ᇷのぼるᇸᇲaliwen, Hanna Hirakawa, Chloe Paré
東京藝大「I LOVE YOU」
プロジェクトTokyo 2023
/ 100

‫ס‬
‫ׯ‬
‫׾‬

「のぼる」 is a palindrome in its printed form.

‫׾ׯס‬
In its digital form, when you reach the middle you will be redirected to the beginning.

ᇷのぼるᇸᇲ
aliwen, Hanna Hirakawa, Chloe Paré
東京藝大「I LOVE YOU」
プロジェクトTokyo 2023
/ 100

4

7
7

8

10

11

13

12

17

lichen18

Art and la frontera intersect in a liminal space where border people, especiallyartists, live in a state of “nepantla”. Nepantla is the Nahuatl word for an
in-between state, the uncertain terrein one crosses when moving from one place toanother, when changing from one class, race, or sexual position to another, whentraveling from the present identity into a new identity.
Gloria Anzaldúa (1993)

just like feminist biologist Donna Haraway reminds us with affability, we have always
been lichenslichens are maritime allostatic hybrids, understanding “allostasis” as a genesis or creation
through the functional variation of the internal components of an organism
I change, therefore I amin this case, allostasis is manifested in the the conjugation of two or more forms ofliving―external from one another―in a new symbiotic organism which achieves
an updated manner of adaptation and experience
for lichen hybrids, the two forms of living which are entangled are the genomes ofgreen-type seaweed (cyanobacteria) and those of the fungi known as mycobiont

both cyanobacterial seaweed and mycobiontal fungi are unique creatures that each havepositive traits for survival

the green phycobiont (cyanobacteria) has ability to produce its own food through thewe know a lot about the abyssal fauna immediately above

photosynthesis, even in very dark deep-sea waters

at both levels and considering the absence of photosynthetic ora except for fallen

however, these same trait places the phycobiont at the bottom of the food chain: as they

detritus, symbiosis between certain organisms with bioluminescent bacteria linked toare heavily depredated in maritime ecosystems

the process of chemosynthesis and often to hydrothermal vents is common

on the other hand, mycobionts (fungi) provides certain protection from ultraviolet
radiation coming from the sun, and also provides vast concave niches which are great for

one of the most striking factors of lichens is that contemporary research suggests thatcatching small nutrients

they were probably the basis for the entire plant kingdom as we know it, referring tomillions of little caves

terrestrial plants

however, these mycobionts are heterotrophs and they cannot generate their own
sustenancetheir sympoietic qualities of durability

the new organism derived from algae (phycobiont) and fungi (mycobiont)acquires the positive traits of both gene pools(autotrophy /protection /concavity) allowed lichens to adhere to maritime

the sum of the allostatic behavior,
the possibility for new adaptation according to the given evolutionary moment
and the organisms’ composite spatiality,

stones that extend off the waterline at certain hours of the
day do to the shift in tides, a decisive step for oceanic
biodiversity towards the mainland

describes the phenomenon of lichens as symbiotic, or that its ontology as
sympoietic

in her 2008 antispeciesist treaty, D. Haraway traces the contributions of sympoiesis
before the existence of lichens, as archaebacteria evolved into eubacteria or eukaryotic

the depths of the ocean offers myriad of examples of organisms of sympoietic ontology

cells, to which we must attribute the development of more complex forms of life such as

although there is not enough evidence to understand the ora and fauna in the deepest

the protists, fungi, plants, and animals

level of the ocean,
the hadopelagic,

certain types of minerals and nutrients and compromising long-term ecosystem
the feminist biologist recounts the work of Lynn Margulis on the role of sympoiesis instability by means of short-term exploitation

both marine and terrestrial species, such as coral reefs in the Paci c Ocean or dairy cattle,
as bene ciaries of sympoietic experimentation

monocultures are usually established in societies that foster monotheistic mythologies
where the genesis of the world is explained as spontaneous, with an abstract/patriarchal

having depended on the collection and cultivation of plants to acquire a “civilized”

power that attributes nature as a possession to human beings as the chosen specie andsedentary lifestyle, it could be said that the development of our contemporary culturesambassadors of the patriarch;

also maintains its origin in the symbionic and multidirectional association between

an exception to this are various expansionist Pre-Columbian civilizations that, despite

different organisms

their polytheistic pantheons, practiced the “slash and burn” method and monoculture
in certain periodsin Western Civilization's modern history, there is a drastic shift in agriculturalorganizations that transits from interspecies collectivity understood under the umbrella

during late capitalism, the industrial production of plastics made of fossil fuelsterm of permacultures

synthesizes the material vestiges of the past in polymers of very slow degradation―cultures where cultivation, politics, rite and society are articulated according
to environmental factors such as the seasons of the year, the cycles of the stars,

the biosphere continues its process of constant reassimilation of organisms introduced

precipitation or tides, amongst others processes―

into the ecosystem, animated or inert organisms;

towards monoculturesorganic,
inorganic,

monocultures begin with an opportunistic rotation of the crops―associated to the “tragedy of the commons”―

technological,
cyborg or objectual organisms

which privileges a single or a few types of vegetables sown by each seasonal

the close inspection of the porosities and mucous tissues in the intestines and lungs ofplantation, neglecting the concrete necessities of the earth by draining it ofmarine organisms now allows us to recognize micropulverized phthalate molecules,

reintroducing the synthetic material into the biosphere and seeking new ways ofadaptation and community;
an unintelligible mutation from a cornucopian or essentialist view of nature

I believe that there is a profound spiritual potentiality in reevaluating the value of being
stranded
I see hope in the nutritious detritus that is caught by the cavernous bodies of fungi
maybe the echoes bouncing to-and-fro from the lamentous teeth of whales are anancient song that haunts all footed vertebrates
stopping to hear this song is a key for a xeno-hospitable future
allowing one’s body as the receptor, the bouncing-board for mutual care and and radical
solidarity

25

28

30

31

33

32

35

37

Sea notes:
13)0)

the sea will always be there between my homesμπλουμ: phonetic transcription of bloom and the onomatopoeia for something
dropping in water in Greek
15)

Who is really the protagonist? I like the idea of a ﬁlm, that the protagonist is not
who we thought they were. That at some point there is a twist and we see thesecondagonists with a different eye. So it could be, that you are the protagonist in
reality. And this twist could have happened the day I left. The camera turns andlooks at you. It looks at your humid eyes, it follows your tears and your hands thathug Efﬁe: And it does not stop looking at you onwards. It follows your life andfeelings on the island after you stayed alone.

2-3)
ENCAPSULATIONNEABOVE AND BEYOND
BONDSYOU HAVE TO PAY!!!!
UNDERWATER

οιος είναι πραγματικά ο πρωταγωνιστής
αρέσει ως ιδέα για μια ταινία, να μηνείναι πρωταγωνιστής αυτός που νομί αμε στην αρχή ότι είναι. α γίνει κάποια στιγμή
μια ανατροπή και να δούμε με άλλο μάτι έναν από τους δευτεραγωνιστές. αμπορούσε δηλαδή, να είσαι εσύ η πρωταγωνίστρια στην πραγματικότητα. αμπορούσε αυτή η ανατροπή να συνέβη τη μέρα που έφυγα. Η κάμερα γυρνάει καικοιτάει εσένα. οιτάει τα υγρά σου μάτια, ακολουθεί τα δάκρυα σου και τα χέρια σουπου αγκαλιά ουν την φη. αι δε σταματάει εφε ής να σε κοιτάει. αρακολουθεί τηωή και τα συναισθήματά σου στο νησί αφότου έμεινες μόνη.

4-5)
Somewhere in the Izu peninsula.
伊豆半島のどこか。
6-7)
34.666492, 133.934942
8)
Keros, Koufonisia 840 08, Greece
9)25.800898, -80.131924
10)

Η θάλασσα· πώς έγινε έτσι η θάλασσα;Άργησα χρόνια στα βουνά·
με τύφλωσαν οι πυγολαμπίδες.
The sea; how did the sea become like this?
I was years late in the mountains;the ﬁreﬂies blinded me.

Γιώργος Σεφέρης «Επί σκηνής» [Δ΄], Τρία κρυφά ποιήματα, Τυπογραφείο Γαλλικού
Ινστιτούτου, 1966
11)
Everglades and Francis S. Taylor Wildlife Management Area - WCA 3B

16)
Who knows how to make love stay?
1. Tell love you are going to Junior's Deli on Flatbush Avenue in Brooklyn to pick up acheesecake, and if love stays, it can have half. It will stay.
2. Tell love you want a memento of it and obtain a lock of its hair. Burn the hair in adime-store incense burner with yin/yang symbols on three sides. Face southwest.
Talk fast over the burning hair in a convincingly exotic language. Remove the ashesof the burnt hair and use them to paint a moustache on your face. Find love. Tell it
you are someone new. It will stay.
3. Wake love up in the middle of the night. Tell it the world is on ﬁre. Dash to the
bedroom window and pee out of it. Casually return to bed and assure love thateverything is going to be all right. Fall asleep. Love will be there in the morning.
Tom Robbins, Still Life with Woodpecker, 1980

25)
i miss her
she could be:
your motheryour grandmotheryour close friend (always)
your nice acquaintancethat teacher who stroke your back, soothing
the girl in you, meme in the past (changing)your dog
your catthe sun_____________________sunset (us)your sister
your aunt
the same ﬂower you see every year
the sea
your favorite singer, she hasn’t released
songs in a while but receives her emails
every once in a while
the nice doctor
your girlfriend
your neighboryour older friend
your mother country (blood)
your mother tongue (lines)
your friend’s motheryour friend’s sister
your imaginary friend
time
your home
26)
I close my eyes and I am not sure where we will be when I open them. The fear issimilar to being in a sea of deep blue water, with horizon appearing, last time I
recall in Herakleia. The ocean scares me, while hugging me. I look at the horizon
and my heart trembles slightly. Δέος, as scary as it is, I can touch the sandy
ground. As scary as it is, I can turn and look back at the shore. As scary as it is,thrill and excitement are. We will swim through this transition. We celebrate
this eternal transition of becoming who we are. We are noboring, poeticizing,laughing, crying, hugging. I am lucky, I am lucky I met my queer mums, to be
nurtured, honested, stimulated. This book is about this. About celebrating being at
the right place, the right time. About supporting each other and growing witheach other, about respecting each others boundaries, about navigating in a citywith a train system designed by worms, about celebrating de-centering artworlds
and superﬂats, about polyphonies, multiplicities, intersections, queer failures
about mountains and seas.
28)
spirit (soul) / guts - however you wish to appear (to whom?)
29)
Semantics. Psychics. Physics. Sidekicks. Site checks. White ﬂecks.
Keep them rolling in until you’re all a daze from the swirl
It’s losing its shape oh no oh dearTransformation. Transpiration. Trainspotting. Translucence. Trans Atlantic.
You dismiss it as a phase
I don’t care enough about you, to correct you
31)
On every level, one can never reach the other—even the other within oneself. This
paradox on the micro-scale that constitutes all macro-scale matter calls into
question the spatial and temporal ﬁxity of identity.
Karen Barad, On Touching—the Inhuman That Therefore I Am, 201233)
porque también somos lo que hemos perdido
because we also are what we have lost
Amores perros, Alejandro González Iñárritu, 200235)
the sea will always be there between my homes___________________for my grandfather

のぼる MANIFESTO
aliwen, Hanna Hirakawa, Chloe Paré
Tokyo, April 2023

いっしょにのぼりましょう。
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のぼる is a zine about ecology, randomness, and queer families.
のぼる is about wandering, existing in all the chaos and beauty of the world.
のぼる is a palindrome.
のぼる is about going up and down.
のぼる is about knowing we have no chances but doing it anyways.
のぼる is about dreaming of Hong Kong.
のぼる is about pretending to know.
のぼる is about coincidence.
のぼる is about supporting each other and growing with each other.
のぼる is about respecting each other's boundaries.
のぼる is about navigating in a city with a train system designed by slime mold.
のぼる is about de-centring artworlds and superﬂats.
のぼる is otter stickers and capybara gifs.
のぼる is about books in boxes.
のぼる is about polyphonies, multiplicities, intersections.
のぼる is about queer failures.
のぼる is about mountains and seas.

のWe met each other in a moment of breaking apart. It was the autumn of 2021. Backthen, we walked together. We started exploring the exciting Tokyoscape andbeyond. Together we read innumerous pieces of writing, saw and realized
exhibitions, projects, proposals. We dreamed big, failed bigger, evolved as artists,
curators, as adults. We were there in moments of growth, celebration,
concentration, we were there in moments of melting, heartbreaks, confusion. We
were there in withdrawal and in pause. Our noborus are strong and dynamically
ﬂexible.

のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる

「のぼる」 is a compilation of our seas and mountains. のぼる, phonetically noboru, as inascending, as in climbing, as in strolling around, going up mountains, hills,
swimming up, going upstream, going back. Together and apart, apart and together.
I searched the seas and mountains to ﬁnd you. In this zine, we embrace themountains and the streams that brought us to a queer mountain summit: the peakwhere we met. We were lucky enough that four continents, three mountains, twolakes, and nine seas, brought us together.

いっしょにのぼりましょう。
のぼるᇷのぼるᇸᇲ
aliwen, Hanna Hirakawa, Chloe Paré
東京藝大「I LOVE YOU」
プロジェクトTokyo 2023
/ 100

‫ס‬
‫ׯ‬
‫׾‬
ᇷのぼるᇸᇲ
aliwen, Hanna Hirakawa, Chloe Paré
東京藝大「I LOVE YOU」
プロジェクトTokyo 2023
/ 100

‫׾ׯס‬

2

4

7

6

8

9

10

13

12

16

18

21

20

22

22

25

26

27

autopoiesis can be defined, which was associated by Maturana and Varela to so called
autopoiesis“living machines”, according to three preponderant factors
first, “homeostasis” refers to the components and organization of these living

Ecological thinking might be quite diﬀerent from our assumptions about it. It isn’t

machines and the processes that sustain them occur within the limits of the machine,

just to do with the sciences of ecology. Ecological thinking is to do with art, philosophy,

whichliterature, music, and culture. Ecological thinking has as much to do with theantonomasticallyhumanities wing of modern universities as with the sciences, and it also has to dowith factories, transportation, architecture, and economics. Ecology includes all the

the

same

components,organization

andprocesses

define/delimit

homeostasis describes the autonomist behavior that characterizes
autopoiesis

ways we imagine how we live together. Ecology is profoundly about coexistence.

in second place, the “disturbances and compensation of disturbances” refers to those

Existence is always coexistence. No man is an island. Human beings need each otherprocesses that put in relation and dynamize homeostatic components: relevantly theas much as they need an environment. Human beings are each others’ environment.

destruction and the transformative regeneration of theseThinking ecologically isn’t simply about nonhuman things. Ecology has to do withyou and me.

in other words, the rotation of the network of production processes of thecomponents that make the autopoietic system and its evolution over time

Timothy Morton (2010)

third, “topography” simply describes the spatial extent necessary for thegeneration of the autopoietic network as well as for the homeostatic interactionsof this structural unit

Western philosophy of the sciences was revolutionized when in 1973 Chilean biologists
Humberto Maturana and Francisco Varela published De máquinas y seres vivos

in a positively Cartesian demeanor, more accurately Leibnizian, the Chilean biologists[Machines and Living Things]

installed a cornerstone for contemporary solipsism, where a total doubt is posed as toin this work, the scientists summarized the investigation which they carried onwhether the subject can even come to know anything objectively outside of its own“autopoiesis” as constitutive ontogenesis of living beings

experience-of-the-thing
while Maturana's research on the “circular organization” of molecular dynamics inbiology of cognition that informed this new theory placed special emphasis on theontology and functioning of neurons in the brain, the epistemic performativity of

consumer loans, stock market and financial speculation, indiscriminate promotion of

autopoiesis achieved, in a certain way, a much more brutal effect: to justify theforeign investment during certain periods, among others

autonomy of the Self over the world―the ecosystem, per se―as a connatural or

Imperialist interventionism would be unified in the region through a series ofnaturalized relation

dictatorships recognized, in their cohesion, as Operation Condor, installing “newas is usual in several currents of Western thought, the subjectivity described in theliberalism” in the Southern Cone as it would be described according to the 1989previous sentence appears, at first sight, to be a neutral one; exempted from extrinsic or

Washington Consensus

contextual class, ethnic, geopolitical, ideological or sex-gender coordinates
the context described above opens a series of questions that are of difficult resolution
however, History is sometimes obtuse and makes the year of the publication of
Machines and Living Things also the year of the military coup in Chile, posing a seriesof tensions to solipsism as an valid epistemic paradigm
The socialist project of the Unidad Popular came to power through legitimate

what is the link between cognitive autonomy and neoliberalism and how does
this connect with (neo)colonial history in Chile?
better yet, is closed individuality the correct way to consider our
relationship with the ecosystem at times of environmental crisis?

democratic means without adopting―nor belonging to the regions of the world

can our epistemo-cosmogonies prior to the Conquest inform us of other alternatives towhere this was feasible―the schemes of First World social democracy; hubris severely

the subject's autopoietic ontology?

punished at the hands of United States interventionism (executed largely by local cartels)by installing hostile political and economic microclimates of terror and hyperinflation inthese questions, too broad to answer here, glimpse a thread of reflections that seeks toorder to procure civic-military betrayal

gravitate the link between epistemic justice, ecosophy and sympoiesis in the field of

does not the economy of the Self, then, require certain political conditionsof agency and sovereignty for autopoietic performance?
as a cure for artificial inflation and the resulting economic crisis, the Junta awarded
special tribune to the Chicago Boys since 1975 to experiment on the Chilean
population with different measures such as the foreclosure of national industry,emphasis on international trade, privatization of basic services, banking liberalization,

artistic practices as radical alternatives to autopoiesis

33

35

37

Mountain notes:

In Gutai Art, the human spirit and matter shake hands with each otherwhile keeping their distance. Matter never compromises itself with theSpirit; the spirit never dominates matter. When matter remains intact,
And exposes its characteristics, it starts telling a story and even cries out.
To make the fullest use of matter is to make use of the spirit.
Art is a site where creation occurs; however the spirit has never created
Matter before. The spirit has only created spirit. Throughout history, theSpirit has given birth to life in art. Yet the life thus born always changes

5-7)
山折り
A mountain fold is a basic fold, in which the paper is folded behind itself. An easier
way to do this is to turn the paper over ﬁrst and then do a valley fold and turn thepaper back over again. The motion of the paper is usually indicated by an arrow
with a one-sided hollow head, and the crease is marked with a chain line (two dots
alternating with a dash).
山折りとは、紙などを折る時に、折り目が外側に出るようにする折り方のことです。 山折りは
折り目の線が外側になるように折るので、折った紙の部分が山のように盛り上がって見える
ので山折りといいます。 基本的な折り方に山折りと谷折りがあり、山折りを反対に折ったもの
は谷折りと呼ばれます。

20-21)
untitled
22)〒403-0004 山梨県富士吉田市下吉田２丁目２−27
25)

Sources: happyfolding.com and well-corp.jp

showertime thoughts : water
my tongue ﬁnding another language : mountain

8)35.402914, 138.607859

26)
34.172481, 131.490619

12)35.402914, 138.607859

27)
μα τι να κάνω, τον εαυτό μου χάνω, είναι νωρίς δε θέλω ύπνο και δε θέλω να πεθάνω
what shall I do, I lose myself, it is early I do not want to sleep and I do not want to die

14)
I've been to Nagasaki, Hiroshima too!
The things I did to them, baby, I can do to you!
'Cause I'm a Fujiyama Mama
And I'm just about to blow my top!
Fujiyama-yama, Fujiyama!
And when I start erupting
Ain't nobody gonna make me stop!

Ανισόπεδη Ντίσκο · Pan Pan · Kalliopi Mitropoulou, 2022
31)
35.492687, 138.807417
32)This is the kakigōri we had coming down from Fuji. It was a confusing time,
doubting my abilities, and my doings. But going up, I felt like, if I can climb Fuji, I
can climb anything, even if this means going down eventually. The kakigōri wassuper exciting, the people so lovely, we were all very happy and rejuvenated fromthe hike.

Fujiyama Mama, Wanda Jackson, 1957
18)
through the magic of material, were made to fraudulently assume
Appearances other than their own. These types of matter [busshitsu],
all slaughtered under the pretense of production by the mind, can now say
Nothing.
Lock up the corpses in the graveyard.
Gutai Art does not alter matter. Gutai art imparts life to matter.
Gutai Art does not distort matter.

34)(land/corporeal) forms
35)‘γεια μας – yamas – 山s

る

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のぼる MANIFESTO

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aliwen, Hanna Hirakawa, Chloe Paré
Tokyo, April 2023

。
。
。
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る

る

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1

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「のぼる」 is a compilation of our seas and mountains. のぼる, phonetically noboru, as inascending, as in climbing, as in strolling around, going up mountains, hills,
swimming up, going upstream, going back. Together and apart, apart and together.
I searched the seas and mountains to ﬁnd you. In this zine, we embrace themountains and the streams that brought us to a queer mountain summit: the peakwhere we met. We were lucky enough that four continents, three mountains, twolakes, and nine seas, brought us together.

。
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のGIF

る

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る
。
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We met each other in a moment of breaking apart. It was the autumn of 2021. Backthen, we walked together. We started exploring the exciting Tokyoscape andbeyond. Together we read innumerous pieces of writing, saw and realized
exhibitions, projects, proposals. We dreamed big, failed bigger, evolved as artists,
curators, as adults. We were there in moments of growth, celebration,
concentration, we were there in moments of melting, heartbreaks, confusion. We
were there in withdrawal and in pause. Our noborus are strong and dynamically
ﬂexible.

の
に

の
に
のLINE
の
の
っ いる
の
い
の
いう
る
り

。
の

に い のzine
。
に り
る
。

の
。

の

まし 。 のzineのり りま 。

にの「 」 「のりまのぼる is a zine about ecology, randomness, and queer families.
のぼる is about wandering, existing in all the chaos and beauty of the world.
のぼる is a palindrome.
のぼる is about going up and down.
のぼる is about knowing we have no chances but doing it anyways.
のぼる is about dreaming of Hong Kong.
のぼる is about pretending to know.
のぼる is about coincidence.
のぼる is about supporting each other and growing with each other.
のぼる is about respecting each other's boundaries.
のぼる is about navigating in a city with a train system designed by slime mold.
のぼる is about de-centring artworlds and superﬂats.
のぼる is otter stickers and capybara gifs.
のぼる is about books in boxes.
のぼる is about polyphonies, multiplicities, intersections.
のぼる is about queer failures.
のぼる is about mountains and seas.

いっしょにのぼりましょう。
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
のぼる
し
に

る ま ま
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の
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の
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に
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し
の
まし 。
る
し
し
しまし 。
いの
の
いの
し り
っ しまっ
の
し
に
しまし 。
り
し しまう
にいまし 。
に っ の「のぼる」
の
。
っ の

まる っ
の

っ
っ
。
。

「のぼる」
る
り

いっしょにのぼりましょう。
のぼる