(Not so) Casual Conversations: Experiments in Attunement as Method in Investigative Art Practice

Livia Daza-Paris

Exposition

(Not so) Casual Conversations: Experiments in Attunement as Method in Investigative Art Practice (2019)

Livia Daza-Paris

open exposition

About this exposition

This exposition considers how investigative poetic practices could broaden notions of ‘forensis’ in terms of contemporary art. By developing my concept of ‘poetic forensics’ with attunement as a method that is “palpable and sensory, yet imaginary and uncontained” (Stewart 2011) it admits the nonhuman—trees, rocks, streams, animals—suggesting new relations beyond the human as possible witnesses (Williams 2018). This presents an invitation to think differently about articulations of public truth. The question ‘Who else is witness?' emerges while exploring material intrinsically elusive to testimony on what and who has been disappeared by oppressive geopolitics. Human-rights issues are implicit given the project’s focus on historical erasure and state violence at “the threshold of detectability” (Weizman 2017). It also attends to my family’s experiences as we faced the “political disappearance” of my father Iván Daza, in 1960s Cold War-era Venezuela. The project grapples with validity through methods and lively approaches that decolonize both knowledge (Tuhiwai Smith 1999) and nature (Demos 2016) presenting posthuman challenges to a privileged human onto-epistemological position (Viveiros de Castro 2015).

Den här praktikbaserade forskningen tar fasta på hur poetiska och undersökande konstnärliga praktiker kan bredda det moderna kriminaltekniska fältet. En vidareutveckling av min idé om ”poetisk kriminalistik”, som experimenterar med attunement, en praktik som i aktuell forskning beskrivs som ”påtaglig och sensorisk, men samtidigt fantasifull och otyglad” (Stewart, 2011), gör det möjligt för den att även inrymma det icke-mänskliga – marken, träd, klippor, vattendrag och djur – med antydningar om nya relationer bortom det mänskliga (Kohn, 2013; Viveiros de Castro 2015), som möjliga vittnen (Weizman, 2010; Weizman, 2017; Williams, 2018) till det som en förtryckande geopolitik har fått att försvinna. Detta inbjuder till att tänka annorlunda kring diskreta artikuleringar av offentliga sanningar. Frågan ”Vilka andra kan vittna?” väcks när man utforskar material som i sig är svårgripbart. Svaren undersöks genom att lystra till vittnesbörd från såväl oväntade, icke-mänskliga (Butler, 2015) som mänskliga vittnen. Projektet inbegriper globala mänskliga rättigheter, eftersom dess fokus är omstridda vittnesmål och bevis på gränsen att upptäckas (Weizman, 2017), i ett sammanhang av statligt våld och utradering ur historien (Galeano, 1992). Det behandlar dock även subjektiva aspekter av hur min familj upplevde min far Ivan Dazas ”politiska försvinnande” (Amnesty International, 1993; Marcos 2002) på den venezuelanska landsbygden under 1960-talets kalla krig. Det handlar om en dynamisk, verklighetsförankrad forskning (Lather, 2017) som griper sig an frågan om giltighet genom metoder och metodologier inspirerade av attunement (Nagatomo, 1992; Stewart, 2011) och en syn på det icke-mänskliga som vittne, men även genom andra vitala fält som avkoloniserar såväl kunskaper (Tuhiwai Smith, 1999) som naturen (Kohn, 2013; Demos, 2016) och ställer människans privilegierade onto-epistemologiska position inför posthumanistiska utmaningar (Kohn, 2013; Viveiros de Castro, 2015).

type	research exposition
keywords	poetics, forensics, artistic research, Attunement, Latin American art, Cold War-era, haptic visuality, haptic spatiality, Nonhuman Partipicipation, testimony, witness, Skinner Releasing
date	17/12/2018
published	24/01/2019
last modified	24/01/2019
status	published
affiliation	University of Plymouth. U.K.
license	CC BY-NC-ND
url	https://www.researchcatalogue.net/view/498714/498715
doi	https://doi.org/10.22501/vis.498714
published in	VIS - Nordic Journal for Artistic Research
portal issue	1. VIS Issue 1

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(Not so) Casual Conversations: Experiments in Attunement as Method in Investigative Art Practice (2019)

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