從2020 yokohamatoriennare 2020年7月3日到10月11日 2020 yokohamatoriennare 2020 yokohamatoriennare

AfterGlow

概念


yokohamatoriennare 2020

atisutikku·導演

rakusu·媒體·korekutivu

 

沙司的共有

 

白色噪音

 

在電視是模擬的時候,在電視畫面的"沙暴白色噪音"盯住看,廣播結束的話有了我們。對於這場沙暴猶豫不決,擁擠不可思議地舒服了。在這個產生幻覺的minimarizumu中,看得見所有東西,能又想像了。那種電子噪音,我們找到在片刻的像視覺上的幻想那樣的東西在裡面花紋,看了幽靈的姿態。和本來的功能不一樣的那個畫面好像是注視被詛咒的風景的窗。

 

當時不知道,但是模擬電視的斑駁的花紋的白色噪音包括作為是宇宙誕生的開端的大爆炸的遺跡的宇宙微波背景輻射這個電磁波。竟然什麼自己正注視被和時間的開端一起放出! 每當爆炸的時候,光的殘餘就是説光的遺跡afutagurou漏出來。在,特別,通信信號消失,去的時候,那個光出現。

 

 

Lumi茄子·關懷

 

在宇宙,經常發生了爆炸。古代的爆炸現在也傳衝擊波,重復小爆炸,輻射被每隔爆炸放出一點。太陽的爆炸開始吸引從某種的珊瑚到紫外線的毒性的反應。為保護身體不受那個光侵害珊瑚親自發光。美麗的光的模式變成光輝,護理,保護體組織不受負擔的大的太陽的輻射侵害。

 

認為連通跟總有一天這個生物發光的簽名理解未知的生命體的宇宙生物學家好像出現。那個生命體對被暴露於巨大的太陽發出的猛烈的輻射的太陽系外行星居住。在地球海棲息,多虧了遙遠地和分開的太陽用自己的發光對話的珊瑚,我們是有其他的太陽的另外的世界變得好像能研究居住的生命的本質。

 

分解,生命,宇宙,世界以及每天的時間,被通過不計其數的行為重構,被保護(luminous care),被發光漸漸重建。短的間隔的傷在時間的毒的碎片放出的餘輝(afterglow)中恢復。生命是發光的德國學者(luminous autodidact)。

 

 

草叢

 

一邊有2007年6月的午後,西川紀光nishikawakimitsu--他在67歲的流浪的不定期工人,所謂"日工工人"投靠橫濱壽町的小旅店,向上看正作為橫濱灣的碼頭裝卸工人維持生計的--多雲天氣,一邊和文化人類學者的湯姆·吉爾大聲在嘲笑。他這樣說了。

 

 

在圖的宇宙蛋是duruzu和gatari的主意。
宇宙蛋→誕生但是未成熟→在30年感到痛苦10年20年,鍛煉的話第2誕生! 有出生,省悟馬上打開的人。…… 在我的情況下,還沒來到。……我們一邊是宇宙的一部分,一邊創立宇宙 ……

 

 

要無產階級的賢者,作為造船廠的哲學家的西川對我們提供用自學得到的巨大的沙司。那個是同時從作為根zuku,大膽的橫穿性的意識在橫濱的市鎮出生,那裡得到的東西。

 

西川的遺產變成對我們來說的"沙司"。是"沙司"是參照點,并且在隱喻和探求心又溢出來的行為、食材、痕跡的凝聚體。那個"沙司"給予我們自問和給考察的能源。用來,另外,因為在貪婪捕抓在身邊的文化的智能的食材,無領導者而醒所以學習知識的能源。沙司為了是非競爭,并且被在各種各樣的電弧,視覺,語言中設立平等的立場那些要素又互相有關系,感染,能見。

 

沙司召集其他的沙司。以及完成旅途的動作的重點的移動的小的變化和大的轉調的旅程aitinerari。在今天的多車軸性的世界,這個打開自由解釋的領域,助長不一樣的傾向之間的衝撞。使沙司在toriennare創作中的長的仔細的過程中變成多層,用aitinerari的厚度增加的話推進創造和發掘的力是什麼明白什麼被產生。

 

在我們遙遠地在分開的地方或者在近的地方yokohamatoriennare 2020的觀眾以及聽眾以及讀者的各處,提供一系列的沙司。這些被從不同的時代,文化的背景以及地理條件的地方拉,但是珍惜哪一個都生活的個人或者集團寫了。KIRAMEKI和白熱被收集,拼湊細工被做,照出藝術家和那個旅途的同行者們想要出門的路程。沙司引導我們的對話,帶來有生氣,靈感,花費謎。那次對話被和藝術家,館長,作家以及對這個旅途有興趣的所有人們交換。沙司讓我們思考,點燃,是帶來好像放棄學習以及學習的刺激的觸媒。

 

閃爍的光

 

在超過100年之前,并且horipuroba·morriku這個女性和某一個外國人一起離開東面孟加拉(孟加拉國)的村莊了。她陷入戀愛的那個外國人是叫武田和右衛門的旅行的商人。她和他一起開船,和驚奇和高興一起發現叫日本的新的世界。因為幾乎不懂日語所以沉默第一次是唯一的交流手段。與特地走一半世界,一起渡過的男人的家庭和朋友的邂逅被在她的記憶深深刻了。他們為了被想要成為新的世界的一員,親自學的一個女性照出,在我們看來,看得見。

 

是我們的朋友,并且如下正關於某一個光在"友情的senogurafi"這個文章在藝術家寫哲學家的suvetorana·boimu。

 

……在極限的狀況,光明,男女發從超越作為被給與的只有的時間而發光的"搖動用不確實紛紛地的多量弱的光"而不是哲學性的諸概念光 ……。"男女把彼此的閃光反射到不論那個出生的如何"的這個光明的空間是在我們住在的表現的世界放出光的人類的特點和由友情構成的空間。換句話說友情,而不是明確地或者不明了地做全部的,和影子合謀,是玩耍。那個目的而不是啟蒙是光輝,并且,而不是探求盲目性的真實的,是探求冷不防碰上的明了和誠實。

 

如下正寫horipuroba。

 

……每一個人在近旁來,打招呼。年輕的人所有的年紀大的人拿帽子,正座,深深垂下腦袋,行禮 …… 交換問候。每一個人自報姓名,打招呼,考慮這個感覺,說表現感謝和高興的語言。為了什麼,每當回答的時候3-4回垂下腦袋的是這個習慣。我因為不會日語不出聲了所以,垂下腦袋。……

 

即使不知道最好怎麼樣叫未知的人也能親自發出光芒。像在是為了光輝也被從在結束1日的勞働的身體發亮的汗放出或者分享自己的影子細長的空間,并且自己的影子從對方的影子逃掉的時候被投影出的光的輪廊那樣。
知的式生翻譯不可能的經驗tosemegiaukotokara。

 

 

反百科全書

 

在中世紀的時代,思想以及繪畫,物語以及東西的想法被在南面亞洲、西面亞洲、中亞和中國、朝鮮、日本之間僧侶,異端思想家,商人,船員,香客,逃亡者,奴隸這樣的旅行的德國學者們交流。

 

回避新奇的事情,那個記號和那些的方式的說明
象,發情期的象的死,象的狀態和疾病的說明
音樂,旋律,方式,108韻律,分別的長處和短處……no說明
從神秘的旅途,冥想,高潮,奇跡,蘇菲被給與的14家房子……no說明

 

被認定注視星的用被在"nujumu·阿爾·urumu"(諸學問的星)這個16世紀在南面印度的B保溫瓶拉王國編纂的占星術百科全書變成照顧朋友時候的治療的藥劑。那個本文是印度,阿拉伯,波斯,土耳其,semu的從活著的知識派生出來的思想以及匯集實踐的內容。

 

播種和營造庭園的說明,給由於東風和東風的原因發生的鼠疫的藥的說明
醫術,疾病,痛疼的說明,簡便的治療的藥劑和復合的治療的藥劑,疾病的原因……no說明
印度和horasan的角力,技能,作派和禮節的說明

 

照亮南面印度的夜空的語言被hindu,horasan,我們陰謀文化,torukisutan,阿拉伯,古代希臘等的地區的詞匯發。語言從原來的文化圈做分支,交配。隨著移動產生概念,繁殖。咒語和藥方箋被用梵文,土耳其語,泰盧固語,弗蘭克族的語言做注釋總分。那個注釋一定沒被翻譯,但是被在表現概念的異語gurosararia做注釋,擴充。

 

火藥的說明和種類,火藥的做法的說明
香水的做法,方法論,種類和性格的說明

 

從天文學的年歷到書記系統,對我們看得見世界遙遠地正到分開的角落的照亮光的。什麼被在那裡使用吸收不同的成分的內在性的nagaraamaneku是展開的能源。不可想像,并且,在能把在遠處的東西拴在一起的行為,有龐大以及長久持續的意義。是沒在被用想像寫能知道了這個驚人的本文的"目錄"在的東西之間有內在的外面性的境界的宇宙的示意圖。

 

夢的解釋的說明和真實和假的夢的說明

 

對"nujumu·阿爾·urumu"表現的森羅萬象,跟其他的東西相比,沒有大的東西特別接近的東西。同步沒有小,在遠處的東西。在這裡,能收下像行動之間的細膩的網眼那樣的聯系。一個創造性的活動中的一個一個問題中的一個能是帶來變化的沙司,表現一個那種變化中的一個形成仔細的瞬間。

 

詩的韻律,韻律,另外關於詩的各種各樣的事情的說明
寓言和傳奇的說明
商人和工匠的技能的工具以及技能的說明

 

實踐的辦法,思考的式,文化的歷史的來由的為不去而依靠,好像規定意思noarunashio的即成的等級製度不存在。所有的自己的占有什麼知道的人,或者自己的有興趣對什麼不知道的人對朋友適應,是能照顧朋友。

 

漁夫的建議

 

在原子彈被把在1945年8月在長崎投下去了的時候,是住在下村修shimomuraosamuha長崎郊外的16歲的少年。沒有他終身忘記在附近的諫早市目擊的那個眼睛nokuramuyona閃光的,并且之後說那時臨時眼睛看不見了。他之後向從生命體中發生光的生物發光的研究的道路前進,用一生,追求光和生命的關係。第一次專攻有機化學,勤奮了海螢火蟲的研究。

 

生物學家,海洋學家,漁夫……建議要求no建議的合作。

 

最重要的發現在下村的研究方面是海螢火蟲的研究之後的事情,但是支持那項研究的是1萬只的海蜇。他禮貌地觀察了那個1隻1只。為了大肆建議他成為漁夫和朋友的感到吃驚不值吧。

 

從owankurage離析,成功地精製,被發現的熒光蛋白質(GFP)之後被實際應用,為根據容易辨別是否有的遺傳基因正表現出來的報道基因的告示測量水域的汙染狀況和有毒物質的水平變得利用。"引進,轉染,"被認為是報道基因的生命體"表現出來,"做,對毒的物質的存在有反應,做"發光"。因為無害所以這門技術它本身變成生物傳感器,和重要的手段作為用來保持水界生態系的健全性的活體報告人成為了。

 

 

分割

 

珊瑚針對紫外線的毒發光,為收集探知毒性的報道基因owankurage被采集。在發光和毒性之間,有聯系。

沒必要假如死了的話,想毒性。也不能把讓活細胞成長的條件和吸引那個衰弱,耕的環境割開來。和毒性叫我們吸引幾乎適應成長的或者的幾乎壓住環境,內部主要原因,外部刺激的衰弱,喚醒的東西。
那個是毒,是汙染,是治療(矯正),是廢棄物,是幾乎按住變得不見效的成長。

 

毒藥也是使排除和等級製度系統化的基礎。為了不重復作為印度的文明的毒藥和與生命的關係相關的深淵的非-思考能學。那個幾千年東西之間的因為繼續引起,現在還正繼續所以。毒藥是作為對許多的人來說的行李的一方面,并且非常少的人全然不被汙染。為了不被發生的味以及毒素汙染保持清潔的困難的工作掩蓋生物圈,被從排泄物以及死屍分離出來了。伸展,是有時間、權力、財產的人的工作,并且,由於死,使用的產品nokasuo由於尿人類和動物由於傳染病全部沒有。

 

變得沒有分享黑暗的部分的了。

 

生命的關懷和自己的關懷不和毒一起護理而不成立。我們必須想自己的有的病,死屍肉,生產和消費的周期拿出的剩餘物。那時不可以劃分被命運這個名掩蓋的殘酷的勞働。在城市郊外展開的垃圾山正表現對現在哪一個都產生的未來的需要。但是報告在那樣的未來沒有破的保障。考古學家們最多來臨吧。是分割護理的光和毒有的黑暗的部分的針對這顆行星的生命體的未來做害。

 

 

毒的光

 

原子爐的核心熔毀引起的感到奇怪的現象會經驗,但是是眼睛,并且有什麼看的不能夠的光輝(glowing light)的感覺這個東西。被作為契連柯夫輻射知道的這種現象根據在帶電粒子比在那種物質中的光速更迅速通過電介質的內部核心熔毀或者"臨界"時進的時候被放出的光出現。在原來快的東西比被核物質放出的光速通過眼球的玻璃狀液了的時候,出現"有蒼光"是眼球裡面的"經驗"被腦傳達,被感覺的東西,并且和"看"作為視覺性的現象的東西不一樣。即使認定眼睛正感覺在眼睛的外面或者眼前的光也不是在人類看的環境起來。可能由於在太陽也在宇宙做原子爆炸太空人們的時候被放出的太陽輻射做相似的經驗。

 

為了美麗沒有不同,但是是毒的放射能的萬能筆,并且那個光被作為視覺經歷。被說像這個亡靈那樣的光也被福島的核電廠的事故以後經歷了。用我們的理解,現代這個時代有的毒性必須是使遇見培養像這個亡靈那樣的光的。藝術家想要在這個光輝察覺那個美和危險性。那托的福,并且我們經常能看用身邊發生了的所有核心熔毀,變得從現在開始能學用來活下來的--或者用來繁榮的方式吧。我們必須開始想與毒性共存的生活方式。作為愚蠢的行動的身份必須起驅逐那個的。

 

翻譯不可能的語言-ontoshira

 

在內在性的流retoamaneku表現擴大的感覺的時候,孟加拉語的"antashira"(ontoshira)這個語言被使用。這個潮流和感覺作出在每天的生活時中斷的感覺的層。ontoshira與神經系統的能量流像"氣"那樣相似了。"ontoshira"由於生命在那個所有的擴大時是形狀zukuru。今天世界必須從各種各樣的ontoshira中抽出持續性和靈感以及力。ontoshira我們的內在性的deamaneku是擴大的力,并且在我們全部之間流動。隨著那個潮流,我們是再做各的生的微觀宇宙(銀河系)和這顆行星這個連接起來的生命和宇宙這個宏觀(大宇宙)的關係。

 

 

從佳話開始的yokohamatoriennare 2020

 

我們在toriennare和下一個toriennare之間時常忘記有1000天左右的單純的事實。我們想認為有那個時間的部分是通道。注視,掃描對許多人們在那裡(世界中的)完成這次的toriennare的各種各樣的衝擊力,想有興趣。如果能擴展對話的話,我們能解開意見和實踐,調查和創作,少數派和在多數派,隱蔽和公開中的堅固的區分吧。美術作品和與那個相關的語言被期待,這次對話被接受,想做,必須向被傳下來的過程推進。

 

我們"佳話"(Episōdo這個)(把日語換成英語書寫方式的東西)斷續性性地進行短期的活動,想做這樣的對話的開端。為想在關注了某一個時間點的事情的時候發生什麼"佳話"這個語言被選。比方說當為突然地變化氣溫蒞臨了的時候怎麼樣? 假如向上看太亮了的空中,觀察日食吧的話,怎麼樣? 或者出乎預料的同時期本來在無關係的器械之間發生的話怎麼樣?

 

"佳話"在如下東西之間支起網。關於掩蓋在繼續地進行的集團的作品創作,與食材相關的安靜的內省和思索,面向不遠的未來的組織的建設,聲音的世界的探求,基礎設施和廢棄物的牢固的上邊的研究,與運動的憋住氣的漂亮演技相關的好奇心……。就這樣記下"間隔時間",對下一個1000天的時間。

 

即使什麼被在"佳話"邀請分藝術家以及館長,影像創作,跳舞者,音樂工作者,表演者也是未來學家。他們在公開的聚會中做試驗。那裡,歷史的證言自發進行,不清醒能談得來,被說,思想的旅程aitinerari被推敲,任何人在不一樣的時代的生態學性的歷史性的調查傾聽吧。

 

yokohamatoriennare 2020的展覽是saitosupeshifikku,并且是taimusupeshifikku,但是"佳話"另一方面七零八落地把橫濱用只有"佳話"才能做到的方法卷入與由臨時的地方網站構成的分別的地方自治團體群的對話。

 

"佳話"被在2019年11月在橫濱進行的"佳話00沙司的共有"開始。在香港,新德里,約翰內斯堡移動,開始關於"disukashivu·傑斯特斯"(toritomenonai正義)的對話,是橫濱,并且活動打算被在在2020年7月開幕的toriennare的期間裡正式展開。

 

 

[須川善行意思]


參考文獻:

The Big Bang's Playing on TV

https://www.nasa.gov/vision/universe/starsgalaxies/cobe_background.html

 

Jack T. O'Malley-James and Lisa Kaltenegger,“Biofluorescent Worlds – II.Biological fluorescence induced by stellar UV Flares,a new temporal biosignature,"Monthly Notices of the Royal Astronomical Society,Volume 488,Issue 4(October 2019),pp. 4530–4545.

 

Tom Gill, Yokohama Street Life: The Precarious Career of a Japanese Day Laborer [Asia World Series of Publications] (London: Lexington Books, 2015).

日文從"每日ahodansu--壽町的日工哲學家西川紀光的世界"(在2013年,kyototto出版)摘錄湯姆·吉爾。

 

Svetlana Boym,"Scenography of Friendship,"Cabinet,Issue 36"Friendship"(Winter 2009-2010)

Online article: http://www.cabinetmagazine.org/issues/36/boym.php)(清水知子意思)

 

Hariprabha Takeda,Bongomohilar Japan Jatra(A Bengali Woman's Voyage to Japan),first published in Dhaka,1915。 Reprinted by Sahitya Prakash Publishers, Dhaka, 1999. English translation from Bengali by Debjani Sengupta, commissioned for Yokohama Triennale 2020.

horipuroba·Takeda"某一個孟加拉國際婦女節書參觀記""遡河"第10號(富井敬訳,1999年遡河編集部)

 

Emma Flatt,"The Authorship and Significance of the Nujūm al-`ulūm:A Sixteenth-Century Astrological Encyclopedia from Bijapur,"Journal of the American Oriental Society,Vol.131,No.2(April-June 2011),pp.223-244。

 

Osamu Shimomura,"Advice to Students Who are Interested in Studying the Chemistry of Bioluminescence,"Bioluminescence: Chemical Principles and Methods (Singapore: World Scientific Publishing, 2006), pp. 375–378. (帆足亞紀意思)

 

Raqs Media Collective,"The Equal Division of Toxicity,"Livemint(29 August,2018)

Online article: https://www.livemint.com/Leisure/JuxEvOeT79uyhy5q75DRbI/Raqs-Media-Collective-dreams-of-an-equal-division-of-toxicit.html

 

E.D. Clayton, Anomalies of Nuclear Criticality, Revision 6 (Washington: Pacific Northwest National Laboratory, 2010).

 

Kimura,Toshihiro Takatsuji,Koji Uchiyama,Yukako Komasa,Akiko Kitamura,Hitoshi Sato,Michael Buzinny,"Current Situation and Challenges at Fukushima:Hands-on Measurements of Radiation Contamination after Fukushima Daiichi Nuclear Power Plant Accident,"presented at the 20th IMEKO TC4 International Symposium and 18th International Workshop on ADC Modelling and Testing Research on Electric and Electronic Measurement for the Economic Upturn,At Benevento,Italy,September 15–17,2014。
Online article: https://www.researchgate.net/publication/266140667_Current_Situation_and_Challenges_at_Fukushima_Hands_on_Measurements_of_Radiation_Contamination_after_Fukushima_Daiichi_Nuclear_Power_Plant_Accident

Yokohama Triennale 2020

Artistic director

Raqs Media Collective

 

SHARING OUR SOURCES

WHITE NOISE

 

In the days of analog television,when broadcast signals went off-air,we would stare at what was called'white noise'on our TV screens. There was a strange comfort in getting lost in this white noise. It was possible to see and imagine anything and everything in its psychedelic minimalism.
The electronic noise was a sort of ephemeral optic chimera, and we looked in it for patterns, and saw ghosts. This dysfunctional screen became a kind of window onto a haunted landscape.

 

What we did not know then was that in every patch of analog television, white noise contains a fraction of cosmic microwave background radiation left over from the Big Bang. We did not know that what we were viewing had emanated at the beginning of time. Every explosion leaks a glowing residue, an afterglow, or a sign that manifests itself especially in the moment when the signal goes out.

 

LUMINOUS CARE

 

The universe explodes all the time. Primeval explosions still relay their shock waves, setting off echoing sub-explosions, each with their own bit of radioactive charge. Sunbursts induce some coral species to react to the toxicity of the sun's ultraviolet waves. In return,they emit their own bits of photo-protective bio-florescence-beautiful luminous patterns that end up illuminating,caring for,and protecting the organism from stressful solar radiation.

 

Some day, some astro-biologists would think, that this signature of bio-florescence could guide us to understand alien forms of life in exo-planets exposed to the harsh solar radiation of their own gigantic suns. Corals,anchored in the Earth's ocean floor lighting up in conversation with our distant Sun,make it possible for us to investigate the nature of life in other worlds,with their suns.

 

Life, the universe, the world, and the time of each day disintegrate and get re-constituted through innumerable acts, incrementally re-building through luminous care. Broken minutes are mended in the afterglow of time's toxic debris.
Life is a luminous autodidact.

 

A THICKET

 

On a rainy June afternoon in 2007,Nishikawa Kimitsu-a 67-year-old itinerant casual worker,a'day labourer'who lived in cheap bedsits in Yokohama's Kotobuki neighbourhood,earning a living mainly as a longshoreman in the Yokohama docks— looked up at the clouded sky and laughed a big laugh as he spoke to the anthropologist,Tom Gill. This is what he said:

 

 

The cosmic egg in the diagram is an idea I took from Deleuze and Guattari. We get born from the cosmic egg but remain immature; we suffer and go training for ten,twenty or thirty years,and then we have a second birth!Although there are some people who achieve enlightenment as soon as they're born… 。 In my own case,I haven't got there yet. … We are part of the universe,but at the same time we are creating the universe.

 

 

As a proletarian sage, a philosopher of the dockyards, Nishikawa offers us an immense source of auto-didacticism, and of a confident transversal
consciousness born and anchored in the streets of Yokohama.

 

Nishikawa's legacy becomes a'source'for us. A'source'is a point of reference; a cluster of concentrated acts, materials, and traces rich in metaphor and investigative clues. Here,the'source'gives us the energy of self-enquiry and examination,as well as of learning through an intense scavenging of cultural and intellectual material around us,and a process of awakening,without masters.
Sources enable the making of a non-rivalrous, egalitarian stance between various arcs, visions, and utterances, and allow for them to play with, and infect each other.

 

Sources attract other sources, and build itineraries of travel, of movement, of shifts in emphasis, of minor variations and major modulations.
In today's vari-axial world,this makes for an open-ended field of interpretation and a collision of dispositions. We have found that engines of creation and excavation can be produced through a layering of sources, and a thickening of their itineraries, during the long deliberative process of making of a triennial.

 

We offer distant and proximate viewers, listeners, and readers of the 7th Yokohama Triennale in 2020 an array of sources. These are drawn from different periods, cultural milieus, and geographies, and are written by individuals and collectivities that have cared for life. These combine a patchwork of sparks and incandescence that can illuminate the journey that artists and co-travellers are embarking upon. The sources guide, inform, inspire, and riddle our conversations with artists, curators, writers, and everyone else interested in this specific journey. They act as catalysts that provoke us to think, to ignite, to learn, and unlearn.

 

FLICKERING LIGHT

 

Over a hundred years ago, a woman named Hariprabha Mallik left a village in eastern Bengal (now Bangladesh) to accompany a foreigner, the man she had fallen in love with, an itinerant merchant named Takeda. She sailed with him to Japan and found herself in a new world, which surprised and delighted her. She knew next to no Japanese and at first could only communicate in silence. Her encounters with the family and friends of the man she had travelled half the world to be with, left a mark on her. To us, they seem lit by a light of a woman teaching herself to become a part of a new world.

 

A friend,the artist and philosopher Svetlana Boym,wrote about a kind of light in her essay"Scenography of Friendship:"

 

… In circumstances of extremity,the illuminations do not come from philosophical concepts but from the'uncertain,flickering and often weak light'that men and women kindle and shed over the lifespan given to them. This luminous space where'men and women come out of their origins and reflect each other's sparks'is the space of humaneness and friendship that sheds light on the world of appearances we inhabit. In other words, friendship is not about having everything illuminated or obscured, but about conspiring and playing with shadows. Its goal is not enlightenment but luminosity, not a quest for the blinding truth but only for occasional lucidity and honesty

 

Hariprabha wrote:

 

One by one many people came to meet us. Young or old, they took off their hats, sat on folded knees and bowed to each other in greetings. They introduced themselves, greeted each other, asked about our health, gave thanks and expressed their joy at meeting us. At each exchange of question and answer, it was expected to bow three or four times to each other. Since I knew no Japanese, I bowed silently.

 

If you do not know how to say something to a stranger,you can still glow,as one does sweating after a day's labour,or even just share your shadow with them,creating an outline of light in the narrow space where your shadow just shies away from meeting theirs.

A form of knowledge grows out of the jostling of untranslatable experiences.

 

AN UN-ENCYCLOPAEDIA

 

In the Middle Ages there is a traffic of ideas, images, stories, and concepts between South, Western and Central Asia and China, Korea, Japan.
It is carried by itinerant autodidacts-monks,heterodox thinkers,merchants,sailors,pilgrims,fugitives,and slaves.

 

A description –

 

of rare events, an account of their signs, and how to repulse them;
of elephants, their death in the state of rut, their conditions and their diseases;
of music, the melodies, modes, and 108 rhythms, and their merits and demerits;
of the mystical journey, meditation, ecstasies, miracles and fourteen houses given by the Sufis.

 

Nujūm al-'ulūm(Stars of the Sciences),a 16th century astronomy manual from the kingdom of Bijapur in South India,proposes star-gazing as a form of medicine for the care of friends. The text takes its bearings from a mélange of concepts and practices that originate in Indic,Arabic,Persianate,Turkic,and Semitic bodies of working knowledge.

 

of sowing seed and gardening, of the eastern wind and medicines for pests caused by it;
of the medical sciences, diseases, ailments, and a description of simple and compound medicines and their causes;
of Indian and Khurasani exercises of wrestling, its tricks, and their modes and manners.

 

Terms to illuminate the night sky of Southern India emanate from the vocabularies of Hind, Khurasan, Uighur culture, Turkestan, Arabia, Ancient Greece, and elsewhere. They branch out and cross-fertilize, creating concepts as they move and proliferate. Spells and formulae are glossed in Sanskrit, Turkish, Telangi, and Farangi. They are not always translated, but always glossed into an expanding glossolalia of concepts.

 

of fireworks and the various sorts and the ways of making them;
of making perfumes, the methods of it and the varieties and kinds of it.

 

From star-gazing almanacs to writing systems, we can see a world illuminate its distant corners through the intrinsic and pervasive energies of heterogeneous absorption. Acts that bridge vast distances have enormous and lasting significances. The"Table of Contents"of this remarkable text is an atlas of a universe that knows no internal or external boundaries of the knowable and the imagined.

 

of the interpretation of dreams and a description of true and false dreams.

 

In the expansive universe of Nujūm al-`ulūm,there is nothing so big or proximate that it is also not simultaneously small or distant in relation
to something else. There is an acceptance of a delicate web of actions. Every creative act, every inquiry can be a source of transformation; every transformation describes a moment that can inform a deliberation.

 

of poetic metre, rhythms, and whatever is connected to poetry;
of fables and romances;
of tools and instruments of the crafts of traders and artisans.

 

There are no predetermined hierarchies that dictate which mode of practice, which form of thinking, which cultural or historical provenance is of lesser of greater significance. Everyone who shares what she knows, or is curious about what he does not know, can be a friend, and can care for friends.

 

ADVICE OF FISHERMEN

 

Shimomura Osamu was a sixteen-year-old living in the outskirts of Nagasaki when the atomic bomb dropped on the city in August 1945. He could never forget the blinding flash of the explosion, and recalls losing his vision temporarily. He found a way to think about the relationship between light and life for the rest of his life, and went on to research bioluminescence, the light that glows in living things. He started studying organic chemistry,researching the luminescence of a kind of shrimp known in Japan as umi-hotaru or'sea-firefly'。

 

It is advisable to seek the advice and help of biologists, oceanographers, fishermen …

 

Shimomura's most important discoveries came later,and were made with the help of ten thousand jellyfish,each of which he studied carefully. It is not surprising he advocated friendship with fishermen.

 

His research on Green Fluorescent Protein(GFP),a genetic marker of bioluminescence that he isolated in Aequorea victoria,or the Crystal Jellyfish,found a practical application in the development of a method of indexing levels of toxicity and pollution in water bodies through the'expression'provided by'reporter genes'。 The creatures who were'transfected'with the'reporter genes'became expressive,as in they could be stimulated to'glow'in response to the presence of toxic materials. This technique, harmless in itself, became a bio-sensor, a living reporter and vital tool in the maintenance of the health of aquatic ecosystems.

 

THE SPLIT

 

Corals glow to counter the poison of ultraviolet radiation,and crystalline jellyfish are harvested for`reporter genes'to help detect toxicity: There is a connection between the luminous and the toxic.

Nothing that does not live need be concerned with a toxin. The conditions that enable living cells to grow are accompanied by the circumstances that cause their decay. The environment, internal drive, or external stimuli that causes decay to outpace or arrest growth gets called toxicity. It can be poison, it can be pollution, it can be a cure, it can be waste, and it can be runaway growth.

 

Toxins also become the foundation of the systematization of exclusion and hierarchy. We can learn not to repeat Indic civilization's profound non-thinking on the relation of toxins and life that has carried on-and carries on still-for thousands of years. Toxicity has been made a burden that must be borne by a large number of people, while a few can keep themselves pure. The difficult task of keeping the biosphere clean of stench and of the poison that arises from faecal or dead matter was thus partitioned. The handling of death, of infectious disease, of human and animal waste, and of the residues of production was not for people with time, power, and wealth.

 

The sharing of shadows was extinguished.

 

The care of life and the care of self are not possible without care with toxicity. We have to think about our sickness, our offal, and our residues of the cycles of consumption and production without cruel partition, masked as destiny. Each hillock of refuse on the outskirts of a city represents a demand made by the present on the future, with no promise of recompense, until the archaeologists come calling. The splitting of the luminosity of care from the shadows of the toxic is detrimental to the future of life on this planet.

 

TOXIC GLOW

 

A mysterious effect of the meltdown of a nuclear reactor is a sensation of glowing light that can be experienced by human beings but cannot be seen in front of one's eyes. This is attributable to a phenomenon known asČerenkov Radiation,in which particles that can travel faster than light are emitted by a nuclear meltdown or a'criticality incident'。 These particles interact with the liquid in the vitreous humor of the human eye to create a'blue glow'that can be'experienced'internally by the optic nerve and transmitted as a sensation of light to the brain,without being'seen'as an externally observable optical phenomenon because these particles move faster than light. It is as if the eye were sensing a light,out there,in front of it,that was nevertheless not'in'the environment of the human witnesses. The same thing can happen to astronauts exposed to solar radiation, which is emission from nuclear explosions that are constantly happening in the sun in outer space.

This glow, beautiful though it is, is also a marker of toxic radioactivity that is experienced as a vision. This hostly, spectral glow is said to have been experienced by people who worked in the Fukushima Nuclear Plant in the aftermath of the nuclear accident. In our understanding, the toxicity of our time has to be encountered with a cultivation of this spectral glow. Artist try to sense this luminosity,its beauty and its danger,so that we can see the meltdown that is happening around us all the time and teach ourselves how to survive-and to thrive. We have to begin to think of life with toxicity, and with the self-knowledge that banishment is a folly.

 

ANTASHIRA, AN UNTRANSLATABLE

 

A Bengali word antashira can be used to speak of an intrinsic flow and pervasiveness that creates a sensory layer which flows within our daily lives. Antashira is like the energy currents of the nervous system, like qi. It shapes life in all its extensibility. Today, the world needs to draw sustenance, inspiration, and strength from within varied antashira, our intrinsic-pervasive forces, that flow between all of us as we re-fashion relationships between the microcosm of singular lives, the connected life of the planet, and the macrocosm of the universe.

 

 

YOKOHAMA TRIENNALE 2020 TO START WITH THE EPISODŌS

 

Sometimes we forget the simple fact that there are about 1000 days between two Triennials. We want to consider some part of these days as a passage where many (from all over the world) regard, scrutinize, and wonder upon the various impulses shaping this specific edition. By expanding our conversation, we could soften hard partitions between discourse and practice, research and art making, the minor and the major, concealment and revelation.This conversation needs to course through the way artworks and utterances are anticipated, absorbed, and relayed.

 

We offer a sequence of intermittent,short-durée occurrences that we call Episōdos(from the Japanese for`episodes'),so as to provide an opportunity for such conversations. The word Episōdo is chosen to consider what happens when a scene seizes the attention of a time. For example, what happens when we witness a sudden change of temperature? What happens if we try to look upon an eclipse through an over-lit sky? Or, what happens when an improbable synchronicity appears between unrelated instruments?

 

The Episōdos will weave in exuberances of collective artistic production,quiet reflections and speculation on materials,associations yet to form in a not-so-distant future,traversals of sonic worlds,investigations into hard surfaces of infrastructure and waste,curiosities about breathtaking acts in sporting arenas,and count the"time of in-between,"a time to the next 1000 days.

 

Invited to Episōdos are artists,curators,cineastes,dancers,musicians,
performers and futurists among others. They will experiment in gatherings that play out unrehearsed historical propositions, risk uncertain stories, elaborate on itineraries of ideas, and listen to ecological and historical soundings from other moments.

 

While the exhibition of Yokohama Triennale 2020 is site-and time-specific,Episōdos will engage Yokohama in conversations with different communities of disparate temporal sites through their own means.

 

The Episōdos will commence in Yokohama in November 2019 with Episōdo 00"Sharing Our Sources."The occurrences then move to Hong Kong,to New Delhi,and to Johannesburg to initiate conversations on Discursive Justice and then unfold intensively in Yokohama during the exhibition phase of the Triennale starting early July 2020。

 


References:

 

The Big Bang's Playing on TV

https://www.nasa.gov/vision/universe/starsgalaxies/cobe_background.html

 

Jack T. O'Malley-James and Lisa Kaltenegger,“Biofluorescent Worlds – II.Biological fluorescence induced by stellar UV Flares,a new temporal biosignature,"Monthly Notices of the Royal Astronomical Society,Volume 488,Issue 4(October 2019),pp. 4530–4545.

 

Tom Gill, Yokohama Street Life: The Precarious Career of a Japanese Day Laborer [Asia World Series of Publications] (London: Lexington Books, 2015).

 

Svetlana Boym,"Scenography of Friendship,"Cabinet,Issue 36"Friendship"(Winter 2009–2010).) Online article: http://www.cabinetmagazine.org/issues/36/boym.php

 

Hariprabha Takeda,Bongomohilar Japan Jatra(A Bengali Woman's Voyage to Japan),first published in Dhaka,1915。 Reprinted by Sahitya Prakash Publishers, Dhaka, 1999. English translation from Bengali by Debjani Sengupta, commissioned for Yokohama Triennale 2020.

 

Emma Flatt,"The Authorship and Significance of the Nujūm al-`ulūm:A Sixteenth-Century Astrological Encyclopedia from Bijapur,"Journal of the American Oriental Society,Vol.131,No.2(April–June 2011),pp.223–244.

 

Osamu Shimomura,"Advice to Students Who are Interested in Studying the Chemistry of Bioluminescence,"Bioluminescence: Chemical Principles and Methods (Singapore: World Scientific Publishing, 2006), pp. 375–378.

 

Raqs Media Collective,"The Equal Division of Toxicity,"Livemint(29 August,2018)。 Online article: https://www.livemint.com/Leisure/JuxEvOeT79uyhy5q75DRbI/Raqs-Media-Collective-dreamsof-an-equal-division-of-toxicit.html

 

E.D. Clayton, Anomalies of Nuclear Criticality, Revision 6 (Washington: Pacific Northwest National Laboratory, 2010).

 

從佳話開始