Splitting Mammalian Weeds: Monster for a Memory
(2023)
author(s): Shana De Villiers
published in: Research Catalogue
This is not a thesis of trying to mine a singular understanding, but a collecti(ion)(ve) body of research composed into a gesture. Other than my memories, I have only grazed the surface of the topics I will discuss (even then, memories are at the fragile grace of synaptic connections) There are holes here, tears that will take a lifetime to mend. As I will mention later, I am not interested in a singular whole. Holes, however, are curious places with a warm spot for happenings, so I am okay with the holes.
All patchworks are several and my obsession with their cobbled nature does not mean there are no moments of stillness and clarity. This work is an archive of the muddiness of being and I invite you to draw parallels with your own logic as you stumble through this patchy, leaky, weed forest.
Between plant fossils and oral histories: tracing vegetal imaginaries from Donbas, Ukraine
(2021)
author(s): Darya Tsymbalyuk
published in: RUUKKU - Studies in Artistic Research
This exposition brings together multiple contexts, narratives and modes of expression to tell multispecies (hi)stories about and from Donbas region, Ukraine, where a military conflict broke out in 2014. By engaging with fossils, paleobotany and testimonies of internally displaced persons, the exposition explores vegetal imaginaries of the region in a series of drawings and questions stories we tell about Donbas and displacement, and ways in which we tell them.
choreographies in deep time rhythms
(last edited: 2025)
author(s): Linda Bolsakova
This exposition is in progress and its share status is: visible to all.
This research investigates the possibility of dancing with the geological by understanding dance as the movement of bodies already entangled within deep-time rhythms. This is particularly pertinent in the context of the Anthropocene, where human actants have become part of the terraforming force. The work challenges the conventional boundary between the sculptural and the performative. Rather than fixed categories, it approaches this boundary as a site of porosity and an intra-active relational field in which bodies, materials, and temporalities continually reshape and co-constitute one another.
Developed as part of an MA research project in Iceland, the work emerges through engagement with ecofeminism, carnal hermeneutics, new materialism and ecological philosophy, as well as various practice-based investigations situated within specific geological environments such as glacier outlets, geothermal sites, and lava fields. Through these varied settings, the research engages geological matter as an active collaborator in the choreography, shaping both the conditions and the possibilities of movement.
This exposition includes video documentation of performances, process recordings, photographs and the evolving scores that shape both the on-site and installation practices. Together, these materials outline the iterative process through which the work took shape, offering insight into how geological matter, human bodies, and specific sites co-produced the methodologies and relational choreographies explored in the research.
Hearing Geoelectric
(last edited: 2023)
author(s): Raviv Ganchrow
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
Geological minerals (such as copper, quartz and mica) are embedded in audio circuits and conversely geological processes are teeming with electrical activity. Power grids and Integrated circuits could be described as important waypoints in the domestication of lightning. Advanced methods of geo-sensing and globally coordinated sensor networks are currently plumbing Earth attributes by way of its signals: By way of electrical transduction (vibrations converted into electrical fluctuations) or by directly tapping into ground conductivity (telluric current monitoring and geoelectrical methods). Our growing awareness of earthly variations in voltage manifest a complex intertwining of the geologic, the electric and the technic. What are the terrestrial contexts of audio circuits and conversely what electrical circuitry is at work in geology? What does Earth's circuitry sound like? How can such geoelectric hearing redress the binaries of 'natural' and 'technical' in particular with respect to recordings overt mimetic properties? This research aims to develop non-standard tools for environmental voltage acquisition while looking into historical contexts of geoelectrical methods as a means of bridging the geological dimensions in electronic audio towards contemporary modes of environmental listening and hearing.
This is not a thesis of trying to mine a singular understanding, but a collecti(ion)(ve) body of research composed into a gesture. Other than my memories, I have only grazed the surface of the topics I will discuss (even then, memories are at the fragile grace of synaptic connections) There are holes here, tears that will take a lifetime to mend. As I will mention later, I am not interested in a singular whole. Holes, however, are curious places with a warm spot for happenings, so I am okay with the holes. All patchworks are several and my obsession with their cobbled nature does not mean there are no moments of stillness and clarity. This work is an archive of the muddiness of being and I invite you to draw parallels with your own logic as you stumble through this patchy, leaky, weed forest.open exposition comments (0)
This exposition brings together multiple contexts, narratives and modes of expression to tell multispecies (hi)stories about and from Donbas region, Ukraine, where a military conflict broke out in 2014. By engaging with fossils, paleobotany and testimonies of internally displaced persons, the exposition explores vegetal imaginaries of the region in a series of drawings and questions stories we tell about Donbas and displacement, and ways in which we tell them.open exposition comments (0)