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Loved watching and listening to Carolyn's and my own birds.

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Grand new narratives: On Ideology, Minor Theory, and Living with Precarity

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Grand new narratives: On Ideology, Minor Theory, and Living with Precarity

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Reflecting on routes that can take us beyond the binaries of ruly/unruly, safe/precarious, individual/collective, ... towards the societal transformations needed, we need new ideology. Good ideology. Narratives that can hold people together, and that promote flourishing. At a time where we can feel how everything is connected, Cindi Katz' 'minor theory' provides new ways to shape the everyday and with it the geopolitical and planetary. Minor does not mean insignificant, but modest, but mighty and creative. She says: "'Becoming minor' insinuates mutuality as well as mutability. As the minor works on the major from within, ...
Thx to Ragnhild Dahl Wikstrom for the inspiration!

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Comics as Windows to see Landscapes Beyond the Frame

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Comics as Windows to see Landscapes Beyond the Frame

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Comics are graphic narratives naturally structured around windows. They often play with the possibilities offered by the limitations of the page, of the frame, of the medium itself (be it a book, an online platform) where the comics story is hosted. Can comics suggest us unruly ways to engage with windows as thresholds, to explore landscapes beyond the frame? Following Tim Ingold's key lecture, can we think of the comics page/frame as a "zone of interpenetration" instead as a mere surface for representation?
Image: AJ Dungo (from Nobrow Press IG)

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From Jo and Lorenzo

Here our answer to Giada’s question during Session 2.

In our hypothesis of research, we intended “unruly” a spontaneous process, and invented the word “ruly” to indicate a sponsored one. For example, we saw on the one hand that the very central “Puerta del Sol” underground station of Madrid was called “Vodafone sol” because of its sponsor, and on the other hand that “Milano Greco Pirelli” railway station appears on a map as “Milano Bicocca” just because this is how people talk about that station.

Now, Giada suggested us to indicate some “unruly” modifications of the toponymical landscape from actions directly brought by antagonist stakeholders. This is an interesting approach, which can be applied to different research (cultural, or political, or post-colonial geographies), but now we are giving only some examples.

To what it concerns the “Vodafone sol” place name, it is important to add that the inhabitants never accepted this change and some of them decisively contested it, so that it ended up that since June 1st 2016 the public transport company had to restore the previous, familiar name.

Another example is about the station signs of the railway line in the part of the Roya Valley transferred from Italy to France after the 2WW. Some modifications of the place names were done in a very “unruly” way, even in the abandoned stations, such as Piena, where the final A was cancelled in order to “frenchify” the hamlet.

Finally, it is noteworthy to remember the stickers or graffiti secretly added next to the English station signs during last winter, among the more frequent were No-Brexit, or Extinction Rebellion…

Wanting to anticipate the near future, private companies and in particular private hospitals are likely to be easy targets of "unruliness”.

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Philosopher Achille Mbembe reflects on 'breathing' as a universal right to claim.

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After the release of his most recent book Brutalisme (Paris, 2020), Achille Mbembe continues his reflection on the impact of technological capitalism on organic matter and the transfiguration of human bodies through digitisation. In this context, the spread of Covid-19 appears as a continuation of the war modernity wages against life, humanity being already threatened with suffocation before the virus. More than a biological condition, Mbembe writes, breathing should therefore be seen as a common ground, that is as a universal right - of human beings and of all life.
critinq.wordpress.com/2020/04/13/the-universal-right-to-breathe
The original version of Mbembe's text was published in French at AOC: aoc.media/opinion/2020/04/05/le-droit-universel-a-la-respiration

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After the release of his most recent book Brutalisme (Paris, 2020), Achille Mbembe continues his reflection on the impact of technological capitalism on organic matter and the transfiguration of human bodies through digitisation. In this context, the spread of Covid-19 appears as a continuation of the war modernity wages against life, humanity being already threatened with suffocation before the virus.

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With lockdown putting even more emphasis on screen life for some people, to what extent do you live in both places simultaneously? How/is your body affected by this split focus? Do you take your screen life into the 'outside' world? Is this new for you? Where is your body now?

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a friend of mine made this comic about his family's experience of COVID-19. His hope is that it can make skeptical people change their mind about the gravity of coronavirus

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Anyone can publish on Medium per our Policies, but we don't fact-check every story. For more info about the coronavirus, see cdc.gov.

In the February of 2020 I went to Northern Italy to visit my family. I had been there for three days when COVID-19 cases started to skyrocket. As I came back to the Netherlands I put myself into preventive quarantine, just in case I had contracted the disease. It turned out I did - just like all other members of my family.

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Anyone can publish on Medium per our Policies, but we don't fact-check every story. For more info about the coronavirus, see cdc.gov. In the February of 2020 I went to Northern Italy to visit my family. I had been there for three days when COVID-19 cases started to skyrocket.

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I'd like to see if we can identify some cross-cutting themes in our conversations.
We can use colours to tag them. Here's a suggestion:
Materialities - green
Narrative - yellow (I'm categorising these from my own perspective of figuring a 'grand new narrative')
Practice - red
Conceptual - purple
Embodiment - blue

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Again, focussing on the inbetweenness of binaries... can we create new imaginaries, new ways of thinking about space, whether viral or contained, through the narrativisation of the everyday, the mundanity, to shape the collective consciousness and define new realities? 

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Again, focussing on the inbetweenness of binaries... can we create new imaginaries, new ways of thinking about space, whether viral or contained, through the narrativisation of the everyday, the mundanity, to shape the collective consciousness and define new realities? 

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Like the critical entry way, Laura, wondered what are the collective possibilities of destructive unruliness wrt to our 'goods' emerging from BLM protests, within covid; in the narratives of UK clashes with BLM and the far right, for example, the crises within crises of covid-19. There's no erriness or a differenct sci-fi at least in this space 

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Like the critical entry way, Laura, wondered what are the collective possibilities of destructive unruliness wrt to our 'goods' emerging from BLM protests, within covid; in the narratives of UK clashes with BLM and the far right, for example, the crises within crises of covid-19. There's no erriness or a differenct sci-fi at least in this space 

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https://www.lrb.co.uk/blog/2020/june/five-nil-to-the-blm

I guess eerie emptiness for some, full of dangerous movement for others....

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...aspects of the past rise into the present... many victorian buildings use copper (a natural antimicrobial) in their door handles. these are often public buildings. the history of this could be really interesting - does it relate to a past knowledge of the unruly landscape that has fallen from view?

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just wanted to leave my impression on the structure of the session. I've been using zoom a lot and promoting discussions in it as I belong to my university equality commission and we started live sessions during confinement. But never before I enjoyed so much being at a round table as today due to the diversity of options padlet offers. It was really a conversation with all included! So recalling what Moica sais at the beginning about missing being in a real round table in Lancaster hotel, I agree, the face to face is really important but let's explore combinations of virtual and face to face interactions in the future:) kind regards,
catarina

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Still about the inside/outside thing, a project that is dealing with it. It is a art plus social intervention project working with single mothers, gender so the inside is at several levels, including self https://gulbenkian.pt/en/dar-a-volta-en/so-far-yet-so-close/?fbclid=IwAR355R3wpFIaG1uDtqLoJYCAEP8Zm2fhonxl41gmmw82aD02TY--wjggIck

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Still about the inside/outside thing, a project that is dealing with it. It is a art plus social intervention project working with single mothers, gender so the inside is at several levels, including self https://gulbenkian.pt/en/dar-a-volta-en/so-far-yet-so-close/?fbclid=IwAR355R3wpFIaG1uDtqLoJYCAEP8Zm2fhonxl41gmmw82aD02TY--wjggIck

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This is sort of related to the inside as a landscape of 'critical entry' (Laura) and old project The Institute for the Art and Practice of Dissent at Home https://dissentathome.org/ 

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This is sort of related to the inside as a landscape of 'critical entry' (Laura) and old project The Institute for the Art and Practice of Dissent at Home https://dissentathome.org/ 

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Superilles as car-free space in city centers (with gentrification problem slowed down)

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Superilles as car-free space in city centers (with gentrification problem slowed down)

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https://www.youtube.com/watch?v=ZORzsubQA_M

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Superblocks: How Barcelona is taking city streets back from cars

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The idea of threshold and window is really telling. however, it can be far more complicated than it seems. one example is to consider face mask as a window which makes what was public (face and the expressions on it) now private. And, in another moment, removed, it makes face public again. I think the border between the inside and outside is  hugely fluid and sometimes really puzzling. 

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The idea of threshold and window is really telling. however, it can be far more complicated than it seems. one example is to consider face mask as a window which makes what was public (face and the expressions on it) now private. And, in another moment, removed, it makes face public again. I think the border between the inside and outside is  hugely fluid and sometimes really puzzling. 

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How has physical distancing changed the way we interact with each other in the street, on a micro scale? Has passing by others while walking on pavements turned into a 'game' of navigating and meandering? Are trajectories of walkers becoming trajectories of avoidance rather than trajectories of meeting?

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The focus has been on binaries, particularly indoor/outdoor, but perhaps in harnessing the potential in the inbetweenness of ruly and unruly spaces, we might unearth, or be able to create, new, more malleable imaginaries? 

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The focus has been on binaries, particularly indoor/outdoor, but perhaps in harnessing the potential in the inbetweenness of ruly and unruly spaces, we might unearth, or be able to create, new, more malleable imaginaries? 

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How does the materiality of the virus (it’s genetic make-up, sites of production, modes of distribution) shape the ways that society responds the social issues it creates? What are the links between the materialities of the virus and unruly landscapes?

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Anti viral janus seats for economy cabin

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Anti viral janus seats for economy cabin

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a window within

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Aviointeriors' forward-backward Janus seat concept has built-in dividing screens to help protect air passengers from the risk of infection while in the air. Samuel Ballard reports

Aviointeriors, an Italian company that has been making airline cabin interiors for more than 40 years, believes that the Janus seat configuration and "Glassafe" could be the answer that air travellers are looking for when it comes to increasing protection from viruses.

With Janus, named after the two-faced Roman god, the middle seat of a three-seat row is turned around so that the person sitting in it will be flying backwards. A shield is then erected between all three seats that creates individual spaces for each passenger. Those sitting in an aisle seat have a shield on either side of them and the pitch (legroom) for the reversed central passenger is exactly the same. Aviointeriors' other idea, Glassafe, is a "kit-ready solution that can be installed on existing seats". It works by adding a transparent shield to each headrest, isolating each passenger from those surrounding them.

Both Glassafe and Janus have been designed so that disabled passengers can also continue to access their seats. The material can be transparent or opaque, the company says. In a statement, Aviointeriors says: "[The] well-being of [our] passengers is our main objective. This is the reason why we do not intend to stop and for which we want to continue our activities to secure a future by protecting and safeguarding everyone who wants or will have to travel.

"We at Aviointeriors believe we can offer the market our contribution through already designed and industrialised solutions to be supplied to our customers in a very short time, even by incorporating any customisations if required.

"With this objective in mind, we have studied new solutions that take into account social distancing among passengers sitting on the same seat in the economy class, where there is a condition of higher density, but with characteristics that remain applicable even in the lower density classes such as the premium economy or business class.

"We have worked and we will continue to work for a tomorrow with products specifically designed to make the travels of the near future post-virus ever safer and in accordance with the new requirements for passengers who will have to share the spaces available for the duration of the transport."

What's coming next? Trend reports available to download HERE

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Aviointeriors designs 'anti-viral' Janus seats for economy cabins

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Aviointeriors' forward-backward Janus seat concept has built-in dividing screens to help protect air passengers from the risk of infection while in the air. Samuel Ballard reports Aviointeriors, an Italian company that has been making airline cabin interiors for more than 40 years, believes that the Janus seat configuration and "Glassafe" could be the answer that air travellers are looking for when it comes to increasing protection from viruses.

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Artistic practice has been an interesting way to reflect and create new spatial and temporal narratives. In response to Giada's points made about art and narrative, the public and private representations of how we can depict changing lives and our sense of them is provocative and inspiring. In the UK it has been interesting to see the ways in which there have been several efforts to engage with people through art practices, through activities on terrestrial tv, twitter, instagram, etc, some of which have become very popular.

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as reversed Janus ?

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In response to Jen's questions about how we move into action, I'm reminded of the footage of a single person dancing growing into a crowd and I think there's something in the 'we' and how you foster the feeing that you're not acting alone but there's enough collective action that a meaningful result can be achieved. If this is the video I'm thinking of, then there's an interesting argument about it all hingeing on the second person 

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In response to Jen's questions about how we move into action, I'm reminded of the footage of a single person dancing growing into a crowd and I think there's something in the 'we' and how you foster the feeing that you're not acting alone but there's enough collective action that a meaningful result can be achieved. If this is the video I'm thinking of, then there's an interesting argument about it all hingeing on the second person 

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https://www.youtube.com/watch?v=hO8MwBZl-Vc

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How does the idea of unruliness, intersecting aspects of unruliness, enable us to consider near futures. for example what if Covid happens in the mid winter?

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How does the idea of unruliness, intersecting aspects of unruliness, enable us to consider near futures. for example what if Covid happens in the mid winter?

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Could unruliness also be thought of as disruption? One of the impacts of Covid-19 has been the pause, change and disruption of day-to-day/weekly activities, which may have different effects?

(from Susan Mains)

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There has been a common trope of 'eeriness' in many descriptions of the COVID-19 landscape of cities.  To what might we attribute this?

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There has been a common trope of 'eeriness' in many descriptions of the COVID-19 landscape of cities.  To what might we attribute this?

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This sense of precarity/vulnerability to disease is not new or different for large numbers of people around the world. Can this idea of "all in this together" affect global healthcare initiatives? Also, can our present day experiences help with historical understandings of epidemics/pandemics, especially in marginalised communities (e.g. AIDS epidemic in the gay community)

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Isn't this metaphor of unruly landscape highly shaped within a Cartesian epistemological lens which splits human life and nature? I mean, doesn't we need to take a new or modified epistemological lens to better understand what we can call "(un)ruly landscape"?

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Isn't this metaphor of unruly landscape highly shaped within a Cartesian epistemological lens which splits human life and nature? I mean, doesn't we need to take a new or modified epistemological lens to better understand what we can call "(un)ruly landscape"?

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Would you say that windows are one-sided or two-sided  ? interfaces or deep surfaces ?
Have they gained a new role in shaping the landscape ?

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Are we often using the window? I believe that the outside world is coming much more from the computador screen and our view of the outside world became even more a digital one.

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Thank you Monika. Could it be that what from a human perspective seems unruly may in fact be highly regulated? The atmospheric chemist James Lovelock suggested as much in his book Gaia. Is his hypothesis useful in the present context?

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This situation has created a perfect social laboratory for mobility: with people and countries being forced to stay still, we can experimentally see the reactions, resistances, strategies to adapt to immobility and eventually measure the real importance of mobility for current society

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Many thanks Monika. Is the the relationship between 'unruliness' and 'creativity' important for increasing hopeful possibilities? 

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Many thanks Monika. Is the the relationship between 'unruliness' and 'creativity' important for increasing hopeful possibilities? 

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We have seen - at least in Berlin - many 'care fences' established for the homeless. This might not be the best translation for 'Gabenzaun,' but this was its main content: food and clothes hung on public fences for the homeless, who were hit hard by the lockdown (where to go to when you have no 'home' in the sense of a house?). However, as much as this expression of care was very important (and necessary), it will disappear again once normalisation sets in. Our research on the homeless underlines that their invisibility is a crucial problematic. The urban landscape will swallow these fences of care ... We need a more fundamental change.

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Our discussion of unruly landscapes seems to have focussed, mainly, on the outdoors/outside (though sometimes perceived from inside e.g. a car). But is the indoors also part of the landscape? and in what ways is it unruly? COVID seems to bring this question to light.

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How can we hold unruly, uneven and uncomfortable truths together in ways that we can bear to look at and act upon?

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How can we hold unruly, uneven and uncomfortable truths together in ways that we can bear to look at and act upon?

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How do we tell accessible complex stories on different scales that are more-than-human, multidisciplinary, and globally mobile?

How can we make the multiple scales and deadly effects of climate change more present?

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How can we hold unruly, uneven and uncomfortable truths together in ways that we can bear to look at and act upon?

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How can we hold unruly, uneven and uncomfortable truths together in ways that we can bear to look at and act upon?

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How do we tell accessible complex stories on different scales that are more-than-human, multidisciplinary, and globally mobile?How can we make the multiple scales and deadly effects of climate change more present?

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Following on from Monika’s provocation about being ‘constructively unruly’. I, like others, have been thinking about rules over the last few weeks. For instance, about the imposition of rules upon our quotidian lives, and how, in environmental terms, they have achieved what policy singularly failed to do. Could it be that what from a human perspective seems unruly may in fact be highly regulated? The atmospheric chemist James Lovelock suggested as much in his book Gaia. If he is right, then we will need to take account of the landscaping capability of other-than-human agents. 

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What has emerged for you as you have attended to the unexpected immersion in the local? Yesterday, the binaries of urban and rural were mentioned. I would contend that urban and wild are not binaries but points on a spectrum, a hybrid situation that many people seem to be rediscovering as they notice themselves differently in the world.

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This is a very interesting project hosted by Haus der Kulturen der Welt reflecting on the current landscape of care during this global pandemic

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To care is to recognise all bonds, between both humans and non-humans; between humans and their systems, their infrastructures and institutions, and to attend to their fragility. Ethics of care challenge us to construct social relations and systems based on situational and contextual morality, beyond abstract or universal notions of justice, to allow us to turn to processes of care, repair, maintenance, and healing. These concepts, theories and practices of care offer diverse ways of relating and living, of perceiving and making, both as a society and as individuals engaged in mutual responsibility, attentiveness and responsiveness. Concepts of care can also provide us with an ethical and political framework for action, as it situates the human as a caretaker; a custodial figure in the ongoing recuperation of a broken planet and its people. How can we practice care across different scales - the personal, the collective, the rural, the urban, the atmospheric - in order to sustain more-than-human worlds? And how can we proceed to a thinking and doing with care in a way that challenges the uneven labour conditions upon which the field operates?

With Júlia Souza Ayerbe, Malu Blume, Edna Bonhomme, Loren Britton, Johanna Bruckner, Teresa Dillon, Andreas Doepke, João Florêncio, Johanna Hedva, Elke Krasny, Henry Lyonga, Maternal Fantasies, Romi Morrison, Mwape J. Mumbi, Polyphrenic Creatures, Pallavi Paul, Helen Pritchard, Helena Reckitt, Patricia Reed, Eric Snodgrass, Yayra Sumah, and Joan Tronto.

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To care is to recognise all bonds, between both humans and non-humans; between humans and their systems, their infrastructures and institutions, and to attend to their fragility. Ethics of care challenge us to construct social relations and systems based on situational and contextual morality, beyond abstract or universal notions of justice, to allow us to turn to processes of care, repair, maintenance, and healing.

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This is the screenshot of a message I just received on my phone, with which I have been noticed of being positive to the covid serology antibody test I have done few days ago. Unfortunately the booking process for the current infection test didn't work.

Will this virtual landscape help or hinder our relation with the Health System?

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How can we make the disruption of Covid-19 more constructively unruly to shape a new mobility landscape, and with it constitute a 'good' new reality?

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The room, the window and the house have become fundamental chronotopes for telling our stories of the pandemic.
Illustration: Henn Kim | Stuck

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What perspectives, chronotopes, metaphors, sensorial perceptions to tell unruly stories of viral landscapes?

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Can the GeoHumanities suggest a narrative approach and unruly ways to narrativise, understand, inhabit and imagine viral landscapes?
Image: Ale Giorgini | Intervallo. Window edition

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Can we challenge the apparently self-evident effects of the epidemic on our experience of everyday landscapes regarding mobility, perception, emptiness and justice of landscapes?

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Pandemic im-mobilities through a migration lens

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Pandemic im-mobilities through a migration lens

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With the pandemic reminding people their own vulnerability - their being a potential infector but also at risk of experiencing harm - has vulnerability become a new shared condition that may teach us to be more empathic to exclusion and invisibility?

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How does the pandemic affect the ways we imagine and think about immigration in our countries?

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How does the pandemic impact on migrants, who have been historically treated – like viruses and pathogens – as the invisibles, invasive others?

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Lonely Planet’s Italian partners EDT have put out a new guidebook – well the cover at least – for the place we will probably be doing most of our travel in the coming weeks (or months): Home.

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The metaphor of unruly landscape is particularly challenging in front of tourism mobilities. Because of the negative externalities on the natural environment that tourism brings with it – I am thinking to the level of carbon emission and water shortage just to quote but two externalities connected with tourism – not to tell the societal paradoxes and injustices connected with tourism.
>> How postpandemic tourism will impact on landscapes?
>> And how viral landscapes will impact on tourism?

The image is by Stuart Hawkins

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The right to travel in the post pandemic era

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The right to travel in the post pandemic era

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I have the feeling that the so called 'democratisation of tourism' will be challenged significantly in the (not-yet-post)pandemic world.