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SESSION 3: Vague Borders and Infinite Sensibilities of Land, Body, and Water
SESSION 3: Vague Borders and Infinite Sensibilities of Land, Body, and Water
This arts-based session takes the form of compost, a compost of embodied experiences, material experiments, and performance, all of which become a palimpsest of boundary events.
This arts-based session takes the form of compost, a compost of embodied experiences, material experiments, and performance, all of which become a palimpsest of boundary events.
PANELISTS in alphabetical order
PANELISTS in alphabetical order
DANIEL BARNEY, A Proposition for Creating Conditions for a Compost Culture: Pedagogical Necromancy and Monstrous Transformation
DANIEL BARNEY, A Proposition for Creating Conditions for a Compost Culture: Pedagogical Necromancy and Monstrous Transformation
Associate Professor, Art Education, Brigham Young University, Provo, UT
Associate Professor, Art Education, Brigham Young University, Provo, UT
KAJSA G. ERIKSSON, Professor, Visual Art, Academy of Design and Crafts, University of Gothenburg, Sweden, STINT fellow and visiting scholar at SOA, ASU (panel organizer)
KAJSA G. ERIKSSON, Professor, Visual Art, Academy of Design and Crafts, University of Gothenburg, Sweden, STINT fellow and visiting scholar at SOA, ASU (panel organizer)
CAITLIN FOLEY, Good Vibrations and Microbial Diversity
CAITLIN FOLEY, Good Vibrations and Microbial Diversity
Visiting Faculty Lecturer, Department of Art & Design, University of Massachusetts Lowell, Lowell, MA
Visiting Faculty Lecturer, Department of Art & Design, University of Massachusetts Lowell, Lowell, MA
MISHA RABINOVICH, Good Vibrations and Microbial Diversity
MISHA RABINOVICH, Good Vibrations and Microbial Diversity
Assistant Professor, Interactive Media, Department of Art & Design, University of Massachusetts Lowell, Lowell, MA
Assistant Professor, Interactive Media, Department of Art & Design, University of Massachusetts Lowell, Lowell, MA
MAYA WEEKS, Left Out in Weather
MAYA WEEKS, Left Out in Weather
Artist & Doctoral Student in Geography, University of California, Davis, CA
Artist & Doctoral Student in Geography, University of California, Davis, CA
Special thanks to :
Special thanks to :
Sound art: Hannah Whitaker
Sound art: Hannah Whitaker
Photography: Brian Seaman
Photography: Brian Seaman
In our dense world, the placement of art, academia, and everyday experience into silos is dated and unsustainable. This panel presents pressing ethical issues in connection to land, bodies, and water; the agents of adventurous and sustainable futures. Connections, unions, collaborations, and boundaries are summoned, and the panelists are invited to explore vague borders and infinite sensibilities through the force of art. In the format of compost, this panel embraces chance, fluidity, and simultaneous activity. Vagueness, slowness, the comfortable, and the uncomfortable are part of this session; soil, breath, and rhythms are its organizational modes.
In our dense world, the placement of art, academia, and everyday experience into silos is dated and unsustainable. This panel presents pressing ethical issues in connection to land, bodies, and water; the agents of adventurous and sustainable futures. Connections, unions, collaborations, and boundaries are summoned, and the panelists are invited to explore vague borders and infinite sensibilities through the force of art. In the format of compost, this panel embraces chance, fluidity, and simultaneous activity. Vagueness, slowness, the comfortable, and the uncomfortable are part of this session; soil, breath, and rhythms are its organizational modes.
The concept of the boundary-event is recycled and cared for in a feminist tradition of maintenance. Along with post-human and new material ideas, the reworked concept acts as a fertilizer. The process of a bio-degradable art and theory is one of regaining new energy. Stepping back to move forward is necessary in order to realize the deep stories of land, body, and water. By embracing uncomfortable unions, we are able to stumble upon boundaries of norms and expectations. The ethical issue at stake here is the relationship between art as representation, and art as a creator of life. What is change and how does it happen?
The concept of the boundary-event is recycled and cared for in a feminist tradition of maintenance. Along with post-human and new material ideas, the reworked concept acts as a fertilizer. The process of a bio-degradable art and theory is one of regaining new energy. Stepping back to move forward is necessary in order to realize the deep stories of land, body, and water. By embracing uncomfortable unions, we are able to stumble upon boundaries of norms and expectations. The ethical issue at stake here is the relationship between art as representation, and art as a creator of life. What is change and how does it happen?
At the end of the session, we hope to have gained some new experiences and insight by challenging individualism of the arts, academia, everyday life, and by experimenting with comfortable/uncomfortable unions. These unions may include social, bodily, material, technological, and environmental entanglements. By showing, telling, enacting and materializing, other phenomena may appear.
At the end of the session, we hope to have gained some new experiences and insight by challenging individualism of the arts, academia, everyday life, and by experimenting with comfortable/uncomfortable unions. These unions may include social, bodily, material, technological, and environmental entanglements. By showing, telling, enacting and materializing, other phenomena may appear.
Kajsa G. Eriksson
Kajsa G. Eriksson
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