11 Matching Annotations
  1. Jan 2023
    1. the development of media technologies and their global distribution have long since made usfamiliar with the idea that we ourselves are media.

      This claim relates to later statements about humans being in the middle (like medium thinking as media being both an infrastructure of how we act and are) of the pandemic mediation in that humans are part of the process of transformation and intersection between themselves and other nonhuman powers. I think intersection in this instance is more of a cooperative and cohesive existence with nonhuman and human entities that naturally intersect.

    2. reintegrate our own mediality with the sociotechnicalnetworks that are for the time being substituting for our embodied relationality.Maiello 3

      In Covid, the embodied relationality between humans was substituted by sociotechnical networks (i.e. common beliefs or definitions of media as being a medium separated from physical human networks) cause a hybrid post-media life in which media interacts with the individual and the collective in the process of distinguishing between communications (medical from political media).

    3. In other words, we are the mediators of thecollective affectivity that unifies the nation,

      This claim of human being mediators of the collective affectivity is relevant to how representation and reality in media are intertwined making humans the medium through which humans must continue to create an increasingly integrative mediality.

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      This claim of the sensors data and monitoring of the common planet creates a sense-able Earth digital planet which requires a review of how environmental data and monitoring might arrive and exhibit different planetary inhabitations and relations. Thus these sensors express how observation practices are both experiences of the Earth and expressions of how to collectively inhabit Earth. This kinda of relates to Imbler's idea of collectively actively inhabiting the Earth through anthropomorphism.

    2. The} l)'P1callyopera1c ·" ne1works 10 dc1cc1.analrze, and acru-atc re,pon<e; IO cm 1ronmental even 1,

      The sensors are not only networks of analysis, detection, and responses to environmental events but are ways of describing environments and bringing them into being as sociopolitical worlds that reflect the differing ways of experiencing and navigating planetary zones.

    3. . ubterranean spac•es arc momtored for 1he presence of oil and gas,mmerals and water

      How do these sensors function under the U.S and Canada's bilateral treaties in accordance with UNCLOS I,II,III?

    1. o ignore or deny the ways we see ourselves inanimals might enable our exploitation of them, such as through factory farms.

      The claim furthers the later points about humans empathy and anthropomorphism as a an appreciation practice towards incomprehensible objects or things. While humans inclination again may be to oppose those things, it creates a sense of reverence towards their "otherness" if you will.

    2. Reports about the blue goo described it as “formless, faceless and limbless,”descriptors defined in opposition to ourselves, our faces and our limbs.

      This idea of defining objects, people, or things in opposition to us, rather than defining and grouping ourselves based on commonalities and inclusivity, we group ourselves by defining and excluding those who are opposed from us. It's like schismogenesis in that we define ourselves against each other.

    1. as though one were looking at the cosmos from afixed perspective, but rather to capture the temporal unfolding of a visualawareness that unites us with the cosmos in the very moment that it dividesus from ourselves.

      This claim of the art capturing the temporal unfolding of a visual awareness that unites us with the cosmos in the very moment and divides us from ourselves furthers his later statements on the art both opening the visual field that (in the instance of the stars in the painting) gives the atmosphere of the sky as long as it merges with the field of the viewer or artists attention connecting ourselves with the cosmos.

    2. But in fission, I have escaped from myself and am abroad in thecosmos, in among the elements. I am with them - with the sun and the stars,with wind and storm, with stone - while my body has become a ghost.

      Concluding claim that in fusion the atmosphere is with you and in fission you are with them while your body has become a ghost.

    3. The painting appeals to us preciselybecause it both chimes with our experience of what it feels like to be underthe stars and affords us the means to dwell upon it - perhaps to discoverdepths in this experience of which we would otherwise remain unaware

      This reminds me of writing, in this instance rhetoric and writing is rhetoric and art, as an affective composition in that the context, style, and signification of the art affects how we are both sensitive to and can sense how it feels to be under the stars and ponder the depths in the experience of being under the stars that one might otherwise be unaware of. This makes Gogh's art "matter" because of its style like metaphysical graffiti from Edbauer.