Anarchive: LEDGER

[Listing of process work for Anarquivo Negantrópico (Nonsphere XVII) and Breathtaking Greenhouse Parastructures (PhD)]

Intransitive Journal is a referential account of the five-year research process to my PhD work titled Breathtaking Greenhouse Parastructures for the Konst Teknik Design / Art Technology Design doctoral programme between Royal Institute of Technology (KTH) and Konstfak University of the Arts Crafts and Design. The PhD is the site of a reflexive process where, from my Caribbean perspective, I treat the technology of ‘greenhouse’ as a sculptural and discursive boundary object to depose the violences driving the toxic, unjust, and seemingly inescapable destiny of Global Warming.

This Ledger lists the initial links to a selection of texts, images, and videos that make that account available widely as a support to the PhD’s book-dissertation.

For more information on related PhD materials, and to download the book-dissertation please visit the DiVA Portal of KTH.

Here below you will find links to a selection of materials about the process of the PhD in general, with a focus on the PhD’s experimental display installation Anarquivo Negantrópico [Neganthropic Anarchive].

LATEST

OUTCOMES from Anarchive: memory #05

Opening the Anarchive: memory #05 [Sunday, 01.Sept, 2019, Herlev]

Installing the Anarchive: memory #04 [29.April — 3.May & 27–31.May.2019, Herlev]

PROPUESTA para el Anarquivo: memoria #03 [por Michy Marxuach, 20.diciembre.2018, Rio Piedras, español)

OUTCOMES from Anarchive: memory #02 [04.october.2018, Berlin]

OUTCOMES from Anarchive: memory #01 [23.august.2018, Herlev]

CONTENTS (by date)

I. Event Proposals

Anarchive: memory #01 [19.august.2018, Herlev]

Anarchive: memory #02 [27.september.2018, Berlin]

Anarchive: memory #03 [20.december.2018, Rio Piedras]

Anarchive: memory #04 [23.april — 30.may.2019, Herlev]

Anarchive: memory #05 [01.september.2019, Herlev]

II. Event Outcomes

Anarchive: memory #01 [23.august.2018, Herlev]

Anarchive: memory #02 [04.october.2018, Berlin]

Anarchive: memory #03 [20.december.2018, Rio Piedras]

Anarchive: memory #04 [23.april — 30.may.2019, Herlev]

III. Event Props, Recipes, Films and other related things

From Anarchive: memory #01 [august.2018, Herlev]

• ‘Like Yeah…’ by Callum Harper
• Solar Trestle
• Beet Eat
• Geomagnetic Tesseract
• Solar Sail (TBD)

From Anarchive: memory #02 [sept.-oct.2018, Berlin]

• ‘Wardian Trestle Table’
• Recipes for Crème de Menthe and Rusty Nail (TBD)

Anarchive: scale model #01 [05.july.18, Herlev]

Other Related Research ACTIVITIES

Residency at Jülich Forschunszentrum

Spectre and the Metaphor: Symposia

Sensing the Digital Stockholm Syndrome: Seminar

General DESCRIPTION

Biodiversity is one of the few measures we have left to dissuade ourselves away from the disproportionate entropy and terminal destiny of Global Warming. That dissociative destiny is paved, in no small measure, by the colonial trauma and messianic technology of ‘greenhouse’ — as gas, effect, and dis-place.

Think of the Anarchive as a ‘liver’… not as a human organ, but as a manifold of geochemistries, substances, and toxicities we share with so many other species. One that, in this particular embodiment, re-mediates alternative perceptions and relations that foster life. Ultimately, the form of this support-structure, as social pedestal, is its water… by providing free ‘memory water’ to the soils, plants, animals, and visiting public, it serves as a place to question the environmental rupture we call the interior/exterior binary; it gives space to consider the fractures between us humans and the non-human world; it gives place to re-member, so to forget, the messianic trauma that is Global Warming.

Relational Liver (a.k.a. Relational Circuit developed by Paul Ryan)

Is forgetting necessary for the colony? … our colony, to extract our selves, the land, the water, the fauna, and the flora? Is our selective amnesia about natural history the reflex to dissociate our selves from the trauma of advanced-stage consumer culture?

The medicinal garden, the Anarchive, is a work of micro-geo-engineering about forgetting to re-member… about decompression and re-mediation… of ways to remedy and remediate climate change as emotional and physical trauma. As a ghost — one that haunts us through memories we never lived nor desired. And, as fracture — from the ecological services of nature our bodies depend on. It is not about imagining an innovative future world of ‘greenhouse’, but about taking moments to wonder what we do right now, every day, to treat our dysfunctions from nature, to learn to talk again with the non-human world, to resist and diffuse the cynical and dissociative trends. How we take small steps to form new insights, intuitions, or understandings? How do we define the most crucial actions that may help us re-mediate the destining of global warming — through strengthening our biodiversity? Through alternative, non-monetary values for ecological services?

Anarchive [Anarquivo Neguentrópico (Nonsphere XVII)] is a medicinal garden by Luis Berríos-Negrón that will span from Aug.2018 to Oct.2019 through a series of lectures, performances, sculptures, props, installations, and infrastructures to take place in Denmark, Germany, Sweden, Brasil and Puerto Rico.

Luis Berríos-Negrón (1971, Puerto Rico) is an artist that works on social pedestals, and in collaboration with his partner, curator Maria Kamilla Larsen and their daughter Freia Pilar.

ANARCHIVE is associated to Luis’ larger doctoral work titled ‘Breathtaking Greenhouse Parastructures’ taking place at the Konst Teknik Design joint doctoral programme by Konstfack / KTH. The PhD is supervised by Leif Dahlberg (KTH), Håkan Nilsson (Södertörn), Florian Dombois (external, ZHdK), and is slated for late 2019.

Why Anarchive, and Negentropy?

Anarchive (n.) Jaques Derrida stated in Archive Fever that — “If repetition is thus inscribed at the heart of the future to come, one must also import here, in the same stroke, the death drive, the violence of forgetting, superrepression (suppression and repression), the anarchive, in short, the possibility of putting to death the very thing, whatever its name, which carries the law in its tradition: the archon of the archive, the table, what carries the table and who carries the table, the subjectile, the substrate, and the subject of the law.” The broader material that Derrida presents through this citation is referenced to describe the possibility of ‘greenhouse’, in its manifold sense, and as superstructure, to be the master anarchive of natural history, for its subtle role in spurring colonial memory and global warming.

Derrida, J. (1995) “Mal d’Archive: Une impression freudienne”, Galilée: Paris / “Archive Fever: A Freudian Impression”, in Diacritics, Vol. 25, №2 (Summer, 1995), Johns Hopkins University Press, pp. 9–63

Berríos-Negrón, L. (2017) “Anarchives, Site-Specific Greenhouse Superstructures, and Social (Hyperobjective) Pedestals: the dematerialisation and rematerialisation of colonial memory as environmental form”, in “Black Box: A Record of the Catastrophe, Volume Two”, eds. The Black Box Collective, Oakland, CA: PM Press (stemming from paper presented at Mnemonics 2015 conference, London)

Entropy (and Negentropy, n.) Entropy is the thermodynamic quantity representing the unavailability of a system’s thermal energy for conversion into mechanical work, often referred to as the degree of disorder in a system. Negative Entropy or Negentropy from is considered to be a function of resistance or reduction of entropy. According to theories of entropy and negentropy by Bernard Strigler (which he transforms into neganthropy), I take the greenhouse and look at it as a pure boundary object that negotiates the principles of entropy physically and conceptually. I ultimately look to depose its role in global warming as deeply embedded instrument of speculative practices that add to the dissociation from environmental reality. I also unfold its physical and conceptual potentials to become a neganthropic agent for auratic experience, as a possible display for authentic forms of life.

“Emerging from thermodynamics about thirty years after the advent of industrial technology and the beginning of the organological revolution lying at the origin of the Anthropocene, both with the grammatization of gesture by the first industrial automation and with the steam engine, the theory of entropy redefines the question of value, if it is true that the entropy/negentropy relation is the vital question par excellence. It is according to such perspectives that we must think, organologically and pharmacologically, both what we are referring to as the anthropocene and what we are referring to as neganthropology.”

Stiegler, B. (2015) Automatic Society 1: The Future of Work — Introduction, translated by DANIEL ROSS, in LA DELEUZIANA — ONLINE JOURNAL OF PHILOSOPHY — ISSN 2421–3098 N. 1 — CRISIS OF THE EUROPEAN BIOPOLITICS, pg. 132

Schrödinger, E. (1944) “What is Life?: The Physical Aspect of the Living Cell”, in “What is Life, with Mind and Matter and Autobiographical Sketches”, Cambridge: Cambridge University Press, (1992)

Bailly, F., Longo, G. (2009) “Biological Organization and Anti-Entropy”, Journal of Biological Systems 17, pg. 63–96

Selection of RELATED WORKS

• Collapsed Greenhouse (Nonsphere XVI), District Berlin (2016)
• Earthscore Specularium (Nonsphere XV), Stockholm SE (2015)
• Tear do Terreiro / Looming Greenhouse (Nonsphere XIII), 3rd Biennial of Art of Bahia, Salvador da Bahia, Brasil (2014)
• Vertical Greenhouse (Nonsphere XIV), District Berlin DE (2014)
• Y-Tables for We/Nós Brasil (Anxious Prop), German representation, São Paulo Biennial of Architecture, Salvador/Curitiba/PortoAlegre/São Paulo Brazil (2010–2014)
• Living Archive Course Greenhouse, Münster DE (2014)
• Turtle Two at Future Archive, NBK Berlin (2012)
• Threeing Rugs/Pavilion (Paul Ryan) / Documenta13, Kassel DE (2012)
• Turtle Three at Examples to Follow, Berlin DE (2010)
• Turtle Two at Urban Customization Workshop, Berlin-Munich DE (2009)
• Immediate Archaeologies Two, Dresden DE (2008)
• Nonsphere IV, Program Berlin DE (2007)
• Verde que te quiero verde, CCAA Kabul AF (2006)

Selection of RELATED PRESENTATIONS

• Greenhouse Parastructures, Green Conference, Copenhagen (2018)
• Intransitivity and Neguentropy, Konstfack, Stockholm (2017)
• Social Pedestals, Royal Danish Academy of Art, Copenhagen (2016)
• Anarchives & Parastructures, Seminar with Bernard Stiegler, Paris (2016)
• Social (Hyperobjective) Pedestals, Mnemonics, London (2015)
• Site-Specific Superstructures, Resilience Conference, Sheffield (2015)
• Greenhouses and other Social Pedestals, Färgfabriken (2015)
• Abstract Machines and Social Pedestals, Homecomings, Berlin (2014)
• The Future Archive: Environmental Form and Monumentality, a conversation with Eric Ellingsen (Co-director Institut für Raumexperimente, Berlin, 2012)
• Events by the Anxious Prop (2009–2013)

Selection of REFERENCES

• ADA BOBONIS
• ADAM GIBBONS
• ALEXANDER HÖGLUND
• ALEXANDRIA OCASIO-CORTEZ
• ANAYRA SANTORY
• ANNA READING
• ANNIE LOWE
• ANARCHIVO SIDA
• ART & LANGUAGE
• ATHANASIUS KIRCHER
• AVITAL GEVA
• BERNARD STIEGLER
• BEATRIZ SANTIAGO MUÑOZ
• BONAVENTURE NDIKUNG
• BUBU NEGRÓN
• CALLUM HARPER
• CAROLINE JONES
• CARSON CHAN
• CHARLES SAUNDERS PEIRCE
• CHEMI ROSADO SEIJO
• CHRISTOPHER WOOL
• CLAIRE PENTECOST
• DANCE FOR PLANTS
• DANIEL SABÓIA
• DAVID BRAVO NOGUÉS
• DAVID FISCHER
• DAVID FOSTER WALLACE
• ECTOPLASMIC MATERIALISM
• EDGAR LEBRÓN
• EDUARDO KOHN
• ELENA AGUDIO
• ESTHER PEEREN
• EUGENIO BALLOU
• EUGENIUO SANTIAGO
• EVA WILSON
• FELICITY SCOTT
• FELIX BECKER
• FÉLIX GONZÁLEZ TORRES
• FERNANDO LLOVERAS
• FLORENCE WILD
• FLORIAN DOMBOIS
• FOTINI LAZARIDOU-HAZIGOGA
• FRANCIS ALŸS
• FREDERIK TYGSTRUP
• FRITZ HAEG
• GEGO
• GRETA EACOTT
• GRETA THUNBERG
• GUAJAJARA
• GYÖRGY KEPES
• HANNA HUSBERG
• HANNAH WILKE
• HANNES SCHMIDT
• HÉLÈNE FRICHOT
• HÉLIO OITICICA
• HOWARD EILAND
• HÅKAN NILSSON
• H.J. RHEINBERGER
• IDA BERGMAN
• IRIS TOULIATOU
• IVAN ILICH
• JACQUES DERRIDA
• JAN BOVELET
• JEAN GARDNER
• JENNIFER ALLORA & GUILLERMO CALZADILLA
• JOAN JONAS
• JONATAN HABIB ENQVIST
• JORGE LUIS BORGES
• JORGE GONZÁLEZ
• JOSEPH PAXTON
• JUAN HERREROS
• JULIE HARBOE
• JULIETA ARANDA
• KRZYSZTOF WODICZKO
• LA NACIÓN GUAJAJARA
• LARRY CLARK
• LAUREN BERLANT
• LEIF DAHLBERG
• LENE HARBO
• LINA BO BARDI
• LORENZO SANDOVAL
• LUCIANA PARISI
• LUKAS FEIREISS
• LYGIA CLARK
• LOLA RODRÍGUEZ DE TIÓ
• MARCELO REZENDE
• MARCO ABARCA
• MARÍA BENEDETTI
• MARÍA DEL PILAR BLANCO
• MARIA LANTZ
• MARÍA ROSSI
• MARISOL DE LA CADENA
• MARISOL VILLANUEVA
• MARK JARZOMBEK
• MARK LECKEY
• MARTÍN ÁVILA
• MATHIAS DANBOLT
• MATTHIAS BÖTTGER
• MICHAEL OBERT
• MICHY MARXUACH
• MIGUEL PRADOS
• MUNTADAS
• N55
• NINA BEIER
• NITZAYRA LEONOR CANALES
• NOMEDA & GEDIMINAS URBONAS
• NOSHE
• OLE DAHL & PALLE FLENSTED
• PARA LA NATURALEZA
• PATRICIA ALMEIDA
• PATRIZIA BACH
• PAUL RYAN
• PETER FEND
• PIA LINDMAN
• PIA MARAIS
• PIERRE HUYGHE
• RHEA DAHL
• RICHARD KRANTZ
• ROSALIND KRAUSS
• ROY BHASKAR
• SAMI KHATIB
• SISTERS ACADEMY
• SOPHIE REINHOLD
• SUPERFLEX
• SUPERSTUDIO
• SUSAN BUCK-MORSS
• SUSAN STAR
• SUZA HUSSE
• TARU ELFVING
• TATA MUTÁ IMÊ
• THEASTER GATES
• TJ DEMOS
• ULRICH SCHURR
• UTE META BAUER
• VERA KNÚTTSDÓTTIR
• WALTER BENJAMIN

*Booklet montage for Anarchive MEM#01

Illustration of TEMBU by Marco Aurelio Damasceno (2010)

Rosmarinus officinalis

Brugmansia

Datura

*Montage for Anarchive booklet cover based on poster by Felix González-Torres and Christopher Wool ‘Untitled, 1993’ [initially made for ‘Earthscore Specularium’ (2015)], on fotos of Memeto Kwa Nkis Giringé & Tata Mutá Imê by Aristides Alves (2010), and drawing by Felix González-Torres ‘Untitled (21 Days of Bloodwork — Steady Decline), 1994’.