META exists at the crossroads of art and science and of culture and nature. Tracing the uncommon threads between common topics, META presents its readers with views into the abyss of visual information and with experiments in associative reading. META invites you to browse according to taste.
You may ask, â€œwhat?â€ An archive, a Wunderkammer, a magazine guided by methods of research, collection, preservation, reprint and the linking of topics at their META level.
You may then ask, â€œwhy?â€ To play with information in all its astatic glory. META refrains from attempts at categorization, taking a gamble on dynamic navigation! META eschews the linear in favor of surprise. Each visit starts with a random welcome and ends with an even more random exit.
TIMOTHY J. ATTANUCCI (1979) was born in Boston, Massachusetts and studies German literature at Princeton and the Humboldt University, Berlin. For META, he contributes his musings on the irony mark in No Irony.
DAVID BETH (1974) is a writer and esoteric explorer, and the sovereign Grand Master of the Ordo Templi Orientis Antiqua. Learn more about his Gnostic involvement in XI. ARS DE REXâ€”Sexual Magic, the Art of the King, where he is interviewed by Ailen Roc.
SUMMER BRENNER is an accomplished writer of poetry and fiction, based in Berkeley, California. Her writing has extended beyond the borders of print into performative and musical realms, and she is also involved with literacy and community projects targeted at youths. For META, she reads from her critically acclaimed novel and discusses her motivation for the project in Driving I-5.
OLAF BREUNING (1970) is a Swiss artist, living in New York and working in photography, video, sculpture, installation and drawing. For METAâ€™s mini interview series, he shares some of his favorite things in accompaniment to a selection of photographic works. See Mini Breuning.
Illustrations by William Buchina
WILLIAM BUCHINA (1978) is an illustrator with a penchant for portraits of political tyrants. In addition, he is a graphic designer and creator of illustrated guides to English grammar. Some of his work is viewable here. He currently lives and works in New York. See his work in The Body of the Event.
DAVE BUNNELL (1952) lives in the small gold-rush era town of Angels Camp, California. This professional spelunker and photographer worked on an Imax film about caves, somewhere beneath Mexico. META interviewed him for Far Beyond Stalactites and Stalagmites.
PETRA CORONATO is probably the only author in the world who didnâ€™t only read Alexanderplatz, but also swept it. She is the owner of tongue tongue Hong Kong, a company founded in 1993 with dependences in Berlin, Vienna and Zurich, which recycles fiction profitably and unpunished to this day. In 2006, she commenced the ongoing photography project The Poetry of Document.
Writer Jeffrey Croteau is the Manager of the Library and Archives at the Scottish Rite Masonic Museum and Library in Massachusetts. Read another of his articles on American Masonic groups, ''Brotherly Deception'' published in Cabinet Magazine here. For META he co-authors a discussion on ritual and fraternity for the article Daughters of Job.
MICHELE DANTINIâ€™s (1966) work is characterized by its handling of trans-cultural practices and their socio-environmental implications. A widely translated essayist and performative lecturer, he holds a position as Professor of Contemporary Art History at the UniversitÃ del Piemonte Orientale, Italy. See Chronicles of Deaths Foretold.
PAULINE DOUTRELUINGNE (1982) lived in Beijing for four years, where she co-organized the 2006 Borderline Moving Images Festival. She lives in Berlin and curates projects that bridge European and Asian art. For META, she interviewed Chen Wei in Archeology of the Future.
GEN DOY is Lecturer at De Montfort University. She is the author of Picturing The Self, Drapery and Black Visual Culture. For META, Doy discusses the sensual politics of photography in the works of Claude Cahun.
Ferrante Denise Palma
DENISE PALMA FERRANTE (1975) is a multi-disciplined artist living and working in Berlin. She is also a self-declared anti-religionist. See Timkat 2009.
ADAM FOXWELL is an American audio engineer who has worked internationally, consulting on acoustical room design, sound isolation and mechanical noise control. For META, he presents a study on noise exposure in On the Hunt for Silence in Dubai.
JACQUE FRESCO (1916) is an industrial designer and social engineer, author, lecturer, inventor and Futurist. Based in Venus, Florida, he is developing the practice of Socio-Cyber-Neering. Read the META interview Back to the Futureâ€”The Venus Project.
Dr. BRUNO GLASER is Assistant Professor at the Institute of Soil Science and Soil Geography at the University of Bayreuth. For over several years he has been conducting Amazonian dark earth research from a soil science perspective including soil fertility, sustainability, and archaeology aspects. See Terra Preta .
MARA GOLDWYN (1976) calls herself an artist but does not show anywhere and would never actually introduce herself as such. She has an existential allergy to genres, categories and identity constructs. See Showing the Opposite Side of the Death Machine.
LINDA MAI GREEN (1987) is a photographer and curator based in Berlin. She also co-runs curatorial collectiveÂ Una Tittel.Â For META article A Bridge and Not a Goal, she interviewed artist Serena Porrati.
Artist CAI GUO-QIANG (1957) was born in Chinaâ€™s Fujian Province. While living in Japan between 1986 and 1995 he began to experiment with gunpowder as a medium, gaining international attention. He has gone on to exhibit world wide and to produce large scale pyrotechnic art works. See On Explosions.
Sculptor PATRICK HILL (1972) has exhibited widely in the US and internationally as an important representative of the contemporary Los Angeles art scene. David Kordansky Gallery provided META with images of Hillâ€™s work for Patrick Hillâ€”Sculpture, Associated.
ASDF Makes founder DAVID HORVITZ (1983) is a man of many ideas. One could say this American artistâ€™s medium is the Internet, though it may be more accurate to say that he works in interactive projects. See ASDFâ€”Read On.
RUA MINX is Donna Huanca (1980), an artist who deals with clothing as shelter, transportable homes for nomads and cultural and genetic traces. Her various projects have received a range of support, from the Dallas Museum of Art to StÃ¤delschule, Frankfurt; from the Incehon Womenâ€™s Biennale Korea to British Vogue. She launched METAâ€™s downloadable artist piece series with Mask Maker.
Artist PIETER HUGO (1976) has spent his whole life in Cape Town, South Africa, though travelled extensively pursuing his characteristic brand of documentary photography. A 2002-3 residency at the Beneton Group Communication Research Center, Fabrica, also led to work with Colors magazine. In 2006 he was awarded first prize in the World Press Photo competitionâ€™s Portraits section. Welcome to Nollywood explores a recent project carried out with the Nigerian film industry.
Idnert B. Zlatan
ZLATAN B. IDNERT is an audio engineer who has worked in the fields of modelling for outdoor noise propagation, building acoustics and ground borne vibrations. He has widely consulted on acoustical engineering projects. See On the Hunt for Silence in Dubai.
JAN KEMPENAERS (1968) is an artist and documentary photographer based in Antwerp. He creates mute images of semi urban-places. Regardless of geographical context, his photographs speak powerfully to the post industrial condition and of the technologized human subject. See Spomenik, the Monuments of Former Yugoslavia.
TAO LIN (1983) is an American poet, novelist and short story writer. He is the author of Shoplifting from American Apparel, Eeeee Eee Eeee, and Bed, as well as two poetry collections, you are a little bit happier than I am, and cognitive-behavioral therapy. Linâ€™s second novel, Richard Yates, was published in September 2010.
See Tao Linâ€™s Crossword Puzzle.
TAMMY LU is a Canadian artist who makes drawings and artistsâ€™ books. She is the cover artist for the New Metaphysics philosophy series published by Open Humanities Press. See more of her work here. For META she did the drawings for METAphorism.
DAVID MAISELâ€™s (1961) photographs chronicle the complex relationships between natural systems and human intervention. His work is included in many permanent collections, such as the Metropolitan Museum of Art. Maisel lives and works in the area of San Francisco. See Blooming Souls.
Alison Malone is a photographer and educator who uses both audio and visual documentation to explore subcultures that are overlooked and often misunderstood in American society. View additional work here. For META her photographic series of the same name inspired the article Daughters of Job.
SERGEY MAXIMISHIN (1964) photographed for the Soviet Military Force Group on Cuba from 1985 to 1987. A learned physicist, he worked in the scientific and technical expertise laboratory in the Hermitage Museum and has gone on to become an award winning press photographer.
See The Dostoevsky of Photography.
CONNIE MENDOZA (1971) is a media artist, working between Berlin and Barcelona. Fata Morgana and Other Optical Phenomena discusses her film, in which Mendoza travels back to her birthplace to trace the complex relationships of her childhood to Chilean history and space travel, thereby producing images that mediate the perception of time as a highly subjective matter.
Apostolos Mitsios (1979) is a Greek psychologist, working as a systemic psychotherapist by day and as a freelance writer, preferably, by night. A former contributing editor at online design magazine yatzer.com, he is currently collaborating with the Projective Fairy Tale Test Society in Greece as well as various magazines all over the world. For META article, Death of a Performance, he interviewed artist Esther Ferrer about her intervention at the Cemetery of Art of Morille, Spain.
RACHAEL MORRISON (1981) is an artist, curator, and a librarian at the Museum of Modern Art in New York. She is the creator of an art work and a documentary film about the blind telephone hacker Joybubbles, as she describes in 718-362-9578.
TIMOTHY MORTON (1968) is a philosopher and ecologist, and a teaching professor at Rice University. He also is one of the leading figures in the philosophical movement of Speculative Realism. For META he penned some pithy aphorism on the paradigm shift in metaphysics. See METAphorism.
Architect WILLEM JAN NEUTELINGS (1959) has taught at the Berlage Institute in Rotterdam and Harvard University. His firm, Neutelings Riedijk Architects, is located in Rotterdam. He wrote Spomenik, the Monuments of Former Yugoslavia on Jan Kempenaerâ€™s photo-documentation.
Nikolaj Nielsen is a Brussels-based journalist. For META, Nielsen considers the provocative film "Enjoy Poverty Please" by Dutch artist Renzo Martens in regards to the The Lucrative Business of Chaos and Aid. For more of Nielsen's writing, visit his website.
Andreas Ã–nnerfors (1971) is Associate Professor in the History of Sciences and Ideas based in Lund, Sweden. He has written extensively on organized fraternal sociability in Europe in the context of civil society, cryptology and conspiracy theories. In 2007 he re-enacted a female masonic ritual, contributed to the deciphering project of the copiale-manuscript and commented on the Oslo terrorist Breivik's imaginary world of knighthood in counter-jihadism. Watch a 2012 lecture on "Perceptions of Freemasonry from the 18th century to the Internet" here. For META he co-authors a discussion on ritual and fraternity for the article Daughters of Job.
Yoshua OkÃ³n was born in Mexico City in 1970 where he currently lives. In his often absurd and provocative art, OkÃ³n stages partially scripted scenes using non-actors whose own identities and histories make up the true, underlying story. See Octopus. OkÃ³n founded the artist-run space La PanaderÃa in 1994 and the artist-run space and school SOMA in 2009, both in Mexico City.
LISE PATT is the founder of the Institute of Cultural Inquiry, a peripatetic visual think tank currently headquartered in Los Angeles, CA. Over the years she has treated â€˜collaborationâ€™ as an artist medium, in the development of a non-profit organization that embraces â€˜collective camouflageâ€™ in their ongoing projects. See Inquiry into the Institute of Cultural Inquiry.
KONRAD PETROVSZKY (1977) is a historian specializing in the intellectual history of Southeastern Europe. He wrote a PhD thesis on early modern historiography in Ottoman Europe at the Free University, Berlin. He talks Romania and reenactment in The Body of the Event.
Italian artist SERENA PORRATI (1981) is now currently enrolled in the inaugural year of the MA in Art and Science Program at Central St. Martins in London. She lets META in on her Nietzsche in Turin archive for Linda Greenâ€™s article, A Bridge and Not a Goal.
SUSANNE QUEHENBERGER is a Cultural Studies student at the Humboldt University in Berlin. Her focus is climate change, specifically its potential to bring about societal restructuring and the role of art in this scenario. Since 2007, she has worked as an urban gardening activist. For META, she shares her thoughts on geoengineering in Artificial Skies.
Haitian-born, DC-raised MAX RAMEAU is a pan-African theorist, organizer and founder of the group, Take Back the Land. He has worked on issues ranging from economic development to ex-felons. He discusses the US housing crisis in Desperate Times, Desperate Measures.
MILO RAU (1977) is a journalist, essayist, historian, playwright, translator, teacher, film-maker, blogger, reenactor and director of IIPM (International Institute of Political Murder, or Institute for Theoretic and Artistic Reenactments). See The Body of the Event.
AILEN ROC studied various esoteric fields such as ceremonial Magick, Sexual Magick, Tantra, Astrology, Tarot, the Quaballah and different astral-levels along with Psychology. She is currently working on her own tarot deck and a book combining certain occult fields with elements of psychology. See XI. ARS DE REXâ€”Sexual Magic, the Art of the King.
ALAN SHAPIRO (1956) is a key contributor to the fields of idea philosophy, software engineering and social choreography. At 15, he began studying at MIT and has more recently published a book on Star Trek and given talks at the Transmediale and Ars Electronica festivals. In an interview with META, he explains why â€œBeing against work as it is constituted today is fundamental.â€ See A New Computer Science is Underway.
SITU STUDIO was founded in 2005 while its partners were studying architecture at The Cooper Union. Operating at the intersection of architecture and a variety of other disciplines, Situ Studioâ€™s work has been enriched by close collaborations with geologists, writers, engineers, biologists, activists and artists. See Out of Control.
GARY SMALL, M.D., is the Director of the UCLA Memory and Aging Research Center at the Semel Institute for Neuroscience and Human Behavior. He is the author of iBrain Surviving the Technological Alteration of the Modern Mind. See This is Your Brain on Technology.
COSETTE THOMPSON is a French-American human rights consultant and freelance writer based in Arizona, USA, where she directed Amnesty International for many years. Her current interests focus on the contribution of artistic expression to the field of human rights and on the protection of threatened languages. See Sentenced to Read.
van Haarlem Dr. Michiel P.
DR. MICHIEL VAN HAARLEM (1964) is the Managing Director of the LOFAR Foundation in the Netherlands, a part of the ASTRON Institute. The astronomer discusses the next generation of telescopes in METAâ€™s Harmony of the Spheres.
Vanden Eynde Maarten
Belgian-born MAARTEN VANDEN EYNDE (1977) lives and works between Rotterdam, Brussels and Saint Mihiel. His projects span all art media, focussing on topics of ecology, archeology, biology and zoology. In 2006 he founded Enough Room for Space for â€œthe creation of physical, virtual and mental space for cultural initiatives by initiating and coordinating events and residence/research projects worldwide.â€ He enlightens META on plastic in Plastic Reef.
Swedish photographer ULRIKA WALMARK (1970) traveled across North America, Israel, Palestine, Iran, India and South Africa from 2003 to 2007, collecting portraits for her project The person behind the person. She now lives in Berlin.
Artist CHEN WEI (1980) works in Beijing and Hangzhou, incorporating influential objects and happenings from his past into the realities of modern China. He is represented by the Platform China Contemporary Art Institute in Beijing. See Archeology of the Future.
V.i.S.d.P. Rachel de Joode
Eberswalderstrasse 32, 10437 Berlin, Germany
0049 (0) 17662109849
All materials on META magazine are made available for noncommercial and educational use only. All rights belong to the author(s). Links to third-party websites are provided only as a convenience to you.
The inclusion of any link to third-party website does
not imply META magazineâ€™s endorsement or sponsorship of
that third-party website. META disclaims any liability for links to and from the Site. The input of contact data takes place voluntarily. The use of published contact details for marketing purposes is prohibited.
|This is Your Brain on Technology|
|Daughters of Job|
|Death of a Performance|
|Out of Control: Experiments in Participation|
|Terra Pretaâ€”Amazonian Earth|
|A New Computer Science is Underway|
|Claude Cahunâ€”A Sensual Politics of Photography|
|The Clothing of Nature|
|On the Hunt for Silence in Dubai|
|Far Beyond Stalactites and Stalagmites|
|The Body of the Event|
|Sentenced to Read|
|Spomenik, the Monuments of Former Yugoslavia|
|XI. ARS DE REXâ€”Sexual Magic, the Art of the King|
|Tao Linâ€™s Crossword Puzzle|
|The Art of Showing Art|
|Photography and the Invisible|
|Patrick Hillâ€”Sculpture, Associated|
|Showing the Opposite Side of the Death Machine|
|Desperate Times, Desperate Measures|
|A Bridge and Not a Goal|
|This is Your Brain on Technology|
|The Poetry of Document|
|Stories of Life and Love in Todayâ€™s Actual Arctic|
|Fata Morgana and Other Optical Phenomena|
|The Nine Lives of Kaufhaus Jonass|
|The Harmony of the Spheres|
|Back to the Futureâ€”The Venus Project|
|Inquiry into the Institute of Cultural Inquiry|
|The Lucrative Business of Chaos and Aid|
|Welcome to Nollywood|
|Chronicle of Deaths Foretold|
|The Dostoevsky of Photography|
|Archeology of the Future|
By Linda Green, interview with artist Serena Porrati
The curator of the 2012 dOCUMENTA 13, Carolyn Christov-Bakargiev, argued in an interview that bees, dogs and strawberries should have voting rights. She went on to explain that these beings should not turn in ballots like humans do, but rather that they should be emancipated and their political intentions somehow recognized. At dOCUMENTA 13, several elements celebrate collaboration between human and non-human life: a sculpture park for dogs (Dog Run by Brian Jungen), a living dog artwork by Pierre Huyghe called Human, and a garden for butterflies.
Avant-garde or trite, multispecies art exhibitions may be the forefront of the contemporary discussion on humans and their interactions with the natural realm. Bakargiev asserts that she does not share the overarching impulse of modern, post-Enlightenment thought to divide up life on Earth into categories. Although the urge to categorize has prevailed since Aristotle, who separated humans from other forms of life on the basis of rational thought, Descartes carried this thinking further with his writings on dualism of the mind and body. The 17th century philosopher posited that non-human animals have no minds and are simply the sum of mechanical reactions and therefore impervious to pain, and vindicated vivisection in the name of science. Modern thinkers such as Peter Singer and Donna Haraway have been working to widen humansâ€™ circle of compassion to include animals, and to undo anthropocentric â€œspeciesismâ€ and the subjugation of non-human life.
One of the first thinkers to view the humanist advances of the Renaissance and Enlightenment with skepticism was Friedrich Nietzsche. There is an anecdote about the beginning of the end for the German philosopher, which is of particular significance to this discussion. On January 3, 1889, Nietzsche, then living in Turin, witnessed the whipping of a horse in Piazza Carlo Alberto. He ran to the horse, threw his arms around it, and collapsed to the ground. After this episode, Nietzsche became mentally unstable and remained in the care of his mother and sister until his death in 1900.
Italian artist Serena Porrati investigated many of Turinâ€™s libraries and archives, where she found numerous tidbits about Nietzscheâ€™s life in Italy, though no official reports documenting this curious event. Despite this lack of confirmation, the anecdote was for Porrati a point of entry into the debate on Nature versus Culture. Much to the chagrin â€“ or, for some, delight â€“ of philosophy students, Nietzsche gained fame with his writings on the Ãœbermensch, or Overman in Thus Spoke Zarathustra. For the fictitious narrator Zarathustra, we humans are just a â€œrope stretched between the animal and the Overman,â€ a bridge between our simian ancestors and the future. This concept illustrates Nietszcheâ€™s long winding inquiry into the divide between humans and nature. And Porratiâ€™s interest in revealing the idea of nature as a protean societal concept builds another bridge from Nietzsche to the contemporary tabloids of London.
Porrati, based in London since 2011, began collecting images from newspaper articles on nature, mostly from The Metro, and archives them within a project she calls Nietzsche in Turin. The Metro, a free newspaper distributed in the London tube stations with headlines like â€œBruno Mars-inspired live lip-dub marriage proposal goes viral,â€ is throwaway news fodder for commuters on their way to work. Porrati became intrigued by the pseudo or pop-science articles, which she believes reveal something about our culturally mediated experience of nature. In her archive, Nietzsche in Turin, we see house cats undergoing physical therapy, a sliver of halftone dots representing a fourteen-meter humpback whale in the Trieste port, or workers walking on an airplane rudder in the ocean.
In the following interview, Porrati draws on the Nietzsche in Turin archive to answer questions regarding Nature versus Culture with the aid of a combination of images and text.
What interested you about the anecdote of Nietzscheâ€™s collapse in Turin?
A moment of the highest clarity of thought coincides with madness. To my mind, this anecdote presents an image that could serve as a monument to the history of humans. The horse represents the primordial stage, the original; the whipping, the control over this animal with the power of technology. And Nietzscheâ€™s breakdown stands for the clear awareness that this condition is irreversible, ingrained within our beings as an evolved species.
Are we really free? Where are we going?
These artificial power relations filter our experience and perception of reality. The two main elements that recur in the images of the Nietzsche in Turin archive are the primordial â€“ a non-human object or phenomena â€“ and the idea of control (or lack of control). These ideas inform the method I use to browse the newspapers and choose what to cut, keep and archive.
I intend to show these two elements in a loose and vague way; within the â€œlimitedâ€ information available (one newspaper per day), I force my imagination to identify the primordial and the idea of control in different shapes.
What is nature?
Nothing and everything.
We tend to define nature or to cut it up, organize it into concepts (man/nature/animal) and ascribe significance, largely because we are parties to an agreement, according to which we must think and organize in a certain way: language.
With this archive I am trying to destabilize language, with its categories and types that have been isolated from the world of phenomena. Here in the Nietzsche in Turin archive, on the contrary, the world is presented in a kaleidoscopic flux of impressions, visual and written information that must be willingly organized by the mind of the user or viewer. The task is not to see what has never been seen before, but to think, by means of re-association, what has never been thought before about what we see everyday.
What is the relationship between art and science, and why have artists recently been turning to science or research for inspiration?
In the history of humankind, art and science have always been very interconnected and have manifested themselves similarly in academic fields. If we think about the Renaissance study of perspective and architecture, or if we look back at ancient Greece or at other cultures like aboriginal Australians, we can find harmony and balance in the use of intuition and abstraction to perceive the world. In ancient Greece, scientists appreciated poetry, music, and the world had a unity and comprehensibility to individuals. As (western) culture now tends to separate things and to categorize, art has become another specialized subject. And here we are again, struggling against definitions. If you think about it, both â€œartâ€ and â€œscienceâ€ are manifestations of human wonder, and the bottom line is this: The communication of concepts, whether scientific, aesthetic, concrete or abstract, seems to be a fundamental drive for humans.
â€œTo do science or to do art is to construct an aperture into chaos. How that aperture is shaped will determine to some degree what kind of world reveals and makes itself through it.â€
â€œScientists are creative people and the lives of creative people show evidence of internal feelings of struggle.â€
Who first imagined a divide between humans and nature? Or humans and non-humans?
I guess it just happened, like an accident. If we had been able to imagine this we wouldnâ€™t have gone for it. Look at the fake flowers crown around the dogâ€™s head.
How has the relationship between human and non-human life changed, and does it change between cultures?
The relationship between human and non-human life is highly mediated by aspects of our culture (economy, politics, history), therefore another culture in a different dimension of time and space would probably have different approaches.
Why does a scientist give the name of a pop star to a spider? And why does he need to name it anyway?
What is a dogâ€™s opinion about the London riots? Are animals politically and socially correct? What about the future of an unemployed pigeon?
Who is John Zerzan?
John Zerzan is a man living today who says that humans lost their connection with the world and reality 9,000-12,000 years ago when we started cultivating the land. At first reaction, you may think heâ€™s a hothead. But then you think that he might be right; maybe agriculture is bad, but itâ€™s too late, what can we do now anyway? However, this idea doesnâ€™t vanish very quickly. It stays in the back of your brain until you become familiar with it, and eventually you end up thinking that he is right. O.K., there is nothing we can do about it; however, that doesnâ€™t mean that we should stop thinking about it.
What do todayâ€™s environmentalists believe about human and non-human life?
My impression is that ecology or environmentalism function within the categories of a culturally imposed symbolic order. In order to be accepted or recognized by our society, I guess you have to bow to this symbolic order. On top of that, there is a moral judgment, the supposition of being able to think for the non-human side; we decide what is good and what is not for something that is not us. There is a lot of idealization to it, also in terms of aesthetics.
In a way I prefer to engage with earth sciences, as they donâ€™t involve ideology and appear to be more honest.
Do non-human animals belong in the urban space? What defines an urban space?
Letâ€™s imagine it is just space. It is effectively a piece of land, like a mountain, a forest or a stretch of ocean. The fact that we act as if we have control over it, or we think we do, doesnâ€™t make any difference. This doesnâ€™t make it ours.
The human and the non-human interact even in a highly urbanized environment no matter how hard we try to isolate ourselves. As much as the asphalt contains and controls, this built feature of urban space only enhances our failure to pretend we are alone.
Why did you choose The Metro newspaper, available to commuters in the tube, as the source for your archive?
One concern Iâ€™ve had with subverting the definition of nature is how to approach natural elements without adhering to this culture of symbolic categorization. How should we go beyond illustrating this division of nature and humanity, and generate unconventional ways to distinguish information from physical reality?
For me, the images in The Metro represent Western societyâ€™s most artificial and mediated experience of the environment, and not only because they are viewed and perceived in a subterranean, man-made habitat.
The content of this newspaper is completely saturated with the human: a condensation of pure imagination, re-elaboration and representation of phenomena. Every morning one can flip quickly through extreme adventures, exotic places, rare animals, catastrophes and landscapes. These few minutes provide a condensed metaphysical journey, powerful enough to build in your mind an idea of the world, of the environment, of the phenomena from which we, over centuries of evolution, have become detached.
That brief moment of your day offers illusory compensation for a primordial, wild condition, and for complicity with the non-human that we are lacking in our daily life and that we have probably lost forever.
View the online version of the Nietzsche in Turin archive.
SITU STUDIO is a reserach, design and fabrication firm based in Brooklyn. Their space-altering, site-specific architectural installation reOrder augurated the Great Hall project in the Brooklyn Museum. For reOrder and other projects, see Situâ€™s website.
Go there now