While looking at and scrutinizing the etymology of the word Landscape, it is quite surprising to see the resemblance of the suffix -scape to the Greek skopos, skopein. It means “to look,” when in fact it is also more closely related to the Old English sceppan or skyppan, meaning “to shape”. Moreover, a nuance is preserved in the suffix -ship, as in “hardship", originally referring to a condition or shape of being. The echo of -scape in the word escape — as in to evade or resist — can be accidental; but words and meanings live and die in echoes, accidents, back-formations and reduced aphetic variations, as do discourses, including the discourse of landscape.
The naav wanders between fluid terrains, reflecting emotional, ecological and physiological ferment. In between these journeys, it glances upon various landscapes. At times, its direction is governed by trade and maritime routes, in search of more consumable resources. At times en route its passage, the sea sickness climbs on to the passengers, making them nostalgic about their native homeland and landscape. Other times, rough seas and unprecedented waves reflect a precarious situation that causes disorientation and mis-recognition towards the habitual. The dampness un-conceals microbial growth on abandoned infrastructures.
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Assam is inhabited by different ethnic communities who have their own ethnic food practices and number of these ethnic foods have a fermenting procedure. Hukoti is one such ethnic food practiced by various tribes of Assam. A dry fish product from miscellaneous varieties of fish from time immemorial. After recession of flood, these types of products are usually prepared using surplus catch. Some communities prepare it round the year for their own consumption or for sale. Fermenting process of fish helps the tribes to preserve it for difficult times when there is scarcity of fish in rivers and becomes unaffordable in the markets.
While in the process of making, the smell becomes the medium to know if the product turned out good. Sometimes the smell is dry, other times the smell is of moist. Individuals decide their taste according to the smell.
the last crackling voice note, expressed the dismay
daymayyaymayday,
how to remember something,
the very last moment before the exile
A human being is an amalgamation of beliefs, memories and experiences, i.e., predispositions that affect how we perceive our landscapes. Their encounter with a medium shall always be unique to them. However, the medium is made to change its purpose and character with the mere touch of human perceptions. It moves on to cause mediations between the impact it made, and the emotion, thoughts and memories it triggered on the self. It is no longer what it was, it now has new labels, new associations and a new identity that differs from place to place, culture to culture. Occasionally, the varied associations in different landscapes cause several tensed confrontations. Maybe in that way, the medium was most untainted, and most raw when it was unperturbed, untouched.
Away from home, a student recounts her experience.
Follow the fishes that are headed towards the eye of the storm
"It is from the sense of smell, rather than from the other senses, that we gain the fullest picture of the great dream of disinfection and of the new intolerances..."
Alain Corbin
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Provincial domicile -
House beautiful,
Savage irony -
Unseen treasure
Innocence unabridged,
Faces, tiny creations;
Compliant vessels
Wounded,
While modernism murmurs
Its promise.
Excerpts from Hollow by WS Warner , 2011
A tender malleable
Youth,
Betrayed, under
An assumed decorum -
Residue of truth,
Flattened emotion
Privations of a self
Unheard;
Misplaced affirmation,
Buried pathologies
In architecture
Fear manifests symbolic.
Like a fleeting moment, the landscape is not stable. It's so fragile that it's difficult to be held by the beholder's naked eyes. One needs months, years, or ages to catch that fleeting moment. It flies, collapses, collides, and transforms or vanishes,
like a fleeting moment
The fleeting becomes the medium
Cogito, ergo sum
The fleeting becomes the medium
The medium becomes the landscape
The fleeting becomes the medium
The medium becomes the landscape
The Naav now wanders into the terrain of disorientation.
The particles become pixels
The particles become pixels
The medium becomes the landscape
The particles become pixels
The medium becomes the landscape
The Naav now wanders into the cyber terrain of disorientation.
The I becomes the eye
The particles become pixels
The particles become pixels
The particles become pixels
The particles become pixels
The particles become pixels
The particles become pixels
The medium becomes the landscape
The particles become pixels
The medium becomes the landscape
The particles become pixels
The medium becomes the landscape
The particles become pixels
The medium becomes the landscape
The particles become pixels
The medium becomes the landscape
The I becomes the eye
The inert rises like phantoms
The I becomes the eye
The inert rises like phantoms
Viewing, shaping, and escaping , the Naav now floats through the landscape
The I becomes the eye
The I becomes the eye
The I becomes the eye
The I becomes the eye
The I becomes the eye
The inert rises like phantoms
The I becomes the eye
The inert rises like phantoms
The I becomes the eye
The inert rises like phantoms
The I becomes the eye
The inert rises like phantoms
The fleeting becomes the medium
The fleeting becomes the medium
The fleeting becomes the medium
The fleeting becomes the medium
The medium becomes the landscape
The fleeting becomes the medium
The medium becomes the landscape
The fleeting becomes the medium
The medium becomes the landscape
The fleeting becomes the medium
The medium becomes the landscape
The fleeting becomes the medium
The fleeting becomes the medium
The medium becomes the landscape
The fleeting becomes the medium
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The cool obscenity of the 🌍 is superficial, fascinating & saturated with information. When everything is on show, there are no more secrets or ambiguities-just information exposed by science, media & technology in rituals of transparency.
As techno-culture, objects are signs of technology. the code here is DESIGN, which replaces the 20th century concern style.
-Jean Baudrillard
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