PROJECT
RIPPLE RIPPLE RIPPLING
thinks with situated knowledge rooted in precarity. For China’s 285-million floating population, the dissolution of their families is a survival tactic that fundamentally challenges the nuclear family model. What has emerged is an intergenerational, interdependent way of living—that is, a ripple effect of domesticity. In short, ‘floating’, ‘dissolving’ and ‘rippling’ are ways in which these families form indeterminate and resilient assemblages at the edge of capitalist apparatus—both within and outside. The knowledge embedded in these practices is largely non-discursive and bodily—in other words, in the form of disposition.
The project seeks to devise a transdisciplinary framework—at the intersection of architecture, anthropology, performance, and filmmaking—concerning the articulation of such knowledge and how to make it perceived and felt.
This work proposes an experimental, collaborative filmmaking process to work with villagers in Shigushan, Wuhan and facilitate locals to become active agents of co-creation.
The project seeks to devise a transdisciplinary framework—at the intersection of architecture, anthropology, performance, and filmmaking—concerning the articulation of such knowledge and how to make it perceived and felt.
This work proposes an experimental, collaborative filmmaking process to work with villagers in Shigushan, Wuhan and facilitate locals to become active agents of co-creation.
To flourish an alternative frame of mind rooted in precarity, we are working through a set of key questions:
How to articulate a form of knowledge that resists representation and crystallisation?
How to sit with multiple truth and hold paradox? How to tell a story of what is happening, and also saying, this story is not all there is?
The dominant culture is rather blind towards actions with no lexical declarations, struggles with no overt conflicts, and stories with no hero or heroine. With little currency in the new or the radical or striking visual evidence, how to carve out a space for its distribution?
If distributed, how to foster a sense of attunement, or empathetic awareness, that makes possible a genuine encounter, rather than an evasive gaze?
How to convey bodily tactile senses, how to open up the optical unconscious, and how to facilitate a form of knowledge exchange hinging on perceptual experiences?
How to articulate a form of knowledge that resists representation and crystallisation?
How to sit with multiple truth and hold paradox? How to tell a story of what is happening, and also saying, this story is not all there is?
The dominant culture is rather blind towards actions with no lexical declarations, struggles with no overt conflicts, and stories with no hero or heroine. With little currency in the new or the radical or striking visual evidence, how to carve out a space for its distribution?
If distributed, how to foster a sense of attunement, or empathetic awareness, that makes possible a genuine encounter, rather than an evasive gaze?
How to convey bodily tactile senses, how to open up the optical unconscious, and how to facilitate a form of knowledge exchange hinging on perceptual experiences?
CONTEXT
Floating, Dissolving, Rippling ︎︎︎
DOCUMENTARY
On the Margins ︎︎︎
Filmic Collage ︎︎︎
FIELDWORK
Chair & Active Waiting ︎︎︎
Situated Imaginaries ︎︎︎
Collective Happening ︎︎︎
EXPERIMENTAL
Field Synesthesia ︎︎︎
Floating, Dissolving, Rippling ︎︎︎
DOCUMENTARY
On the Margins ︎︎︎
Filmic Collage ︎︎︎
FIELDWORK
Chair & Active Waiting ︎︎︎
Situated Imaginaries ︎︎︎
Collective Happening ︎︎︎
EXPERIMENTAL
Field Synesthesia ︎︎︎
Meet the TEAM ︎︎︎
The current phase is supported by the Graham Foundation for Advanced Studies in the Fine Arts︎︎︎. The initial documentary phase was supported by the Driving the Human initiative.