HERE-ING IN CONTESTED PLACES

From Cucuta to San Antonio de Tachira. Crossing the border of Colombia to Venezuela via the three rivers.
Crossing the border from Cucuta to San Antonio de Tachira El Niño Atocha, is everywhere. It is in posters on the streets, inside taxis, kioskos, stores have the effigy.
Syncretism in Santeria. In Cuba, the Yoruba religion from Africa made el niño  de atocha into Elegua. The most important deity in their gods.
HERE-ING IN CONTESTED PLACES
25 - 26 NOVEMBER 2023
Required Readings
PUBLIC TALK - EMOTIONAL LANDSCAPES:
CONSTRUCTION OF A SPATIAL IMAGINARY
WITH DIOGO PASSARINHO
Emotional landscapes are research and a lecture about how can we try to design spaces that live in our memories. Such as places, objects, and films. Some of these recreations can cause confusion, disorientation, love, ambiguity, climax, and desperation. The objective is to create a space where we can work creatively with a new project and our narratives.

 HERE-ING IN CONTESTED PLACES
WITH ERIN WILKERSON

Ahmed, Sara. (2006) Queer Phenomenology. Orientations, Objects, Others
Duke University Press, 2006.
Sarah Ahmed presents the concept of sexual orientation and examines how our bodies are positioned in space, and Time. How they move in a very particular way, and the affect to other people/  Queer phenomenology presents relations that are arranged in space it shows how clear that changes and re-orders these relations to new path team investigates the concept of phenomenology. Through the chapters she uses Cultural ideas and for phenomenology Husserl, Heidegger, Marilu Ponte, and Fanon.
Bubandt, Nils. Haunted Geologies: Spirits, Stones, and the Necropolitics of the Anthropocene Excerpted from Arts of Living on a Damaged Planet: Ghosts of the Anthropocene edited by Anna Tsing, Heather Swanson, Elaine Gan, Nils Bubandt. University of Minnesota Press. 2017. Minnesota.
Niels Bubandt starts the article with a description of the events that took place near the coast of Java, Indonesia’s second largest city near the town of Malang.  The smell of petrol is evident in the entire area.  the mud explosion within a natural gas pipeline drilling ruptured and exploded. The mud volcano appeared at the largest of its kind in the world and example of how man has made a destruction site hundreds of meters into the land and the human industry has changed the reality of this land.
The spirit sends it necropolis in the Anthropocene. Most people decided that the blue was a curse of the mud volcano in response to Cathryn’s creation or a distraction or interruption for industrial disaster, and this became a cosmological punishment until the attached spiritual feelings, ideas like a car away uses spirits anywhere from Pacha Mama, the Incan goddess of fertility to all kinds of all the monsters that are available and half resulted into the other bus him the author discusses the story of the marvel Kino in two parts. He called us to close the volcano. Lucy, and it was the first conventional drilling that was stylish has the cause of geothermal activity volcano became a global icon, the remaining of the irruption and created a lot of problems in the towns nearby collecting stones I think they were a magical as if they had couldn’t contain some kind of spiritual power they felt there was a spirit guardian volcanoes in Indonesia, did Lucy Margot Cano, spiritual geothermal entity, SOC events for an angry do you spirit to come to Spirit will have to require a massive disaster or change. There were many problems with the companies trying to pay the people who had been removed from the area and this became a lot of problems.
when activist Marcy now was kidnapped, raped, and killed in 1983 and she came back to kill all of the violators that ghost of the Luppino mod idea is evident in a film called Mystic a popular movie genre, in which the story of the dancer murder comes back, it’s a replication of some of the events in the last part of the article that the Gruffalo takes to Samuel politics percent of the idea of the volcano and people. How are they going to survive together is that long like with Domino Carraway had called the god trick with remain well apparently help geologically the spirit that reside in the stones of Lucy has a significant political and legal in ability to differentiate the enter portal and throw boss from the Geos to the metaphysics?

Leers, D. On Contested Terrain: An-My Lê.
Aperture and Carnegie Museum of Art. (2020) New York
Sutcliffe, Lisa J. The Course of Empire. pp. 53-60, 74-5
The Course of Empire by Lisa Sutcliffe researches An-My Le’s photographs. From the initial work to more advanced vast landscapes about the memory of war. Le was inspired by several historical photographers and painters from the 1800’s. Sutcliffe follows her career and production until recent times.
In “Landscape and Power” Mitchell discusses that the landscape can be used for the construction of a national, social and cultural identity. This movement takes place with photographers from the 1800s. Le stated “my attachment to the idea of landscape is a direct extension of a life in exile being a Vietnamese artist.”  she wanted to be able to take pictures in Vietnam and in America. She was influenced by Thomas Cole in a collection of photographs, “The Course of empire” in a private collection in New York, she was also interested in Mark Klett calling the work a Retro photographic survey project.
She recently researched the historian Robert Johanssen, he has drawn a link between manifest destiny and preordain mission to fulfill in an ongoing survey of territorial expansion. This new American concept or idea is born. This influenced Le to consider national identity has been presented as a march of empire and her pictures suggest this mission can create conditions for a cyclical pattern.
Thomas Cole did several paintings measuring 51 x 76” showing the RK the savage date Arcadian state go to mention destruction and desolation, 1984 they left Vietnam before going to Saigon and she wanted to do autobiographical still life photographs, she said “I begin making photographs that used to reel to ground imaginary the landscape genre or the description of people’s activities.” Le exposures suggest her own displacement from her homeland.
Le also investigated the work of George Barnard, with his war landscapes in the battlefields and long exposures. She also try to recreate these Her “Reenactment” have a lot of influence from these photographers form the 19 century. Large cameras, lenses, long exposures and black and white.
The work of Martha Rustler influenced Le’s photographs. Rustler mixed the common life in America with the Vietnam war. Constant TV shows every evening appeared in households in America. The photographs from the series of “House Beautiful Bring in the War Home”, 1967, 1972.
She also looked at the work of Timothy Sullivan in The Survey of the West with cinematic and elevated points of view. of you she wanted to do a duet to stage her scenes against white expenses of Cr and Sky and Lay emphasizes the fragile balance between individual nation and natural world. The author, Lisa Setcliff, ends the chapter researching, and discussing the painting by Emanuel Leutze, called “Washington crossing the Delaware” 1851 “As a description of something involving multi-layered cultural landscapes the reveals a true consequence of an empire building as it shapes to collective American Psyche.”

PUBLIC TALK - CREATIVE NONFICTION AND THE GENRE OF THE THESIS
WITH ROBYN FERRELL
Lee Brien, Donna. Alison Owens, Gail Pittaway and Irene Waters
Exegetical essentials: a framing structure and template for a comprehensive exegesis in the creative arts.
Central Queensland University, Australia
Creative arts, exegesis by Donna Lee, Brian, Owens, Pitaway, and Waters. In the abstract, the idea of the exegesis is a critical component of this creates anxiety under the formal structure and composition of the elements of the exegesis, sometimes is not clear between candidates and supervisors, and most of the programs of Masters and  PhD They have an element of creative research a higher degree thesis and creative, work, and this is commonly known in Australia. After two decades of successful completion of PHD degrees, the Exegesis still remains contested.
New research was prompted by calling papers, issued by a writing publication TEXT JOURNAL. It defined the uses as creative writing, institutional supervisors expectations and understanding of the forum. This became a series of doubts of the exegesis and disparity in the writing in the descriptions of expectations of a thesis submitted for examination. Also, the PHD courses themselves were  not written correctly, and the question why to have a PhD in creative writing.  it was a reflective and critical text describing the definition, the bodywork, the unique insignificant, critically explained, demonstrative necessity published in a text or special issue.
The practice requirements will be to do a standardization to increase the creativity in exegesis. And new research in commentary, context, model, and the research question this enables contribution to knowledge to play across disciplines. This also requires the candidates to formulate a project around the essential question or a hypothesis and disciplines that are around with research or creative work.
There are three elements that were researched: experience in writing, analyzing, teaching, and examining these.  The importance for the candidates and it supervisors to understand at the end. As a result, at the end of the article, a Schema was made:
Exegesis questions  
What attracted you to the study, what questions are going to be investigated or what am I trying to find out?
Context for this investigation where does my work fit in the field?
Framework for this investigation. What methodology would I use for this project record of the experimentation undertaken?
Record of the Investigation Taken. What did I do and how did this go? Are the results of the findings and scholarship?
Generated?
Findings. What has been learned from this investigation's contribution to knowledge?  
Contribution to Knowledge. What does this investigation contribute to the field? Why is it significant?
In the conclusion, the creative art exegesis is a changing beast. Our success uses changing and changeable knowledge that is the volume in the writing itself and the component of the creative arts thesis.
Rachel Robertson, et al. An Ambiguous Genre’: thoughts on creative non-fiction and the exegesis. TEXT, Special Issue 44. Curtin University. 2017. Australia.
In the abstract, Rachel Robertson discusses that the use of a separate, creative exegetical component is very common in doctoral programs in Australia. She proposes the use of Barthé’s, ambiguous genre, the essay, which resolves the issue of the non-fiction creative doctorate.
Krauth describes the exegesis of parallel text. Curtin University uses the creative thesis is a research question model. The second model is called the reflective model developed, by Krauth (2011) It responds to a research question that has a particular way of asking and responding and it doesn’t easily allow for exegesis.
The Research question model is very you match used in Curtain University any resources to parallel works? I’m not exhibited in the written exegesis. It consists of a discursive text that goes with a production associate, vela paintings, film, or book.  in this article. Robertson responds that using an essay is the most important thing to be able to resolve the relationship between the research question the production of the work on the analysis.  with several testimonies of people who are going through the doctoral program, some react to observations of reflexive voices and scenes in the structure of the memoir in progress as writers using I symbiotic organic reciprocal spring to mine to articulate a way of reflexive writing all the candidates for PhD work with the idea of producing a hybrid work, which is creative and excited to fused work is the excite you to use with objects, things, and objects that are the result of the process.  The PHD candidate’s work with experimental process, trying to blur, and blend definitions.
In contemporary non-fiction there is no hybridity in writing, and for example, in Rankine’s book “Citizen: An American lyric”, (2014) there is it a lyric essay that explores identity race I need extra poses in the essay photography, Art, video, Scripps and fragments, and also shows ranking on his reactions to people of color
As you are writing continues to change along Fictocriticism to ethnography, multi-modality, and several forms of performative essays we see an introduction of the individual voice within disciplines that in the past have not taken place.
Muecke, (2026) essay has criticism where a novel can describe the characters and the plot. The crucial aspects of character traits can also change he gives a perceived gap between scholarly and creative production.
The integrated creative nonfiction thesis in the same essay in this article Robertson proposes new direction based on the writings of Barthès, the essay, as a scholarly text leads to a metamorphosis that occurs in creative writing publishing and creative arts scholarship, so she proposed her conclusion that the essay form continues to offer the most important, useful way to conceptualize parallel an integrated thesis.
SCREENING - PERFORMANCE, DIGITALITY, AND BORDERS
WITH ALESSANDRA CIANETTI, XAVIER DE SOUSA, AND ANAHÍ SARAVIA HERRERA
Performingborders is it platform research website that explores the relationship between art and lived experiences within borders. It was created by Alessandra Cianetti, Javier DeSousa and Anahi Sarabia, Herrera.  The portal, research, data, and any other political theory that involves the border. This includes experimentation. They meet every Tuesday to do curatorial thinking, and they continue to develop new projects and ideas internationally.
Some of the people that inspired the authors are Guillermo Gomez-Peña, Gloria, Anzaldua, Bell Hooks, Thomas nail, and Messadra and Neilson.
Anahí Saravia Herrera, Pensamiento Semilla? Seed Thinking
Interview with Germinal.
The information in the article is written by Anahí Saravia Herrera “Encuerpando Resistencia: Unfinished Reflections from the Bolivian territory.” Anahi uses the word Germinar which means to germinate. The project that was born from a desire to bring together the community and to create a space and dialogue with  live art” beyond a product of art. Create dialogue, connect and space with the community.  It was  called Germinal: Semilllero de investigación para artes vivas. 2001.
Paulina and Tika met at the National University of  Colombia, and started to work on Semillero, This was the term to describe the research space to make a seabed and create something interdisciplinary and performative. The research was conducted in Spanish, English in Aymara and in Quechua.
During the first two years they had funding from Centro Cultutal España in the La Paz. They where very interested in having a program of” live arts .” in 2022, they both did a gathering called Kuyuy, which in Quechua means “to move or twine ropes” in Cochabamba, Bolivia
These gatherings emerged with a mixture of different practices, particularly multidisciplinary arts, and “performance” They also worked on the seed trafficking, project, Tráfico de Semillas. which brought cosmos visions, people who look at the stars, and different kind of individuals to the project.
In this process of thinking about planting seeds, a rhizomatic type of phenomenon took place where a form of growth, mycelium could manifest itself. And through alterity, and gesture, a part of performance.
This project strengthens the cultural roots of Bolivia and asserts itself against the European colonization knowledge learned at universities. And through Arte Vivo revendicated the culture of Bolivia.
Xavier de Sousa, “Fronteiras | Interview with Two Destination Language.”
Before understanding Fronteiras it was helpful to see some short videos of the actual performances here:
40/40

Katherina Radeva - Staging Places
Fronteiras is a new PerformingBorders series of works in which language translation, cross-border perception and cultural signifiers change. “Two destination Language” was founded by by Katerina Radeva from Bulgaria and Alister Lownie from Scotland.
Kat an Alister from Two Destinations Language. did a program peer support FIELD, a conversational residency for interdisciplinary arts. They used sound, action, images, text, lights,
These two artist-makers and sector-navigators create performances that exist across languages, with the risk of not being understood and through exploration, they often have a very enriching experience.  The audience or culture workers sometimes have a feeling of being “lost in translation “in the work, but they try to perform in different languages to be understood in different countries and languages.  They use a multi-linguistic approach towards performance.
The new performance is 40/40 with dance layers of background music and projection of video as seen in the link.

Excerpt from Machu Picchu's Talking Stones, book in progress. The drawings are done from life as an exercise in visual anthropology. 
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