It does this through discussing sonic and radio related media practices, beginning with the early 20th Century radio amateur movement, interspecies communication research and the work of tactical media artists including Natalie Jeremijenko and Marko Peljhan. Chapter 3 traverses the vast distance of sound and radio waves from the extreme environment of outer space to the depths of the oceans and cross species boundaries. This forms Rancièrian tactical “communities of sense”, with the potential to transform into a tool for a politics that does not yet exist. The wider quest for a poetics of responsibility, as with the tactical employment of “new sensitivities,” becomes a political act. Here, both artistic practice and creative research help to locate the situated awareness of these “new sensitivities”, in a context that is experiential and publicly accessible, while simultaneously renegotiating the defining boundaries of such a context. In Chapter 3 I also explore media arts practice that draws its surrounding as a dynamic and evolving environment, which is something in which to actively engage with and intervene. Such an awareness is created through the artistic and tactical employment of the “new sensitivities” (Latour 2013). By doing this, I aim to support my argument for the vital contribution that a situated awareness offers to the discussion of a poetics of responsibility from a media arts perspective. I analyse these examples according to the sense of situated awareness that they create. I am interested here in media arts practices that combine technology and sensory perception, in order to extend, refine or simply shift human sensory perception. This discussion includes the audio/video installation My City is a Hungry Ghost, the video project Nature in the Dark, and the sound installation planet ocean. In the third Chapter Sharing Space Sonically in an Extremophile Age I discuss selected examples of media practices and work by tactical media artists, including my own unrelated related series. The authors consider the work of artists Tony Capellán, Jean-Ulrick Désert, María Magdalena Campos-Pons, Nadia Huggins, and David Gumbs. Building upon the 2017 exhibition Relational Undercurrents: Contemporary Art of the Caribbean Archipelago, curated by Tatiana Flores, this article expands the conversation from the archipelagic to the submarine, engaging “tidalectic” representations of underwater bodies through ontologies and aesthetics of diffraction. The authors’ work turns the visual focus from the surface to the depths, engaging with the Caribbean Sea and contemporary artists who depict a gendered oceanic intimacy and aesthetics of diffraction and submergence. This work generally focuses on a universalized ocean (as nonhuman nature) rather than a geographically and culturally specific place (as history). Ltd.Recent scholarship in the blue humanities, or critical ocean studies, has turned to the mutable relationship between human bodies and the ocean, shifting from depictions of a seascape across which human bodies attain agency to considering the experience and representability of sea ontologies, wet matter, and transcorporeal engagements with the more-than-human world. In no event will Artisan Vapor & CBD be liable for any loss or damages including, without limitation, indirect or consequential loss or damage, or any loss or damage whatsoever resulting from the use of products or information found on this website.Īrtisan Vapor & CBD Lake Worth © Copyright 2021 Site Managed by Firewind Tech Pvt. Any reliance you place on such information is therefore strictly at your own risk. By using this site, you agree to follow all Terms & Conditions and the Privacy Policy printed on this site.ĭisclaimer: Artisan Vapor & CBD makes no representations or warranties of any kind, express or implied, about the completeness, accuracy, reliability, suitability or availability with respect to the information contained for any purpose. Products on this site contain a value of 0.3% or less THC.
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