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2016, ISSUE05
Jago stirs: something is strange. Ice-cold wind streams from the aircon and relentless chatter from the radio: "…it would not be without reason to deem it a ghost or a phantom formed by the brain…"1 Reality blur: yes, he must have drifted off. Yes, the taxi, but no, why have we stopped? What time is it? He breathes in heavily through the nose. Fog lifting: yes. The guest lecture at the Uni, voices of those students still lashing the insides his skull. Jago searches a foothold for memory. Faint whiff of tiare, plumeria: airport posters with not-so-secret voluptuous bodies. Why is he alone? Or, not exactly alone.
Eremuak
THE POROUS STONE2019 •
About the agency of the object in relation to our artistic practice, taking as a reference our work on the reproduction of an abandoned memorial stone dedicated to three Nazi soldier who died in the Spanish Civil War.
Many spiritual teachers have told us of a spiritual power which resides in precious stones. According to Saint Thomas Aquinas (1225-1274), . . . there is no doubt that gemstones have something of the hidden power of the bodies that are above the vault of heaven . . . they have something in them that is beyond the powers of the four basic elements of nature . . . it appears evident that some stones have something of the fifth essence . . . some stones have something in them of the nature of the stars. [G. Ronald Murphy, S.J., Gemstone of Paradise, pp. 66-67.] According to Hildegard of Bingen, stones possess the qualities of the ancient elements of fire and water: All stones have fire and wetness within them. But the devil finds precious stones abhorrent, he hates and despises them because they are a reminder – their beauty shone forth before he corrupted the glory given to him by God. He also hates them because precious stones are born of fire, the thing in which he has his punishment.[ Hildegard of Bingen, “De Lapidibus,” in Patrologia Latina, ed. Jacques-Paul Migne (Paris: Migne, 1844), vol. 197, col. 1247, quoted in Murphy, Gemstone of Paradise, p. 55.] Hildegard further theorizes that gems are created when seawater contacts hot volcanic rock and forms a foam, which adheres to rock, hardens and dries into a gemstone within a few days in the heat of the sun. These gems are then carried by rivers to all the parts of the earth. Because the gems are formed from fire and water, they possess great inner, radiatory energy. Those who know the secrets of releasing their great condensed energy, according to Hildegard, will be able to use their powers for healing.[ G. Ronald Murphy, S.J., Gemstone of Paradise, pp. 55-56.] The Tibetan Master tells us that: The mineral kingdom is responsive to that type of energy which is the lowest aspect of fire, of those internal furnaces which exert an influence upon the elements in the mineral world, and which resolve these atomic lives into a gradual series of ever-higher types of mineral energy. By Celeste Jamerson
Mousse Publications
The Porosity of Darkness2017 •
Imagine yourself wrapped in darkness, losing your sense of orientation, while flickers of light refracted through an architecture of glass and the sound of disembodied voices guide you through a story of myth, archetype, and loss. The theatre of glowing darkness is one section of artist Kirstine Roepstorff’s project for the Danish Pavilion at the 57th International Art Exhibition, La Biennale di Venezia, but it extends further, into the deconstructed site of the neoclassical 1930s gallery and 1960s extensions by Peter Koch. Roepstorff has reconceived and reconstructed these spaces as loci of regeneration, replete with soil, plants, and woven tapestry. The pavilion itself is part of a broader project called influenza, for which the artist has assembled—in a manner mirroring the viral transmission of its subject—a learning network and consortium of creative practitioners, including curator Solvej Helweg Ovesen.
Trespassing Journal, Issue 6, Winter 2017 Terror and Terroir: Porous Bodies and Environmental Dangers Brian Onishi Eastern Michigan University Abstract A lasting consequence of Cartesian substance dualism is the idea that material activity is fundamentally a result of efficient causality. One body moves another body by bumping into and forcing the second body to move. A world reduced to such efficient causality also requires that bodies are static, able to conform to the laws of physics and nature because they are ontologically dumb, both in terms of existing without thought and without speech. Recent insights from quantum physics reveal that this view of material bodies is too reductive and does not capture the full complexity of the material world. The material world, rather, is fundamentally unknowable and strange, porous and agential. This paper will argue that the porous and diffractive intra-action of bodies opens up spaces of ecological intensities that are both wonderful and dangerous. More specifically, I will appeal to the intra-active bodies displayed in Jeff VanderMeer’s Southern Reach Trilogy and argue that bodies and thoughts exist on a similar plain and that thoughts have a material existence. VanderMeer’s trilogy depicts a kind of dangerous garden, an edenic ecology that expels totalizing human understanding. It is only The Biologist that is capable of adapting to the transformations induced by Area X because she embraces the porosity of her body and mind, emerging as a body subject that erases the division between those dualistic poles. By the end of Acceptance, her body expands to giant form, her previously bounded bodily limitations adapt to the meaning of Area X’s edenic danger. In her monstrosity she embodies the tower’s text, bringing forth the “seeds of death” to a world built on totalizing knowledge. She rejects the scientific attitude of her biological training and becomes The Biologist, capable of shedding the restrictions of linguistic meaning to communicate with the owl on the island, and perhaps even Area X itself. The tower’s text literally bursts forth, penetrating the Biologists body, and dissolving the distinctions between body and mind, and materiality and thought. Neither the text nor Area X causes this change in The Biologist because prior to their intra-action there was neither Biologist nor text, nor even an Area X in the way she encounters it. Rather, they are each constituted in the exchange, generating a new phenomenal object that cannot be reduced or exhausted by any of the constituting parts. Trespassing Bodies: Issue 6, Winter 2017 an online journal of trespassing art, science, and philosophy www.trespassingjournal.com Trespassing Journal, Issue 6, Winter 2017 While such an analysis of VanderMeer’s text seems to indicate an emergent ecological framework, I will focus on the porosity of bodies and the diffractive relation between bodies and thoughts rather than on the relation between parts and wholes. This reading of both VanderMeer’s text and the material world demands a framework that provides the material world with an activity and fecundity beyond Descartes’ Res Extensa. As such, I will appeal to Karen Barad’s philosophyphysics, articulated most clearly in Meeting the Universe Halfway. But the semiotic and textual intertwining of thoughts and bodies in the Southern Reach Trilogy also requires that thoughts extend beyond the solipsistic prison of consciousness and exist in the material world. That is, I will argue that thoughts and agency are distributed across multiple bodies, capable of action not limited by autonomous units of consciousness separated by an infinite gap of immanence. When the seed of the tower’s text penetrates the biologists body, the meaning and the thoughts of the tower are communicated, spewed into the world via materiality. I will also, therefore, appeal to Eduardo Kohn’s How Forests Think to extend Barad’s philosophy-physics beyond the laboratory and into the semiotic garden of Area X. Area X presents dangerous garden, a terroir built on terror that threatens to “bring forth the seeds of death” to a world covered in projected meaning. But it also presents a possibility for redistributing agency, for recalibrating ecologies to embrace the porosity of bodies, and for opening spaces for a distributed material thinking. As such, Area X provides a new grounding for an environmental ethic where humans, as encased in impermeable bodily penitentiaries, are the endangered species. The pristine, edenic existence of the material world never invites the impermeable human, but calls for an intra-action with an embodied, distributed thinking, an embrace of the terroir and the terror of “the strangling fruit” that will “bring forth the seeds of death to share with the worms that gather in the darkness and surround the world with the power of their lives” (VanderMeer, 2014). Keywords: Cartesian, Jeff VanderMeer, quantum physics, consciousness, biological, semiotics, porosity
2022 •
Our cosmic journey is infinite, yet we live as if there was no tomorrow. We are, above all, motivated by the fear of death. Human dwellings have evolved across time from fundamental shelters to complex architectural structures that perpetuate illusions of permanence and order, cloak insidious systems of influence, and keep the cycles and rhythms of nature at bay, if only temporarily. Where we make our home, however, is determined by force, fancy, or chance. When Cypriot artist Vicky Pericleous accidentally came upon the abandoned ruins of Petrofani, a village evacuated by Turkish Cypriots forced to migrate north, set in a verdant landscape populated by grazing sheep, it seemed to her as if it was not the end of a story, but rather the beginning of something else growing out of the raw earth. Ruins carry sentimental fascination as embodiments of past eras while eliciting the notion of place as both temporal and subjective. Although they are often appropriated and repurposed to serve the ideology of political regimes, what is left is never representative; it is simply what remains, and nothing more. And in this chain of causality, there’s no stopping their transfiguration into something else completely. Pericleous conveys the history of human folly in her ongoing series of sculptures, drawings, photographs and videos that expose alternate dimensions of existence through the ruptures of disjunctions in time and space. The artist employs the trope of Modernism to portray a rivetingly familiar dystopian present constructed out of the remnants of a productive past too barren to bear a fruitful future. Through the recurrence of images across different contextual narratives, the work destabilizes our perceptions of the physical world and synchronizes our gaze to its natural rhythms. Pericleous encapsulates the mechanics of the universe through material drawn from her surroundings, almost always encountered by chance in archives or on the terrain of the Mediterranean island of Cyprus.
In a sonic environment, it’s difficult to determine where “interiority” ends and “exteriority” begins. Take the human voice, for example: where does the internal resonance of the body stop, and the echo and reverberation of the exterior environment start? The bones of the face? The tip of a hair? The room you are sitting in? Or the valley that room was built in? Given this situation of indeterminate thresholds, we can call sonic experiences “porous” since they ecologically link internal and external realms, both materially and conceptually. When Frances Dyson discusses the gravitas of the people’s microphone, she points out that “it may be helpful to make a temporary distinction between the metaphors of echo and resonance: whereas echo always introduces the environment (ecology), resonance can be an internal operation that also flows, logically almost, into culture.” The power of the people’s mic comes from its facilitation of an interplay between the internal and external through its combining of echo and resonance to permeate urban spaces.
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