The At·mo·re·la·tion·al noun Definition: A relationship with, or interpretation of the world that is relational, and not object based. The Atmorelational Looks at the space or relationship between things as the primary point of focus. This idea offers that it is impossible to determine the exact beginning of a thing or its precise end and that there is a fluid porousness between where the body/self ends and another begins. The term The Atmorelational can be used in place of the term Nature. IE “let the atmorelational take its course”. The Atmorelational was influenced by the ideas conceptualized by the work of Caribbean poet and philosopher Édouard Glissant. Inert Colleconnaissance Syndrome Noun Definition: Inert colleconnaissance syndrome is a collective understanding marked by a fear of action and a desire not to upset the system or paradigm. The syndrome is applied to societies rather than the individual exclusively and is marked by a collective knowledge or understanding and concern over a problem or injustice paired with gross collective inaction. 246 The syndrome is frequently applied in discussions of climate change. Epo·qu·e·tude noun Definition: An antidote to crushing anxieties over the deteriorating state of the world, epoquetude is the reassuring awareness that while humanity may succeed in destroying itself, the Earth will certainly survive us, as it has survived many other cataclysms; and that, in the endless chambers of time, the lives of individual species, vast civilizations, and even entire worlds are merely brief notes in an inconceivable symphony, each sounding its distinct voice and then fading out, so that the music may continue
INSIDE - A lecture-performance by Bruno Latour With the image of the globe we lose the representational capacity to describe where we actually live - the miniscule membrane of a ‘critical zone’ on top of the planet. A few kilometers up, a few down. It is critical in three ways, critical for life, critical in the sense that its fragile, and critical because it is extremely difficult to know. It is completely heterogenous. Why is it important to engage with scientists, artists, and architects to discover new ways of representing the place we live? The imagination of the globe was the only way to extract ourselves from the local. Now, after being removed
in the name of modernization, we are wanting to go back to our localized identities after realizing that globalization is an impossible farce. An alternative visualization is the ONLY way to establish the third attractor. Trump has proved that you can claim to protect the local and be totally globalized (probably possible as a function of neoliberalism right?) - which basically constitutes a ‘fourth’ attractor. So to land at the third, we have to basically do the exact opposite to get to where we should be. This is why being outside, seeing earth from space, as well as being inside, being present in earth and all its processes, both have political consequences. Inside is less being enclosed, more so being entangled. https://www.youtube.com/watch?v=gzPROcd1MuE
STET - Sarah Gailey Fantastic example of unique online formatting of narrative. Document with interactive notes, editor comments, links between text, etc. Story unfolds in the comments on an article, between the editor and the author. https://firesidefiction.com/stet
Aporetic Propositions on Citizen, Artist, Participation, and the Claim of Design - Michael Stone Richards This is great precedent/inspiration for the Plenaes Manifesto Unless “we” fall into a state of exception we are all citizens and any and all ethical or political responsibilities befall us qua citizens. There is no political or ethical responsibility that the artist or designer qua artist or designer has that the citizen does not first possess qua citizen, and we cannot design citizenship, we can only sustain a fragile culture of citizenship. When Beuys wrote that Jeder Mensch ist ein Künstler – We are all artists – this was in part a statement about radical democratic potentiality, akin to Simone Weil: We are all capable of creative action. What pre-empts or interrupts the flowering of such action remains the question of questions that no traditional idea of art or design can comprehend methodologically or epistemologically. Participation is existence. Its opposite is alienation. If so, why so much talk of participation? What impedes participation? To speak of participation here is first to draw upon the etymological sense of participation, namely, to have a share or a part in something; but participation is also a movement – intentional, affectively expressive – by which we grasp possibilities and meanings always a part from the locus of movement; above all, participation is world-building practice. Here participation reveals an important feature of our existence, namely, that human existence is always existence or movement in a world beyond bare life, beyond, that is,