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

AfterGlow

概念


yokohamatoriennare 2020

atisutikku·导演

rakusu·媒体·korekutivu

 

沙司的共有

 

白色噪音

 

在电视是模拟的时候,在电视画面的"沙暴白色噪音"盯住看,广播结束的话有了我们。对于这场沙暴犹豫不决,拥挤不可思议地舒服了。在这个产生幻觉的minimarizumu中,看得见所有东西,能又想像了。那种电子噪音,我们找到在片刻的像视觉上的幻想那样的东西在里面花纹,看了幽灵的姿态。和本来的功能不一样的那个画面好像是注视被诅咒的风景的窗。

 

当时不知道,但是模拟电视的斑驳的花纹的白色噪音包括作为是宇宙诞生的开端的大爆炸的遗迹的宇宙微波背景辐射这个电磁波。竟然什么自己正注视被和时间的开端一起放出! 每当爆炸的时候,光的残余就是说光的遗迹afutagurou漏出来。在,特别,通信信号消失,去的时候,那个光出现。

 

 

Lumi茄子·关怀

 

在宇宙,经常发生了爆炸。古代的爆炸现在也传冲击波,重复小爆炸,辐射被每隔爆炸放出一点。太阳的爆炸开始吸引从某种的珊瑚到紫外线的毒性的反应。为保护身体不受那个光侵害珊瑚亲自发光。美丽的光的模式变成光辉,护理,保护体组织不受负担的大的太阳的辐射侵害。

 

认为连通跟总有一天这个生物发光的签名理解未知的生命体的宇宙生物学家好像出现。那个生命体对被暴露于巨大的太阳发出的猛烈的辐射的太阳系外行星居住。在地球海栖息,多亏了遥远地和分开的太阳用自己的发光对话的珊瑚,我们是有其他的太阳的另外的世界变得好像能研究居住的生命的本质。

 

分解,生命,宇宙,世界以及每天的时间,被通过不计其数的行为重构,被保护(luminous care),被发光渐渐重建。短的间隔的伤在时间的毒的碎片放出的余辉(afterglow)中恢复。生命是发光的德国学者(luminous autodidact)。

 

 

草丛

 

一边有2007年6月的午后,西川纪光nishikawakimitsu--他在67岁的流浪的不定期工人,所谓"日工工人"投靠横滨寿町的小旅店,向上看正作为横滨湾的码头装卸工人维持生计的--多云天气,一边和文化人类学者的汤姆·吉尔大声在嘲笑。他这样说了。

 

 

在图的宇宙蛋是duruzu和gatari的主意。
宇宙蛋→诞生但是未成熟→在30年感到痛苦10年20年,锻炼的话第2诞生! 有出生,省悟马上打开的人。…… 在我的情况下,还没来到。……我们一边是宇宙的一部分,一边创立宇宙 ……

 

 

要无产阶级的贤者,作为造船厂的哲学家的西川对我们提供用自学得到的巨大的沙司。那个是同时从作为根zuku,大胆的横穿性的意识在横滨的市镇出生,那里得到的东西。

 

西川的遗产变成对我们来说的"沙司"。是"沙司"是参照点,并且在隐喻和探求心又溢出来的行为、食材、痕迹的凝聚体。那个"沙司"给予我们自问和给考察的能源。用来,另外,因为在贪婪捕抓在身边的文化的智能的食材,无领导者而醒所以学习知识的能源。沙司为了是非竞争,并且被在各种各样的电弧,视觉,语言中设立平等的立场那些要素又互相有关系,感染,能见。

 

沙司召集其他的沙司。以及完成旅途的动作的重点的移动的小的变化和大的转调的旅程aitinerari。在今天的多车轴性的世界,这个打开自由解释的领域,助长不一样的倾向之间的冲撞。使沙司在toriennare创作中的长的仔细的过程中变成多层,用aitinerari的厚度增加的话推进创造和发掘的力是什么明白什么被产生。

 

在我们遥远地在分开的地方或者在近的地方yokohamatoriennare 2020的观众以及听众以及读者的各处,提供一系列的沙司。这些被从不同的时代,文化的背景以及地理条件的地方拉,但是珍惜哪一个都生活的个人或者集团写了。KIRAMEKI和白热被收集,拼凑细工被做,照出艺术家和那个旅途的同行者们想要出门的路程。沙司引导我们的对话,带来有生气,灵感,花费谜。那次对话被和艺术家,馆长,作家以及对这个旅途有兴趣的所有人们交换。沙司让我们思考,点燃,是带来好像放弃学习以及学习的刺激的触媒。

 

闪烁的光

 

在超过100年之前,并且horipuroba·morriku这个女性和某一个外国人一起离开东面孟加拉(孟加拉国)的村庄了。她陷入恋爱的那个外国人是叫武田和右卫门的旅行的商人。她和他一起开船,和惊奇和高兴一起发现叫日本的新的世界。因为几乎不懂日语所以沉默第一次是唯一的交流手段。与特地走一半世界,一起渡过的男人的家庭和朋友的邂逅被在她的记忆深深刻了。他们为了被想要成为新的世界的一员,亲自学的一个女性照出,在我们看来,看得见。

 

是我们的朋友,并且如下正关于某一个光在"友情的senogurafi"这个文章在艺术家写哲学家的suvetorana·boimu。

 

……在极限的状况,光明,男女发从超越作为被给与的只有的时间而发光的"摇动用不确实纷纷地的多量弱的光"而不是哲学性的诸概念光 ……。"男女把彼此的闪光反射到不论那个出生的如何"的这个光明的空间是在我们住在的表现的世界放出光的人类的特点和由友情构成的空间。换句话说友情,而不是明确地或者不明了地做全部的,和影子合谋,是玩耍。那个目的而不是启蒙是光辉,并且,而不是探求盲目性的真实的,是探求冷不防碰上的明了和诚实。

 

如下正写horipuroba。

 

……每一个人在近旁来,打招呼。年轻的人所有的年纪大的人拿帽子,正座,深深垂下脑袋,行礼 …… 交换问候。每一个人自报姓名,打招呼,考虑这个感觉,说表现感谢和高兴的语言。为了什么,每当回答的时候3-4回垂下脑袋的是这个习惯。我因为不会日语不出声了所以,垂下脑袋。……

 

即使不知道最好怎么样叫未知的人也能亲自发出光芒。像在是为了光辉也被从在结束1日的劳动的身体发亮的汗放出或者分享自己的影子细长的空间,并且自己的影子从对方的影子逃掉的时候被投影出的光的轮廊那样。
知的式生翻译不可能的经验tosemegiaukotokara。

 

 

反百科全书

 

在中世纪的时代,思想以及绘画,物语以及东西的想法被在南面亚洲、西面亚洲、中亚和中国、朝鲜、日本之间僧侣,异端思想家,商人,船员,香客,逃亡者,奴隶这样的旅行的德国学者们交流。

 

回避新奇的事情,那个记号和那些的方式的说明
象,发情期的象的死,象的状态和疾病的说明
音乐,旋律,方式,108韵律,分别的长处和短处……no说明
从神秘的旅途,冥想,高潮,奇迹,苏菲被给与的14家房子……no说明

 

被认定注视星的用被在"nujumu·阿尔·urumu"(诸学问的星)这个16世纪在南面印度的B保温瓶拉王国编纂的占星术百科全书变成照顾朋友时候的治疗的药剂。那个本文是印度,阿拉伯,波斯,土耳其,semu的从活着的知识派生出来的思想以及汇集实践的内容。

 

播种和营造庭园的说明,给由于东风和东风的原因发生的鼠疫的药的说明
医术,疾病,痛疼的说明,简便的治疗的药剂和复合的治疗的药剂,疾病的原因……no说明
印度和horasan的摔跤,技能,作派和礼节的说明

 

照亮南面印度的夜空的语言被hindu,horasan,我们阴谋文化,torukisutan,阿拉伯,古代希腊等的地区的词汇发。语言从原来的文化圈做分支,交配。随着移动产生概念,繁殖。咒语和药方被用梵文,土耳其语,泰卢固语,弗兰克族的语言做注释总分。那个注释一定没被翻译,但是被在表现概念的異語gurosararia做注释,扩充。

 

火药的说明和种类,火药的做法的说明
香水的做法,方法论,种类和性格的说明

 

从天文学的年历到书记系统,对我们看得见世界遥远地正到分开的角落的照亮光的。什么被在那里使用吸收不同的成分的内在性的nagaraamaneku是展开的能源。不可想像,并且,在能把在远处的东西拴在一起的行为,有庞大以及长久持续的意义。是没在被用想像写能知道了这个惊人的本文的"目录"在的东西之间有内在的外面性的境界的宇宙的示意图。

 

梦的解释的说明和真实和假的梦的说明

 

对"nujumu·阿尔·urumu"表现的森罗万象,跟其他的东西相比,没有大的东西特别接近的东西。同步没有小,在远处的东西。在这里,能收下像行动之间的细腻的网眼那样的联系。一个创造性的活动中的一个一个问题中的一个能是带来变化的沙司,表现一个那种变化中的一个形成仔细的瞬间。

 

诗的韵律,韵律,另外关于诗的各种各样的事情的说明
寓言和传奇的说明
商人和工匠的技能的工具以及技能的说明

 

实践的办法,思考的式,文化的历史的来由的为不去而依靠,好像规定意思noarunashio的即成的等级制度不存在。所有的自己的占有什么知道的人,或者自己的有兴趣对什么不知道的人对朋友适应,是能照顾朋友。

 

渔夫的建议

 

在原子弹被把在1945年8月在长崎投下去了的时候,是住在下村修shimomuraosamuha长崎郊外的16岁的少年。没有他终身忘记在附近的谏早市目击的那个眼睛nokuramuyona闪光的,并且之后说那时临时眼睛看不见了。他之后向从生命体中发生光的生物发光的研究的道路前进,用一生,追求光和生命的关系。第一次专攻有机化学,勤奋了海萤火虫的研究。

 

生物学家,海洋学家,渔夫……建议要求no建议的合作。

 

最重要的发现在下村的研究方面是海萤火虫的研究之后的事情,但是支持那项研究的是1万只的海蜇。他礼貌地观察了那个1只1只。为了大肆建议他成为渔夫和朋友的感到吃惊不值吧。

 

从owankurage离析,成功地精制,被发现的荧光蛋白质(GFP)之后被实际应用,为根据容易辨别是否有的遗传基因正表现出来的报道基因的告示测量水域的污染状况和有毒物质的水平变得利用。"引进,转染,"被认为是报道基因的生命体"表现出来,"做,对毒的物质的存在有反应,做"发光"。因为无害所以这门技术它本身变成生物传感器,和重要的手段作为用来保持水界生态系的健全性的活体报告人成为了。

 

 

分割

 

珊瑚针对紫外线的毒发光,为收集探知毒性的报道基因owankurage被采集。在发光和毒性之间,有联系。

没必要假如死了的话,想毒性。也不能把让活细胞成长的条件和吸引那个衰弱,耕的环境割开来。和毒性叫我们吸引几乎适应成长的或者的几乎压住环境,内部主要原因,外部刺激的衰弱,唤醒的东西。
那个是毒,是污染,是治疗(矫正),是废弃物,是几乎按住变得不见效的成长。

 

毒药也是使排除和等级制度系统化的基础。为了不重复作为印度的文明的毒药和与生命的关系相关的深渊的非-思考能学。那个几千年东西之间的因为继续引起,现在还正继续所以。毒药是作为对许多的人来说的行李的一方面,并且非常少的人全然不被污染。为了不被发生的味以及毒素污染保持清洁的困难的工作掩盖生物圈,被从排泄物以及死尸分离出来了。伸展,是有时间、权力、财产的人的工作,并且,由于死,使用的产品nokasuo由于尿人类和动物由于传染病全部没有。

 

变得没有分享黑暗的部分的了。

 

生命的关怀和自己的关怀不和毒一起护理而不成立。我们必须想自己的有的病,死尸肉,生产和消费的周期拿出的剩余物。那时不可以划分被命运这个名掩盖的残酷的劳动。在城市郊外展开的垃圾山正表现对现在哪一个都产生的未来的需要。但是报告在那样的未来没有破的保障。考古学家们最多来临吧。是分割护理的光和毒有的黑暗的部分的针对这颗行星的生命体的未来做害。

 

 

毒的光

 

原子反应堆的核心熔毁引起的感到奇怪的现象会经验,但是是眼睛,并且有什么看的不能够的光辉(glowing light)的感觉这个东西。被作为契连柯夫辐射知道的这种现象根据在带电粒子比在那种物质中的光速更迅速通过电介质的内部核心熔毁或者"临界"时进的时候被放出的光出现。在原来快的东西比被核物质放出的光速通过眼球的玻璃状液了的时候,出现"有苍光"是眼球里面的"经验"被脑传达,被感觉的东西,并且和"看"作为视觉性的现象的东西不一样。即使认定眼睛正感觉在眼睛的外面或者眼前的光也不是在人类看的环境起来。可能由于在太阳也在宇宙做原子爆炸宇航员们的时候被放出的太阳辐射做相似的经验。

 

为了美丽没有不同,但是是毒的放射能的万能笔,并且那个光被作为视觉经历。被说像这个亡灵那样的光也被福岛的核电站的事故以后经历了。用我们的理解,现代这个时代有的毒性必须是使遇见培养像这个亡灵那样的光的。艺术家想要在这个光辉察觉那个美和危险性。那托的福,并且我们经常能看用身边发生了的所有核心熔毁,变得从现在开始能学用来活下来的--或者用来繁荣的方式吧。我们必须开始想与毒性共存的生活方式。作为愚蠢的行动的身份必须起驱逐那个的。

 

翻译不可能的语言-ontoshira

 

在内在性的流retoamaneku表现扩大的感觉的时候,孟加拉语的"antashira"(ontoshira)这个语言被使用。这个潮流和感觉作出在每天的生活时中断的感觉的层。ontoshira与神经系统的能量流像"气"那样相似了。"ontoshira"由于生命在那个所有的扩大时是形状zukuru。今天世界必须从各种各样的ontoshira中抽出持续性和灵感以及力。ontoshira我们的内在性的deamaneku是扩大的力,并且在我们全部之间流动。随着那个潮流,我们是再做各的生的微观宇宙(银河系)和这颗行星这个连接起来的生命和宇宙这个宏观(大宇宙)的关系。

 

 

从佳话开始的yokohamatoriennare 2020

 

我们在toriennare和下一个toriennare之间时常忘记有1000天左右的单纯的事实。我们想认为有那个时间的部分是通道。注视,扫描对许多人们在那里(世界中的)完成这次的toriennare的各种各样的冲击力,想有兴趣。如果能扩展对话的话,我们能解开意见和实践,调查和创作,少数派和在多数派,隐蔽和公开中的坚固的区分吧。美术作品和与那个相关的语言被期待,这次对话被接受,想做,必须向被传下来的过程推进。

 

我们"佳话"(Episōdo这个)(把日语换成英语书写方式的东西)断续性性地进行短期的活动,想做这样的对话的开端。为想在关注了某一个时间点的事情的时候发生什么"佳话"这个语言被选。比方说当为突然地变化气温莅临了的时候怎么样? 假如向上看太亮了的空中,观察日食吧的话,怎么样? 或者出乎预料的同时期本来在无关系的器械之间发生的话怎么样?

 

"佳话"在如下东西之间支起网。关于掩盖在继续地进行的集团的作品创作,与食材相关的安静的内省和思索,面向不远的未来的组织的建设,声音的世界的探求,基础设施和废弃物的牢固的上边的研究,与体育的憋住气的漂亮演技相关的好奇心……。就这样记下"间隔时间",对下一个1000天的时间。

 

即使什么被在"佳话"邀请分艺术家以及馆长,影像创作,跳舞者,音乐工作者,表演者也是未来学家。他们在公开的聚会中做试验。那里,历史的证言自发进行,不清醒能谈得来,被说,思想的旅程aitinerari被推敲,任何人在不一样的时代的生态学性的历史性的调查倾听吧。

 

yokohamatoriennare 2020的展览是saitosupeshifikku,并且是taimusupeshifikku,但是"佳话"另一方面七零八落地把横滨用只有"佳话"才能做到的方法卷入与由临时的地方网站构成的分别的地方自治团体群的对话。

 

"佳话"被在2019年11月在横滨进行的"佳话00沙司的共有"开始。在香港,新德里,约翰内斯堡移动,开始关于"disukashivu·杰斯特斯"(toritomenonai正义)的对话,是横滨,并且活动打算被在在2020年7月开幕的toriennare的期间里正式展开。

 

 

[须川善行意思]


参考文献:

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).

日文从"每日ahodansu--寿町的日工哲学家西川纪光的世界"(在2013年,kyototto出版)摘录汤姆·吉尔。

 

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"某一个孟加拉国际妇女节书参观记""遡河"第10号(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. (帆足亚纪意思)

 

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).

 

从佳话开始