---
tags: 讀書會
title: BOWR#12
link: https://hackmd.io/@BOW/bowr12
---
:::info
tags: 讀書會
title: BOWR#12
link: https://hackmd.io/@BOW/bowr12
:::

:::warning
地點：https://meet.jit.si/Hydrocommons
時間：隔週二晚上七點到九點
[訂閱 google 日曆](https://calendar.google.com/calendar/u/0?cid=cDFqaHFpOTk5Zm9uZTBuYTVxNWxuc3ZkZDhAZ3JvdXAuY2FsZW5kYXIuZ29vZ2xlLmNvbQ)
< BOWR#1~11 [記錄](https://hackmd.io/@BOW/BOWR9) - you are here 12 - #[13](https://hackmd.io/@BOW/bowr13) #[14](https://hackmd.io/@BOW/bowr14)
:::

<iframe src="https://calendar.google.com/calendar/embed?src=p1jhqi999fone0na5q5lnsvdd8%40group.calendar.google.com&ctz=Asia%2FTaipei" style="border: 0" width="600" height="300" frameborder="1" scrolling="no"></iframe>

:::success
水（群）體：[中譯](https://docs.google.com/document/d/1-QfWWbruhgZeFv4LZJM6R5ghfZGXVIf2ZKcv4EqFRg4/edit?usp=sharing)、[英文](http://bloomsburycollections.com/book/bodies-of-water-posthuman-feminist-phenomenology/)
:::

[TOC]

BOWR#12
===
2022/4/12

Cornelia Sollfrank - xenofeminism - technique - old boy networks
---
xenofeminism manifesto: https://laboriacuboniks.net/manifesto/
book: https://www.wiley.com/en-us/Xenofeminism-p-9781509520626
Ambiguity, Scoring and Modelling:
(De)Quantifying social interaction
Martin Warnke & Ben Grosser, moderated by Cornelia Sollfrank: https://latentspaces.zhdk.ch/general/public-event-2
Cyberfeminism Manifesto
https://obn.org/obn/inhalt_index.html

家銘
---
許煜，新物質主義，改造
https://www.goldenhorse.org.tw/film/programme/films/detail/2115

Form/Matter/Chora: Object Oriented Ontology and Feminist New Materialism
---
Bodies of Water: introduction notes 2

>[2] Many if not most of these debates are happening in conference rooms (and their corridors) and on blogs; it is difficult to therefore cite them using rigorous academic practice, but it does not make these debates less real. The key ways in which Object-Oriented Ontology departs from feminist new materialism is also convincingly argued in Rebekah Sheldon’s (2015) chapter ‘Form/Matter/Chora’.

https://indiana.academia.edu/RebekahSheldon


Yaya 金星 NFT 展覽
---
【FB】[DBC作品紀錄](https://www.facebook.com/media/set/?set=a.991766661373018&type=3)
【DBC展覽網頁】[策展人的信](https://www.fengyichu.info/dbc-curator-note)
【Vemio】[“Cooper, Venus, Value Tech-objects” - Conjunction ☌](https://vimeo.com/670772489)
【NFT】[akaSwap](https://akaswap.com/tz/tz1hHiBaZtAwYias8SuMg1UkToMX41XX9bne?fbclid=IwAR3b2ebtIUhV6yzptHZFkJYkV2Y6TTZuZXEq9HS-j9-XT-_gJ5xX1QiUk8Q)
【Recently event】[Dragon Mountain Fest](https://www.akaswap.com/curation/dragonmountain?fbclid=IwAR1Pkb1GuNREc8JIupQVonraB8onp5pdlQBHO_2acG992sZV6QJOgvHJPQ4)

沈伯逸的水讀書會
---
牙醫診所的當代藝術讀書會

跨物種「濕」聯盟🐙🐋🦑🐬｜水體＆野蠻的藍色媒介💦
3 hr 2 min·Apr 11, 2022
Bowie Shen
Yuhang Zhang
0-255 RGB
HIKARU xinzhu
daoju editor
Chihyang Tsou

https://www.clubhouse.com/room/MwJgenkb?utm_medium=ch_room_xerc&utm_campaign=8oWBt2Guc2R9vctrm0iN4w-145635

Astrida 新文章 ＆
Hacking the antropocene [playlist](https://open.spotify.com/playlist/3KjiZazyf1OsZDVUXS84HZ?si=9mbxsvFwT-WHajpAUxigHA)
from feral feminisms
---
Astrida Neimanis and Jennifer Hamilton 合寫的新文章，關於 falling out~（鬧翻、爭吵或退出）
2019-2022 Hacking the antropocene IV symbosium [call for paper (CFP)](https://feralfeminisms.com/cfps/)、[issue 10](https://feralfeminisms.com/issue1/issue-10-hacking-the-anthropocene/)、[falling out together](https://feralfeminisms.com/wp-content/uploads/2022/03/12-FF-ISSUE10-Neimanis_Hamilton.pdf) by Astrida Neimanis and Jennifer Hamilton

<iframe src="https://feralfeminisms.com/cfps/" width=200 height=300></iframe><iframe src=https://feralfeminisms.com/issue1/issue-10-hacking-the-anthropocene/" width=200 height=300>"></iframe><iframe src="https://feralfeminisms.com/wp-content/uploads/2022/03/12-FF-ISSUE10-Neimanis_Hamilton.pdf" width=200 height=300></iframe>

🌟 恭喜礽喻、虹霏入選 FEELed Lab 五月集訓 🌟
---

23 May – 31 May 2022 一起認真讀書
https://thefeeledlab.ca/workshops/listening-attuning/

教授群：
Dr Janelle Baker, Athabasca University (keynote lecturer)
Dr AM Kanngieser, Marie Curie Fellow and Sound Artist (keynote workshop facilitator)
Dr Camila Marambio, Co-Founder Ensayos (keynote lecturer)
Dr Laura McLauchlan, University of New South Wales (seminar facilitator)
Dr Astrida Neimanis, UBC Okanagan (Director of the FEELed Lab, symposium convenor)

最後一天要做報告喔！
- 礽喻的主題是關於怎麼繼續閱讀、翻譯這些生態研究的著作整理成中文（或立體書），也把台灣的創作和研究翻譯成英文，彼此之間如何做連結，並以讀書會或走讀活動的方式推廣
- 虹霏的主題

COD #2
2022/4/9
===

謝一誼的現象學與女性主義教學現場
---

- from a subjective estimation, only 5 person teach phenomenology in Taiwan. (after the workshop, we also discussed she was shocked while being asked the relevance of teaching feminism in University.)
- a. 聊到台灣教現象學的老師很少，或許只有五位
- b. 我補充水體書中有一個簡單的現象學公式，只要「接觸、擴大、描述」 access, amplify, describe 三個步驟 (1.4 或原文 49頁) 或許會對現象學的學習有幫助
- c. 謝一誼說把現象學簡化成三個步驟會被殺死(?)
- d. 可是我回像是我們的身體、樣貌、性別、語言直接設定了界限，讓我們得以進得去哪裡，到不了哪裡，要能夠接觸到某些東西本來就不簡單。描述更難，在台灣很難看到坦承描述慾望、拆解權力的文章。
- e. 謝一誼說現象學是允許慢下來。（覺得很有道理）
- **吃與被吃**：
- 七樓的黑人說「不要吃我」。誰值得被犧牲的問題？Weathering、暴力的延續與重複。
- 吃下去增強靈力。消費與被消費。引用與濫用的界線。基督的血。
- 詩雨：植物說話的速度很慢，說不定它還正在吐出第一個母音的時候我們就把它收割下來吃了下去。當一個素食者真的是好的嗎？
- **出版牽線**：或許可以幫忙牽線台大、左岸出版？（how to follow up?）
- 想知道更多 c-lab「海水浴場」和濕市場的研究，可以在六月的時候分享嗎？

慢策展（食用）、敘事方式（主賓詞及觀者位置）與展覽隔間（膜）的呈現方式的問題
---
- **食用**：植物說話慢，採集時是否仍在發音（展覽訊息與接收者消化時間？）做菜、醃漬、醞釀的時間。合作與溝通的時間。前期交涉、尋找共識的餘裕與時間。河裡保麗龍撈出來做展覽，以及消融掉的時間。看得到，與看不到的，工作時間。
如果我們所吃下的東西也是我們，吃與被吃並沒有高下、優劣之分，而是需要兩者皆具、雙方 intra-action 才能構成。如果令人流連忘返的作品、展覽是讓觀者不想離開的展覽，如何打造那種可能，消融主客體之間的界線，there is no line between you and me and everyone else。
*"Creating a space that nobody wants to leave"* -- [Esther Anatolitis](https://estheranatolitis.net/2017/05/25/creating-a-space-that-nobody-wants-to-leave/)
- **敘事方式——觀者位置**：與其設計以孩童或動物觀看視角的展覽，果然還是沒有什麼比把觀者抬高到太陽般的感受更加尊榮
- Lucia Pietroiusti 在威雙策劃的 sun & sea (marina) 讓觀者走上懸空的步道。不斷重複的敘事，真人劇場上演 **non-linear dramaturgies （非線性劇場）**，也像提袋。 ref talk: [Non-linear dramaturgies and the climate catastrophe: Human and more-than human encounters](https://www.facebook.com/events/starsdk/non-linear-dramaturgies-and-the-climate-catastrophe-human-and-more-than-human-en/180783477373652/)
::: spoiler sun & sea (marina) 網站：https://www.sunandsea.lt/en
{%vimeo 348919731 %}
紐約 BAM |Brooklyn Academy of Music
德國柏林 Stadtbad 公立游泳池
羅馬 teatro di roma
:::
- 想到還沒去看這個即將拆掉的科博館鳥瞰劇場
- 【鳥瞰劇場告別演出場次】
場次/片名
09:30 回家旅程+舞動星光(假日加演)
10:30 鳥瞰龜山島
11:30 從太空看地球+月球的演化
12:30 飛覽日月潭
13:30 回家旅程+舞動星光
14:30 鳥瞰龜山島
15:30 從太空看地球+月球的演化
16:30 飛覽日月潭
【環境劇場告別演出場次】
場次/片名
10:00 漁取。魚求
11:00 璀璨三十
12:00 暖化危機
13:00 暖化的故事
14:00 漁取。魚求
15:00 璀璨三十
16:00 暖化危機
<iframe src="https://www.facebook.com/plugins/post.php?href=https%3A%2F%2Fwww.facebook.com%2FnmnsTaiwan%2Fposts%2F7150686008339208&show_text=true&width=500" width="500" height="818" style="border:none;overflow:hidden" scrolling="no" frameborder="0" allowfullscreen="true" allow="autoplay; clipboard-write; encrypted-media; picture-in-picture; web-share"></iframe>

- **展覽隔間（膜）**：[Lucia Pietroiusti](https://www.instagram.com/luciapietroiusti_/) 與 [Filipa Ramos](https://www.instagram.com/luciapietroiusti_/) 在義大利北方滑雪場的 Persones Persons 雙年展 3/25-6/12。看牆壁的配色！或許暗示不斷分割的各種自然／文化、主／客、物／人⋯⋯。反轉主客體的敘事方式，或許更能輕鬆突破以人為中心的那種邊界與禁忌。

其他把隱藏在技術、展示、勞動、框架外的東西呈現出來
- [賴志盛](https://edouardmalingue.com/artists_ch/賴志盛/)
- [thomas struth](http://www.thomasstruth32.com/smallsize/index.html)
- Andrea Jaque [Office of Political Innovation](https://officeforpoliticalinnovation.com/)
[14. PHANTOM. Mies as Rendered Society](https://officeforpoliticalinnovation.com/work/phantom-mies-as-rendered-society/)
[20. Superpowers of Ten](https://officeforpoliticalinnovation.com/work/superpowers-of-ten/)
影片
{%vimeo 162905806%}

- 沒有人比酷兒更知道怎麼派對！
[11. COSMO PSI 污水處理裝置](https://officeforpoliticalinnovation.com/work/cosmo-moma-ps1/)
{%vimeo 118853150 %}
> the spirit of composting - critical, rigorous, but ultimately <font size= 1200%> 💫 *Joyful* 💫</font> -- Astrida Neimanis and Jennifer Hamilton, 2021, falling out together, feral feminism issue 10 hacking the anthropocene IV
- 關於框架內外與審查
[Being Censitive](https://akshitachandra.com/beingcensitive/)

we played a game of
潮濕是⋯⋯
---
我們玩了一個遊戲，把各自對潮濕的想像寫、畫出來，由其他人抽取詮釋，之後說不定能繼續串接發展成一篇故事。

1. 潮濕是　一種生命本來的狀態，而非一種比喻，不是像喜歡王家衛的文青說「所有的記憶都是潮濕的。」我們都是水的通道，短暫的停留。we are water's conduits, mo(ve)mentarily.
2. 潮濕是　沒有雨，但空氣厚重，濛朧但清新，身旁與腳下的萬物都被滋養，潮濕是 not thirsty。
3. 潮濕是　資訊的接觸不良　<mark>資訊空間</mark>（兩台皺著眉的電腦螢幕，風雨）
4. 潮濕是　新移民媽媽在公車上和隨機的人說「土一點也不髒」
5. 潮濕是　我無法擺脫的世界
6. 潮濕是　水的點。滴滴答答，但是我也不知道為什吧
7. 潮濕是　觸媒，是剩下另一半的時間，是問號的開始
8. 潮濕是　（踰矩的水，框框內外都有水）
9. 潮濕是　性、興奮、憤怒、流汗、眼淚、wet-togetherness（可自由搭接拼湊）
10. 潮濕是　有機的，蘊藏著能量的，是同時包含著快樂與痛苦，是同時容納仁慈與殘忍，是一場生命的即興展演。
11. 潮濕是黏膩／發霉的可能／台灣的夏天／但也同時有不確定性的安慰。變化的潛能
12. 潮濕是　中間狀態。只有水不構成潮濕，它必須透過介質、比較、接觸、以及憎惡或喜愛，它觸發並引伸到空間經過時間、或轉變。
13. 潮濕是聽見下雨的聲音，是聽海哭的聲音，是我是一隻魚，是淚海。是飄洋過海來看你、藍色多瑙河
14. 潮濕是　浪漫的事。不知道有沒有溼文學／文體？

有人說既然我們都有孕育性，覺得不用凍卵了很感動

<iframe src="https://i.imgur.com/uBjffdV.jpg" width=400 height=400></iframe>iframe>

2022/4/11
---

I saw sparrow making love outside my windwo again. It's 11 April 2022. The first and last time I notice this was roughly the same time last year, while translating BOW.

thinking birds are the remain of dinosaurs lineage, seeing their movements become epic. one bird have to flop their wings arduously to briefly stay for a second on the the other bird's rear back.

On the critique of dinosaur display, shih-yu shown a photo of Tanystropheus rack standing on it's two rare feet at a museum lobby, even its dramatic posture is not scientific. (just fund a research finding from august 2020 Chicago Field Museum that tanystropheus is actually [sea dwelling](https://www.fieldmuseum.org/about/press/fossil-mystery-solved-super-long-necked-reptiles-lived-ocean-not-land) )

Could museum displays or narrative we create be more of co-existing (caring, bridging, understanding and love making), instead of rivalry and killing?

it is spring, a season of seeding, sprouting and fecundity. have your senses attuned to the surrounding environment?


椿萱並茂
---

recently I learnt a new proverb called 椿萱並茂, which can be translated as 'toona and daylily thrive together'. Its extended meaning could be one's parents are both healthy and alive.

It is a magical spell. when it is spoken, moments seem to slow down, and allow gratitute and relfection of 'why we are alive?'.

I put it carefully inbetween the lunch time conversations with my mom while dad was watching TV by the side. I hope they can stop fighting. it was before going to check out the result of positron emission tomography in hospital. Operation is scheduled next wednesday, 20 April, to try to take out a 3 cm tumor on the root vein of upper left lung lob. it is dangerous. we are afraid. but we seem to push other away. dad don't seem to be comfortable when I am around. I excused myself and left.

toona grow all year around and is known for its longivity. orange daylily bloomes in autumn. their names are mild like autumn and spring. I hope we could co-exist like that even without words. Not inflict the mutual pain, at lease, attuned to ourselves while also known the wound and hurt in each others bodies. sensing our inherited entanglements and untangle them seperately.

2022/4/12
香港嶺南大學 Dead Dinosaur and Nuclear War
---
核武持有國家發動戰爭對世界毀滅的可能性
[守護者](https://zh.wikipedia.org/wiki/守護者_(電影))、don't look up

feral atlas: Anna Tsing
2022/4/6
===
Oslo School of Environmental Humanities (OSEH)
[2022: Welcome to the Anthropocene](https://www.hf.uio.no/english/research/strategic-research-areas/oseh/news-and-events/events/lecture-series/Welcome-to-the-Anthropocene-2022.html)

🌟pass the baton
feral atlas sister site building?🌟
---
https://feralatlas.org
https://feralatlas.supdigital.org
https://feralatlas.supdigital.org/index
<iframe src="https://feralatlas.org" width=200 height=400></iframe><iframe src="https://feralatlas.supdigital.org" width=200 height=400></iframe><iframe src="https://feralatlas.supdigital.org/index" width=200 height=400></iframe>


- detonation time
- chronological industrial time?
- non-human history

- feral 被圈養的生物重新回到自然

re-play
---
{%youtube gsaCmwHT1Xc%}