In addition, the conference website when accessed on a mobile phone refused the affordances of the touch screen. These included a palm-sized book – titled ‘Lexicon’, designed as an ‘assemblage of words and their terms’ to provide some clarity and support across the ‘struggle’ of working with touch. This enabled an interdisciplinary trajectory of ideas and questions to unfold across the four days of the conference.Īlong-side the curated programme were a range of design provocations. She and her team brought together contributors from a wide range of disciplines, with each day curated by a leading scholar (Karen Archey, Mark Paterson, Rizvana Bradley, and Jack Halberstam) who was tasked to “Inaugurate a discursive and performative programme on how the haptic – relating to or based on touch – is thought and experienced artistically, philosophically, and politically in life, art and design, and theory.” These four curators conceived of touch in different ways, orientated by different concerns and interests and disciplinary trainings. So how do we feel and more specifically touch in our technologically mediated dematerialized digital cultures? Do we solely stroke and swipe our screens? How is the body and its feel involved? Are we in fact cultivating different tactilities in relation to the world and others? Further, how can we trace the ways in which touch informs and reforms the body with respect to violence, gender, sexuality, democracy, and identity? If art and design have privileged sight and sound, should touch – and all the senses – be addressed and activated in order to help us stay ‘in touch’ with our bodies and the material world?” “Touch is of vital importance to our emotional and neurobiological development. At the start of each day, Jorinde Seijdel, ‘Hold Me Now’ Curator in Chief, framed the conference by reading a statement that foregrounded the role of touch in our lives and asked a number of questions: It was a between the Stedelijk Museum Amsterdam and Studium Generale Rietveld Academie. The conference was a productive and thought-provoking experience for the IN-TOUCH project. Use that cabin to get set up, plenty of food, masterwork tools, animals, etc.Īfter that head off to another area for a more serious cabin, again on rapids, but from there, maybe close to the njerpz for a warrior type, middle of the map for a big farmer, generally north for a hunter, whatever takes my fancy.This blog post reports and reflects on the ‘Hold Me Now: Feel and Touch in an Unreal World’ conference (21-24 March 2018), with a focus on the days IN-TOUCH attended (days two, three and four). Some sort of natural bottleneck between rivers or the like I can use for a trapfence.Ĭlose to a large open swamp in a perfect world, (easy to spot and then run down game during hunting, no losing your quarry in trees) or some sort of nearby high point for game spotting. Small area of steep slope I can use for climbing practice that isnt in my way. Plenty of trees (can use a punt to fell trees along the bank if there arent). Trees that give both branches and twigs (again, in a perfect world, but having to walk a few map tiles for branches is ok). Rapids not only for defense but also just because having easy access to water all year round is handy.Īny site where there is no fishing along the bank is also a no go.īonus points for a nearby alder (though there is generally always one within a few map tiles if you have a look, I mark them on my map with a snare). I want a site that has rapids on one side (yes, normal rivers will freeze and things can just walk over them then), a decent sized flat spot for a cabin (5x5 pref) and not a spruce mire (cant farm on mire). Close enough I can get to some towns easily, but still out of their territory. It depends on what sort of character you are playing, but generally I go for 2 different cabins.Ī starting cabin on the river to the north of the driik (south west, best stuff availible for trade).
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