where angels of anxiety /
careen through the trees /
and scream out of the engine.

Resonant Fields Audio (unedited raw walking file)  
(Notes toward a thesis. Recorded on Bunjalung country, 2021) 

Resonant Fields Transcript (slightly edited for clarity)  

What are the conditions required… to listen? What are the conditions required to create? What are the conditions required to know to resonate? 

We move on the notion that there is discord with creative practice that is not in connection to the capital system that we live in. 

And so, there is a necessity to find the creative space that allows us to investigate, to resonate into-and-with ourselves, and into-and-with the land. 

What do I mean by land? 

Land is not just the physical attributes of nature, it also is the living environment as it is, as it currently is. The ecology that we find ourselves in, the natural organic ecology that we find ourselves in. 

So, we can understand that in relation to the Nicholas project. That this is about tapping into what is there – the creative soul and spirit that moves through the building. 

That’s the eco, the nature that is the now the contemporaneous spirit of the space. 

So we combat against others who want to supersede a different culture on top of that or away from this and push the (current ecological) culture away. Hence why the antagonism, hence why the struggle. 

And what we do is attempt to wrap around that ecology, to elevate it, platform it, allow for it to be heard and to continue. 

Obviously there needs to be shifts inside of how that works regarding access etc. but ultimately it is about that flow of spirit which has allowed itself to come into the building and through the people over time, and then continued-on. 

That’s what resonates. 

So, we can understand maybe as we fold back through the other practices that we have an attempt to understand what are the conditions required to create. It’s a similar thing to what that Deleuze asks: what are the conditions leading to the creation of philosophical concepts? But what I am asking is that, and plus: What are the conditions in order to create… dot dot dot. It may be concept; it may be possibilities. It is potentials. 

It could be how we are playing in materiality. It is then hence about constructing. The object. 

But more to the point, it is about that question in order to create. 

Throughout the whole four years there’s always been this exploration. It started in the studio, in a place that I had designed to forge a scenario where I’d be able to create within. 

Same for the home-work which occurred on the land of the woiwurrung at the swallows. That was also about being and listening to the home environment, something that I had created for myself in order to exist and to belong. And then aestheticized and utilized it as a space to create possibility – at that stage the potential around pitching for a UBI, which is also about creating conditions for people to create.

What happens when I’m in a position where the conditions are there? I am able to play and to evolve the materials that I have access to and turn them into something which is then presented in relation to others.

Two good examples of how that’s occurred through the process of the last four years: one in Venice where the conditions were curated, and eventually, once I found myself freed from the actual preconditions of the conditions, I was able to recondition the material assets, to confound something which was perfectly resonant to my own experience (personal), but also, to the field research in Athens with refugees, anarchists and artists looking at alternative ways of doing being. 

Why is this important? What is this process methodology? What is the theology that surrounds it? And what’s the importance of understanding that philosophically now, in regards to the re-flection through the research? Is there something about the conditions that allow for the resonance with process to occur? 

There’s a feedback thing: you start a process, it resonates, you feedback in more with more process. The resonance then is the process, and you know when it lands. And you know when it doesn’t. And you know when you’re doing the right thing by the materials and by the environment, by the ecology. That’s when the different aspects of my practice come in, and why they need to be in duel with each other in this thesis.

Because now what I’m looking at setting up those conditions for multiple others – for the multiplicity of others – to create in perpetuity. 

And this goes into another force-field in the research, which is around the artist-led and that of course reflects back to the previous philosophical thing I put forward about process, and that if we allow ourselves and our systems to listen to the processes of the actual-natural ecology of the thing that’s resonant in a space in time, then we can create more potential, and we can allow for more creativity to continue on. 

Obviously checking in with ethics, and checking in with privilege, and checking in with the aeffects of that creativity. And so, the process-led becomes the artist-led. It is a political statement or action, as much as it is (in itself) a practice.

(This makes me) think about something I was reading by Frances Aly last week. He talks a lot about the poetry of politics and the politics of poetry; trying to use poetry as a political vehicle. And that goes into the kind of questions that I’ve had previously: can art really transform society or can it only ever really affect itself? 

I guess that the idea with Aly is that they are parallel processes; they need each other, and they push each other and they…

Poetry opens up the potential for politics, and often politics closes the potential of poetry. 

This goes into the thing Deleuze wrote about the politician versus the poetician (he didn’t use the word ‘poetician’ but I did) and the differences between the two actors, and how they work in the network. The poet has a place or continues to forge a space withinside the field, which resonates with others. This then continues to resonate with others because it talks to the human, it talks to the ecology, talks to the resonant field, talks to the land, talks to the indigenous knowledge. If we’re only ever working in politics with the big P as we know it – economics, efficiency, identity, solidity, structure, law, violence – those things are shut down and out. 

But this is not a binary, right? 

No. It is around the notion of the processual, fluid, transversal, active force-field of creativity and potency, which is really our social order, and that the political mechanisms that I just described are launched on top of that, and we think that they are our reality. But we also know within our human that they’re not. And we, kind of ironically, allow ourselves to participate in those structures in order to have a position in the world, in order to have an identity, a role, and something which ‘pays’ us to live. 

Again, this goes back to why the push and the force around the other project (UBI). Which is creating space for people to create. Forging the conditions.

OK. That’s probably enough for now.

ArbitraryDistinction_Documentation.mp4 from Well on Vimeo.

Video essay seen in room one

death of leonard Cohen

election of trump

assassination of russian diplomat in a turkish art gallery

2017 deadliest year for children in Syria

continued bombing/ proxy war in yemen

war in Ethiopia

belarus rigged elections and crackdown/arrest of protesters and opposition

attempted poisoning and arrest of russian opposition leader, navalny

poisoning of sergei and julia skripal

food and financial crisis in venezuela

removal of morales from Bolivia / reinstatement of morales in Bolivia

election of bolsinaro

consolidation of Modi power in India/ heightened discrimination of muslims

military takeover of myanmar

taliban takeover of Afghanistan

Covid-19

invasion of ukraine by russia

removal of assange from ecuadorian embassy/jailing of assange in belmarsh prison

panama papers

pandora papers

persecution of rohingya muslims

persecution of uighur muslims

“operation peace spring” invasion of Kurdish held cantons in northern syria by turkey after US abandoned Kurds

Assassination of Syria Future Party leader Hevrin Khalaf

killing of kasshogi by Mohammed Bin Salman / Saudi Arabia

Kidnapping of Lebanese prime minister by Saudi Arabia

Dubai vice pres and prime minister, Sheikh Mohammed bin Rashid al-Maktoum kidnaps own daughters who tried to run away. Loses court case with wife, Princess Haya (of Jordanian royal family)

Brexit

‘accidental’ bomb blast in Beirut

disbanding of the FARC in Colombia

end of castro dynasty in cuba

fires in australia, california, greece

floods everywhere

dakota access pipeline protests

black lives matter protests

capitol riots

yellow shirts protests

Athenian refugee and solidarity squats evicted

Moria refugee camp burnt down

clive palmer buys hitler’s car (this one ‘may’ be fake news, the rest is, unfortunately, is not)

ANACD: Autonomising not atomising connected disconnectedness.

People know that they can be, but perhaps feel less, connected to others.

VERB: (an anacronym, becoming synecdoche of a verb, ie. “I am anacding”)

ADJECTIVE: “this (experience, issue, period) is anacd!”

ANACD; (anaecht, annact)
__
Anacd is a term of reference for a movement  (in) [1] time for the collective sensation brought upon by the largest-longest common pain known by a global scale of people simultaneously [3]. Bodies are not being-together in the proximal-heat sense experience so their perceptive focus is pulled between the lack of that and awareness of multiple others together splintered. The social affect presents as a realisation of autonomy (of self-sense experience or short-distant othering) without the disconnection of atomisation. In this sense-flow bodies are connected-disconnected. Autonomizing not atomizing connected disconnectedness.

ETYMOLOGY

In experiential etymology* was a question regarding ‘how’ a word which is defining  newly prevailing ideology (nP/I)[2] or event, becomes collectively significant. P/I’s evolve with different temporalities, making their appearance felt in various experiences of time (some stay for a short time and effect a small group, some for a long time and effect a large group, etc etc).

This question was originally asked by DarioVacirca to LucieMcintosh after a discussion around the prevailing Ideology of the term ‘superfood’, and investigating the take up and prevalence of references to such relatively minor, yet deeply effective experience leading to nP/I’s such as ‘superfood’. Anacd is such a term as to define the affect of this nP/I, a major experience in terms of scale of awareness and effect on agency. Autonomizing not atomizing connected disconnectedness.

(what is) EXPERIENTIAL ETYMOLOGY

Experiencing etymological creation. Living through the moment of realising a category (of new language) is being established. Naming it, defining it, and continuing.

---

[1]
__
(in) is a conjunctive adverb, situated under a hyphen, underscoring the new-flow conjunction being formed / coined. It is a replacement of the word “in”, as “in” alone has already disappeared into the newly created term such as “movement-time”. It is clear that we mean movement in time but also more now we have created a new form in ‘movement-time’  It is unnecessary to add the ‘in’ but perhaps important to reveal that it is always under (behind) the conjunctive.

[2]
P/I – prevailing ideology.
nP/I – newly prevailing ideology. One which is in current.

[3]
Relatively speaking of course there have always been common pains experienced by numbers of people, but the argument here is about the unique all-in physically global epochal affect of the period referring to covid; first named in feb 2020 and continuing to inflect upon consciousness as a basic common reference for some time.

Not quite complete but getting close! And not just western.

<a href=”http://

Source: SuperScholar.org/“>(Source)

Creativity precedes lack

(Therefore)
All life is creative.

(If)
All humans are alive
(Then)
All humans are creative

(And)
All art is creativity, with dedicated time

(So)
Art requires freed time
Freed time is freedom to choose – what to do in life.

Art requires good ideas
Good ideas require freed time, deep listening and play.

Criticality comes with practise

All humans are artists.
We know what that means.
It means practising art is like giving, is like caring, is like letting go, is like gardening, is like loving, is like dreaming

This is what we do to become our human being. Once we know our human we know our place with the more than human. And we continue.

Time is flow, and experience, it can’t be valued beyond the value of life itself. It can’t be measured except for its relation to the flow of experience.

Don’t fool yourself. You are not exceptional. We all are.

If culture is resistance (graeber),

& creativity is god/process (whitehead).

And practice is application

Then the space between culture and creativity must be the collective coordinates of practice in process and relation