User:Adèle/YEAR-ONE

Main occupation : How to become a mushroom ??

Questions :

What is a mushroom practice ?

notes from '"The Mushroom at the end of the world - on the possibility of life in capitalist ruins” put together by Anna Lowenhaupt Tsing, that could be a set of tools to have a mushroomy practice :

Fungis are world builders.
Hyphae : underground roots of fungis. Underground network of connections. Underground neurons.
Fungal eating is a generous practice because of ther extra-cellular digestion : it makes worlds for others.
Ectomycorrhizal fungi have inter species relationship. A mycorrhizal fungus will die without it's plant collaborator.
Humans and non-humans all cultivate each other unintentionnally. They make each others world-making projects possible.
Sites of more than Human dramas. Landscape patches emerge from more than human patches. Precarity is enacted in more-than-human sociality.
Symbiosis is the rule. Interspecies encounters are always events. Events are non-scalable, scalability rely on the repression on change and encounters.
"To appreciate polyphony, one must listen both to the separate melody lines and their coming together in unexpected moments of harmony or dissonance"
Disturbance : change in environmental condition that causes a prononced change in an ecosystem. For ecologist, the term does not reffer us to a harmonious state before disturbance. One disturbance follows another. They are ordinary. There is no balanced state possible. What counts as a disturbance in a matter of scale cand time comes always from the specific point of view of a being. It varies within species.
Precarious living is always an adventure.

10-02-21
Sandrine posted this video on facebook a few weeks ago, saying that she had just realised that Bernard Stiegler died during the summer.
https://www.dailymotion.com/video/xa8b5b?fbclid=IwAR2dq5p2IYQw85PVkb_QQ6F1vD-4_A9jWMqJwxbDQOSvfGiOtLXP91FQeLQ
It is called Aesthetic and the political.
I listened to it and it made me feel better about the word "aesthetic" which I have a conflicted relationship with. I tend to avoid it, when I feel it's oppressive potential induced by propaganda and marketing. It can be quite violent as well, used as means of oppression and exclution against small communities and cultural minorities. I'm going to write a translation of what resonated with me in his saying. And what I find can be linked to a mushroomy vibe.
This is a rought appropriation/translation :
"I'm going to use the word aesthetic in it's broadest meaning. Aesthesis = sensation, sense of touch, the sensible. To sense and on sensibility in general.
The artist's work should originally engage the sensibility of the other. Politics is essencially the relations between beings, a sensing together, a form of sympathy. Dealing with living together and support each other's singularities. The desire of singularities underlines a collective aesthetical belonging. A policical community is a sensitive collectiveness. To love each other is to love together something else thant oneself, through a transformation, an appropriation of a sensible reality.

The aestetical experience : process of sympathy building. A creativity that transforms the world to shape new collective sensibilities. A world building experience.
The body - artificial organs, objects and technologies - social organisation. -- Three entities, three contextual spaces to build and connect sensibility.

Then, there is a war of aesthetics against marketing propaganda... against the alienation through uniformisation and simplification of sensibility.
It induces a consumption behavior which leads to the loss of what Stiegler calls "primordial narcicissm". Individuals are deprived of theirs aestetical attachement to singularities. I am singular thanks to the objects and technologies (as languages) I have relationship with. The relations between industrial, uniform and scalable objects is particular or individual. It cancel the singularity, my past tend to become the same as my neighbors'. Then we can establish targets for the markets and perpetuate the particular. Within mass diffused, consensual and mass produced images and sounds my past loses its singularity. I am lost. The "I" is lost. The "we" is lost as well. Only a disconnected "us" remains...
We can only love ourself from the intimate awareness of our own singulatity. Art is the experience, the mold and the support of this sensibility as an invitation to participate in a collective time.
We fall back to this well known mantra of narcissism in psychoanalisis : if I don't love myself, I can't love others.
And if I can't love others, ther is no politics.

- - In his saying, he talks especially about the insfluences of objects versus products. How they translate the sensible world for us humans. He doesn't talk about how the sensible world itself, confronted to the body, confronted directly to our senses, together, how our performative actions and relations, events or encounters create easthetics. It is interessting for me to realise how to build a world, all sort of translating objects and technologies are needed.
    - In my practice, my tools are industrial and technological products, such as a computer, softwares, a pencil, a piece of paper, a plotter, a camera, ink,... How do I transform these products into objects, into friends, into transformative experiences ?

How is what I do mushroomy ?

A process that starts in or provokes disturbances.
I come from an occidental middle-class intellectual and art driven family, and I was brought up in a capital. I have been surrounded by man made technologies my whole life. I connect with the industrial landscapes and technologies more naturally than with growing ecosystems of other species with whom we are sharing this earth. I often don't know what I want to do with the technologies surrounding me, but I'm aware of them, and our collaborations occurs as events. We create something together, we share an experience. That is what I would like to call my closest inter-species interactions. It being with a computer software, a camera, a pencil, a printer, or a cooking pan.
These collaborations are driven by other beings and the desire to make a story. Sometimes to be noticed by them through giving, cherishing, thanking or even proving a point. Always learning. I try to create small events with our encounters and provoke disturbances to write in our stories.

Finding the right settings as one would forage mushroom. Foraging = searching for wild food resources. It affects an animal's fitness because it plays an important role in an animal's ability to survive and reproduce. I trust wikipedia's definition, I like when my practice keeps me fit.

A drawing is not only an image as an object, a drawing is an event.
Bilou, Emmax et Betty dans le panier de chat

A shot is not only a lot of images put one after the other, it is an event as well.

http://vimeo.com/523001982
L'instant décisif from the Henri Cartier Bresson tradition can't be transcribe to pictures that ask for the meeting of a disturbance through time. The decisif instant shifts here into a moment, a moment of pure concentration, an out of body experience, where I become and translate at the same time what is in front of me. A rush of adrenaline takes over, and for 1 minute, or 20, or 12 hours, I feel like I found something.

Why does my process tries to adopt a fungal behaviour ?

To do : Write a love letter to a mushroom.

ongoing occupation :

- Letter Exchanges with Angel Adhera, remembering our bike travels

Videos compositions :

-"Wind blowing love story" with Ryan and Ama Shyioka

http://vimeo.com/503220759
A wind blowing love story,
Ryan and Adèle never met in person.
They missed eachother, the time of a short trip, caught by Tinder's geolocalisation.
This is the love story they created.
One image blending into another.
Au gré du vent, une histoire d'amour entre Ryan et Adèle.
Une histoire rythmée par une succession d'image se fondant l'une dans l'autre.
Algorithme amoureux, crée par Adèle Grégoire et Xiaoyuan.
Ama Shyioka composé la musique en m'inspirant de ce thème, et de la morphose.
🥀
Ryan made a book, I made a romcom.

- "Waiting and be patient" a youtube video to pass the time inspired by the melody of Ama Shyioka

Sitting, looking at the steam appearing on the hammered glass from the warm cup of tea placed on the window still.
A path is moving, taking us through a journey in between the window and the outside world.
Behind the glass is a memory, is a wish, is an unexpected body reaction.

This work may talk about time, attention span, or failing to catch your curiosity behind a curtain. I don't know.
It comes from two very personal places.
Victor made the music as a reminder, to help him to be patient, as a sentence or a word that keeps comming back into your mind. It hurts, it is nobody's fault, it will pass...
His sound instantly moved me, it made me want to exteriorize this feeling of being emprisoned somewhere, behind a window, looking at the outside, looking at the past.
Not moving, just staring at everything that is happening in front of me.
It is not much, but it is still overwhelming.
I don't know to which world I belong to anymore.
Traveling behind a screen somewhere.
It will pass...

- "A reminiscent family"
One channel video + drawing of my bike. The sound is coming out of the drawing.

This is not my project, but still, it is part of my practice.
- "Living together - Loop session" for/with Henotics and Rafael
We spend five days spying on the collective of performers Henotics, recording their every moves with six cameras and three microphones.
I registered the sound of one of their warm up they call "Loop session". I felt like a composer, letting myself be guided by their energy, approaching my mic from their body, catching the way they processed the air around them.
Through the sound, they come together in a polyphonic intercourse.

- "Schmink" with Théo Sixou

Textes📚

"The Lathe of Heaven" written by Ursula K. Leguin

"Lilith Brood" written by Octavia Butler

Lilith wakes up in a strange room, a cell with cold and sleek gray walls. Her last memories were of the war, the loss of her son and of the man she loved. With Lilith, Octavia Butler brings the reader into a post-apocalyptic state of the world as we could have known it. The humans destroyed the Earth as they destroyed themselves. A ship of extra terrestrial nomads known as the Oankali, was sent to the Earth with the purpose of trading knowledge. These creatures have a particular thirst for knowledge, they are capable of constant accumulation of memory across generations, each individual knows and remembers everything that was processed through their body from the many thin sensory tentacles that cover their skin. Through them, they can acquire the genetic properties of all things, and their analysis gives them the power of copying, recreating and modifying what they studied and understood from the matter. Everything surrounding them are living beings, even their ship. They live for and through trade to enhance and spread their species through merging themselves with others that could be of interest. Humans revealed themselves to have an irresistible kind of cell construct which provoque deadly diseases such as cancer to humans but, well studied could bring the next generation to shapeshift into any form. The Oankali rescued the few livings that survived the man made catastrophe and started the process of healing the planet. For them, this is the perfect trade opportunity, a restored planet and enhanced individual in exchange for genetic evolution. The power relation generated by the work of Oankalis, and their strange appearance, lead suspicion into the mind of several survivors. The humans end up more difficult to convince than expected. This brings generations of conflict, miscommunication, distrust, until the mixing of genes and multicultural individuals come to defy the understanding of both peoples.

Nikanj, about humans : "They keep what experience has taught them - usually - but lose the experience itself."
"We made a town. We even had a couple of mills for power. That made building easier. We build like crazy. If you were really busy, you didn't have to think that maybe you were doing it all for nothing. Maybe all we were going to do was sit in our handsome houses and pray in our nice churche and watch everybody not getting old. Then in one week, two guys and one woman hung themselves. Four others just disappeared. It would hit us like that - like a disease that one person caught and spread. We never had one suicide or one murder or one dissappearence. Somebody else caught the disease. I guess I finally caught it."

"The secret life of trees" written by Peter Wohlleben

“The Mushroom at the end of the world - on the possibility of life in capitalist ruins”, put together by Anna Lowenhaupt Tsing. Chapter one : arts of noticing

In this chapter, Anna Lowenhaupt Tsing looks for the connection between economy and environment. She takes well-known historical facts about the rise of the industrial era, its progress and its thirst for growth. She then exposes individual stories overlooked that point out the contradictions in promises and ruins of industrialisation for the human workers left without jobs and destroyed land. In the middle of this conflict, where the capitalist structure exploits both humans and non-humans into resources for investment, and humans try to fight for their survival in the same system. She asks this central question: after promise and ruins, another promise and another ruins, what emerges in the damaged landscapes ? Independent entities, migrant workers, get together from one destroyed forest to another to profit discretely from this desolation picking the Matsutake mushrooms which grows amongst the light and red pines. Capitalism tries to standardise, individualise, segregate, alienate beings. But when this system fails us, unable to rely on a stable structure, unpredictable encounters transform us. While we look at the Matsutake mushroom, where their caps appear from their rizomic roots communicating through the ground, and how it influences human behaviours in vulnerable post industrial landscapes, it can make us think about collaborative survival.

This chapter begins with an image, a scan of Mr. Imoto’s Map of revitalizing. An accumulation of brush strokes spreading china ink all over the page, in every direction possible building a mysterious chaos for people who are nor familiar with japanese writing. If you look long enough, the strokes transform into intricate lines representing, with a strong energy, all sorts of animals, plants, mushrooms, insects, flowers, leaves, birds, rabbits, falcons, beetles, fawns and deers, mosquitos and butterflies.

"Swing Time" written by Zadie Smith

"L'université de Rebiba" written by Goliarda Sapienza

"Les certitudes du doute" written by Goliarda Sapienza

"An Appartement on Uranus" Written by Paul B. Preciado

"A Thing Like You and Me" Written by Hito Steyerl => https://www.e-flux.com/journal/15/61298/a-thing-like-you-and-me/

Films👀

Julia in the storm => https://www.youtube.com/watch?v=8tsvJ1XaXvo

Kajillionaire - Miranda July

Uncut Gem -Frères Safdies

The pleasure of being Robbed

Bacurau - Filio Klebher Mendosa

Under the skin - Joathan Glazer