Grounded - Revision history

Hd-onions at 09:10, 12 April 2022

2022-04-12T09:10:31Z

← Older revision		Revision as of 11:10, 12 April 2022
Line 2:		Line 2:
	<span class="author">Femke Snelting</span>		<span class="author">Femke Snelting</span>

	div class="no-indent">Yet another online meeting, in the fall of 2020. A festival will take place on the cusp of water and land, and the artists are preparing site-specific installations. As they present their projects to each other, one of them claims to be based in the particular area and persistently invites the artists calling in from remote locations to ‘come over for a boat trip, and stick their boots in the mud’. There is no doubt that the best way to get to grips with the shifting grounds of the festival location will be to step on site.</div>		<div class="no-indent">Yet another online meeting, in the fall of 2020. A festival will take place on the cusp of water and land, and the artists are preparing site-specific installations. As they present their projects to each other, one of them claims to be based in the particular area and persistently invites the artists calling in from remote locations to ‘come over for a boat trip, and stick their boots in the mud’. There is no doubt that the best way to get to grips with the shifting grounds of the festival location will be to step on site.</div>

	Physical presence, and direct contact with the specific muddiness of a terrain can be part of a situated knowledge practice, a powerful antidote to presumed positions of exteriority and views from nowhere. But it is also a proprietary <mark class="c1">''gesture''</mark> that essentializes territorial nearness. It counts on the privilege of individual experience, and relies on touch at first hand or boot, sticking to knowledge that can only be acquired by presence. Centring on what can be perceived from where one is standing is taking a risk to foreground what is here and now, and to negate interdependencies that operate at a distance. How long did it take for the sediment to be deposited? Where will the polluted soil from the estuary eventually end up? When did the seagrass become invasive, or start capturing carbon?		Physical presence, and direct contact with the specific muddiness of a terrain can be part of a situated knowledge practice, a powerful antidote to presumed positions of exteriority and views from nowhere. But it is also a proprietary <mark class="c1">''gesture''</mark> that essentializes territorial nearness. It counts on the privilege of individual experience, and relies on touch at first hand or boot, sticking to knowledge that can only be acquired by presence. Centring on what can be perceived from where one is standing is taking a risk to foreground what is here and now, and to negate interdependencies that operate at a distance. How long did it take for the sediment to be deposited? Where will the polluted soil from the estuary eventually end up? When did the seagrass become invasive, or start capturing carbon?

Hd-onions at 09:09, 12 April 2022

2022-04-12T09:09:53Z

← Older revision		Revision as of 11:09, 12 April 2022
Line 2:		Line 2:
	<span class="author">Femke Snelting</span>		<span class="author">Femke Snelting</span>

	Yet another online meeting, in the fall of 2020. ~~<br>~~		div class="no-indent">Yet another online meeting, in the fall of 2020. A festival will take place on the cusp of water and land, and the artists are preparing site-specific installations. As they present their projects to each other, one of them claims to be based in the particular area and persistently invites the artists calling in from remote locations to ‘come over for a boat trip, and stick their boots in the mud’. There is no doubt that the best way to get to grips with the shifting grounds of the festival location will be to step on site.</div>
	A festival will take place on the cusp of water and land, and the artists are preparing site-specific installations. As they present their projects to each other, one of them claims to be based in the particular area and persistently invites the artists calling in from remote locations to ‘come over for a boat trip, and stick their boots in the mud’. There is no doubt that the best way to get to grips with the shifting grounds of the festival location will be to step on site.

	Physical presence, and direct contact with the specific muddiness of a terrain can be part of a situated knowledge practice, a powerful antidote to presumed positions of exteriority and views from nowhere. But it is also a proprietary <mark class="c1">''gesture''</mark> that essentializes territorial nearness. It counts on the privilege of individual experience, and relies on touch at first hand or boot, sticking to knowledge that can only be acquired by presence. Centring on what can be perceived from where one is standing is taking a risk to foreground what is here and now, and to negate interdependencies that operate at a distance. How long did it take for the sediment to be deposited? Where will the polluted soil from the estuary eventually end up? When did the seagrass become invasive, or start capturing carbon?		Physical presence, and direct contact with the specific muddiness of a terrain can be part of a situated knowledge practice, a powerful antidote to presumed positions of exteriority and views from nowhere. But it is also a proprietary <mark class="c1">''gesture''</mark> that essentializes territorial nearness. It counts on the privilege of individual experience, and relies on touch at first hand or boot, sticking to knowledge that can only be acquired by presence. Centring on what can be perceived from where one is standing is taking a risk to foreground what is here and now, and to negate interdependencies that operate at a distance. How long did it take for the sediment to be deposited? Where will the polluted soil from the estuary eventually end up? When did the seagrass become invasive, or start capturing carbon?

Hd-onions at 16:15, 10 April 2022

2022-04-10T16:15:35Z

← Older revision		Revision as of 18:15, 10 April 2022
Line 18:		Line 18:

	<blockquote>Ground and feet, land and movement, verticality and time, situatedness and axes: the more of them we take into account when giving account of the spheres <br>		<blockquote>Ground and feet, land and movement, verticality and time, situatedness and axes: the more of them we take into account when giving account of the spheres <br>
	we share, the more degrees of freedom we are going to endow our deterritorialized and reterritorialized lives with.<ref>Possible Bodies, ‘No Ground’, ''Volumetric Regimes: Material Cultures of Quantified Presence'' (Open Humanities Press, in press).</ref>		we share, the more degrees of freedom we are going to endow </blockquote>

			<blockquote>
			our deterritorialized and reterritorialized lives with.<ref>Possible Bodies, ‘No Ground’, ''Volumetric Regimes: Material Cultures of Quantified Presence'' (Open Humanities Press, in press).</ref>
	</blockquote>		</blockquote>
	To be grounded means to be porous to remote impressions, to trust the touching done by (other-than-human) others, and to take into account that which it is caught up with, especially when it is not understood, can not be felt or ever be intuited. <br>		To be grounded means to be porous to remote impressions, to trust the touching done by (other-than-human) others, and to take into account that which it is caught up with, especially when it is not understood, can not be felt or ever be intuited. <br>

Hd-onions at 12:27, 8 April 2022

2022-04-08T12:27:47Z

← Older revision		Revision as of 14:27, 8 April 2022
Line 5:		Line 5:
	A festival will take place on the cusp of water and land, and the artists are preparing site-specific installations. As they present their projects to each other, one of them claims to be based in the particular area and persistently invites the artists calling in from remote locations to ‘come over for a boat trip, and stick their boots in the mud’. There is no doubt that the best way to get to grips with the shifting grounds of the festival location will be to step on site.		A festival will take place on the cusp of water and land, and the artists are preparing site-specific installations. As they present their projects to each other, one of them claims to be based in the particular area and persistently invites the artists calling in from remote locations to ‘come over for a boat trip, and stick their boots in the mud’. There is no doubt that the best way to get to grips with the shifting grounds of the festival location will be to step on site.

	Physical presence, and direct contact with the specific muddiness of a terrain can be part of a situated knowledge practice, a powerful antidote to presumed positions of exteriority and views from nowhere. But it is also a proprietary <mark class="c1">''gesture''</mark>that essentializes territorial nearness. It counts on the privilege of individual experience, and relies on touch at first hand or boot, sticking to knowledge that can only be acquired by presence. Centring on what can be perceived from where one is standing is taking a risk to foreground what is here and now, and to negate interdependencies that operate at a distance. How long did it take for the sediment to be deposited? Where will the polluted soil from the estuary eventually end up? When did the seagrass become invasive, or start capturing carbon?		Physical presence, and direct contact with the specific muddiness of a terrain can be part of a situated knowledge practice, a powerful antidote to presumed positions of exteriority and views from nowhere. But it is also a proprietary <mark class="c1">''gesture''</mark> that essentializes territorial nearness. It counts on the privilege of individual experience, and relies on touch at first hand or boot, sticking to knowledge that can only be acquired by presence. Centring on what can be perceived from where one is standing is taking a risk to foreground what is here and now, and to negate interdependencies that operate at a distance. How long did it take for the sediment to be deposited? Where will the polluted soil from the estuary eventually end up? When did the seagrass become invasive, or start capturing carbon?

	In their work on touch, feminist thinker Karen Barad propose that ‘being in touch’ is what allows experiments to become participative, rather than remaining at some remove. They invite us to explore queer ways of being in touch, which involve (other-than-human) others besides ourselves:		In their work on touch, feminist thinker Karen Barad propose that ‘being in touch’ is what allows experiments to become participative, rather than remaining at some remove. They invite us to explore queer ways of being in touch, which involve (other-than-human) others besides ourselves:

Hd-onions at 13:52, 7 April 2022

2022-04-07T13:52:31Z

← Older revision		Revision as of 15:52, 7 April 2022
Line 11:		Line 11:
	<blockquote>Thinking has never been a disembodied or uniquely human activity. Stepping into the void, opening to possibilities, straying, going out of bounds, off the beaten path—diverging and touching down again, swerving and returning, not as consecutive moves but as experiments <br>in in/determinacy.<ref>Karen Barad, ‘On Touching: The Inhuman <br>That Therefore I Am’, ''differences'' 23, no. 3 (2012), <br>pp. 206–23.</ref></blockquote>		<blockquote>Thinking has never been a disembodied or uniquely human activity. Stepping into the void, opening to possibilities, straying, going out of bounds, off the beaten path—diverging and touching down again, swerving and returning, not as consecutive moves but as experiments <br>in in/determinacy.<ref>Karen Barad, ‘On Touching: The Inhuman <br>That Therefore I Am’, ''differences'' 23, no. 3 (2012), <br>pp. 206–23.</ref></blockquote>

	The kind of touch Barad propose is not counting on the legibility of what it steps into, nor on the reassuring effects of affection. As they remind us elsewhere, for a physicist, touch is but a sensation caused by electromagnetic repulsion.<ref>Karen Barad, ‘TransMaterialities: Trans*/Matter<br>		The kind of touch Barad propose is not counting on the legibility of what it steps into, nor on the reassuring effects of affection. As they remind us elsewhere, for a physicist, touch is but a sensation caused by electromagnetic repulsion.<ref>Karen Barad, ‘TransMaterialities: Trans*/Matter/<br>
	/Realities and Queer Political Imaginings’, ''GLQ: A Journal of Lesbian and Gay Studies'' 21, nos. 2–3 (2015), pp. 387–422.</ref>		Realities and Queer Political Imaginings’, ''GLQ: A Journal of Lesbian and Gay Studies'' 21, nos. 2–3 (2015), pp. 387–422.</ref>

	How to be ~~<mark class="c6">~~''grounded''~~</mark>~~, without getting stuck in the mud of personal experience? I guess I am trying to re-articulate ‘grounded’ as a ‘thinking-and-making-with’ that is always already part of what it steps into. <br>		How to be ''grounded'', without getting stuck in the mud of personal experience? I guess I am trying to re-articulate ‘grounded’ as a ‘thinking-and-making-with’ that is always already part of what it steps into. <br>
	A grounded practice that does not depend on knowing where the ground begins or ends, and can let go of pre-established notions of fore-ground and back-ground.		A grounded practice that does not depend on knowing where the ground begins or ends, and can let go of pre-established notions of fore-ground and back-ground.

Hd-onions at 13:51, 7 April 2022

2022-04-07T13:51:45Z

← Older revision		Revision as of 15:51, 7 April 2022
Line 5:		Line 5:
	A festival will take place on the cusp of water and land, and the artists are preparing site-specific installations. As they present their projects to each other, one of them claims to be based in the particular area and persistently invites the artists calling in from remote locations to ‘come over for a boat trip, and stick their boots in the mud’. There is no doubt that the best way to get to grips with the shifting grounds of the festival location will be to step on site.		A festival will take place on the cusp of water and land, and the artists are preparing site-specific installations. As they present their projects to each other, one of them claims to be based in the particular area and persistently invites the artists calling in from remote locations to ‘come over for a boat trip, and stick their boots in the mud’. There is no doubt that the best way to get to grips with the shifting grounds of the festival location will be to step on site.

	Physical presence, and direct contact with the specific muddiness of a terrain can be part of a situated knowledge practice, a powerful antidote to presumed positions of exteriority and views from nowhere. But it is also a proprietary gesture that essentializes territorial nearness. It counts on the privilege of individual experience, and relies on touch at first hand or boot, sticking to knowledge that can only be acquired by presence. Centring on what can be perceived from where one is standing is taking a risk to foreground what is here and now, and to negate interdependencies that operate at a distance. How long did it take for the sediment to be deposited? Where will the polluted soil from the estuary eventually end up? When did the seagrass become invasive, or start capturing carbon?		Physical presence, and direct contact with the specific muddiness of a terrain can be part of a situated knowledge practice, a powerful antidote to presumed positions of exteriority and views from nowhere. But it is also a proprietary <mark class="c1">''gesture''</mark>that essentializes territorial nearness. It counts on the privilege of individual experience, and relies on touch at first hand or boot, sticking to knowledge that can only be acquired by presence. Centring on what can be perceived from where one is standing is taking a risk to foreground what is here and now, and to negate interdependencies that operate at a distance. How long did it take for the sediment to be deposited? Where will the polluted soil from the estuary eventually end up? When did the seagrass become invasive, or start capturing carbon?

	In their work on touch, feminist thinker Karen Barad propose that ‘being in touch’ is what allows experiments to become participative, rather than remaining at some remove. They invite us to explore queer ways of being in touch, which involve (other-than-human) others besides ourselves:		In their work on touch, feminist thinker Karen Barad propose that ‘being in touch’ is what allows experiments to become participative, rather than remaining at some remove. They invite us to explore queer ways of being in touch, which involve (other-than-human) others besides ourselves:

Hd-onions at 21:03, 25 March 2022

2022-03-25T21:03:29Z

← Older revision		Revision as of 23:03, 25 March 2022
Line 9:		Line 9:
	In their work on touch, feminist thinker Karen Barad propose that ‘being in touch’ is what allows experiments to become participative, rather than remaining at some remove. They invite us to explore queer ways of being in touch, which involve (other-than-human) others besides ourselves:		In their work on touch, feminist thinker Karen Barad propose that ‘being in touch’ is what allows experiments to become participative, rather than remaining at some remove. They invite us to explore queer ways of being in touch, which involve (other-than-human) others besides ourselves:

	<blockquote>Thinking has never been a disembodied or uniquely human activity. Stepping into the void, opening to possibilities, straying, going out of bounds, off the beaten path—diverging and touching down again, swerving and returning, not as consecutive moves but as experiments <br>		<blockquote>Thinking has never been a disembodied or uniquely human activity. Stepping into the void, opening to possibilities, straying, going out of bounds, off the beaten path—diverging and touching down again, swerving and returning, not as consecutive moves but as experiments <br>in in/determinacy.<ref>Karen Barad, ‘On Touching: The Inhuman <br>That Therefore I Am’, ''differences'' 23, no. 3 (2012), <br>pp. 206–23.</ref></blockquote>
	in in/determinacy.<ref>Karen Barad, ‘On Touching: The Inhuman <br>
	That Therefore I Am’, ''differences'' 23, no. 3 (2012), <br>
	pp. 206–23.</ref>
	</blockquote>

	The kind of touch Barad propose is not counting on the legibility of what it steps into, nor on the reassuring effects of affection. As they remind us elsewhere, for a physicist, touch is but a sensation caused by electromagnetic repulsion.<ref>Karen Barad, ‘TransMaterialities: Trans*/Matter<br>		The kind of touch Barad propose is not counting on the legibility of what it steps into, nor on the reassuring effects of affection. As they remind us elsewhere, for a physicist, touch is but a sensation caused by electromagnetic repulsion.<ref>Karen Barad, ‘TransMaterialities: Trans*/Matter<br>

Hd-onions at 21:00, 25 March 2022

2022-03-25T21:00:50Z

← Older revision		Revision as of 23:00, 25 March 2022
Line 8:		Line 8:

	In their work on touch, feminist thinker Karen Barad propose that ‘being in touch’ is what allows experiments to become participative, rather than remaining at some remove. They invite us to explore queer ways of being in touch, which involve (other-than-human) others besides ourselves:		In their work on touch, feminist thinker Karen Barad propose that ‘being in touch’ is what allows experiments to become participative, rather than remaining at some remove. They invite us to explore queer ways of being in touch, which involve (other-than-human) others besides ourselves:

	~~<span class="page-break"> </span>~~

	<blockquote>Thinking has never been a disembodied or uniquely human activity. Stepping into the void, opening to possibilities, straying, going out of bounds, off the beaten path—diverging and touching down again, swerving and returning, not as consecutive moves but as experiments <br>		<blockquote>Thinking has never been a disembodied or uniquely human activity. Stepping into the void, opening to possibilities, straying, going out of bounds, off the beaten path—diverging and touching down again, swerving and returning, not as consecutive moves but as experiments <br>
Line 16:		Line 14:
	pp. 206–23.</ref>		pp. 206–23.</ref>
	</blockquote>		</blockquote>

	The kind of touch Barad propose is not counting on the legibility of what it steps into, nor on the reassuring effects of affection. As they remind us elsewhere, for a physicist, touch is but a sensation caused by electromagnetic repulsion.<ref>Karen Barad, ‘TransMaterialities: Trans*/Matter<br>		The kind of touch Barad propose is not counting on the legibility of what it steps into, nor on the reassuring effects of affection. As they remind us elsewhere, for a physicist, touch is but a sensation caused by electromagnetic repulsion.<ref>Karen Barad, ‘TransMaterialities: Trans*/Matter<br>
	/Realities and Queer Political Imaginings’, ''GLQ: A Journal of Lesbian and Gay Studies'' 21, nos. 2–3 (2015), pp. 387–422.</ref>		/Realities and Queer Political Imaginings’, ''GLQ: A Journal of Lesbian and Gay Studies'' 21, nos. 2–3 (2015), pp. 387–422.</ref>
Line 22:		Line 21:
	A grounded practice that does not depend on knowing where the ground begins or ends, and can let go of pre-established notions of fore-ground and back-ground.		A grounded practice that does not depend on knowing where the ground begins or ends, and can let go of pre-established notions of fore-ground and back-ground.

	~~<span class="page-break"> </span>~~
	<blockquote>Ground and feet, land and movement, verticality and time, situatedness and axes: the more of them we take into account when giving account of the spheres <br>		<blockquote>Ground and feet, land and movement, verticality and time, situatedness and axes: the more of them we take into account when giving account of the spheres <br>
	we share, the more degrees of freedom we are going to endow our deterritorialized and reterritorialized lives with.<ref>Possible Bodies, ‘No Ground’, ''Volumetric Regimes: Material Cultures of Quantified Presence'' (Open Humanities Press, in press).</ref>		we share, the more degrees of freedom we are going to endow our deterritorialized and reterritorialized lives with.<ref>Possible Bodies, ‘No Ground’, ''Volumetric Regimes: Material Cultures of Quantified Presence'' (Open Humanities Press, in press).</ref>
Line 31:		Line 29:
	in touch.<ref> Kathryn Yusoff, ‘Insensible Worlds: Postrelational Ethics, Indeterminacy and the (k)Nots of Relating’, ''Environment and Planning'' ''D: Society and Space'' 31, <br>		in touch.<ref> Kathryn Yusoff, ‘Insensible Worlds: Postrelational Ethics, Indeterminacy and the (k)Nots of Relating’, ''Environment and Planning'' ''D: Society and Space'' 31, <br>
	no. 2 (2013), pp. 208–26.</ref>		no. 2 (2013), pp. 208–26.</ref>

	~~<references />~~

Hd-onions: /* grounded */

2022-03-25T20:45:28Z

grounded

← Older revision		Revision as of 22:45, 25 March 2022
Line 19:		Line 19:
	/Realities and Queer Political Imaginings’, ''GLQ: A Journal of Lesbian and Gay Studies'' 21, nos. 2–3 (2015), pp. 387–422.</ref>		/Realities and Queer Political Imaginings’, ''GLQ: A Journal of Lesbian and Gay Studies'' 21, nos. 2–3 (2015), pp. 387–422.</ref>

	How to be grounded, without getting stuck in the mud of personal experience? I guess I am trying to re-articulate ‘grounded’ as a ‘thinking-and-making-with’ that is always already part of what it steps into. <br>		How to be <mark class="c6">''grounded''</mark>, without getting stuck in the mud of personal experience? I guess I am trying to re-articulate ‘grounded’ as a ‘thinking-and-making-with’ that is always already part of what it steps into. <br>
	A grounded practice that does not depend on knowing where the ground begins or ends, and can let go of pre-established notions of fore-ground and back-ground.		A grounded practice that does not depend on knowing where the ground begins or ends, and can let go of pre-established notions of fore-ground and back-ground.

Hd-onions at 09:16, 23 March 2022

2022-03-23T09:16:04Z

← Older revision		Revision as of 11:16, 23 March 2022
Line 23:		Line 23:

	<span class="page-break"> </span>		<span class="page-break"> </span>
	<blockquote>Ground and feet, land and movement, verticality and time, situatedness and axes: the more of them we take into account when giving account of the spheres we share, the more degrees of freedom we are going to endow our deterritorialized and reterritorialized lives with.<ref>Possible Bodies, ‘No Ground’, ''Volumetric Regimes: Material Cultures of Quantified Presence'' (Open Humanities Press, in press).</ref>		<blockquote>Ground and feet, land and movement, verticality and time, situatedness and axes: the more of them we take into account when giving account of the spheres <br>
			we share, the more degrees of freedom we are going to endow our deterritorialized and reterritorialized lives with.<ref>Possible Bodies, ‘No Ground’, ''Volumetric Regimes: Material Cultures of Quantified Presence'' (Open Humanities Press, in press).</ref>
	</blockquote>		</blockquote>
	To be grounded means to be porous to remote impressions, to trust the touching done by (other-than-human) others, and to take into account that which it is caught up with, especially when it is not understood, can not be felt or ever be intuited. <br>		To be grounded means to be porous to remote impressions, to trust the touching done by (other-than-human) others, and to take into account that which it is caught up with, especially when it is not understood, can not be felt or ever be intuited. <br>