May Chronicle by Location in Reverse - Care for a Place Through the Cimenatic Lens study group (Listening Group).

Response by Leire Vergara and Zane Zajančkauska to Clara Amaral, reading Lucia Farinati & Claudia Firth, “The Force of Listening”, chapter 4: Collective listening or Listening and collectivity, Errant body press: Doormats, Berlin 2017.

Response by Azul De Monte and Kari Rosenfeld to Baha Görkem Yalım, reading Lucia Farinati & Claudia Firth, Kaja Silverman, „The Acoustic Mirror“, chapter 5. Disembodying The Female Voice: Irigaray, Experimental Feminist Cinema and Femininity, Indiana University Press, 1988.

Response by Zoi Moutsokou, Niccolò Masini and Maxime Gourdon to Jon Mikel Euba reading “Writing Out Loud”, chapter location scouting. Publishers: DAI and If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, 2016 :

Single location

Not scouting for a place anymore in times of lock down.

When the place is the given.

1. There is no image, and there is no time. There's only you inhabiting all dimensions.
2. The virtuosity of this is to find a place for yourself among others who look for a place for themselves. If you live alone, the exercise is rendered more difficult because it lacks competitiveness.
3. Try to render unproductive every second of your time spent in this period. It’s always when you extract yourself outside conventional economies of time that ideas start to spring. As an example, I have the best ideas when I brush my teeth. But if I were to maximize the creativity of such a moment by purposely washing my teeth for hours, I would be pressuring myself for ideas to come and not performing the action properly.
4. Your cognitive lock down experiences won’t change the world, but the articulation of them might serve alternative purposes if properly articulated.
5. Don't feel pressured to take advantage of the present. Indulge yourself into considering the here and now as a possible scenario for an immediate and still very unpredictable future.
6. You might elude the physical requirements for the way of the wanderer. When some people travel, they merely contemplate what is before their eyes, from the comfort of your sofa chair, you might be able to contemplate real mutability. There are endless kinds of Eldorado awaiting from the corners of your imaginative world.
7. The infinite reassessment of the scenario makes its duration unknowable in advance. Take advantage of its unpredictability, welcoming an open fate. Making incertitudes certitudes, incertitudes, certitudes.
8. Another idea, a bit more difficult to incorporate. Think about zero investment AND income. See the unpredictability and the precariousness of the situation as an excuse to freeze all spendings. No rent, no bills, no tuition fees, no travel ; only minimal maintenance. How can you do what you want to do without investing money ? Remark : you might already have gotten to this point.
9. A proper lockdown might be a very special moment from yourself to yourself. How to take care of the place you’re locked in without overwriting routines of maintenance ? How to escape contradictory feedbacks and tautological scenarios ? Consider a drift from these scenarios, one onto the other.
10. Find strategies of renewal in the space you are in. Caring for a place signifies inventing ways for it to spring, to blossom, its ripe fruits will plant new seeds for the future. Perhaps the space you are in needs some fresh air or a bit of adventure. If you can’t receive humans, you might try to welcome other species in.

• I can’t see how synthesizing reality into images is not extraction from reality (yet) The places are real. The images are depictions of real real places. Of course representations or reproductions(?). The synthesis is creating a new reality that is not the same as the real place per definition. But the extraction constitutes the basis, the precondition of the synthesis anyway. It does not prevent it. First impression: nice idea but in the sphere of romanticism. There is some kind of literature approach, dreamy disconnected from the three dimensional world and perception mechanism. But let's see…

1. Stay cinematic and detached.
2. Let’s not talk about labor, reciprocity, reward, payment, exploitation.
3. Delocation, displacement of places of the mind to the physical space.
4. An allocation of space instead of in a location of space.
5. Reminders of a life: labor, mindless consumption, lost chances
6. Avoid confrontation and responsibility. See with your ass not with your eyes.
7. Bip bip. Don’t answer messages from friends. I thought it was about the “internet”. Turned out it was “intimate”. Read some Freud.
8. It is always a matter of taste. It presupposes you have taste in order not to lose it.
9. Easy logistics should match with the allure of the place. You need equipment to capture this allure in an image.
10. The left eye is the right one. Exercise drums.
11. Don’t situate yourself inside a convention. Self awareness is important at this point. Better walk around with your eyes blinded. You will learn your place better.
12. While stumbling on furniture in your apartment with your eyes blindfolded try use your memory to guide you around. Listen to your emotions and intuition that will create another reality.
13. Find what you want to see and it shall be revealed.
14. Ultrasound your gut and let the echoes of it show you the way. The sound bouncing, materiality, and acoustic capacity of the place will help you choose the right spot.
15. Just do it!
16. Don’t try to move hills. No option is a good option.
17. Be a human not an animal. Aliens might be ok but we don’t have enough evidence so far.
18. Be aware of the image you create. What would someone passing by think?
19. Feel fluid. Boundaries are not real.
20. Oh Bonnuel! “Beauty is not a precondition” someone making beautiful movies said.
21. Imagine, visualise, navigate.
22. See through the eyes of others.
23. Satisfy everyone by satisfying yourself.
24. Move

Response by Sara Benaglia and Dorothy Hunter to Ruth Noack reading Audre Lorde, „Poetry is Not a Luxury“, in: „Sister Outsider: Essays and Speeches“ 1984.

Response by Iva Kovač and Georgia Stellin

(click on the images to access the original)

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COOP study group: Curating Positions: Location In Reverse- Care For a Place Through the Cinematic Lens.