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Pasamos entre los huecos, creamos paisajes con los cuerpos, comenzamos a trepar…

Comienza la sesión: calentamiento sencillo, nos descubre algunas técnicas físicas que se utilizan en los hospitales en China para mantener el ánimo elevado y disminuir el estrés. Y sigue… Pasamos entre los huecos, creamos paisajes con los cuerpos, comenzamos a trepar. Transcurre una mañana bien rica en la que nos relacionamos con poca palabra y mucha escucha, acción y cuerpo.

Abajo en la sala de exposiciones se inicia la primera toma de contacto con los materiales… la rampa y las cajas de madera, la cuerda suspendida. Algunos probamos, otros miramos. Poco a poco vamos entrando todos en niveles más sutiles de percepción.

Quedamos enamorados de su energía, nos contagia su manera de mirar, su fina escucha. Se desvela el espacio entre los cuerpos mientras suben y bajan por las cuerdas de Slant Board, o el sonido –existente ya en la sala– al que está acompañando la acción de la cuerda, que adquiere aquí un nuevo título: Accompaniment for Sound. (En lugar de Accompaniment for Two Sounds de La Monte Young; éste no dio los permisos para que se utilizara su obra en la exposición actual +-1961).

Simone cuenta que Platforms, donde se introducen dos debajo de las cajas de madera para silbar, es un dúo de amor. Señala cómo sucede en las parejas que, aunque duerman juntas, están cada uno en su sueño particular. A veces coinciden los silbidos, otras parecen un diálogo. Estamos en lo mismo a ratos y, por momentos, cada uno en lo suyo.

Otro recuerdo compartido: cómo surgió Slant Board. Cayó enferma un día que pensaba ir de excursión a la montaña con los niños con los que trabajaba en aquella época. Le pidió a Robert Morris –su marido entonces– que construyera una estructura que le permitiera escalar y así apareció la tabla inclinada con las cuerdas, listas para trepar.

(…) Nuestro querido Huddle, la única acción que no usa más que nuestros cuerpos, todos los del grupo, sin otra estructura en la que apoyarnos. Somos ocho performers. Nos organizamos por turnos para realizar las dance constructions: subir y bajar en Slant Board, suspendernos en la cuerda en Accompaniment, o silbar en Platforms. En cada acción participamos dos personas. Sin embargo, para el Huddle solemos estar todos. (…) Durante los casi cinco meses de duración de la exposición se han mezclado todos estos cuerpos en unos 300 huddles.

 

via Simone Forti y nosotros. Bailando en medio del Reina, artículo de Tania Arias Winogradow en FronteraD.

Lanark…un medio inhabitual, laberíntico, metafórico incluso en su arquitectura y en su geografía, un orbe apocalíptico e irreal

¿Denuncia? Sí, por supuesto, bajo la forma de distopía funcional política y económica desarrollada en un medio inhabitual, laberíntico, metafórico incluso en su arquitectura y en su geografía, un orbe apocalíptico e irreal dominado por vías aéreas que conectan mundos superpuestos e infinitas escaleras que no siempre llevan al mismo lugar, con una ácida crítica, aunque muy literaria, hacia la mercantilización abusiva y el creciente, insaciable y omnímodo poder de las impías multinacionales que podría recordar, en algunos aspectos, incluso el metaliterario, a la posterior La broma infinita.

“Te estás dejando engañar por la ilusión política más vieja que existe. Crees que puedes cambiar el mundo hablando con un líder. Los líderes son efecto de los cambios, no sus causas. No puedo hacer prosperar una tierra si mis opulentos patrocinadores no pueden explotarla”.

Ni el tiempo transcurrido desde su publicación, ni los cambios que en estos treinta años ha visto la civilización, ni la renovación en las formas estilísticas de los nuevos enfoques narrativos de ese concepto en continuo cambio que llamamos “novela”, afectan en lo más mínimo a la vigencia de Lanark; si acaso, como en las peores pesadillas, podemos comprobar con estupor cómo las amenazas ficticias van encarnándose en ese difuso mundo que llamamos realidad. Lanark es un libro imprescindible, y Gray un autor al que merece la pena seguir.

via “Lanark”, de Alasdair Gray – Revista de Letras.

Alasdair Gray: hacedor de historias, de Juan Francisco Ferré

Como cualquier escritor sabe, antes de poder hablar de la realidad, la escritura se encuentra atrapada en un territorio simbólico, ese museo virtual y esa biblioteca imaginaria que han traducido la experiencia secular a lo largo de la historia en formas y estilos. Conocer a fondo ese bagaje, saber desplazarse con soltura por su laberíntica construcción y manipularla con fines creativos, es la primera condición del creador genuino, ese que aspira a dejar alguna huella en la historia de su arte.

ALASDAIR GRAY: HACEDOR DE HISTORIAS, de Juan Francisco Ferré.

Catábasis

La Catábasis o Katabasis (del griego κατὰ, “abajo” βαίνω “avance”) es un descenso de algún tipo, como bajar una ladera, el sol al atardecer, una retirada en una campaña militar, una expedición a los infiernos o un viaje desde el interior hacia la costa. // Katabasis, or catabasis, (from Greek κατὰ, “down” βαίνω “go”) is a descent of some type, such as moving downhill, or the sinking of the winds or sun, a military retreat, or a trip to the underworld or a trip from the interior of a country down to the coast.

Catábasis – Wikipedia, la enciclopedia libre.

Archaeology: the discipline of things

‘Ta archaia’, quite literally ‘old things’ are at the etymological root of archaeology. So a concern with things, an obligation to ‘materiality’, a commitment to landscape runs to the heart of the profession.

(…) Archaeology and its changing faces are also products of the proliferation of instruments and media, of changing modes of material engagement with the past. This is the material component of disciplinary practice ignored in most histories of archaeology.

via Symmetrical Archaeology on ARCHAEOLOGY: THE DISCIPLINE OF THINGS by Bjørnar Olsen, Michael Shanks, Timothy Webmoor and Christopher Witmore

an actor whose definition of the world outlines, traces, delineate, limn, describe, shadow forth, inscroll, file, list, record, mark, or tag a trajectory that is called a network

Now that the basic topological properties of networks have been sketched -second section- and that the basic ontological features of actors have been outlined -section above- there is no difficulty in seeing that AT is not about traced networks by about a network-tracing activity. As I said above there is not a net and an actor laying down the net, but there is an actor whose definition of the world outlines, traces, delineate, limn, describe, shadow forth, inscroll, file, list, record, mark, or tag a trajectory that is called a network. No net exists independently of the very act of tracing it, and no tracing is done by an actor exterior to the net. A network is not a thing but the recorded movement of a thing. The questions AT addresses have now changed. It is not longer whether a net is representation or a thing, a part of society or a part of discourse or a part of nature, but what moves and how this movement is recorded.

We cannot say that what moves inside networks are informations, genes, cars, bytes, salutations, words, forces, opinions, claims, bodies, energy, etc. since AT also wants to reconstruct nets before there is any distinction between what circulates inside and what keep them on track, so to speak, from the outside. Again, as I said at the beginning, the technical metaphor of networks is a latecomer for AT and does not capture the tracing activity. No, what circulates has to be defined like the circulating object in semiotics of texts -especially scientific texts (Bastide, 199-). It is defined by the competence it is endowed with, the trials it undergoes, the performances it is allowed to display, the associations it is made to bear upon, the sanctions it receives, the background in which it is circulating, etc.

Bruno Latour: On actor-network theory. A few clarifications plus more than a few complications(1990, English version 1996)

the complex will also remain a prime example of ‘Brusselization’, an internationally known urban planning term for uncontrolled, divisive urban developments

Meanwhile the quickly dilapidating, empty site has become popular with urban explorers, artists and the like. In an art performance called ‘The Phantom: Romantic post-Vandalism’ (see below) the Polish artist Gomulicki carved the Bauhaus logo on the façade of the Southern building by smashing eighty windows, exploring the tension between the confidence in the future once expressed by these typologies in relation to what has become of them today. While the renovation of the building to which the Federal Police will be relocated soon is well under way, the ‘post-vandalised’ building and the pedestrian-unfriendly surrounding public space will stay as they are for the time to come. While some might perceive the RAC-CAE as one of the highest achievements of post-war urban reconstruction, the complex will also remain a prime example of ‘Brusselization’, an internationally known urban planning term for uncontrolled, divisive urban developments.

via Failed Architecture | Brussels’ Administrative Center: an Uncontrollable Urban Tumor?.

Robert Morris: Passageway (1961)

robertmorris-passageway

Robert Morris: Forty-seven years ago I arrive in New York City and begin graduate studies in art history. Gradually I begin to make objects. The process of making accelerates and interest in art history lags. This rise of creativity is accompanied by increasing personal unhappiness. Marriage collapses. A certain mental energy and obsessive, single-minded concentration, bordering on a kind of possession, is addressed to questioning the premises of sculpture. This goes along with an increasing negativity toward and incapacity for personal relations. I move further into a kind of semi-autistic space which excludes the other. Such a space is familiar from childhood where it was constantly denied. Only the inanimate object is alive for me in these years, and making objects becomes my bulwark against the threat of the other, and every other is regarded as threatening, especially those who would try to get close to me. But I want more than the object. I want a totalising, enclosing space within which I exist with the object. I want to fashion a conceptual, mental, psychological and physical space. I want to make a world within which I alone move amongst my objects. Reading Wittgenstein’s remarks in the Tractatus that ‘I am my world. (The microcosm),’ my heart skips a beat. I make a 50-foot long plywood Passageway, which narrows as it curves. Two arcs of a circle converging. I wedge my body between the narrowing walls, which curve ahead and out of sight. I am suspended, embraced and held by my world. I listen to the faint sound of the hidden mechanical heartbeat I have installed over the ceiling of Passageway. There is nothing to look at here in this curving space which diminishes to zero. In this blind space whatever constitutes the ‘I’ of my subjectivity evaporates and I think of that other remark of Wittgenstein: ‘The subject does not belong to the world: rather, it is a limit of the world.’  Others who visit Passageway leave messages written on the walls such as ‘Fuck you too.’ I repaint the grey walls once a week. In these years my large insecurities are guarded and held closely. Perhaps they are the sources and engine driving my capacity to create. Never again will I lose myself in such blind and self-sufficient spaces. Never after am I as unhappy and as exhilarated as in these years.

via Simon Grant interviews Robert Morris | Tate &
±1961: La expansión de las artes, Museo Reina Sofia, Madrid

robertmorris-passageway1961

The materialization of simultaneity

At the heart of this radical upheaval in the conception of time lay an extraordinary yet easily stated idea that has remained dead-center in physics, philosophy, and technology ever since: To talk about time, about simultaneity at a distance, you have to synchronize your clocks. And if you want to synchronize two clocks, you have to start with one, flash a signal to the other, and adjust for the time that the flash takes to arrive. What could be simpler? Yet with this procedural definition of time, the last piece of the relativity puzzle fell into place, changing physics forever.

This book is about that clock-coordinating procedure. Simple as it seems, our subject, the coordination of clocks, is at once lofty abstraction and industrial concreteness. The materialization of simultaneity suffused a turn-of-the-century world very different from ours. It was a world where the highest reaches of theoretical physics stood hard by a fierce modern ambition to lay time-bearing cables over the whole of the planet to choreograph trains and complete maps. It was a world where engineers, philosophers, and physicists rubbed shoulders; where the mayor of New York City discoursed on the conventionality of time, where the Emperor of Brazil waited by the ocean’s edge for the telegraphic arrival of European time; and where two of the century’s leading scientists, Albert Einstein and Henri Poincaré, put simultaneity at the crossroads of physics, philosophy, and technology.

via Einstein’s Clocks, Poincaré’s Maps, de Peter Galison. En español está editado por Crítica: Relojes de Einstein, mapas de Poncairé: Los imperios del tiempo.

AIME: Common world

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In this inquiry, we will not be starting from the idea of ​​a given world – natural or social – capable of immediately unifying minds and pacifying disputes. The starting point, rather, is a world that remains to be composed. Unification, thus, can not serve as a starting point only as a point of arrival, the result of a diplomatic enterprise that might well fail spectacularly.
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This uncertainty about that which is common is important in order to counteract the tendency to link environmental issues to the idea of a pre-defined, unified nature that has unified all existents, since they were “already there”. Environmental issues testify, on the contrary, to an uncertainty about the nature of the common world and to the need to create it piece by piece. It is this definition of common world that we wish to underline in the expression of common sense.

via An Inquiry into Modes of Existence.



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