Strategies of Arrival: notes and process

Sometimes the notes, sketches and inspirations are even more interesting than the published results. Here is the unfiltered process for Strategies of Arrival

breaking is only possible by consumption

fairytales have no feelings, just action. Performing action. Feelings were then created in the mind of the listener.

Wie in einen Kühlschrank hinein zu schauen - da ist immer licht, aber keine Wärme.

exhibition ticket price bound to CO2 emissions in the city or the loudness of the foyer

kaugummi in der ausstellung verteilen, neben den Werken kleben

bottle post with wishes for a better world, written by visitors, thrown into the ocean

voodoo earth-chan, with different possible actions hug/destroy

То, что у людей в руках, то, что они получают при входе, встроенно в выставку - стаканчики в инсталляции, билеты на полу и в картинах

стена плача как ландшафт туда вставляешь себя, свою молитву -> тайничок под стеклом

Exhibition: rip the exhibition plan from a book, a book full of exhibition plans.

Graffiti as arrival Kaugummi as arrival Freestyle erste rhymes als ankommen

Proposal power, action without asking, of delivery robots. They take space.

“in my language” as affordance Animals as product of surrounding affordance adjusting affordance to adjust the outcome

schaumstoff shoes to change relationship to the earth

Cloth, hanging in the sun, slowly moving in the wind, has always meant home.

so:

Affordances
Proposal power
renegotiating attachments
breaking and destruction as joy
Schaumstoff-Überzieh-Schuhe - einfach aus Schaumstoffplatten geschnitten, die man anziehen muss, um durch die Ausstellung zu laufen. Das wirkt destabilisierend, man verliert den Bezug zur Erde, und muss sich neu finden
auf dem Boden verschüttete Kola, damit die Füße kleben bleiben
anlehnen als Ankommen?
schleimpilz fistbump? Schleimpilz schlagen und es schlägt zurück? Schleimpilz in bestimmter form wachsen lassen?
Geheime verstecke mit den Sachen, die man in die neue Welt mitnehmen will. Sind ja nicht so viele
Lorawan-Licht?
exhibition ticket price bound to CO2 emissions in the city or the loudness of the foyer
Ein Lehmloch, in welches man sein Kopf reinsteckt, und dann riecht man Erde und Heu und hört dem Gebrabbel von David Attenborough und Werner Herzog zu. Gebrabbel hört sich so an: https://rybakov.com/files/2.mp3 https://rybakov.com/files/3.mp3
Kaugummi, welches man mit dem Eintritt bekommt und auf die Werke kleben soll, weil es das innen (Spucke/Essensreste) skulptural mit dem Aussen verbindet - man klebt sein Kaugummi irgendwo hin, und schon ist man für immer da. Wie ein Graffiti, aber viel intimer.
Ein großer gefällter Baum und ein paar Äste, mit denen man drauf schlagen kann.
Flaschenpost: man soll aufschreiben, was es denn ist, was man wünscht, dass in der Welt passiert. Oder was derjenige, der die Flaschenpost bekommt, mit der Welt machen will. Dann muss man es in eine Plastikflasche werfen und zuschrauben. Die Plastikflaschen samt Nachricht werden danach in den Rhein geworfen.
ein Kuka-Roboter, der einen Ast hin und her schlägt, bis nichts mehr davon übrig ist.. Oder überhaupt dieses Thema - wir überlassen die Zerstörung der Welt den Maschinen, dabei macht es so viel Spaß, es mit eigenen Händen zu machen!
Videos von Welt mit ausgeschnittenen Menschen, mit generiertem voice over dazu
lean on somebody, lean on Bruno

Zürich:

decide which person to copy and go as fast as them
go close/ far from the person you chose
zwischenbäume
choose the best space in the room for you. sit there. take a person to experience it
sachen runterwerfen wie katzen (LETTING THINGS GO)
moving like a terrestrial being

CZ20 intervention strategies

no signage - no signs telling ‘please touch/please don’t touch’ all text accompanying artworks to be written either as sachliche reports in an academic style, or in poetry

all measures to control human visitors flow must be organic - like the water ways that were use to keep the spiders inside an area

changes in tonality of different parts of exhibition have to coincide with slight changes in surroundigs - different ground, different plants, different lighting conditions

wrapping/unwrapping the artworks (like at the current 100 media art works exhibition) allows for care for exibited pieces. Care is important.

Processes are more important than states. CZ is in constant processes, science sucks at measuring and presenting them. Performative / somatic auseinandersetzung is needed to achieve knowledge transfer.

Laughter should be heard from the exhibition.

Bubble gum graffity bread stapled to trees, putting things in relations to each other, is needed.

uv / blue flashlights for visitors

smells produced my destroying nature, by hand

playfulness

re-encountering elements inside the exhibition. A paper boat made from your ticket may flow somewheere again.

encourage selfies

wooden pathways, foamy pathways (park museon)

There should not be a border at which an artwork starts or ends. No names or descriptory, commentary on the plaques. Or any plaques for that matter. This is to prevent the categorizations in the heads of the viewers: “ah, so this is Armin Linke’s work”. An oral tradition of storytelling (führungen, micro-führungen) should instead be implemented.

The overseers should be encouraged to eat, drink, do manual work like popping bubble wrap, crochet, knit, do woodwork and repair bicycles.

Like water flows define the extension of land in CZ observatories,

somehow use the weight of visitors?

Strategies of weakness

falling down
soft mat to change the stuck-up pose

smoking is a story (experience changes with cigarette length), e-cigarettes are binary заменить лица у икон генеративными лицами

twigs that can be, have to be broken by walking over them.

notation for the situation of not needing a notation (whaa?)

anti-identity experience

im museum muss man so tun, als wäre man zuhause

never remove trash, never clean the exhibition

beany bags full of peanut shells and peanuts

birkenborkenbrot

waldbrände als lebewesen

hausmilben als produzenten von angst der katzen

milben auf wimpern?

cosmologie der bakterien im bauch

Lovelock cave 1970 excrement found in a crevice, a fold in lovelock cave in Nevada, the coprolite had dust mites, from the early times dust mites and humans lived together

dust mites eat skin flakes, and live in mattresses

(cosmology of the dust mites)

dust bunnies

the natural predator of dust bunnies and dust mites is the vacuum cleaner

What is gaia?

Gaia is a company that offers climate solutions. Underfloor heating should prevent dust mite infestation.

To fully arrive at a place, you have to be able to position yourself in it. This demands the ability to choose action or non-action. (technological solutions that extend our bodies are limiting our ability to choose). “Life is choosing matter”, to quote Margulis. Are we loosing life, as other, artificial and trained intelligence are choosing for us? Will these technological solutions, designed to enrich and extend our bodies, take over our ability to choose and to act? Is there a way for the use of technology to foster the presence of human bodies? Can disembodied intelligences foster the sovereignity of our bodies?

Or can disembodied intelligences foster our sovereignity? Or is there a way to design for taking place?

When we were young, we were promised a rich, eternal nature. A nature strong enough to provide and care for every human being. This turned out to be a lie! Nature is weak!

Some people say, we destroy nature. Has any of you ever actively destroyed any nature? NO! We are good people! We were betrayed by nature. It’s not our fault that it turned out to be weak!

Today is the day, to punish nature for its weakness.

Take the sticks! To destroy what is rightfully ours!

This is a safety hazard because people are not used to beat trees with sticks.

Ultimately, it boils down to proposal power

    Desire change -> Affordance -> embodiment -> new relationship

    Affordance of embodiment -> new relationship

    Affordance of embodied action -> new relationship

Clean topology is a lie and that’s okay.

Performative:

try to touch your back
touch someone’s back with 5 different hands
look up (and remember the last time you looked up)
Muskelspannung wandert von zehen über Knie, Tallie, Bauch, Brust, Hals, Kopf, Arme zu den Händen. Und zurück.
left hand touches right ear and vice versa
Maria Bätge Melon Head
collective stick map performance
sing
call objects names

Posters:

compressed maps
old styled google maps
Ivana orthographic?
oldest wolrd maps
Favelas (nairobi Foto with kids), specific favela topology, growing houses in africa/post-soviet

Behauptungen:

we are in the tunnel of perception (google maps tunnel image; self made frames->3d )
electic gadgets, externalized cognition devices, are piercing your tunnel
we need dirty, non-cartesian space
because our surroundings are externalized cognition, we should take care of it

Ablauf:

This is what we believe our world is: (images of maps/clean concepts)
This is what it actually is (dirty concepts) and it’s ok so.

Dirty topology of:

Favelas
Perception (tunnel)
Sex (lover/octopus)
hanging climbing gardens
self driving cars who see through the earth

dirty topology experience:

cinemagraphs
philipp engelhardt Closed Circuit
privacy screen
breaking (fortune cake)

-> Celebrate dirty topology! exhibition as a living organism Pipes at waterpark/google reverse the perspective break cause/effect

Face wall (people visit, camera sees them - they remain on the wall forever)

Presentation:

- SPECULATIVE TOPOLOGY
- What is topology
- Dirty, subjective topology, non-cartesian space experience
- REPRESENTATION
- Maps are tools of power, shape our understanding
- Shrinking world
- World without Russia
- 3d maps, indigenous maps
- Scientific representation of climate change
- Style transfer

- PERCEPTION
- tubes / o'neill spaces
- magical realism and tubes
- mirrored landscapes/ earthscapes
- tube breaking experiences
- landmark / vector mind map / disorienting experience
- perspective: russian animation/ ivana3d / reverse
- bodies perceive / terra trema


- INSIDE AND OUTSIDE
- When we experience inside and outside (air, sex, food)
- smoking is such an experience. Try sighing
- topology of the lover (problem of showing inside in porn)
- octopus erotica
- octopus has alien geometry (Harraway is right, we have to become octopi)
- skin as a border: skin and dirty politicians
- Food, earth cake and pudding, iceberg salad
- breaking affordance (nuts and so on)

- ARRIVING AT A PLACE AND A BODY
- Give things names
- become part of the place
- creative expression: paint things (kids and iceberg)
- zen garden: the structure is not important, but the Kämmung, the act
- voice: say hello at the entrance, listen to yourself say hello
- voice: mirror scream
- scream in group
- physical excercise
- physical: destroy the earth with your bare hands!

Speculative topology

Muskelspannung wandert von zehen über Knie, Tallie, Bauch, Brust, Hals, Kopf, Arme zu den Händen. Und zurück.

Topology is the study of space. With speculative topology I am looking for properties of space for a new earth. An earth that we as humanity can not leave, and just because of that, shouldn’t destroy.

In our everyday lives we imagine that we are living in a cartesian space. Every object has coordinates in space, a straight line is the shortest connection between two points, and distances don’t change. Our human perception, however, is much more muddied. A walk through the park may appear shorter than a busy street and a path you walked many times faster than a new one.

How can we use the intricacies of human perception to tell the story of a new earth, an earth that we are going to live on, an earth worth saving?

Representation

Maps are representations of the world, and those who create the maps are in a position of power, as they are shaping our understanding of the world. So I re-shaped some maps. In this experiment I gradually removed the free spaces on the maps. After all, if there would be something interesting in the space, it wouldn’t be empty, right?

– video maps

As a result I have created a constricting world, in line with the narrative of the global village - the notion that everything moves closer together and we are all neighbours. That’s your global world.

If instead we let some free space grow before consticting it again, we end up with some sort of a breathing world.

– video maps breathing

While I was writing the software to create breathing maps, Vladimir Putin was presenting some new intercontinental rockets as part of his presidential campaign. To a question about the possible destruction of earth he answered: «Certainly, it would be a global disaster for humanity; a disaster for the entire world. As a citizen of Russia and the head of the Russian state I must ask myself: Why would we want a world without Russia?» Interestingly, the maps used in the video to illustrate the nuclear attack do not include Russia. Nor do they include any other known country or continent.

– images of world without russia

Except for Florida:

– Image of Florida satelite

Humanity has been making maps for a long time, and they haven’t always looked the same. There were some maps made out of clay, some others out of wood sticks, other again were tattooed on your back signifying your place in the universe. Three volumes of History of Cartography are available for free on the University of Chicago website and go into great detail on the topic of non-western, indigineous, map-making.

The most fascinating for me are the inuit carved wooden maps. They represent the icelandic shoreline, even though they look nothing like the shoreline from above. They are compact enough to be carried in mittens and are intended to be read by touch.

— Image of Inuit carved map

With ubiquitous 3d printing and injection molding, custom 3d maps of the exhibition space could be made. This kind of ‘prop’ would not only get visitors into thinking about space and representation, but also let them experience space as an inherently phyical phenomenon.

Just as our paper map offer less direct interaction than the inuit maps, our scientific infographics often fail to include the richness of the surroundings and the complexity of earthly lifecycles in a visual way. So I sought to combine the dry contemporary infographics with a pre-20th century scientific illustration style used most prominently by the german biologist Erns Haeckel.

Most of you must be familiar with artistic style transfer with neural nets. It can be described as a series of algorithms that learn the visual style of a particular picture and are then able to recreate another picture in the same style. For a while, a lot of images that looked like Starry Night by Van Gogh floated around the internet, and many apps exist to convert your selfie into a painting with a predefined style.

I used the images of Ernst Haeckel to convert block diagrams often used in geo sciences into something more visually complex

– image of block diagram + image of style

These are the results:

Images of the complexity of the world

We are accustomed to infographics containing a lot of hidden information, and we are trained to spend time trying to understand it all. In case of the style transferred images, their visual complexity is even higher, while virtually none of the previous information content remains readable. And yet we search and search for meaning.

The neural style transfer process is non-deterministic. Meaning, every time you run it, a somewhat different result will appear. Combining these results makes the diagrams of a slice of earth feel alive, as if populated by thousands little creatures.

– video of the diagrams

A NEW PERCEPTION OF SPACE

//EVERYBODY LOOK UP AND REMEMBER THE LAST TIME YOU LOOKED UP

As maps shape our perception of the world, so does the concept of euclidean space - the idea that space expands uniformly in three dimensions, and that every point has its own set of x, y and z coordinates. Let’s imagine that space around us is not uniform. What are the alternatives?

A popular effect that of a tiny planet. You take a panorama photo and wrap it in a circle to create the effect of being the Petit Prince on your own tiny planet.

– images of tiny planets

If you invert the coordinates, you end up with an infinite tunnel:

– images of infinite wells

If we would be living on a planet that - due to some athmospheric effect - would appear to be folding on itself, we would probably never develop flight, let alone space travel. Would we be taking more care of the planet, knowing it is our only one?

In some ways, tubes describe our perception much more accurately than detailed 3d maps. When moving from one place to another we may take a bike or a tram, only to find later that we don’t remember many details of our rides. We took a tube from one point of interest to another.

– images of slides

Like slides, our tubes of perception pierce the boring space between places we want to be. We don’t care for the ride that much. Maybe we should?

Electronic devices act like instantaneous tubes, piercing the space for our attention but not for our bodies.

– Philipp Engelhardt microscope video

When I was thinking about perception of space I also thought about perspective, and the simplicity of a world with an orthographic or reverse perspective.

With modern technology we can recreate the ortographic projection of russian orthodox iconography.

– 3d video of Ivana

Here, I took a few dozens of images of my friend Ivana from different points in the room. Using some sophisticated algorithms, a 3-d scene can be recreated automatically from the photographs, and in the scene we can choose the perspective we want.

Reverse perspective is interesting in its own regard. There’s something warm in the perception that things farther from you are just as big or bigger as those close to you. Like a hug of the universe. You can’t leave because there’s nowhere to go.

– video of true reverse perspective

Another experiment that I did deals with the idea of immutability of space

– terra trema gifs

I took these panoramas with the smartphone and every time my hand was unsteady in a different way. Our perception is like an unsteady hand - it constantly fluctuates over time.

Finally, there’s a question whether we need to be disoriented to find new orientation. A paper by … postulates that there are two cognitive maps in the human brain, one is a map of landmarks and how they relate to each other and the other is a bearing map - a map of your bodies position in space. In the exhibition we can manipulate the perception of space by the visitors, if we believe that disorientation should come before reorientation.

///// EVERYBODY CHANGE YOUR SEATING

INSIDE AND OUTSIDE

As I was researching old illustrations I came across this illustration of taoist inner alchemy. The internal alchemy is about balancing what is inside the body: some kind of essence, spirit, soul, energy. The illustration shows a meditating monk, with his internal organs represented by different parts of the landscape.

– image of neijing

It does look in some way similar to the images of block diagrams created by neural networks. It also uses concepts of outside world to illustrate the inner workings of the human bodies.

In our perception, our bodies are specifically ours: there is a border where the body ends and the world begins. However, bodies are also distinct participants in the world.

I searched specifically for experiences that overcome that dualism.

One is breathing. Air is all around us, but also inside of us, every living moment. We do not clearly experience it, however, unless we breathe in something toxic. My pet theory towards the attractiveness of smoking tobacco is, that you get to experience your lungs in an immediate way. Next time you crave a cigarette, just try to sigh seven times over two minutes. It’s quite a treat.

Another simultaneous experience of the same inside and outside is what I call the topology of the lover. During sex, your lover is at the same time intensely inside and outside your body.

– image hokusai

This drawing by Hokusai is called The Dream of the Fisherman’s Wife. The role of the lover is played by an octopus, which is honestly a big upgrade. After all the intensity of the experience of transcending the dichotomy of inside and outside is much stronger with a creature that has eight arms and is able to fully transform its geometry.

– image octopus

The octopus’s and jellyfish’s alien, undefined geometry is what makes them so intesting as an alternative to human-centered views. Not only is their intelligence alien, it is probably mostly defined and formed by their boneless structure.

– image harraway ////// touch someone’s back with 5 different hands

I talked to a mathematician about octopuses, and while topologically they are equal to mammals - the shape of a donut with the mouth-anus line being the donut hole - they do have different properties just on account of having eight squishy arms. For the mathematician, the interesting aspect of it was the ability to tie them into far more complex knots than human extremities would ever allow.

Finally, the third example of transforming the outside into inside is food. And this, luckily, is something that we could actually use in an exhibition.

Maria Bätge Melon Head

breaking affordance of nuts, food, earth cake and pudding, iceberg salad

breaking border of human body (dirty skin) is horrifying.

ARRIVING AT A PLACE AND A BODY

//// EVERYBODY left hand touches right ear and vice versa

Finally, the exhibition will try to find a way to “land”, to arrive at a new place. At the same time, our visitors are also going to arrive in a new place. So, when you go into a space where you’ve never been before, how do you arrive, how do you land there, how do you become one with the space?

I found some methods

become part of the space Willi Dorner installations in urban spaces
Give things names. It’s an excercise by Keith Johnstone, of the Impro theater fame. Look around you and just give things names. Not the ones they have, but give them new names. Call a table “Elephant”. Call the door “Steven”. Call the dirt under your fingernails “clouds”. Somehow, through the violence of giving a name to an object, they become yours.
Paint things.

– images of kids painting walls

– images of graffity on icebergs

Expression / rearranging things / repairing things (is actually more important than the structue/content)

image of zen garden With a rake, you create patterns in the sand, but the patterns are not important. Important is the connection towards the space that you create, just through the act of creation.

Voice

voice originates inside, it vibrates and fills the room and touches everything. Screaming mirror

//////// EVERYBODY Make some sound!

Physical experience:

Let’s imagine there’s a water bottle lying on the ground with it’s contents spilled on the floor - we can expect some visitors would clean it up or at least put the bottle upright or to the side as to stop other visitors to step on it.

repair as ownership - Externalized cognition - we are the world, so we should take care of it.

destroy ’nature’ with your bare hands. It’s fun, but also hard to destroy a tree, even when you have thousands visitors.

Traditionally, art exhibitions would reflect the dominant world view (?), and would categorize, sort and present the artworks with clearly delinated borders between artworks, artworks being atomized, artists names more important than the works etc. An art exhibition about the critical zone should of course give up the clearly mapped flat worlds of yesteryear and invite the entanglements of the post-antropocene. The exhibition should become soup, in which all of the ingridients add to the overall flavour, with none being main ingridient. To reach the state of exquisite soupiness, I propose a series of interventions, that would gently shift the expectations of visitors and create an atmosphere of openness to new discourses.

I see the necessity for a sensorial shift in the sheer complexity of entanglements that CZ introduces. While before you could drill down the taxonomy of living beings and feel safe in the seeming understanding of the structure of the world, the CZ quickly turns all-embracing in its inter-relations, which may feel overwhelming. One reason for it may be, that while humans are good at conceptualizing entities and taxonomies, we are quite bad at conceptualizing processes. Processes, however, may be felt; processes may sweep you away, like a river. That is why I see the exhibition not as a structured collection of objects, but instead as a space in which processes can be felt. Based on these considerations, my artistic position is to combine performative objects, exhibition design and institutional intervention to let visitors feel engrossed in processes that happen around them, independent of their personal commitment to participation.

Organic visitor guidance:

foam entry
greet with a soup?
(foam stairwell)
museum guards repairing stuff/ knitting/ doing manual work
peanut bean bag
claquers and laughing people, microführungen
digital displays should be hidden from view - you have to unwrap it before you can see anything
a sofa made from memory foam, it doesn’t allow you to stand up, you just sink.
moat of gooey material /klebriger boden /sand around the works that should not be touched.
food that gives you flatulence / you have to break with your hand / uncut bread from birke
no trash should be removed from the exhibition. Peanut casings would litter the ground, the smell of farts would stay forever.

six whegged robot with a 3d Bruno on it. Like Lenins bust on train tracks:

https://news.ycombinator.com/item?id=18680908 https://leprosorium.d3.ru/dalnevostochnyi-lenin-na-koliosikakh-1649187/?sorting=rating https://historyporn.d3.ru/stantsiia-polius-nedostupnosti-1958-god-antarktida-1705979/?sorting=rating

To quote Varela, a philosopher of Enactivism, “human beings are close to new information, but open to interaction”

shoes with veils? step on them, by chance, and start an interaction with those around you. veils around you! Hats with veils!
pillow fight for climate

breaking as affordance
letting yourself (or objects that you built) fall
seeing world from a different perspective (tree photography)

ideas Attention between human/non-human beings? robotic expressivity? letting robots dance? micro-expressions in robotics? microexpressions in webdesign (tiny color animation?)

haltung von Mitgefühl üben. Haltungen einüben.

Selbstankunft wie Lia - Daumen im Mund, die andere Hand streichelt den Bauchnabel (oder in die Hose)

Positionen jeden Tag einnehmen, die man noch nie eingenommen hat

Linke Hand befindet sich oder berührt die rechte Seite des Körpers und umgekehrt. Verbindung der Hälften.

Presentation May:

main topic: arrival through Belonging

giving ‘wrong’ names to items around you - keith johnstone
zwischenbäume: You belong to the place, not the place to you
choose the best space in the room for you. sit there. take a person to experience it
sachen runterwerfen wie katzen (LETTING THINGS GO)
selfie choreography
small voice, large voice
гардероб? и класть что-нибудь в карманы?

wednesday:

giving objects new names object attachment and separation

Thursday: breath in from above, breathe out into earth tiny movements that nobody sees neighbour, shoulder touching finding your space zwischenbäume

Friday:

high status games?

Like Heimatkunde but without the boring parts. The show imagines earth as a living organism. As every living organism, we have to take care of it, or it takes care of us. Nice show, lots of pictures too.

the museum is a public sphere, people talk to each other in the exhibition

assembly of objections, not objects

Du sitzt auf einem Dreirad. Es ist unbequem. Du wirst gesehen. Erlaube es dir, gesehen zu werden. Wie fühlt es sich an?

Über dir, hoch im Himmel, fliegt eine Schwalbe.

Betrachte die Person neben dir. Stell sie dir weinend vor, wie sie umarmt und getröstet wird.

Du bist von Luft umgeben. Du atmest ein. In zwei Metern wirst du ausatmen. Du hast Luft verschoben.

Du atmest ein. Dafür musste jemand anderes ausatmen.

Was passiert, wenn alle Menschen gleichzeitig einatmen?

An dieser Stelle, vor zwei Jahren, küsste sich ein Paar.

Vor hunderten von Jahren stand ein Baum da, wo diese Säule steht. In hunderten von Jahren wird wieder ein Baum dort stehen.

WLan durchdringt dich gerade, deine Mails überprüfend.

Als du jung warst, kollidierten an diesem Ort zwei Bienen miteinander.

Wenn du lange genug wartest, wirst du eine glückliche Person sehen.

map is not a territory. It is inside the territory. feel, experience the strangeness of map, feel unmapped territory. Space as verb. I space (myself and the territory) with every excercise. Borges, 1x1 map story

Heimatlied deswegen, weil es um Verlust von Heimat geht, was auch bei Latour ein großes Thema ist. Und dann will man es lesen, und tritt in die Pedale, und ist nicht mehr da, wo man vorher war.

being bodily open to interaction being open to the kind of interaction you actually want to have

affordances are imaginations of actions not of results

imagination of actions that we actually want “call of the void” - letting go violence - taking a stand for yourself

breaking affordance

food:
- kitkat
- saltines
- joghurt mit der Ecke
- ritter sport
- eggs
- (all fruits and vegetables, nuts - erntent)
disposable chopsticks
glow sticks
cutter-klinge

what can be created to break to be used?

kerzen
sugar 2gram packages?
uncut books
pencil with two sides radiergummi

https://en.wikipedia.org/wiki/IKEA_effect

Poor expressivity in everyday life leads to the fetishization of expressivity. Musicians, actors, artists and even designers are figures larger than life, for they express themselves. Ironically their own expressivity takes a hit since they are under the constant pressure to perform. Imagine having to play Radiohead’s Creep every week for the last 25 years.

These are Ammassalik wooden maps: carved, tactile maps of Greenland coastlines.

Homelessness at home is when habitual processes don’t result in an expected outcome. “where do we land” is defined by processes that happen where we land. We need to change and experiment with processes. A collection of artifacts is not a process.

Scenographies where backstage is as important as the front stage. We are way past having something in focus.

Walk over branches, walk over spaghetti, breaking through your own gravity

Space vs. Place and affordances of space and place

storytelling strategies of arrival

nonverbal, experiencing part [of the psyche] sees the territory
verbal part creates a map

remapping of experience/map

introducing performative aspects, to be experienced then, contrasting them with the map

-> learn, create new maps!

how to be on the birthday

be shy
try to hug everyone
be clumsy (sei tolpatschig)
act like you are in Paris
laugh a bit too loud
throughout the evening tell stories about how great the birthday boy is
try to get a girl to kiss you
hold somebody’s hand a little too long
act like you are the grandpa of the birthday boy
act like a macho man

interrupt routine stay in same space and time endure the tension think through acting let go of the mask that you put on

be invisible be terrestrial move how you think your right neighbour wants you to move and left neighbour select one person and try to follow them in a unauffällig way try to be as close to them as possible as far as possible try to stare overly expressive

make shoes? clothing?

To arrive you need:

the feeling that you can change something, influence the processes, here and now.
enter a loving relationship to your surroundings
let your guard down

purpose and effective action

affordance is all that is offered by a surrounding that allows the arrival; a contrasty, uneven muscle tension

what you actually want to do, not all what is possible!

Not a question about the mesh generator, but if I want to create a (leaflet or mapbox) map that uses raster images as textures in vector maps, where do I start?

Similar to the Middle earth style map, but for the web: https://adventuresinmapping.com/2018/09/10/middle-earth-map-style/