Texts on the Interim Ecology
2024Writings at present include the re-write of research paper Entanglement and the Interim Ecology, addressing the anthropocentric imprint, ecosophical quandries and paradigmatic shifts in our regard for material and animal hierarchies.
Drawing new Ecologies
2019/2020 Presents a series of vignettes and visual narratives reflecting on ‘temporal ecological scenarios’; shifts in condition of both a human & a material nature. The practice has adopted the perspectival lens of new materialism, contemporary thought such as posthumanism, and a little fantasy... it is academically modified, but it’s heart is in the right place ;~} .. it’s aim to identify an understanding of & with one’s environment and it’s ever-changing nature.Practice & Process
Through an ‘Expanded Drawing’ [fn1] practice, traditional processes are implemented along with appropriated media and object-based artefacts to develop into a physical imprint, infusing work proportional to the human body with the built environment.
[fn1] “... (the term) borrowed from Rosalind Krauss’ 1979 essay Sculpture in the Expanded Field — (that) is used to identify artwork that is part-way between traditional drawing and other disciplines and practices” .
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Points, Lines, Encounters: The World According to Lee Ufan by Joan Kee
“… In 1969, he first wrote of his desire to present ‘the world (sekai) as it is.’[fn2] Closely bound to this idea was that of the encounter (deai), or the point at which human being initiated a relationship with the material world. Transposed onto the experiences of showing and viewing art, Lee's emphasis on the encounter demanded a reallocation of agency between the artist and the viewer. In lieu of a schematic whereby the artwork passively transmits the artist's intention to the equally passive viewer, the artwork is activated only upon the viewer's sustained engagement with the terms of its material and physical presence. If this proposed replacement seemed harsher than what Lee had in mind when he wrote about wanting to show the world as it is, it was because Lee's artistic practice was fundamentally vested in replacing particular systems of power.” [fn2] Lee Ufan, 'Sekai to kõzõ?’ (World and structure), Dezain Hihyõ, vol. 9, 1969, p. 132.
︎ Back In The Bronx: Gordon Matta-Clarke - Rogue Sculptor (NYTimes article by Roberta Smith, 2018)
︎ Strand Drawings, Entanglement & Interim Ecologies by S.Quas, 12000wrd exegesis, 2020
︎ Rosi Braidotti, Posthuman Knowledge / Harvard GSD (youtube trt 1hr.13m)
︎ Posthuman Glossary Ed. by Rosi Braidotti & Maria Hlavajova
︎ POSTHUMAN IN LITERATURE AND ECOCRITIC by Seranella Iovino
“...`negotiation of our bodily boundaries in relationship to other bodies and the surrounding matter in the environment’ (Sullivan 2014, 92),[fn3] but also a world whose ontological categories are performed rather than given, and where mixing with “anotherness” is the dynamic destination of being. In this communitarian space, different forms of agency and materiality feed each other, and humans are parts of a constellation of beings, things, events, concepts, and signs. Existence is thus composed of the “force of collective life” (Wheeler 2006, 30),[fn4] and this force is expressive: if culture is an ongoing process of hybridization with nature, a continuous formation of naturecultures, the force of life is also a force of signs and information, a semiotic force.
…from cells up to complex collectives—our relationship with the world is one of conjoined determination: “The world makes us in one and the same process in which we make the world,” as Andrew Pickering wrote (1995, 26).[fn5]...”
[fn3] Sullivan, Heather I. 2014. “The Ecology of Colors: Goethe’s Materialist Optics and Posthumanism.” In Material Ecocriticism, edited by Serenella Iovino and Serpil Oppermann, 80-96. Bloomington: Indiana U P.
[fn4] Wheeler, Wendy. 2006. The Whole Creature. Complexity, Biosemiotics and the Evolution of Culture. London: Lawrence and Wishart.
[fn5] Pickering, Andrew. 1995. The Mangle of Practice: Time, Agency, and Science. Chicago: U of Chicago P.
︎ Materiality ed. by Petra Lange-Berndt
︎ Dark Ecology by Timothy Morton
“… In 1969, he first wrote of his desire to present ‘the world (sekai) as it is.’[fn2] Closely bound to this idea was that of the encounter (deai), or the point at which human being initiated a relationship with the material world. Transposed onto the experiences of showing and viewing art, Lee's emphasis on the encounter demanded a reallocation of agency between the artist and the viewer. In lieu of a schematic whereby the artwork passively transmits the artist's intention to the equally passive viewer, the artwork is activated only upon the viewer's sustained engagement with the terms of its material and physical presence. If this proposed replacement seemed harsher than what Lee had in mind when he wrote about wanting to show the world as it is, it was because Lee's artistic practice was fundamentally vested in replacing particular systems of power.” [fn2] Lee Ufan, 'Sekai to kõzõ?’ (World and structure), Dezain Hihyõ, vol. 9, 1969, p. 132.
︎ Back In The Bronx: Gordon Matta-Clarke - Rogue Sculptor (NYTimes article by Roberta Smith, 2018)
︎ Strand Drawings, Entanglement & Interim Ecologies by S.Quas, 12000wrd exegesis, 2020
︎ Rosi Braidotti, Posthuman Knowledge / Harvard GSD (youtube trt 1hr.13m)
︎ Posthuman Glossary Ed. by Rosi Braidotti & Maria Hlavajova
︎ POSTHUMAN IN LITERATURE AND ECOCRITIC by Seranella Iovino
“...`negotiation of our bodily boundaries in relationship to other bodies and the surrounding matter in the environment’ (Sullivan 2014, 92),[fn3] but also a world whose ontological categories are performed rather than given, and where mixing with “anotherness” is the dynamic destination of being. In this communitarian space, different forms of agency and materiality feed each other, and humans are parts of a constellation of beings, things, events, concepts, and signs. Existence is thus composed of the “force of collective life” (Wheeler 2006, 30),[fn4] and this force is expressive: if culture is an ongoing process of hybridization with nature, a continuous formation of naturecultures, the force of life is also a force of signs and information, a semiotic force.
…from cells up to complex collectives—our relationship with the world is one of conjoined determination: “The world makes us in one and the same process in which we make the world,” as Andrew Pickering wrote (1995, 26).[fn5]...”
[fn3] Sullivan, Heather I. 2014. “The Ecology of Colors: Goethe’s Materialist Optics and Posthumanism.” In Material Ecocriticism, edited by Serenella Iovino and Serpil Oppermann, 80-96. Bloomington: Indiana U P.
[fn4] Wheeler, Wendy. 2006. The Whole Creature. Complexity, Biosemiotics and the Evolution of Culture. London: Lawrence and Wishart.
[fn5] Pickering, Andrew. 1995. The Mangle of Practice: Time, Agency, and Science. Chicago: U of Chicago P.
︎ Materiality ed. by Petra Lange-Berndt
︎ Dark Ecology by Timothy Morton