her home

IMG_6508.JPG

“tell them momma needs her babies” (text from mom to come home, spring 2015)

mom is home, her center. she connects us through our core, my brother and I metaphysically umbilically tied. he says my stomach heart hurts and I say I can feel it too. but then there are butterflies and waves of water and we feel her home that we carry with us center.

Advertisements

quantifying the experiential: (un)known

(then. and again. until the end.)

the nurse enters my mother’s room, scans her ID bracelet, and from the computer station asks, “what are you at, christine?”

(then after)

i’m at my gynecologist to set up genetic testing after learning how pronounced the seeds of female cancers are in my family. i complain of pain in what i would describe as my ovaries but can’t describe it. i’ve had/have it for months. the doctor knows my mother just died of ovarian cancer and tells me that it must be hard to be grieving my mother, but i don’t have ovarian cancer too. she pats me on the leg and leaves the room.

(then before then)

i’m 17. i have the recent knowledge that i have what is called a chiari type II brain malformation. the neurologist performs motor reflex tests and asks me what my headaches feel like–how would i quantify the pain?

(then and when then began)

like my dad pushed me to keep then, he records all my mom’s symptoms, pain levels, ac/counts of body, intake and output in a notebook. he looks for patterns. i ask my mom how she feels and she says crummy or sick or that my dad would know better. for the better part of a year before she was admitted to the emergency room in excruciating pain (a 10? hurts worst?) and a stomach distended nearly double, she complained of pain to her doctor who prescribed her antacid.

(the experiential)

there is much of our body that can be quantified in volumes, counts, formations, but for that which has no externalizing effects/symptoms–or worse, effects that are general and dismissible–the data is experiential. how can the experiential (the embodied) be universal?

as i write this post i have a headache. what does it feel like? my neck and spine feel stiff. all my back muscles carry a heavy ache, low but to the core. it feels like liquid ice/cold flows down from the top of my head. the nape of my neck/the bottom of my skull and my mid spine feel like ice. my arms and legs are mostly numb. there’s a faint hissing in my ears that feels like i can focus on the movement of my ear’s stereocilia: like i can feel what i hear. light makes me want to close my eyes. when i look at something that should be still, it looks like it oscillates side to side very quickly into something like static. my head feels like it’s being crushed at its sides. i can feel the blood flow through my brain like static. my body is white noise; i would rate this pain a 7. but i couldn’t tell you why outside of my own experiences with headaches the last thirteen years. it hurts, but i’m able to write. i couldn’t go socialize or exercise, but i can sit up. i have had lesser headaches and more severe ones that leave me unable to get out of bed. then i second guess my 7, many of my headaches feel like this, which makes me wonder if the number should be lower. or if my headaches are mostly 7s, perhaps i should stop putting off finding a neurologist near syracuse. and a 7 isn’t a set experience of pain; there are different bodily sensations or manifestations of it.

(the universal)

pain scale.png

numeric rating scale

0 | no pain

1-3 | mild pain [nagging, annoying; interferes little with activities of daily living]

4-6 | moderate pain [interferes significantly with activities of daily living]

7-10 | severe pain [disabling; unable to perform activities of daily living]

“A pain scale measures a patient’s pain intensity or other features. Pain scales are based on self-report, observational (behavioral), or physiological data. Self-report is considered primary and should be obtained if possible.” [from wikipedia] [bolded from me]

trying to classify pain makes sense (and also makes sense). trying to quantify pain may help qualify/give quality to symptoms that can help diagnose and treat. but what is the worst pain? what is the worst pain you can imagine? the pain scale is admittedly experiential, but it is relied on to re/act. how can the experiential be given language–and moreover, given language that classifies?

my mom spent so much of her last year in the hospital. the number of times nurses came in and out of the room each day is easily lost count of. i wasn’t there for much of that time, so i don’t know what language of the experiential was established with my mom. the majority of the time when asked what she felt (and a number was what was expected), there often wasn’t any description or qualifying information that came with it. there were times she was talked down a number or two by the nurse reminding her of a prior use/association of that number (as if a body is a constant), times when she cried and could only breathe out 10, and times still when her pain was high but she wanted so desperately to go home that she gave a lesser number.

dull, electric, radiating, sharp, burning, throbbing, acute: what do these words help make understandable? what about the use of metaphor–feels like…? what can be done with ambiguous data? with description as ascription?

what might a historical pain scale make accountable? an anthropological or cultural pain scale with set understandings/assumptions/norms accounted for? what would a pain scale look/sound/feel like that was defined/classified by the patient/body it measured?

(the un/known)

i took a classification course in library sciences my first spring at syracuse that focused on understanding and conceptualizing organizational schemas. my final project in the course was on the complexity of classifying smell or the perception of odor–perception being important, as smell is sensed and interpreted in the brain. smell is interpreted in relation to past experiences and in relation to the substances being emitted as smell. further, smell is interpreted as a whole odors mix–there is no differentiation in intensity, concentration, or the constituents of odors. smell is interpreted in the brain with memory and emotion (the olfactory nerves are located near the amygdala and hippocampus).

smell uses an intermediary language of description because it is so subjectively experienced. linguistic studies are conducted in different cultures to explore the terms used to describe odor to try to get at their typicality. but there is no universal classification of smell because classifying phenomena outside of language–emotions, memory, experience, cultural understandings–can’t quite get at the experiential.

(classification is futile/fertile)

this might seem easily dismissible because these numbers, these categories, these sensations aren’t seen as data–except that they are. though not easily quantified or categorized, this language of the body–the description of the experiential–is telling. i’m interested in continuing to trouble/unravel/make a mess of how sensation is sensed and made sensible/sensable.

the next exploration will work from isabelle bazanger’s “pain physicians: all alike, all different” from differences in medicine: unraveling practices, techniques, and bodies.

IMG_6428

details remembered/forgotten four

this has been a week I have depended on the rhythms and tempos of others to give me activity/physicality. if i hadn’t encountered others being, i think i could have convinced myself i was an android dreaming or in the limbo of cryogenics.

walking to campus i had the memory of a family trip to chicago in 2004. one evening my mom and brother were ready to retire to the hotel room after dinner while my dad and i wandered. we tried getting into a jazz club but were turned away for our casual dress and my obvious 17 year old appearance. we went instead to virgin records, wherein my local rock of ages could have fit one hundred times over. this was my first experience with shopping for music–looking at album art, getting to listen to tracks in store with headphones that made my own discman pair seem so juvenile. i picked up the postal service’s “give up” because i heard my indie friends talk about the band. my dad and i listened. it was bright, earnest, melancholic. it felt like the bittersweet existence of me. my dad described it “noisy, but hopeful”. we continued to walk the city streets a few more hours, now with the CD in a bag he carried.

i just looked for the CD but could not find it. i listened to that album so much that i like to think it is settled, fossilizing under the seat of my old dodge neon. waiting for someone to excavate bittersweet feelings and dreaming of.

noisy, but hopeful was what i needed to feel this week. i have played “natural anthem” no less than 20 times while moving. thinking of my dad, of discovery, of smiling up at the sky or at the horizon because hope leaks in.

details remembered/forgotten three

[the week of february 1-7]

I went on a hike through Green Lakes State Park yesterday [16,540 steps] to find my head

and sing Fever Ray’s “When I Grow Up” to the point of meditation

When I grow up
I want to be a forester
Run through the moss on high heels
That’s what I’ll do
Throwing out boomerang
Waiting for it to come back to me

When I grow up
I want to live near the sea
Crab claws and bottles of rum
That’s what I’ll have
Staring at the seashell
Waiting for it to embrace me

I put my soul in what I do
Last night I drew a funny man
With dark eyes and a hanging tongue
It goes way bad
I never liked a sad look
From someone who wants to be loved by you

I’m very good with plants
When my friends are away
They let me keep the soil moist
On the seventh day I rest
For a minute or two
Then back on my feet and cry for you

You’ve got cucumbers on your eyes
Too much time spent on nothing
Waiting for a moment to arise
The face in the ceiling
And arms too long
I wait for him to catch me

Waiting for you to embrace me

and make a list of the first three professions that came to mind alternative to an academic: [lighthouse keeper] or [welder] or [miniature/diorama architect/constructer]. the woods make one daydream hands on.

in the rule of three, I came up with my top songs to break up with myself [for when I lose sense and thread— and composure] to:

The Velvet Underground’s “Pale Blue Eyes”

 

Björk’s “All is full of love”

 

and Purity Ring’s “Cartographist”

 

playing the experience of cancer

I don’t know where to begin in writing about this, but this won’t be all of it. Radiolab’s “The Cathedral” (a condensed telling of a story done by Reply All of the same title) introduces Ryan and Amy Green, parents to a young child, Joel, with terminal brain cancer. Ryan and Amy are creating a video game as a way of processing their experience of Joel’s cancer. Ryan, a computer programmer, recalls the moment the idea came to him: the worst night of Joel’s illness, sick with a stomach bug, Joel wouldn’t stop crying. He was in pain, dehydrated, and throwing up; Ryan could do nothing to help ease his discomfort. Ryan felt helpless; Joel’s crying got more and more frantic, he hit his head against his crib’s walls. In that moment, Ryan prayed and Joel stopped crying. Ryan described a moment of grace in what was otherwise overwhelming helplessness.

And beyond just sheer relief, Ryan had this other thought. Frankly, a weird thought. This whole ordeal reminded him of a video game. Like, you have to get the baby to stop crying, so you keep trying things: give him juice, bounce him, talk to him…But the weird thing is, in this awful game, none of those things actually work. They’re all like, fake choices. Ryan thought, what if I could make a game like this? Where you, the player, you don’t really have control? Can I bring you to that place, the place that I’m in right now?

There’s a lot of coverage/exploration of this game and the family and experiences that created it to spend more time reading/watching/listening/playing (with my next paycheck I’ll download and play the game myself), including a documentary Thank You for Playing.

But for now I am so deeply hung up on this idea of playing the experience of cancer—that a video game is the medium of not just telling a narrative, but experiencing. I can tell the events of that last night/morning:

We finally realized that the painful fits/episodes my mother was having were not her body on the verge of passing, but violent seizures that had gone on days. Fits of calm breathing shallow near ceasing and sudden gulp inhalations that made you jump out of your skin to hear. The sound of her teeth cracking. The yellow lightbulb of the lamp that stayed on all night near her bed, tucked in the corner of the living room and the christmas lights strung on the wall opposite (we had Christmas in July). My grandmother’s crying as she restlessly slept on the couch next to her bed. My father’s sunken eyes. With the coming of the hospice nurse to deliver anti-seizure meds, we turned off the home movies running in the background. The nurse closed the IV fluids and took off the oxygen tube. We closed the blinds and turned off the lights. For hours my grandmother and father held her hands and sang to her as whispers, as I tried to recall any artist or album ever to play. In the few moments my grandmother went to make coffee and my father stepped away to use the restroom, she as she then left. It was only me crying on her stomach that she was not her body.

Like this event/moment(s), I can tell others. But I can’t tell my experience. Even if I was a more gifted writer, not even with photos or video captured, or if I could physically show the volume of my tears. These are not the mediums, but I wonder how video games are. And what it means to play mourning/loss/grief. And how we can experience and understand affect through simulation. And what experiential/emotional games with no win condition, no lesson, and little to no control can make understandable.

details remembered/forgotten

When I started my doctoral program, I wanted to make a visualization for each week. It didn’t matter what the subject matter was or what tools/materials were used to create it. The idea was to have some sort of odd material record of important and mundane — an account of being in grad school. I don’t have data of those first two and a half years, but I want to start the exercise now.

Most listened to artists this week [from left to right]: Chelsea Wolfe, CocoRosie, Grimes, Boris, Melvins

Screen Shot 2016-01-28 at 3.10.36 PM

And for last week (the start of the semester), three lines from my dream journal that give some sort of insight into my subconscious:

  1. Dad was prepping us for the end of the world coming
  2. I shoved moving stuffed animals and dolls into a Vintage PanAm flight attendant case
  3. She was helping me to swim, holding me like you do with small children, but I was swimming inside of her; she encompassed me and I could hear her soft reverberations

post/past threading an echo: affect theory presentation

I’ve wanted to share the paper I delivered at the Affect Theory Conference in October for some time now. I had the idea to record audio for the entirety of the paper; something doesn’t seem quite right that it’s disembodied from voice and body and delivery…but that would be a long recording. I don’t know if it was the death of David Bowie this week, or finishing Roland Barthes’ Mourning Diary and being hellbent on this idea of mourning writing or writing mourning, or if it’s because it’s the year anniversary of finding out about my mother’s diagnosis, or that in wearing this old denim shirt of hers with the sleeves rolled up that the backs of my hands look a lot like her hands before she started working in the factory [warehouse]. Whatever the reason, today feels like the day.

[end of audio]

instruments of intensity

Screen Shot 2016-01-13 at 4.23.55 PM

Hello. My name is Jana Rosinski and I’m a doctoral student at Syracuse University in the Composition & Cultural Rhetoric Program. This project is part of a larger constellation of work that takes interest in developing practices of reading for affective patterning and representing data as sensory shimmers made accessible and affectable by dynamic visualizations. I want to explore how quantitative instruments help rhetoricians understand something as complex as affect of a text by capturing/constructing attention.

Screen Shot 2016-01-13 at 4.24.05 PM

This is a shimmer, a capturing of my attention as I tried/try to work in between data of an individual body, that of my mother’s with cancer, and the broader experience of ovarian cancer in the bodies, discourses, and environments it exists within. It is labor to make representable two sets of data: that collected from differentiated reading methods, particularly sentiment analysis, and that gathered and annotated as experiential. Outside from my own experience, but not without it, I am working toward a techne of affective reading that is both conventionally quantitative and qualitative—not one or the other.

Screen Shot 2016-01-13 at 4.24.16 PM

Techne cannot be reduced to any kind of action or practical performance that results in a product; it is knowledge that provides an opening through which the being of a work can come into appearance in a world. My field of rhetoric and composition is embracing computer assisted differentiated reading methods and data visualization as possibilities to transform the study of textuality and writing, but I am interested in the development of not just a perhaps a modeling of but a modeling for. In ​S/Z​, Roland Barthes describes a textuality where

the networks are many and interact, without any one of them being able to surpass the rest; this text is a galaxy of signifiers, not a structure of signifieds; it has no beginning; it is reversible; we gain access to it by several entrances, none of which can be authoritatively declared to be the main one… (5)

There is no exterior to the text but that the text itself doesn’t form a whole. The text is not an object that we approach (or produce) from the outside; it is already a part of our ecology, and our engagement emerges regardless of any conscious action on our part. Our texts are extra-textual; ecological, emergent, affective. But often our depictions of them through visualization cannot grasp the “thicket[s] of connections between vague yet forceful and affecting elements”. What would it mean to see knowledge/scholarship as shimmers? Not as subject or object but as event? From Brian Massumi, the dynamic form of the event is perceptually felt, not so much “ in ”vision as with vision or through vision: but as a vision-effect. It is a lived abstraction: a virtual vision of the shape of the event, including in its arc the unseen dimensions of its immediate past and immediate future. The lived abstraction of the event is an amodal perception—a space that enfolds both qualitative and quantitative ways of knowing.

Screen Shot 2016-01-13 at 4.24.35 PM

In Graphesis, a work by Johanna Drucker that works to articulate the creation of visualizations of data in humanities research, Drucker explains that how we know what we know about any given concept, is based on our models of knowing—our models, our visuals, “mediate our experience by providing conceptual schema or processing experience into form” (15). I think this is a provocative and durable statement to hold on to because it both captures the essence of intrigue in the work—the desire to look at something differently to look for things we have not yet seen—as well as the relationship between how we represent data as visual constructions of patterns that exist within the texts we care for and research from.

Drucker compares data versus capta explaining that capta is “taken” actively while data is assumed to be a “given” that is able to be recorded and observed. The difference Drucker sees arising is that humanistic inquiry acknowledges that its knowledge is “situated, partial, and constitutive”—this is the recognition of knowledge as a construction, “not simply given as a natural representation of pre-existing fact” (“Humanities Approaches to Graphical Display”). Drucker calls for a rethinking of data as capta that better expresses its ambiguity over certainty—which gets at what she describes as interpretative complexity. Drucker calls for data that shimmers.

Screen Shot 2016-01-13 at 4.24.49 PM

In the introduction to The Affect Theory Reader— An Inventory of Shimmers”— Gregory J. Seigworth (Seag-worth) and Melissa Gregg explain that there is no “originary state” for affect; instead it arises “in-between-ness” in the capacities to act and to be acted upon in a perpetual “becoming”. Affect theory is a matter of composing as unfolding; or as Seigworth and Gregg describe it, an inventory of shimmers.

shimmer

A shimmer can be seen, but how can affect be made seen? How can affect be captured?

data visualization constructed not as representation (data: given) but as capta—a partial look, a shimmer experience of acting on and being acted on

What is the affective residue of a text? I draw from the forms and intensities of others to construct a means of seeing affect. As a technique, Byron Hawk’s post-techne allows for the seeing through constellations of relations, often as inventio fitting specific occasions. It’s affectively attuned to kairos, ambience, and emergence to compose in the perpetual becoming. Shimmers like flashes remind me Roland Barthes’ punctum from Camera Lucida; his exploration of a new science for every object, a mathesis singularis. Barthes explained that part of what he was after was a way to articulate something beyond language, a project that embodied his “desperate resistance to any reductive system” (8). Barthes questioned how to work in the space between two languages—one critical and the other expressive— ultimately agreeing to compromise with a power—affect; saying “affect was what I didn’t want to reduce; being irreducible, it was thereby what I wanted, what I ought to reduce the Photograph to; but could I retain an affective intentionality, a view of the object which was immediately steeped in desire, repulsion, nostalgia, euphoria?” A necessary but difficult implication of textuality, for Barthes, was that there is no exterior to the text but that the text itself doesn’t form a whole. I tried applying Barthes’ affect—an in-between-ness of critical and expressive language—as practice for reading texts affectively.

In January this year, I found myself in between critical and expressive language as I struggled to read and write about ovarian cancer.

visualizations of disease: data embodied // January 26, 2015

As someone interested in visualizations of information and composing image texts, I have been thinking about what I would create to illustrate (make visible) the cancer that consumed/s the women in my family. It seems morbid, or at least uncomfortable, to want to depict the disease without emphasizing narratives of overcoming or resilience, that letting it be seen as it is disembodies the bodies that have nurtured it. I have watched videos of surgeries on women that exist only as torsos or of cartoon monster cells sneaking throughout the body, and images that are illustrations of tumors forcing tissue into distorted asymmetries and photographs that look like alien fruit. I can see my own diagnosis as typeface and an exercise of balance and white space on the page, as calendar tickmarks taking inventory of days and anomalies in patterns of pain, and as Rorschach bloodblots that I am too fearful to interpret. I could show my family tree with attention drawn to deep bark carved, extending back, to the bough my mother and I share. I could show each type of cancer with its corresponding woman/body: breast ___________, ovarian _____________, uterine ______________, cervical _________________. Not to forget the nodal tissues connected to these networks of disease as they thrived and spread: pectoralis major, kidney, colon, liver, fallopian tubes—trace the intra-actions. I could create charts that depict the age of diagnosis, comparisons of treatment undergone, or the duration of the disease. Or perhaps an archive of the women (of which I am living materiality), or poems and paintings of the affective dimensions of the rhetorics of silence and pain and disembodiment. Of strength and resilience. Or faces of women I love.

That was a blog post I wrote a few weeks after finding out my mother had stage four ovarian cancer. I’m not sure there’s a method to researching living with a loved one living with this disease, but over the spring and summer I collected hundreds of pages of data about ovarian cancer in sites and materials found and spaces and materials lived. There were first hand accounts and observations; images and writings from myself and my father and mother; scraps from texts from the National Ovarian Cancer Coalition, World Ovarian Cancer Day, Ovarian Cancer Awareness Month, Susan Gubar’s Living With Cancer New York Times blog, and from the wellness interface my parents used to manage my mother’s information at the University of Michigan Hospital where she was treated. I tried to match my feelings of dis/embodiment with close and distant methods of reading ovarian cancer: through situating myself within sensory ethnography from Sarah Pink and unfolding texts through sentiment analysis. Through enfolding quantitative and qualitative data to express cancer.

My understanding of cancer was constructed culturally through stories of overcoming: triumphant, brilliant, radiant. There aren’t those kinds of stories for ovarian cancer; seventy percent of women who are diagnosed with ovarian cancer are already at stage three or four. Beyond early detection in the first stage, there is no #SURVIVOR for the disease. Stage four ovarian cancer in my mother was visiting my childhood bedroom now a supply closet of every bandage, gauze, sterile glove, and size of cotton swab. The harsh contrast between the 50s peach bathroom tile and the hospital grade shower/bath stool protruding out of the tub. A three-tiered metal cart in the living room littered with near fifty prescription bottles where the coffee table used to be. Cancer in my mother was embodied, it was becoming in her body unfolded.

In The Power at the End of the Economy, Brian Massumi provides an understanding of body and bodying that is able to unfold between critical and expressive language. From Spinoza, Massumi describes a body as what it can do as it goes along, constantly changing as it affects and is affected. The body is one with its transitions—there is no body, but continuous bodying that presents itself as intensities. What I worked to capture were moments that captured me.

trying to communicate through sensory ethnography

In Sarah Pink’s Doing Sensory Ethnography, Pink outlines a process of sensory ethnography (rethinking ethnography through the senses, sensory ethnography in practice, interpreting and representing sensory knowing) that accounts for how multisensory experience, perception, knowing, and practice are integral to the lives of people who participate in research and how ethnography is practiced (1). While reading this book, I was struck by the beauty of the method Pink espoused. She explains:

Ethnographic places are the places that we make when communicating about our research to others. Whatever medium is involved, ethnographic representation involves the combining, connecting and interweaving of theory, experience, reflection, discourse memory and imagination. It has a material and sensorial presence…it can never be understood without accounting for how its meanings are constituted in relation to readers and audiences through their participation (42)

She sets up a sensory subjectivity and inter-subjectivity (53-56) that requires a researcher to reflect on their role in the production of ethnographic knowledge (sensitive to the contingency of identity in relation to environment). If identity is continually negotiated through intersubjective relations with material and sensory environments, it is too negotiated through sensory relationships with and between participants. The method/ology is multisensorality in its interconnectedness of the senses and their relationship to perception; is work of imagination or collective practice for collective memory carried out in social and material relations; and is self-reflexive in that it is ethnography that is also autoethnography.

Sensory ethnography allows for emplacement, Pink’s combination of space and place, that extends beyond limits of body-mind relationship (from embodiment) to attune to the sensuous relationship between mind-body-environment. I wanted to know how I there at home and I here at school was present and removed, coping and supporting, understanding and refusing. I took inventory of shimmers: texts about what my mother was able to eat; lists of medication times; photos of the hospital room mise en scene; maps that tracked my meditative afternoon walks like unraveled yarn knotted.

Screen Shot 2016-01-13 at 4.25.04 PM

I collected food tray items and object markers on slow walks, group message threads, and litanies: tropical atrium, leukocyte count, box of chocolate, Müllerian adenocarcinoma, “mom sends a big kiss”, epithelial tissue, “her spirit is high”, subcutaneous drain. At the same time I gathered narratives of diagnosis, clinical texts of symptoms and treatments, and tweets from World Ovarian Cancer Day and Ovarian Cancer Awareness Month from bodies not my mothers, but enfolded in cancer.

measuring sensory, measuring sentiment 

Screen Shot 2016-01-13 at 4.25.23 PM

Here are two (one read as negative and the other of the most re-tweeted tweets from the World Ovarian Cancer Day account:

  • negative: @OvarianCancerDY: How many voices does it take to raise awareness about ovarian cancer on #WorldOvarianCancerDay? Just one. Yours.
  • positive: @OvarianCancerDY: Submit your #unbreakblebond pictures with the women you love

The designation of positive and negative comes from a sentiment analysis program.

In the positive tweet, the use of the word love signifies “positive” feeling, even though many of the photos tweeted with the hashtag #unbreakable bond are of women who have died from the disease. I puzzle over the negative wondering what signifies a “negative” feeling. None of the negative tweet results explain what semantic features indicate the tweet as negative like they do for the positive tweet. Something like World Ovarian Cancer Day uses many negative terms, like “disease”, but as I skimmed the tweets, I wondered how the program read positive affirmations that use question marks; the frequent use of “NOT” as an affirmative declaration (as in “here’s an easy way to make sure ovarian cancer is NOT the most overlooked cancer”), and just the word cancer itself; and how might be able to better parse through personal narrative accounts from organization informative statements.

The program cannot parse through the semantic elements differently though. The tweets cannot be taken as given sentiment of positive or negative accounts of ovarian cancer. Nor can my personal account/archive. But both are sets of data, each with the capacity to capture experience and the captivation and addition of other people, spaces, purposes. They oscillate between cancer discourse of critical and expressive accounts; and of the cultural stadium and the personally wounding punctum. They provide space in their in-between-ness for the interpretation as performative, bringing objects/bodies into view through reading or other acts of intervention/intra-action, foreclosing the possibility that autonomous objects or phenomena exist within the horizon of human experience. Phenomena of human experience are constituted as interpretative acts. Our representation and access to data has to match in intensity in its collection, annotation, and representation.

Screen Shot 2016-01-13 at 4.25.35 PM