User:ZUZU/Personal Reader

From XPUB & Lens-Based wiki

loitering—>escape from here and there
When I say I 'enjoy loitering' what exactly am I enjoying?

The Nearby: A Scope of Seeing

The missing of the nearby is comparable to what Jane Guyer calls ‘the evacuation of the near future’ (2007: 401). 
In China today, it is the immediate surroundings, where tangible social relations are developed and concrete actions can be taken, that are hollowed out. 

The erosion or weakening of close, everyday social interactions and the ability to take concrete, meaningful actions in the immediate, everyday context.

They are well versed with global affairs and committed to the ‘decolonialization’ of knowledge, but have difficulties in describing their parents, neighbours and childhood friends in detail. How can we decolonize knowledge if young people from the global South are unable to give accounts about their own life free from western jargon and normative statements?

A common criticism on the Chinese internet is that people "don't care about specific individuals," becoming collectively obsessed with grand narratives. These grand narratives often attempt to instill a sense of national identity in the masses.
中国互联网上的一个常见批评是,人们 "不关心具体的个人",而是集体沉迷于宏大叙事。这些宏大叙事往往试图向大众灌输一种国家认同感。

‘Scope’ related to the nearby is an intensive concept, emphasizing the richness generated from the juxtaposition of differences and the layering of histories, rather than aiming to delineate the size and external boundaries.

In the realm of curation, online exhibitions lack the physical space defined by scope. The physical spatial relationships between different exhibits create a unique viewing experience.

Never, Sometimes, Often, Always, directed by Wang Ziyue in 2020, perceptions about the nearby are rooted in lived, bodily experiences.1 Furthermore, a way of seeing is, by definition, subjective and affective, and has no fixed shapes. To envision the nearby as a scope of seeing, we need maverick approaches to learn from a wide range, apparently unrelated, of experiences.
the nearby perspective can empower marginalized actors.

For marginalized actors, who often lack representation in grand narratives and broad policy discussions, focusing on their day-to-day realities can highlight their specific needs, struggles, and strengths.

The nearby as a scope of seeing is fluid and generative. It is fluid because its internal relations are constantly changing; it is generative because it enables us to see and do new things. The nearby is, thus, very different from ‘commu- nity’ that is based on stable membership and homogeneity.

This makes me think about the "collective nearby" project I want to create, and whether we can encourage participants to express this nonlinear, fluid scope of observation through map diaries.


Tiny clue

I remember a particularly striking argument about why some critics don't consider J.K. Rowling a great writer. One major point is that the world of Harry Potter lacks an economic system. The idea is that such a vast magical society feels somewhat like a castle in the air, without a complete economic structure to support it. This notion left a deep impression on me, emphasizing the saying that "no one lives in a vacuum.”
我还记得一个特别引人注目的论点,即为什么有些评论家不认为 J.K. 罗琳是一位伟大的作家。其中一个主要观点是,《哈利-波特》的世界缺乏经济体系。这个观点认为,这样一个庞大的魔法社会给人的感觉有点像空中楼阁,没有完整的经济结构来支撑。这种观念给我留下了深刻的印象,强调了 "没有人生活在真空中 "这句话。
Later, as I read works by authors like George R.R. Martin, I realized that creating a believable world requires understanding the societal mechanics. For instance, even if not explicitly detailed in the narrative, the logistics of war, such as the preparation of supplies and the scale of supporting cities, need to be well thought out. These elements must exist beyond the pages of the book to lend authenticity to the story.
This realization sparked my interest in how small details function within a massive, unseen structure.

The Mushroom at the End of the World

The Mushroom at the End of the World.jpeg

The Situationist International


Psychogeography infuses a subjective, soulful perspective into the study of urban spaces, emphasizing the immediate opinions and instincts individuals form upon entering a space. This concept was first proposed and developed by members of the Situationist International, involving the decoding of urban environments through unconventional exploratory methods, akin to the cut-up techniques used by artists like William Burroughs and Brion Gysin. The term "psychogeography" combines the Greek root "graphein" (to write) and the Latin prefix "psyche" (soul), symbolizing the interweaving of earth, mind, and movement.

心理地理学强调个人进入空间后形成的直接观点和本能。这一概念最早由情境主义国际的成员提出和发展,涉及通过非常规的探索方法对城市环境进行解码,类似于威廉-巴勒斯(William Burroughs)和布里昂-吉辛(Brion Gysin)等艺术家使用的剪切技术。心理地理学 "一词融合了希腊语词根 "graphein"(书写)和拉丁语前缀 "psyche"(灵魂),象征着大地、心灵和运动的交织。

Psychogeographers reinterpret urban spaces in a playful manner, revealing the influence of geographical environments on emotions and behaviors. This approach challenges traditional geographical research by reshaping power structures and cultural ideologies within modern society and capitalist landscapes. Through subjective experiences, chance encounters, and emotional reactions to various urban spaces, psychogeographers seek to understand and interpret urban environments with a nuanced understanding of human experiences within cityscapes.


blasé attitude

The concept of the was introduced by Georg Simmel in The Metropolis and Mental Life (1903). A specific psychological and emotional state developed by individuals living in highly urbanized modern cities. The urban environment bombards people with a plethora of visual, auditory, and activity-based stimuli, leading to sensory saturation. Individuals lack strong emotional responses to events and experiences that would typically elicit a reaction.



How to Do Nothing Resisting The Attention Economy


Receipt of Delivery : Windows by Eleanor Coppola