In a statement accompanying the work, Noriko Sunayama wrote:
Welcome to “A sultry world.” Because women lack physical strength, we dream of being skunks, in an elevator, a lonely alley, walking alone at night. Be a skunk for any situation. For strength: poison. For love: the scent of blue lavender. I don’t want to get dirty, so please don’t walk on my skirt. Cover the skirt completely, crawling, and come to me.
Though attributions are evident and permissions clearly displayed, there is an energizing spirit of autonomy here — an unfeigned desire to connect information under one’s own view — “I link therefore I am” rather than “I like therefore I am.”
Cargo newsletter 184
When one comes to this with an aware relationship with Sources, one makes a different world. One can then say: I am making a world that is not so flat, making a world that is more layered, making a world that is more woven across time. And I think that is one of the ways—I wouldn’t call it a methodology and I keep coming back to the word dispositional—by which one can remake the world without causing a crisis or paralysis either of the self or the other.
When you acknowledge to yourself that there are multiple sources to your process, what this does is, it expands the genealogies of the sources. You can have, I wouldn’t say global, but multidirectional genealogies. It doesn’t always have to come from the direct path that you think you know, and where you can draw a clean arc. And you can pull, and you don’t have to be so afraid of taking a detour or an unconventional path, and because it’s only a source, you can say, it’s a source for me, I can push myself, I can engage with this idea. You can expand the world that you bring your sources from. And also: time. You can produce a non-hierarchical and non-rivalrous relationship between different moments, subjectivities, histories, and terrains—from today, from yesterday, from 500 years ago.
Amelia told me in a conversation for DataBrowser that she was taught to think about storytelling from a decentralized perspective. Stories are entrusted to storytellers by the elders... Memory work of this sort is also a form of activism. Whose memories are saved and retold to future generations?
When you hear this word, especially in a communication design program, you may consider the printed and bound book. But maybe we can rethink publication to mean the site at which public is formed.
This is especially meaningful when you're considering audience and the distribution methods for on and offline publishing.
The Pedagogy of Design in the Age of Computation: Mindy Seu