Our three core themes – ISLAND, POND and PASSAGE – allow us to work with the notion of trilogies and heterogeneously. However these trilogies are each amphibious in their own ways. They are not just medium specific as Rosalind Krauss (1979) has contributed to art discourses, but they are what we see as ‘medium fluid’. This is a matter of amphibiousness.
As this website indicates, linked and tagged and dynamic in their being able to be moved, concerning movement, textured by content and styles of writing and imaging. The trilogies are dynamic and they are a dynamo. They are also thus a fluid medium one might say. The trilogies are materialised through their engaged reading and the relations that they may suggest, link or question, but they are excessive in a Baroque sense of being more than their elements (Morrison, 2017) by way of being reconfigured by readers’ hypertextual self-patternings, as they enact their own senses of islands, ponds and passages in their becoming.
A Deleuzean amphibiousness, one might float, a floating variant of practising with Deleuze (Attiwell et al., 2017). Practicing as research and practising extended choreography afloat, amphibiously aware and amphibiously suspended between action and reflection, shifting states and contexts, conditions and systems, discursive and mediated, embodied and imagined. Rosalind Krauss’ thoughts on the post-medium condition aboard a vessel in the north sea (Krauss, 2000).
What might they leave in their wake one may also ask? Neal White (2014: 195) writes that
For artists engaged in experimental epistemic practices the social is a temporal yet material component of these experiments that, in fact, allows a small research-based organisation to sustain themselves through engagement with audiences at all levels, across different kinds of time, moving, to use a technical analogy, from the synchronous to the asynchronous. These blended digital and physical environments use temporalities and social forms to allow dialogues between disciplines and fields of research across territories, creating new knowledge in their wake.
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Krauss, R. (1979). ‘Sculpture in the expanded field’. October, 8(Spring): 30-44.
Krauss, R. (2000). A Voyage on the North Sea. Art in the age of the post-medium condition. London: Thames and Hudson.
Morrison, A. (2017). ‘Design-Baroque-Futures’. 2nd International Conference on Anticipation. 8-10 November. London: University of London.
White, N. (2013). ‘Epistemic events’. In Schwab. M. (Ed.). Experimental Systems and Future Knowledge in Artistic Research. Leuven: Leuven University Press.
Click & Drag: Rotate the view.
Right Click & Drag: Pan the view.