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BY WAY OF NOMADISM

The nomad does not stand for homelessness, or compulsive displacement; It is rather a figuration for the kind of subject who has rel inquished all idea, desire, or nostalgia for fixity. This figuration expresses the desire for an identity made of transitions, successive shifts, and coordinated changes, without and against an essential unity. The nomadic subject, however, is not altogether devoid of unity; his/her mode is one of definite, seasonal patterns of movement through rather fixed routes. It is a cohesion engendered by repetitions, cyclical moves, rhythmical displacement. ln this respect, I shall take the nomad as the prototype of the "man or woman of ideas" ; as Deleuze put it, the point of being an intellectual nomad is about crossing boundaries, about the act of going, regardless of the destination. "The life of the nomad is the intermezzo ... He is a vector of deterritorial ization." The nomad enacts transitions without a teleological purpose; Deleuze also gives as an example of this nomadic mode the figuration the "rhizome." The rhizome is a root that grows underground, sideways; Deleuze plays it against the linear roots of trees. By extension, it is "as if" the rh izomatic mode expressed a nonphallogocentric way of thinking: secret, lateral, spreading, as opposed to the visible, vertical ramifications of Western trees of knowledge. By extension, the rhizome stands for a nomadic political ontology that, not unlike Donna Haraway's "cyborg" (see "Re-figuring the Subject"), provides movable foundations for a post-human ist view of subjectivity. Nomadic consciousness is a form of political resistance to hegemonic and exclusionary views of subjectivity.

Rosi Braidotti

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We are Officially Off-Grid!! 🥳

Our skoolie broke down but thankfully it was a super easy fix 🙏🏽 bless mother Gaia for protecting us

We finally made it to our first destination

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It feels SO AMAZING to be free from the rat race

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"There may be more beautiful times, but this one is ours." - Sartre

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The Paleolithic Era

Introduction: The Paleolithic: The Ancient Stone Age

Derived from the Greek words "palaiòs" (meaning "old") and "lìthos" (translating to "stone"), the Paleolithic represents the ancient era of stone. During this period, humans inhabited caves and sourced their food through hunting and gathering of wild plants, following a hunter-gatherer lifestyle.

The Art of Tools: From Flint to Amigdala

For tool-making, they used stones by chipping a piece of flint with harder stones. This method gave rise to choppers, which were used as weapons or for cutting meat and scraping hides.

Later on, these stones were chipped on both sides to create the amigdala, a kind of hand axe with an almond-like shape, sometimes decorated with geometric signs to emphasize ownership. This represents one of the first "artistic" expressions made by humans in this period.

Nomadic Dwellings: Caves and Prehistoric Shelters

Dwellings are not permanent since the hunter-gatherer lives in a nomadic manner. Consequently, Paleolithic humans tend to inhabit natural caves, such as those found in Pantalica, Sicily, but mainly in shelters resembling tent structures.

Artistic Expression: Birth of Rock Art

In the late Paleolithic, rock art emerged, with the first painted or engraved representations on rocks. These images depict animals and moving humans and seem to have had a dual function: they might have been used as part of propitiatory rituals to enhance hunting or as a narration of real events. Surprisingly, these representations maintain a remarkable degree of realism, though often stylized, allowing us to recognize the depicted animals even today.

Rock Treasures Worldwide: From Altamira to Val Camonica

Today, we can admire numerous examples of this artistic testimony in places like Altamira in Spain, Chauvet and Lascaux in France, Alt in Norway, the Tibesti Massif in Chad, Val Camonica in Lombardy, and Monte Pellegrino.

Hunters and Artists: Duality in Rock Images

Images of animals, as well as human figures, are the most recurring subjects of rock paintings. Their main function was probably of a magical and propitiatory nature: representing a hunting scene could bring luck to the hunters.

However, in scenes involving only animals, we might find a simple artistic purpose, that is, capturing, through drawing and color, the beauty of the surrounding reality.

Handprints: The First Form of Artistic Expression

The most primitive form of prehistoric painting comes to us in the form of handprints, obtained by pressing the color-soaked hand, tracing its outline with a finger dipped in pigment, or even spraying it with a straw. The use of these prints, often made with the left hand, remains shrouded in mystery, but undoubtedly, these enigmatic traces also speak the language of art.

Enigmas and Mysteries: Women behind the Prints

According to some scholars, a significant portion of the prints might belong to women, as the ring and index fingers of the hands that made them have the same length (while in men, on average, the ring finger is slightly longer).

The Allure of Ancient Traces: Prehistoric Art That Still Speaks

This detail adds a particular charm to these ancient prints, which remain a suggestive enigma in the history of prehistoric art.

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