years Amanda has developed projects with<br>
>>> Kulturf?reningen Triennal (Malmo), Bronx Arts Alliance, YMPJ (Bronx), New<br>
>>> Media Scotland / Edinburgh Science Festival (Edinburgh), Pixelache<br>
>>> (Helsinki), PointB (Brooklyn), Bemis Center (Omaha). Amanda has curatorial<br>
>>> and advisor roles on Mary Mattingly?s Swale (NYC), Di Mainstone?s Human<br>
>>> Harp (UK), Juanli Carrion?s OSS Project (NYC), Shu Lea Cheang?s CycleX (NY)<br>
>>> and Vibha Galhotra?s S.O.U.L Foundation (Delhi), and in summer 2019 Amanda<br>
>>> curated Amy Khoshbin?s pop up tattoo parlor in a hotel room for Detroit Art<br>
>>> Week in a project that addressed gun violence in America. Amanda has<br>
>>> previously worked with Eyebeam art + technology center NY, Australian<br>
>>> Network for Art and Technology, ISEA2004, Finland, Adelaide Festival 2002<br>
>>> and has done curatorial residencies at Helsinki International Artists<br>
>>> Program (FI), Santa Fe Art Institute (US), Bogliasco Foundation (IT), Sarai<br>
>>> New Media Institute (IN), and Banff Center for the Arts (CA).<br>
>>> <a href="http://publicartaction.net" rel="noreferrer" target="_blank">publicartaction.net</a><br>
>>><br>
>>> Oliver Kellhammer (USA)<br>
>>> Oliver Kellhammer is an artist, writer, and researcher, who seeks,<br>
>>> through his botanical interventions and social art practice, to demonstrate<br>
>>> nature?s surprising ability to recover from damage. Recent work has focused<br>
>>> on the psychosocial effects of climate change, decontaminating polluted<br>
>>> soil, reintroducing prehistoric trees to landscapes impacted by industrial<br>
>>> logging, and cataloging the biodiversity of brownfields. He is currently a<br>
>>> lecturer in sustainable systems at Parsons in NYC.<br>
>>><br>
>>> He has lectured and given artists talks on bio-art, ecological design,<br>
>>> urban ecology and permaculture at universities and cultural institutions<br>
>>> throughout North America and abroad, including New School, NYU, Rensselaer<br>
>>> Polytechnic, OTIS College, University of Oregon, Emily Carr University,<br>
>>> Smith College, University of British Columbia, Bainbridge Graduate<br>
>>> Institute, University of Windsor, Aalto University (Finland) Tohoku<br>
>>> University (Japan).<br>
>>><br>
>>> Escher Tsai (TW)<br>
>>> Escher Tsai, New Media Art Artist, Producer, Creative Director of<br>
>>> Dimension Plus,<br>
>>> Director of Arts and Technology: Creative Innovation and Counseling<br>
>>> Project, Production supervisor of ?3x3x6?Taiwan Exhibition in 58th Venice<br>
>>> Biennale. He devotes himself into open culture and new media art research,<br>
>>> promotion and creation. He was project manager of Acer Digital Art Centre,<br>
>>> planner of many new media arts creation and centre, host of Digital art<br>
>>> exchange platform.<br>
>>><br>
>>> Established by Escher Tsai and Keith Lam, well-known curator and artist<br>
>>> from Taiwan and Hong Kong, Dimension Plus is a creative team that devotes<br>
>>> themselves to the interactive digital environment. We are constantly been<br>
>>> generating new ideas that deal with digital and analog technologies. We<br>
>>> also dedicate ourselves to digital art education and environment change.<br>
>>> <a href="http://dimensionplus.co/" rel="noreferrer" target="_blank">http://dimensionplus.co/</a>,<br>
>>> <a href="http://www.dimensionplus.co/en/projects/soybean.html" rel="noreferrer" target="_blank">http://www.dimensionplus.co/en/projects/soybean.html</a>, (see also:<br>
>>> <a href="http://www.makery.info/2019/09/10/les-futurs-du-soja-nourrissent-le-debat-en-marge-dars-electronica/?fbclid=IwAR0zdRyzTktIVHHOsXsM1C1JHgec0eg5E7Yvz0g0JO-W0UDRa-AEZtDFRCE" rel="noreferrer" target="_blank">http://www.makery.info/2019/09/10/les-futurs-du-soja-nourrissent-le-debat-en-marge-dars-electronica/?fbclid=IwAR0zdRyzTktIVHHOsXsM1C1JHgec0eg5E7Yvz0g0JO-W0UDRa-AEZtDFRCE</a><br>
>>> )<br>
>>><br>
>>> Dan Phiffer (USA)<br>
>>> Dan Phiffer is a software developer and artist who builds web-based<br>
>>> tools for the American Civil Liberties Union. His previous job was working<br>
>>> on an open data gazetteer called Who?s On First (part of the open source<br>
>>> mapping company Mapzen). This Fall he?s teaching a hacktivism course at<br>
>>> Rensselaer Polytechnic Institute and has started organizing with Extinction<br>
>>> Rebellion in the New York Capital Region.<br>
>>><br>
>>> Dawn Weleski (USA)<br>
>>> Dawn Weleski?s art practice administers a political stress test,<br>
>>> antagonizing routine cultural behavior by re-purposing underground brawls,<br>
>>> revolutionary protests, and political offices as transformative social<br>
>>> stages. Recent projects include The Black Draft (with Justin Strong), a live<br>
>>> mock sports draft event during which ten Black former Pittsburghers,<br>
>>> from all professions, are drafted to return home and City Council<br>
>>> Wrestling, a series of public wrestling matches where citizens, pro-am<br>
>>> wrestlers, and city council members personified their political passions<br>
>>> into wrestling characters. She co-founded and co-directs Conflict Kitchen<br>
>>> (with Jon Rubin), a take-out restaurant that serves cuisine from countries<br>
>>> with which the U.S. government is in conflict, which has been covered by<br>
>>> over 900 international media and news outlets worldwide and was the North<br>
>>> American finalist for the Second Annual International Award for Public Art<br>
>>> in 2015.<br>
>>><br>
>>> Weleski has exhibited at The Mercosul Biennial, Brazil; the Hammer<br>
>>> Museum, Los Angeles; the San Jose Museum of Art, San Jose; Anyang Public<br>
>>> Art Project, South Korea; The CCA Wattis Institute for Contemporary Art,<br>
>>> San Francisco; Project Row Houses, Houston; Townhouse Gallery, Cairo;<br>
>>> Festival Belluard Bollwerk International, Switzerland; The Mattress Factory<br>
>>> Museum, Pittsburgh; Arts House, Melbourne; and 91mQ, Berlin; has been a<br>
>>> resident at The<br>
>>> Headlands Center for the Arts, SOMA Mexico City, and The Atlantic Center<br>
>>> for the Arts; is a 2017 Andy Warhol Foundation for the Visual Arts<br>
>>> Curatorial Fellow.<br>
>>><br>
>>> Currently, Weleski is NEH Visiting Assistant Professor of Art & Art<br>
>>> History at Colgate University.<br>
>>><br>
>>> --<br>
>>> <a href="http://beforebefore.net" rel="noreferrer" target="_blank">beforebefore.net</a><br>
>>> --<br>
>>><br>
>>><br>
>>> _______________________________________________<br>
>>> empyre forum<br>
>>> <a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank">empyre@lists.artdesign.unsw.edu.au</a><br>
>>> <a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">http://empyre.library.cornell.edu</a><br>
>><br>
>><br>
>><br>
>> --<br>
>> -- Prof. Dr. S?rgio Roclaw Basbaum<br>
>> -- P?s-Gradua??o Tec.da Intelig?ncia e Design Digital - TIDD (PUC-SP)<br>
>> -- Coordenador P?s-Gradua??o em M?sica e Imagem (FASM)<br>
>><br>
>> -- <a href="http://soundcloud.com/sergiobasbaum" rel="noreferrer" target="_blank">http://soundcloud.com/sergiobasbaum</a><br>
>> -- <a href="http://soundcloud.com/pantharei" rel="noreferrer" target="_blank">http://soundcloud.com/pantharei</a> <<a href="https://soundcloud.com/pantharei" rel="noreferrer" target="_blank">https://soundcloud.com/pantharei</a>><br>
>> -- [:a.cinema:] <<a href="http://acinemaperformance.blogspot.com.br/" rel="noreferrer" target="_blank">http://acinemaperformance.blogspot.com.br/</a>><br>
>> ...sai dessa fila, vem pra roda festejar..<br>
>> <<a href="http://soundcloud.com/sergiobasbaum/choror-bye-bye" rel="noreferrer" target="_blank">http://soundcloud.com/sergiobasbaum/choror-bye-bye</a>><br>
>> -- a.cinema <<a href="http://acinemaperformance.blogspot.com" rel="noreferrer" target="_blank">http://acinemaperformance.blogspot.com</a>><br>
>> -- pantharei_tube<br>
>> <<a href="https://www.youtube.com/channel/UCXlPdYtxV5bj5uAQwXC-M_Q" rel="noreferrer" target="_blank">https://www.youtube.com/channel/UCXlPdYtxV5bj5uAQwXC-M_Q</a>><br>
>><br>
>> B'H'<br>
>><br>
>> "Do mesmo modo como a percep??o da coisa me abre ao ser, realizando a<br>
>> s?ntese paradoxal de uma infinidade de aspectos perspectivos, a percep??o<br>
>> do outro funda a moralidade (...)"<br>
>> Maurice Merleau-Ponty<br>
>><br>
>><br>
>> _______________________________________________<br>
>> empyre forum<br>
>> <a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank">empyre@lists.artdesign.unsw.edu.au</a><br>
>> <a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">http://empyre.library.cornell.edu</a><br>
><br>
><br>
><br>
> --<br>
> <a href="http://www.oliverk.org" rel="noreferrer" target="_blank">http://www.oliverk.org</a><br>
> twitter: @okellhammer<br>
> mobile: 917-743-0126<br>
> skype: okellhammer<br>
><br>
><br>
> _______________________________________________<br>
> empyre forum<br>
> <a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank">empyre@lists.artdesign.unsw.edu.au</a><br>
> <a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">http://empyre.library.cornell.edu</a><br>
<br>
<br>
<br>
-- <br>
-- Prof. Dr. S?rgio Roclaw Basbaum<br>
-- P?s-Gradua??o Tec.da Intelig?ncia e Design Digital - TIDD (PUC-SP)<br>
-- Coordenador P?s-Gradua??o em M?sica e Imagem (FASM)<br>
<br>
-- <a href="http://soundcloud.com/sergiobasbaum" rel="noreferrer" target="_blank">http://soundcloud.com/sergiobasbaum</a><br>
-- <a href="http://soundcloud.com/pantharei" rel="noreferrer" target="_blank">http://soundcloud.com/pantharei</a> <<a href="https://soundcloud.com/pantharei" rel="noreferrer" target="_blank">https://soundcloud.com/pantharei</a>><br>
-- [:a.cinema:] <<a href="http://acinemaperformance.blogspot.com.br/" rel="noreferrer" target="_blank">http://acinemaperformance.blogspot.com.br/</a>><br>
...sai dessa fila, vem pra roda festejar..<br>
<<a href="http://soundcloud.com/sergiobasbaum/choror-bye-bye" rel="noreferrer" target="_blank">http://soundcloud.com/sergiobasbaum/choror-bye-bye</a>><br>
-- a.cinema <<a href="http://acinemaperformance.blogspot.com" rel="noreferrer" target="_blank">http://acinemaperformance.blogspot.com</a>><br>
-- pantharei_tube <<a href="https://www.youtube.com/channel/UCXlPdYtxV5bj5uAQwXC-M_Q" rel="noreferrer" target="_blank">https://www.youtube.com/channel/UCXlPdYtxV5bj5uAQwXC-M_Q</a>><br>
<br>
B'H'<br>
<br>
"Do mesmo modo como a percep??o da coisa me abre ao ser, realizando a<br>
s?ntese paradoxal de uma infinidade de aspectos perspectivos, a percep??o<br>
do outro funda a moralidade (...)"<br>
Maurice Merleau-Ponty<br>
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<br>
Message: 5<br>
Date: Tue, 17 Sep 2019 07:47:27 +0200<br>
From: fabi borges <<a href="mailto:catadores@gmail.com" target="_blank">catadores@gmail.com</a>><br>
To: soft_skinned_space <<a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank">empyre@lists.artdesign.unsw.edu.au</a>><br>
Subject: Re: [-empyre-] AMAZON IS BURNING<br>
Message-ID:<br>
<<a href="mailto:CAHHXC8k_W78nTPm_d9k9B87mE_cQcVw68XtJcuJZkOTTPOt2MA@mail.gmail.com" target="_blank">CAHHXC8k_W78nTPm_d9k9B87mE_cQcVw68XtJcuJZkOTTPOt2MA@mail.gmail.com</a>><br>
Content-Type: text/plain; charset="utf-8"<br>
<br>
Hello everyone!<br>
<br>
I want to comment on these two points brought by Oliver and Brian Holmes,<br>
because there are two important things here (all the rest is important as<br>
well, but it would be too much things to think right now):<br>
<br>
In Hobbes' notion of the 'The Leviathan' the state via some kind of<br>
sovereign power mitigates in 'the war of all against all.'<br>
<br>
It seems now what we are seeing is the emergence of 'anti-states' in which<br>
the only governing principle is the imposition of raw power, not based on<br>
any rational, even maliciously rational, program.<br>
<br>
America under Trump has felt like this. It is the administration's<br>
pervasive irrationalism that has made it so hard for the left to respond<br>
rationally. The more contradictions and falsehoods the anti-state<br>
promulgates, the more its asserts its raw power.<br>
<br>
I was wondering if this is what is happening under the Bolsonaro. Are<br>
irrationality and brutality its main selling points to a nihilistic<br>
electorate?<br>
<br>
- - ? - - ? - - -<br>
<br>
The consequences of the fires in the Amazon know no borders, and neither do<br>
the forces that ignited them. If the developed nations want a greater say<br>
in the stewardship of the rainforest, they might need to provide more than<br>
the modest $20 million offered by the G-7 last month. They might need to<br>
pay for it in higher prices for agricultural imports. Most important, they<br>
might have to readjust their own consumption habits.<br>
<br>
Bolsonaro, as he has on so many other occasions, is also missing the point<br>
? and an opportunity. If he really wants to revitalize Brazil?s economy, he<br>
could take advantage of the world?s renewed interest in the Amazon and ask<br>
developed countries just how much they?re willing to pay to help preserve<br>
it. Allowing further deforestation may be a tempting short-term economic<br>
lifeline, but this policy puts at risk the future of his country and of its<br>
neighbors around the globe.<br>
<br>
<br>
>From the Bolsonaro perspective (and all that this implies in political /<br>
economic / social terms) Europe has destroyed its forests and now<br>
(colonially) wants to interfere with the Brazilian forest as its last<br>
resort, making it the ?lung of the world?. Transform the Amazon into an<br>
untouchable reserve for the good of humanity, and thereby take away the<br>
autonomy of the Brazilian state to use its land for its own enrichment.<br>
Damn humanity, Brazil needs to boost its economy and agriculture is its<br>
best talent. Indigenous ?vagabonds? stand on top of productive land and<br>
gold mines without exploiting it, complaining about having more money and<br>
spending for the state rather than producing, so ?let's change that? as he<br>
always says. Indigenous have to modernize, and this implies becoming<br>
farmers, entering into export projects, "feeding humanity", and stopping<br>
this litany of human rights, this victimistic whim of wanting to maintain<br>
evidently outdated life forms.<br>
<br>
In this perspective really the $ 20 million offered by the G-7 or the $ 80<br>
million by Angela Merkel from Germany is a big joke, as he said: "I want to<br>
send a message to dear Angela Merkel, who suspended $ 80 million to the<br>
Amazon. Take that money and reforest Germany, okay? It needs a lot more<br>
than here."<br>
<br>
This ?hardworking? perspective is what he preserves, the rest is mimimi, (and<br>
here we all come in): lazy indigenous people, vagabond artists,<br>
intellectuals sucking on state ceilings flaunting eruditism, teachers bon<br>
vivant doing conspiracy at state expense, fat, flabby quilombolas to let it<br>
all hang out, gay movement that only thinks about sex and depravity instead<br>
of working, aggressive, unproductive feminists, landless, homeless,<br>
roofless... His point of view blends Italian immigration into Brazil<br>
(farmers, planters, workers) with American Protestantism, which he greatly<br>
admires, transformed into prosperity theology + the winner project. The<br>
alliance with the United States has to do with this desire to ally itself<br>
with a prosperous, rich, powerful country with which Brazil has always<br>
identified, much more than with South America. In their minds, Brazil will<br>
finally enter in its devotional path which is to feed humanity with food,<br>
metals, etc and get rich !!!<br>
<br>
It is also a revenge against the identity movements that for 10 years have<br>
empowered themselves to the point of exactly inhibiting the role of male,<br>
macho, provider, productive, to turn everything into a bunch of weak, full<br>
of rights and vagabonds. The image he wants to rescue is that of the<br>
worker, the rich man, the power, becoming a strong, potent, big, hard cock<br>
country on which much of humanity depends for food and feedstock.<br>
<br>
I see nothing irrational here, quite the contrary, although I see nihilism<br>
towards the ?end of the world? and a lack of confidence in the theories of<br>
?anthropocene, humans as geological forces that are destroying the planet,<br>
etc.?, I see a kind of historical revenge, (we don?t understand really, but<br>
in the middle of it has the idea of no submission, and anti-colonialism ?<br>
in a very strong and complex form - and anti- communism - evidently).<br>
<br>
Some dams will give way, some forests will burn, some people will die, but<br>
that's part of the growing process, stop crying!!<br>
<br>
Destroying institutions is part of the project because institutions hinder<br>
the progress, but not the corporations which in turn are the only way to<br>
create political and economic strength!<br>
<br>
"The lefts" has answers to this, but they are not yet financially effective<br>
in countering the status brought by Bolsonaro and his gang. The MST for<br>
example (Landless Workers Movement) during the Lula era has greatly<br>
strengthened its awareness of the Earth/land, becoming a reference in<br>
Brazil and even in the world regarding agroforestry, community agriculture,<br>
permaculture, organic farming, but it* still* does not represent the force of<br>
the monoculture and livestock.<br>
<br>
The conflict of perspectives is on the table, the madness and irrationality<br>
are unfortunately no consolation. The developmentalist project is still in<br>
full swing and the consciousness of the earth, interspecies relations,<br>
ayahuasca rituals, organic gardens, the diversity of peoples and their<br>
modes of existence are still largely ghet</blockquote></div></div>-- <br><div dir="ltr" class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div><div><font face="microsoft jhenghei, sans-serif">蔡 宏賢 escher tsai</font></div><div><font face="microsoft jhenghei, sans-serif">創意總監 creative director</font></div><div><font face="microsoft jhenghei, sans-serif">w: <a href="http://dimensionplus.co/" target="_blank">http://dimensionplus.co/</a></font></div><div><font face="microsoft jhenghei, sans-serif">fb: <a href="http://www.facebook.com/dimensionP" target="_blank">http://www.facebook.com/dimensionP</a></font></div><div><font face="microsoft jhenghei, sans-serif">e: <a href="mailto:escher@dimensionplus.co" target="_blank">escher@dimensionplus.co</a> </font></div><div><font face="microsoft jhenghei, sans-serif">m: 886-955 909 519 </font></div><div><font face="microsoft jhenghei, sans-serif"><br></font></div><div><font face="microsoft jhenghei, sans-serif">TW:: </font></div><div><font face="microsoft jhenghei, sans-serif">1F., No.12, Ln. 286, Longjiang Rd., Zhongshan Dist., Taipei City 10477, Taiwan</font></div><div><font face="microsoft jhenghei, sans-serif">台灣 台北市龍江路286巷12號 </font></div><div><font face="microsoft jhenghei, sans-serif">t：886 225063990</font></div><div><font face="microsoft jhenghei, sans-serif"><br></font></div><div><font face="microsoft jhenghei, sans-serif">HK::</font></div><div><font face="microsoft jhenghei, sans-serif">G/F, 186 Tai Nan Street, Sham Shui Po, Kowloon, Hong Kong</font></div><div><font face="microsoft jhenghei, sans-serif">香港 九龍深水埗大南街186號地下</font></div><div><font face="microsoft jhenghei, sans-serif">t: 852-34836225<span style="white-space:pre"> </span> f:852-30169323 </font></div></div><div><span style="font-family:Verdana;font-size:10px;white-space:pre"><b><span style="font-weight:normal"><div style="font-family:'Lucida Grande',Verdana,Arial,Helvetica,sans-serif;font-size:12px;margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px"><br></div></span></b></span></div></div></div></div></div></div></div></div></div></div></div></div>