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Emma Critchley Emma Critchley Being immersed in water is a powerful scenario that resonates not only with me as an artist but unites us all; it is something we have all experienced.
Yet the shifts that occur when our bodies are in this space necessitate both a physical and mental realignment, which alters our basic structure of being and allows exploration into the human condition itself. For me scenarios provide the opportunity to distill the complex and multi-faceted research involved in climate change and create imagined environments that allow space to stop, reflect and invite challenge and debate from an experiential position.
I am aware of the challenges involved in working with such a deeply layered and complex subject area and look forward to developing sustained discussions with researchers from a network of disciplines that will enable me to draw out some of these tensions as well as make meaningful, integral connections.
I look forward to exploring the philosophical shifts we are experiencing, where scientific research is impacting on our way of being on a seismic scale. Complexity is inherent to engaging with environmental change and emotion is a core tenet of how people engage with complex and abstract problems.
This is an opportunity to use art as a point of encounter in which to engage with the nuances, complexities and intersectionalities of the current and future climate change landscapes.
My ambitions for the residency are: Bringing scientists, media and those involved in policy making together to explore how science attributes meaning within research and how this information is disseminated to the wider public.
We are all burnt by ultraviolet rays. We all contain water in about the same ratio as the Earth does, and salt water in the same ratio as the oceans do.
We are poems of the hyperobject Earth. An invisible yet omnipresent indicator of environmental change. The ocean; a reflective membrane to the Earth. I am fascinated by the way sound gives identity to the spaces we live in and how our sonic landscape shapes us.
Underwater, sound operates in an entirely different way and is perceived through vibrations in the bone and thus becomes a corporeal experience. Modern humanity is beginning to inhabit a world with an acoustic environment radically different from any hitherto known Exploring the depths of the ocean from the depths of outer space.
The rhythms of the Earth, atmospheric shifts, tectonic plate movement.
A means of gaining perspective. Vast expansions of timescales. The sound of a climate disaster. Our ongoing work has examined the climatic and geopolitical importance of this region highlighting the relationships between glacial recession, desertification, development, the economy, human rights and global climatic systems.
In our most recent body of work entitled Feedback Loops, we have created sequences of images and captions that depict these phenomena with the intention of creating a visual interpretation of the mechanism of feedback.
By doing so we intend the idea of feedback to imply that every action humanity takes has consequences that return to shape the future in a way we cannot foresee. Over the course of the Future scenarios Networked residency we will be working with the Anthropocene and Climate Change as a cultural paradigm of our time that shapes the way in which we imagine our future.
To do so we intend to utilise our indexical representation of current climate, environmental, geological, economic and socio-political phenomena to illustrate the visceral reality of different hypothetical future scenarios.
Through images of our present we will suggest a palatable imagining of difficult and improving futures. We are going to continue to work with complexity and the scientific methodologies used to represent complex systems.
To do so we will encompass a multitude of issues and subject matter in a large body of work that will reflect on the broad spectrum of researched disciplines that contribute to our knowledge of Climate Change.
This is intended to make visible the contradictions which are at the heart of the scientific and ethical challenges that humanity is facing.
Throughout the residency we will continue to focus on phenomena we have already identified within our previous work.We allow for a certain level of ambiguity when we speak of geographical regions.
References to “the South,” “the West” and “the Midwest,” for example, come with the understanding that these regions (unlike states) have no precise or official borders. News ♦ ♦ ♦ *Event* The Europe of Rubens, exhibition: 22 May September Born near Cologne, living in Antwerp after a long period in Italy, and active in the courts of Spain and England, Rubens () was an artist of European dimension.
spatial form in ulysses. Uploaded by. Irakli Tskhvediani Joseph Frank broke new critical ground in his study of Djuna Barnes’s Nightwood entitled “Spatial Form in Modern Literature”, analyzing a crucial technique of modernist literature, the substitution of spatial relationships for temporal progression as a formal metaphor of.
Spatial Form in Modern Literature: An Essay in Three Parts Author(s): Joseph Frank Source: The Sewanee Review, Vol Abstraktion in German. forming its appropriate esthetic expression in spatial form. essay on "Modern Art. in a timeless locked accentuate surface differences.
Documents Similar To SPATIAL FORM IN MODERN LITERATURE (Part III 5/5(1). A mere decade later, while he worked as a reporter for the Bureau of National Affairs, came entry into the big leagues: “Spatial Form in Modern Literature: An Essay in Three Parts.” [ii] His last book, Responses to Modernity, with a telling subtitle Essays in the Politics of Culture, .
Summary of why suffering probably dominates happiness. I personally believe that most animals (except maybe those that live a long time, like >3 years) probably endure more suffering than happiness overall, because I would trade away several years of life to avoid the pain of the average death in the wild.