Entanglement There is a combination of narratives in this space which enhances our entanglement and occasionally gives way to friction. The promise that we had as a mediation in the political world was broken and it leads to a revolution. Where is the equality among us? The way through is awareness, exchange, and purposeful confrontation. The friction felt in this moment, sometimes awkward, sometimes painful, is maybe transient and, hopefully, hopeful Augmented engagement requires unmediated communication. Reinvention of knowledge gives an inquiry to pursue. I must consider myself a novice in order to renew my capacity for sensitivity and live without judgement. Perceiving suffering from oneself, and having great empathy with other people at the same time, might help an individual avoid dissociation from the world. The moment one definitely commits oneself, a transformation occurs. The search for assemblage within communities has its roots in the ecological rupture caused by hu/mankind. The identity of the community is embedded in the fabric of its members. An artist discovers how to draw a conclusion through a process involving navigating a labyrinth of uncertainty and applying a liniment of observation to their senses. The recognition of where one’s boundaries lie make it possible with poise and grace to cross over. The act of listening and using one’s senses—the reaction from one’s stimuli—can help create an autonomous, evolved, self-emergent world. If we are free, we are responsible, if we are not responsible, we are not free.
kenandymarilyn jellokittywandplasticfacemaskworld
Roxy Savage Images of objects from Wiggle System: a five-day self-care jello making performance project. MFA SVA ArtPractice, 2020 @smashmold_roxysavage www.roxysavage .com
Heather Williams
Entanglement Day 2
36”x 36” canvas, marker, cherry juice, acrylic
Heather Williams
Entanglement Day 3
36”x 36” canvas, marker, cherry juice, acrylic
Heather Williams
Entanglement Day 4
36”x 36” canvas, marker, cherry juice, acrylic
Heather Williams
Entanglement Day 5
36”x 36” canvas, marker, cherry juice, acrylic
Mycelial Entanglements The Mushroom We See
Patricia Tewes Richards Patriciatewes.com @patriciatewes @museumofclimatecrisis Art Practice MFA 2020
The mushroom we see is neither plant nor animal. The mushroom we see is part of the kingdom Fungi; closer to the animal kingdom than the plant kingdom. Fungi are ancient, 425 million years old by fossil records. It is estimated that there are 1.5 million species of fungi. Fungi can be helpful or harmful to plants and animals. We humans talk of “edible” and “poisonous” mushrooms. We and other species are deeply entangled with fungi.
Mycelial Entanglements Patricia Tewes Richards
The mushroom we see is but a small part of the fungus. Most is underground in networks of small fibers called mycelia. Trees communicate and send each other nutrients via this network of fungal filigrees in the soil.
Mycelial Entanglements Patricia Tewes Richards
The mushroom we see is the sex organ of the fungus. Under the cap of the mushroom, gills produce spores that float away in the wind. New mycelia form if these spores land in a warm wet place. life span of only a few days.
Mycelial Entanglements Patricia Tewes Richards
The mushroom we see has a
Place blends all our stories, an entanglement of earth and space and strands, that pulls us in its twisted web.
Denise Thompson
Earthscape
ArtandImages.online
barbara owen anticipation
hope
expectation
gesture
Jingjing Lin www.jingjinglin.com
Immeasurable Eternity 78.8 x 39.5 inches Acrylic painting on canvas 2020
The power of Fear 80 x 63 inches Acrylic painting on canvas
2020
Mother, 2019 Irina Jibert Water Painting
« Enfance comme nous exposée, ou comme bêtes en hiver. Plus exposée : car elle ignore les tanières. Exposée, comme si c’était elle la menace. Exposée, comme un incendie, ou un géant, ou du poison, ou ce qui rôde la nuit, verrous tirés, dans la maison suspecte. Comment ne pas comprendre que les mains protégeantes, que les mains qui abritent leurrent, en danger elles-mêmes? -Qui d’autre alors? -Moi! -Qui, moi? -Moi, la mère. Qui fut avant-monde… Ô mères généreuses. Voix apaisantes. Néanmoins! Ce que tu nommes là, c’est le danger, c’est toute la menace pure du monde – qui se retourne en protection si tu l’éprouves toute. La plus intime enfance est comme le centre. Par sa peur expirant, chassant la peur. »
Rainer Maria RILKE, Poèmes épars
Erin Peisert
Erin Peisert
Tim What the map cuts up, the story cuts across. —Michel de Certeau, The Practice of Everyday Life Denise A man sets out to draw the world. As the years go by, he peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, instruments, stars, horses, and individuals. A short time before he dies, he discovers that the patient labyrinth of lines traces the lineaments of his own face. —Jorge Luis Borges, afterward to El hacedor Andrew What remains is what we are able to promise one another. Directly. Without the mediation of economic and political bureaucracies. The revolution begins by asking: what sort of promises do free men and women make to one another, and how, by making them, do we begin to make another world? —David Graeber, Revolutions in Reverse: Essays on Politics, Violence, Art, and Imagination Erin Some empathy must be learned and then imagined, by perceiving the suffering of others and translating it into one's own experience of suffering and thereby suffering a little with them. Empathy can be a story you tell yourself about what it must be like to be that other person; but its lack can also arise from narrative, about why the sufferer deserved it, or why that person or those people have nothing to do with you. Whole societies can be taught to deaden feeling, to disassociate from their marginal and minority members, just as people can and do erase the humanity of those close to them….Empathy makes you imagine the sensation of the torture, of the hunger, of the loss. You make that person into yourself, you inscribe their suffering on your own body or heart or mind, and then you respond to their suffering as though it were your own. —Rebecca Solnit, The Faraway Nearby Allison [M]aking has become popular, (re)seen as a hopeful, even ecological and political enterprise, whose processes enact natural correspondences and flows between peoples, places, materials and things. Yet, these assemblages also rupture, generating friction, resistance, transformation or irrevocable schism. And then, materials also shift; like people and places they are always transforming. People and tools also break down, become injured or age. —Michele Avis Feder-Nadoff, Bodies of knowledge: towards an anthropology of making
Irina [I] focus on zones of awkward engagement, where words mean something different across a divide even as people agree to speak. These zones of cultural friction are transient; they arise out of encounters and interactions. They reappear in new places with changing events. —Anna Tsing, Friction: An Ethnography of Global Connection Heather For the story of my life is always embedded in the story of those communities from which I derive my identity….The self has to find its moral identity in and through its membership in communities such as those of the family, the neighborhood, the city, and the tribe….without these moral particularities to begin from there would never be anywhere to begin; but it is in moving forward from such particularity that the search for the good, for the universal, consists. —Alasdair MacIntyre, After Virtue: A Study in Moral Theory Barbara To be sure, the expert is more knowledgeable than the novice. What distinguishes them, however, is not a greater accumulation of mental content – as though with every increment of learning yet more representations were packed inside the head – but a greater sensitivity to cues in the environment and a greater capacity to respond to these cues with judgment and precision. The difference, if you will, is not one of how much you know but of how well you know. —Tim Ingold, Being Alive: Essays on Movement, Knowledge, and Description Colleen Leave the door open for the unknown, the door into the dark. That’s where the most important things come from, where you yourself came from, and where you will go….“How will you go about finding that thing the nature of which is totally unknown to you?”….The question [is a] basic tactical question in life. The things we want are transformative, and we don’t know or only think we know what is on the other side of that transformation. Love, wisdom, grace, inspiration—how do you go about finding these things that are in some ways about extending the boundaries of the self into unknown territory, about becoming someone else? —Rebecca Solnit, A Field Guide for Getting Lost Jingjing [I]t is not true that all interpretations are equal. The text presents a limited field of possible constructions. The logic of validation allows us to move between the two limits of dogmatism and skepticism. It is always possible to argue for or against an interpretation, to confront interpretations, to arbitrate between them and to seek agreement, even if this agreement remains beyond our immediate reach. —Paul Ricoeur
Patricia Knowledge emerges only through invention and re-invention, through the restless, impatient, continuing, hopeful inquiry human beings pursue in the world, with the world, and with each other. —Paulo Freire, Pedagogy of the Oppressed Emily Rather than supposing that the hand operates on nature while the feet move in it, I would prefer to say that both hands and feet, augmented by tools, gloves and footwear, mediate a historical engagement of the human organism, in its entirety, with the world around it. —Tim Ingold, Being Alive: Essays on Movement, Knowledge, and Description Becca [A]lthough narratives of entanglement grasp something important about the world, they do not capture everything. Attention also needs to be paid to the frictions, foreclosures, and exclusions that play a constitutive role in the composition of lived reality. Centralizing and politicizing these exclusions, I contend, is vital in carving out space for intervention. —Eva Haifa Giraud, What Comes after Entanglement?: Activism, Anthropocentrism, and an Ethics of Exclusion Roxy Speaking or sounding in an improvisation carries with it the responsibility of these multiple, synchronic, and diachronic audiences. How to address these audiences in good faith? How to reflect in the aesthetics of the improvisation the wider social contexts out of which any given improvisation arises? How to be beautiful, dissonant, unpredictable, emancipatory, and playful out of respect for what it means to be fully human, fully expressive of creation as a necessary response to being? —Daniel Fischlin “Improvised Responsibility: Opening Statements” (from The Improvisation Studies Reader: Spontaneous Acts) Serena [L]istening with all one's senses—as a multi-sensual encounter with the world, and not as a selfseparate from the world but as a self-emergent with/in the world, open to the world: To be listening is to be at the same time outside and inside, to be open from without and within, hence from one to the other and from one in the other. —Jean Luc Nancy, Listening