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forum / field

The Vatican Meteorite Collection:
Current research on these meteorites is centered on understanding their physical structure, including the nature and extent of the pore spaces, cracks and voids present in these rocks.

‘Forensic Architecture is grounded in both field-work and forum-work; fields are the sites of investigation and analysis and forums the political spaces in which analysis is presented and contested. Each of theses sites presents a host of architectural and political problems.
In fields, lets say starting with Territories, I attempted to engage a kind of “archeology” of present conditions as they could be read, or misread, in architecture. This archeology is not always undertaken by direct contact with the materiality under analysis, but with images of it. The spaces that we debate, analyze, or make claims on behalf of, are very often media products. Similarly, drawing a map includes synthesizing satellite and aerial images as well as images from the ground. Some images are created by optics and some by different sensors that register spectrums beyond the visible. One needs sensors to read sensors.
So this is a kind of archaeology of spaces as they are captured in these different forms of capture and registration. You read details, speckles, pixels and patterns, connect them to larger forces, or at least you understand the impossibility of doing so, often noting paradoxes and misrepresentations. We have done this very close reading of aerial images of colonies in the West Bank, we have read almost all elements from architectural through infrastructural archaeological to horticultural ones visible in these images as a set of tools in a battlefield.
Then there is the forum: a site of interpretation, verification, argumentation and decision. International courtrooms, tribunals, and human rights councils are of course the most obvious sites of contemporary forensics. But there are other political and professional forums.
Each forum is different. The third component of forensics, beyond the architectural and aesthetic, is what you need in order to stand between that “thing” and the forum: an “interpreter.” In ancient Rome it would be the orator; in our days it is perhaps the scientist, or the architect, or the geographer — the “expert witness” that translates from the language of space to the language of the forum. This definition of forensics might help expand the meaning of the term from the legal context to all sorts of others. Politics, as it is undertaken, around the problems of space and its interpretations, is a “forensic politics” as far I understand it.
Each of the multiple political and legal forums in use today — professional, scientific, parliamentary or legal — operates by a different set of protocols of representation and debate. They each have another frame of analysis. Each embodies dominant political forces and ideologies — that is to say that each instrumentalizes forensics as a part of a different ideological structure. In the turbulence of a changing world, there are also informal, subversive and ad-hoc and crisis forms of gathering: pop-up assemblies of protest and revolt in which the debate of financial, architectural (the housing or mortgage crisis), and geopolitical issues are often articulated.
Forensic architecture should thus be understood not only as dealing with the interpretation of past events as they register in spatial products, but about the construction of new forums. It is both an act of claim-making on the bases of spatial research and potentially an act of forum-building.’

http://www.forensic-architecture.org/ 

FORUM / what is out of doors
a meeting or medium where ideas and views on a particular issue can be exchanged.
an Internet message board
a public square or marketplace used for judicial and other business. 
FORES [outside] door 

FIELD
Old English feld "plain, open land" (as opposed to woodland), also "a parcel of land marked off and used for pasture or tillage," probably related to Old English folde "earth, land," from Proto-Germanic *felthuz "flat land" (common West Germanic, cf. Old Saxon and Old Frisian feld "field," Old Saxon folda "earth," Middle Dutch velt, Dutch veld Old High German felt, German Feld "field," but not found outside it; Swedish fält, Danish felt are borrowed from German), from PIE *pel(e)-tu-, from root *pele- (2) "flat, to spread" (see plane (n.1)).  

"to go out to fight," 16c., from field (n.) in the specific sense of "battlefield" (Old English). The meaning "to stop and return the ball" is first recorded 1823, originally in cricket; figurative sense is from 1902. 

A physical phenomenon, such as force, potential, or fluid velocity, that pervades a region.

magnetic field

 

A region containing a particular mineral

A component of a database record in which a single unit of information is stored.

 A physical or virtual location for the input of information in the form of characters.

course of study or domain of knowledge

A realm of practical, direct, or natural operation,

The background of the shield. 

 

Fernand Deligny

.....Writing here is possibly an expression of the innate, and is thus not about “making” sense but is merely the innate ritual of “acting”, the mode of the Arachnean. It is what Deligny would call “a-conscious”, outside the conscious or subconscious. As the Brazilian philosopher and Deligny scholar, Peter Pàl Pelbart states,

“Deligny refers to the turtle traced by the aborigine in a tree’s bark, then abandoned–the essential there is the tracing, the movements of the hand that come and go, not being this “his” hand, just as the web is not this one spider’s…and our emotion comes from the fact that this drawing is common; a sense common to us, human, since the human has for common the hand in motion. Common, communism. When conscience is eclipsed it is worth looking, as if at a lunar eclipse, and what is seen, even if it is not visible, are the traces of the Arachnean.

.....
It is within “acting” in an innate, unattached manner, keeping a distance from one another, that the network was spun

“[…] anyone who came from one of the distant collectives and passed by the silk farm would place, lettuce, blackberries or cheeses on the stone which were from another collective, and then would take back with them whatever had been placed by someone else on their own collective’s stone. For the most part, all of this took place without anyone else being present besides the passerby from the collective.”

A profound detachment to naming and to others at once proximate and distant...

Drew S. Burk

 Cartes et lignes d’erre, 1969-1978  

All you need is love

Written specifically (by most accounts) for the international television broadcast Our World, shown in 17 countries around the world on July 25, 1967. The idea was to create the world's first international live broadcast using then-new satllite technology. The group were approached to write and perform a new song for the live telecast; in two weeks, John Lennon came up with this song, supposedly constructed around a word every language understood: love.

Boris Groys ///Art Workers: Between Utopia and the Archive

However, the internet has become not a place for the realization of postmodern utopias, but their graveyard—as the museum became a graveyard for modern utopias. Indeed, the most important aspect of the internet is that it fundamentally changes the relationship between original and copy, as described by Benjamin—and thus makes the anonymous process of reproduction calculable and personalized. On the internet, every free-floating signifier has an address. The deterritorializing data flows become reterritorialized.

_{Google data servers}

Walter Benjamin famously distinguished between the original, which is defined through its “here and now,” and the copy, which is siteless, topologically indeterminable, lacking a “here and now.” Contemporary digital reproduction is by no means siteless, its circulation is not topologically undetermined, and it does not present itself in the form of a multiplicity as Benjamin described it. Every data file’s address on the internet accords it a place. The same data file with a different address is a different data file. Here the aura of originality is not lost, but instead substituted by a different aura. On the internet, the circulation of digital data produces not copies, but new originals. And this circulation is perfectly traceable. Individual pieces of data are never deterritorialized. Moreover, every internet image or text has not only its specific unique place, but also its unique time of appearance. The internet registers every moment when a certain piece of data is clicked, liked, un-liked, transferred, or transformed. Accordingly, a digital image cannot be merely copied (as an analogue, mechanically reproducible image can) but always only newly staged or performed. And every performance of a data file is dated and archived.

Boris Groys ///Art Workers: Between Utopia and the Archive