- PO Box 747
Fremantle WA 6959
AUSTRALIA
Perdita Phillips
Independent Researcher, Contemporary Art, Faculty Member
- Curtin University, School of Design and Art, AlumnusEdith Cowan University, School of Communication and Arts, Alumnus, and 2 moreadd
- Art And Ecology, Walking (Art), Environmental Art, Contemporary Art, Installation Art, Ecological Humanities, and 435 moreSound Art, Waste Aesthetics, Thrifting, Location-based media, Social-Ecological Systems, Human-Animal Relations, Soundscape composition, Inter And Transdisciiplinary Art, Psychogeography, Social Change, Mobile and Locative Art, Walking in literature, Space and Place, New Media Art, Eco Art, Sonic Art, Soundscape Studies, Spatial Audio, Space Sharings via Linked Architecture--24 live video/audio/smell connections with other locales as all or part of installations, Field Recording, Resilience, Industrial Ruins, Intangible Ephemeral Atmospheric Ambiguous Non-Representable Elements of Space, Grown Installations--initial conditions set plus growth processes, Event Art--mass many-art workshop/composition events, Ecological Literacy, The Haptic, Voice, & Aurality, Listening (Sound studies), Critical Animal Studies, Tactile (Haptic) Feedback Control of Installation Aspects, Binaural Hearing, Audio Feedback Controls of Installation Aspects, Auditory Culture, Visual Culture, Violation Gardens--Sense/View/Experience Reversals, Ecocriticism, Responsive Environments, History of Geology, Everyday Aesthetics, Environmental Ethics, History and Philosophy of Ecology, Environmental Philosophy, Environmental Aesthetics, Environmental sounds, Phonography, Art-Writing, Sound, Sound studies, Sound archives, Natural History, Media Arts and Sciences, Live Art, Art Studio, Video Game Platforms for Artwork--using them for art not just gaming and for gaming new styles of artwork, Anthropology of the Senses, Anthropology Of Art, Radio And Sound Studies, Book Art, Hybrid Art, Bioart, Complexity Science and Design, Practice-Based Research, Site-Specific Art, Artistic Research, Sonic Studies, Collaboration (Art), Language, Space and Place, Experimental Media Arts, Neworked Collaborative Creativity (Art), Affect Studies, Practice as Research, Performativity, Biocultural Diversity, Creative Nonfiction, Cultural Evolution, Soundwalking, Creativity, Critical Thinking and Creativity, Creative thinking, Culture Evolution--Retardant/Accelerant of Genetic Evolution, Animal Cognition, Bioacoustics, Digital Humanities, Biodiversity and Ecosystem Function, Interspecies Communication, Critical Ecology, Place (Architecture), Site-Specific Art and Performance, Geography, Phenomenology of Space and Place, Animal Geography, Social Geography, Human Geography, Sound Aesthetics, Urban Biodiversity Conservation, Process Philosophy (Peirce, Whitehead), Evolutionary Dynamics in Human & Animal Cultures, Umwelt, Systems Ecology, Spatial Ecology, Sense of Place, Memory Studies, Walking and Exploring, Complexity Theory, Complex Systems Science, Complex Adaptive Systems, Alternative Photographic Processes, Emotional Cartography, Sci-art, Invasion Ecology, Memory (Art), Geopgraphy of waste, Bioethics and Landscapes, Affect (Cultural Theory), Hauntology, Mapping Visual Histories, Adaptive Environmental Management, Participatory Pedagogies, Animal Species Loss and Decline, Cultural Mappings, Mental Maps, Urban Ruins, Sensuous Geographies, Biogeography, Fragmentariness, Sociology Of Waste, Art and Biodiversity, Durational Event Led Practice, Hybrid Ecologies, Dark Ecology, Timothy Morton, Animals in Philosophy, Soundwalk, Philosophy Of Animals, Acoustic Ecology, Digital Storytelling and Psychogeography, Urban Wetlands, Maps and Society, Sonic Mapping (Architecture), Philosophy of Ecology, Community Action Projects (Art), Mail Art, Artists' Books, Collage, Collage, Montage, & Assemblage, Materiality (Anthropology), Landscape Ecology, Place-based Learning Theory, Philosophy of Cognitive Ethology, New Media Art & Emerging Practices, Art Locale Evolution--continually emerging new "places" for art exhibition/encounter, Social Ecological Systems, Space And Place (Art), Green Material, Sound and Image, Fire Ecology, Aesthetics Of Nature, "New" senses in art: touch, smell, taste, Biodiversity, Social Practice, Science & Art, Art as Research, Systems Thinking, Listening (Music), Art and technolgy, Deep mapping / topography, New Topographics, Urban Cartography, Philosophy Of Climate Change, Darwin, Biophilosophy, Ecoliteracy, Conceptualisations of Nature, Ecology, Anthropocene, Anthropology Of Nature, Nature, Landscape change, Ecological philosophy, Art and Science, Art, Animal Studies, Allegorical, Narrative, and Rhetorical Architecture, Land Art, Urban interventions (Architecture), Arcitecture as the Making of Metaphors, Environmental Art Writing, Art in Public Places, Arts Practice-Led Interdisciplinary Research, Particularly in Relation to Deep Mapping, Cultural geography in relation to creative arts practice, literature, etc, Curatorial Studies and Practice, Urban Wildlife, Disposition of possessions, Ethical Consumption, Cultural Values of Thrift, Discard Studies, Sociology of Risk, Cultural Complexity, Human-Environment Relations, Art and ecology/ environment, Conservation Ecology, Sustainable Urbanism, Environmental Change, Philosophy of Nature, Video Art, Printmaking, Drawing, Art of Botanical Illustration, Art and cartography, Art and Activism, Change Leadership, Transformational Leadership, Social Activism, Climate Change Adaptation, Panarchy, Philosophy Of Drawing, Material Ecocriticism, Ecological Identity, Disaster Resilience, Studio Practice, Transdisciplinarity, Artists' Writings, Materiality of Art, Material Culture & Materiality, Nature Writing & Ecocriticism, Hand-Drawn Animation, Fine Art Animation, Novel ecosystems, Storms, Disaster Studies, Creating Creative Works diversity of Ways, Preparatory Sub creations, The Careers of Individual Works, Work Ecosystems, Weather, New Materialism, Ecophenomenology, Experimental Humanities, Socially Engaged Art, Bioethics, Philosophy of Science, Posthumanism, Environmental Humanities, Climate Change, Political Ecology, Environmental Sustainability, Drawing as a research tool, Drawing as a tool for design, Behavioral Ecology, Sound Recording, Apocalypticism In Literature, Apocalypse, Utopian, Dystopian, and Post-Apocalyptic Fiction, Post-Apocalytic Fiction, Disaster Recovery, Post Apocalypse, Disaster Culture, Sociology of Disaster, Disaster Response, Disaster Risk Communication, Community Resilience, Apocalypse Theory, Dystopian Literature, Apocalyptic Imagination, Essay Film, Word and Image Studies, Post-Apocalyptic Literature, Multi-Species Ethnography, Ecocide, Art in public space, Public Art, Natural Disasters, Disaster Preparedness, Rewilding, Science and Technology Studies, Computer Networks, Databases, Software, Ecological Art, Ecomaterialism, Ecocriticism, Eco-Aesthetics, Art and Climate Change, New Genre Public Art, Socially Engaged Practice, Socio-Ecological Futures, Geopoetics, Ecopoetics, Critical Theory of Evolution, Multispecies Ethnography, Termites, Termite Gut Symbionts, Ecology of Termites, Social insects, Aesthetics and Politics, Wrights & Sites, Animal Behavior, Ecophilosophy, Participation, Contemporary Australian Art, Art Theory, Writing in Visual Art, Art writing, Artists’ Books, Neuroaesthetics, Aesthetics, Environmental Communication, Urban Ecology, TRANSDISCIPLINARY STUDIES, Soil Science, Soil Conservation, Community Art, Activist Art, Political Art and Activist Art, Performance Art, Resistance (Social), Placemaking, Creative Placemaking, Practice-led research, Participatory and Relational Arts, Art as Social Practice, Silence, Feminist aesthetics, Art and the Anthropocene, Precarity, Ursula K. Le Guin, Zoopoetics, Community Engagement & Participation, Settler Colonial Studies, Decolonial Thought, History of Archives, Critical Theory, Cultural Theory, Arts-Based Research, Arts-Based Educational Research, Arts-based methodologies, Art Practice as Research, Arts Practice Based Research, Arts-Based Participatory Action Research, Anna L. Tsing, Ecofeminism, Ecological Art; Environmentalist Art, Participatory Action Research, Ecocriticism, art & environment, More-Than-Human Geographies, Practice-led research in creative arts, Art Theory and Politics, Enviromental Aesthetics, Ecopsychology, Traditional Ecological Knowledge, Land Art, Ecological Restoration, Invasion Biology, ecological radio art, Ecological Sound Art, Ecological Art and Science, Collage Film, Sound Collage, Montage, Aesthetics of Protest, Waste Theory, Anthropology of Waste, Audio And Radio Arts, Feminist new materialism, Rubbish Theory, Decolonization, Decolonialization, Decolonial Feminism, Nonhuman legal rights, Postcolonial Ecology, Cosmopolitics, Isabelle Stengers, Mining History, Archaeology of Mining, History of Mining, Industrial Heritage, Industrial Archaeology, Archaeology of the Contemporary Past, Landscape Archaeology, Ruins, Modern Ruins, Art History and Aesthetics of Ruins, Urban exploration, Cultural Memory, Liminal Space, Liminality, Liminal States: Altered Representation of Space, Ambiguity, Non-Places, Urban Memory, Ghosts of Modernity, Ghost Towns, Archaeologies of Memory, Site Specific Performance, Performance Studies, Dark Tourism, Site Specificity, Performance Ethnography, Sensory Ethnography, Haunting and Spectrality, Cultural History Of Ghosts, Abandoned Rural Settlements, Abandoned Buildings, Abandoned Villages, Environmental History, Documentary Film, Film Theory, Film Aesthetics, Avant-Garde Cinema, Ecocriticism and Ecofeminism, Postcolonial Ecocriticism, Ecocritical Theory, Feminist Political Ecology, Ecolinguistics, Biosemiotics, Deep time, Species Extinction, Extinction, Anthropology of Care, Stone, Sonification of Data, Data Sonification, Sonification, Poetics, Slow Scholarship, Visual Arts, History of Cartography, Radical Cartography, Artists' Residencies, Slow Art, Slow Residency, Critical Cartography, Speculative Realism, Anthropocene studies, Material Engagement Theory, Tim Ingold, Alfred North Whitehead, Slow Art Residency, and Ecocinemaedit
- Perdita Phillips is a contemporary artist who integrates her interests in environmental thought and the science of ec... morePerdita Phillips is a contemporary artist who integrates her interests in environmental thought and the science of ecology into installations, digital works, photographs, walking and sound art. She has pondered pollen, written an encyclopaedia about termites, worked with bowerbirds, made a mountain and tumbled down storm drains. She is currently Activating Regional Collections Artist Residency at the Museum of the Goldfields with Art on the Move and Art Gallery of Western Australia Regional Exhibition Touring Boost funding.
Recent writings include Follow the water chapter in C. Bates & K. Moles Living with water: everyday encounters and liquid connections ((2023, Manchester University Press), Lithic Love for The Architectural Review (2022, https://www.architectural-review.com/essays/lithic-love), Seeping, maintaining, flooding and repairing: how to act in a both/and world (2022, Swamphen: a Journal of Cultural Ecology), fossil III for the Lost Rocks project (2019, A Published Event, Hobart) and Postcards from the Underground: Walkshopping as Relationing Otherwise. Journal of Public Pedagogies. 4, 127-13 (Neimanis, & Phillips).
Phillips has curated a number of exhibitions and is founder and co-editor at Lethologica Press. She curated the online exhibition Tectonics: bringing together artistic practices united by lithic thinking beyond human scales as part of Ngā tohu o te huarere: Conversations beyond human scales conference (2021). In 2022 she coedited Vol 8 of Swamphen: A Journal of Cultural Ecology (Particular Planetary Aesthetics) and was editor of CSPA Quarterly journal issue 36 Both/And featuring 19 artists from Australia and around the world.
She was part of We Must Get Together Some Time, a collective slow art project with 10 other Australian artists, the underfoot collaboration and will be exhibiting in the Indian Ocean Craft triennial with the Melange group in 2024.
In 2010 she organised, convened and curated Unruly ecologies: biodiversity and art symposium for SymbioticA and her practice based PhD thesis fieldwork/fieldwalking (2007) was selected as the top three abstracts in Leonardo Abstracts Service Database.
Current questions in her practice include how extractivism, geoasethetics and lithic love might interact (part of the both/and conundrum), how to bring together the urgency of biodiversity loss with the unruliness of ecosystems, and in what way can the seduction of materiality be integrated into new media works?
Phillips welcomes all sorts of collaboration across the arts and sciences. She envisages exploring the potential subject matter of lo-fi animations, fire in tropical savanna ecosystems, collaborating on text/art projects and creating a visual cartobiography of rocks in book form.
(and yes, she has wide interests)edit
Art Practice CV
Research Interests: Installation Art, Contemporary Art, Critical Animal Studies, Walking (Art), Environmental Art, and 15 moreEcological Art, Art And Ecology, Environmental Humanities, Social Practice, Sound Art, Human-Nonhuman Assemblages, Contemporary Photography, Field Recording, Contemporary Sculpture, Art and animal/human studies, Geohumanities, Ecoart; Environmentalism, Environmentalist Art, Contemporary Art and Ecology, Ecoaesthetics, and art and geology
This chapter considers place-based artistic investigations of the urban drainage of the regional city of Albany/Kinjarling in Western Australia. It presents a range of paired black and white photographs that capture some of the... more
This chapter considers place-based artistic investigations of the urban drainage of the regional city of Albany/Kinjarling in Western Australia. It presents a range of paired black and white photographs that capture some of the contradictions encountered in a long-term investigation of the geo-bio-socio-cultural network of water that begins with rain falling and moving along drains, through living places, to the Southern Ocean. The Follow the water project was conceived around the concept of porous repair as a way to maintain a contingent – yet effective – position as a human in a more-than-human world
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Particular Planetary Aesthetics is the title and theme of this Swamphen special issue. It has its origins in Ngā Tūtaki – Encounter/s: Agency, Embodiment, Exchange, Ecologies, the 2019 conference of the Art Association of Australia and... more
Particular Planetary Aesthetics is the title and theme of this Swamphen special issue. It has its origins in Ngā Tūtaki – Encounter/s: Agency, Embodiment, Exchange, Ecologies, the 2019 conference of the Art Association of Australia and New Zealand (AAANZ) held in Tāmaki Makaurau Auckland, Aotearoa. For this special cross-Tasman event, and from opposite coasts of Australia, we convened panels for participants under two invitational titles: “Affective Encounters, Shadow Traces, and Resonant Naturecultures in the Anthropocene: Particular-planetary aesthetics in the feminist ecosocial turn” and “Encounters with and within the Anthropocene: Speculating on Particular-Planetary Aesthetics.” Our project averred that the work of art in the Anthropocene was under interrogation by contemporary artists, writers, theorists and historians. Connected with this shifting ground, we argued that new energies and collaborations were emerging across the postconventional arts and ecological humanities, creating alternative critical frameworks to engage with: that the human is more-than-human and the social is an eco-social domain in a preternatural age of extinction and climate destruction. We set out to feel the pulse of what contemporary artists and researchers from Aotearoa and Australia were doing, making, speculating on, or writing about in the push and pull—the effects, affects and implications—of the Anthropocene-in-the-making. Our project’s defining call was to explore encounters in a new frame of particular planetary aesthetics: moving from the particular, bodily or affective encounter to trace, reveal or refigure planetary connections, relations and concerns.
In this guest editorial note, we write in the wake of the ravages of climate crisis fires in Australia, as well as the borderless COVID-19 pandemic. We flesh out the project in its beginnings above, and introduce eleven papers and three visual portfolios of art research in practice that respond to our provocations before and after the Auckland conference. Collectively these scholarly and aesthetic works consider, trace, and respond to affective encounters of the particular and the planetary in the capricious spaces of the Anthropocene-in-the-making.
In this guest editorial note, we write in the wake of the ravages of climate crisis fires in Australia, as well as the borderless COVID-19 pandemic. We flesh out the project in its beginnings above, and introduce eleven papers and three visual portfolios of art research in practice that respond to our provocations before and after the Auckland conference. Collectively these scholarly and aesthetic works consider, trace, and respond to affective encounters of the particular and the planetary in the capricious spaces of the Anthropocene-in-the-making.
Research Interests: Climate Change, Art Practice as Research, Contemporary Art, Environmental Humanities, Affect (Cultural Theory), and 11 moreAnthropocene studies, Gayatri Spivak, More-Than-Human Geographies, Bushfire, Planetarity, Multispecies Studies, Art and the Anthropocene, Feminist Environmental Humanities, Particular-Planetary Aesthetics, COVID-19 PANDEMIC, and Affective Encounters
This paper outlines the experiences of a short artist in residency called Follow the water at the Vancouver Arts Centre in Albany, Western Australia that began in November-December 2018. Investigating the local network of urban and... more
This paper outlines the experiences of a short artist in residency called Follow the water at the Vancouver Arts Centre in Albany, Western Australia that began in November-December 2018. Investigating the local network of urban and peri-urban drainage, the project was an attempt to reframe drains from what they are normally seen as—of a way of transferring ‘problems’ to elsewhere—into a space of reparative engagement. Intimate, makeshift walks were taken with drain allies along road culverts and agricultural drains and through snaky, polluted and weedy country. Walks were recorded with cyanotypes and a further cyanotype workshop was conducted with the public on the subject of local watercourses. Whilst being attentive to the local stories of water, settler history and regeneration, the project nevertheless attempted to problematise the current quasi-legal and commonplace notions which see the flow of water leaving a property downstream (and downslope) as being ‘not my problem’. In a small way, this art project works through the “impurity of caring” (that acts of caring contain the wish that it were not so (Shotwell), at the same time that they are entangled) with a tactical move that I have termed “porous repair.” It therefore provides a short example of the complications of thinking through water stories using artistic means.
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A short text on rock love and the intertwining of personal and bodily histories and extractivist economies: we are all bound up in catastrophe and repair. Lithic indifference can cut both ways -- but love can also take many forms.
Research Interests: Phenomenology, Ecocriticism, Environmental Humanities, Affect (Cultural Theory), Weathering, and 14 moreGeopoetics, More-Than-Human Geographies, Microbialites, Geohumanities, Nature Writing & Ecocriticism, Geoaesthetics, Extractivism, Solastalgia, Waste and Mined Land Rehabilitaion, Ecoaesthetics, Indifference, Jeffrey Jerome Cohen, waste rocks, and multispecies community
One page (two images) in the archive of this project. As co-curator of an evening "Love Letters to other worlds" as part of Hacking the Anthropocene, in the IWCS Dickson St Space, Newtown in 2016 I collaborated with Astrida Neimanis to... more
One page (two images) in the archive of this project. As co-curator of an evening "Love Letters to other worlds" as part of Hacking the Anthropocene, in the IWCS Dickson St Space, Newtown in 2016 I collaborated with Astrida Neimanis to present works by Kathy High, scats from owls and other poo samples, food prepared from the Bioart Kitchen of Lindsay Kelley and my "Caution, workers below (termite ouija board" https://www.perditaphillips.com/portfolio/caution-workers-below-termite-ouija-board/ and https://vimeo.com/manage/videos/259443458
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This article draws lessons from a walkshop organised by the authors to Lithgow, NSW, where par- ticipants walked through a park dedicated to former coal-based infrastructures to arrive at the Lithgow mining museum. The aim of the walkshop... more
This article draws lessons from a walkshop organised by the authors to Lithgow, NSW, where par- ticipants walked through a park dedicated to former coal-based infrastructures to arrive at the Lithgow mining museum. The aim of the walkshop was to better understand the tensions around groundwater and extraction in Australia. This article focuses on two key elements of the walkshop: (1) First, they interrogate an attempt to engage bodily with an elemental phenome- non—groundwater—that is for the most part inaccessible to human experience. The authors thus draw on the practice of posthuman phenomenology (Neimanis) to explain how bodily attune- ment to our own wateriness, alongside the “proxy stories” of arts and sciences expertise, can aid in bringing groundwater into lived experience. (2) Second, they ask how walkshopping—as a com- ing together—can nonetheless hold onto the ambivalences, tensions, and glitches that are part of sharing space in the face of fraught issues such as mining. Here, the authors turn to Lauren Berlant’s recent writing on the commons. They suggest that their walkshop was what Berlant would call ‘training’ in living with the awkward and complicit relations of being in common.
Research Interests: Commons, Industrial Heritage, Phenomenology, Groundwater, Ecofeminism, and 14 moreCritical Posthumanism, Walking (Art), Phenomenology of the body, Mining, Sensory Ethnography, Phenomenology of Space and Place, Human-Nonhuman Assemblages, Public Pedagogy, Walking, Lauren Berlant, Anthropocene, Arts and science, Fracking, and Stygofauna
inConversation was a collaborative exhibition amongst creative higher degree by research candidates (from the School of Communications and Arts and the Western Australian Academy of Performing Arts), local, national and international arts... more
inConversation was a collaborative exhibition amongst creative higher degree by research candidates (from the School of Communications and Arts and the Western Australian Academy of Performing Arts), local, national and international arts practitioners and researchers from different art forms and discipline backgrounds. The exhibition invited conversations between artists and researcher collaborators working together to produce a broad range of creative works, culminating in an exhibition titled inConversation, staged at Edith Cowan University’s Spectrum Project Space in October 2014. The context for the inConversation exhibition aimed to inform and expand on current debates about the challenges and benefits of inter- and cross-disciplinary collaboration in the arts. While collaboration within discrete artistic disciplines has been quite common, it is now becoming increasingly important for artists to look beyond their silos and invite interactions with researchers in other discipli...
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This image essay is a creative reflection back upon _The Encyclopaedia Isoptera: An encyclopaedia of the arts, sciences, literature and general information about termites_, which was mostly written by the artist between 1997 and 1998, and... more
This image essay is a creative reflection back upon _The Encyclopaedia Isoptera: An encyclopaedia of the arts, sciences, literature and general information about termites_, which was mostly written by the artist between 1997 and 1998, and forward to what termite art might undo today. Without access to living termites and, predating multispecies ethnographies, the _Encyclopaedia Isoptera _was an investigation into the limits of knowledge around termites. Looking back, it can be seen that certain strategies in the Encyclopaedia, such as looking at superseded or alternative knowledge, was a way of interrogating the boundaries of the sensible/insensible, and parallels more recent explorations of entangled boundaries between humans and others. Looking forward, I propose that response to, and responsibility for, unloved others can occur via respect for difference and indifference to form what Neimanis refers to as _strange kinships_ (Neimanis 117). Entangling ourselves with the alternative (destructive, cryptic, potentially immortal, coprophagous) acts of termites can open up environmental art to different emotional registers and facilitate critical hope. ‘Living with’ termites may go some way to addressing the tendency towards adopting apocalyptic thinking in environmental art and the ‘environmental procrastination’ currently seen in climate change debates.
Termites, social insects, superorganism, archive, environmental art, art and science, insensible, strange kinship, groundswell, indifference, environmental procrastination
Animal Studies Journal, 5(1), 23-47.
Termites, social insects, superorganism, archive, environmental art, art and science, insensible, strange kinship, groundswell, indifference, environmental procrastination
Animal Studies Journal, 5(1), 23-47.
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Presented in the form of an image essay, the mixed media installation Night for Day (The Owl of Bunbury spreads its wings only with the falling of the dusk) (2015) is described and briefly contextualized in relation to more-than-human... more
Presented in the form of an image essay, the mixed media installation Night for Day (The Owl of Bunbury spreads its wings only with the falling of the dusk) (2015) is described and briefly contextualized in relation to more-than-human worlds, local histories and stories, sea level change, and other Anthropogenic trajectories. To create the artwork, the artist explored historical and predicted flooding events in the regional town of Bunbury, Western Australia. She combined, transformed, reconstituted, and rearranged data and material things in a process of investigating how futures might be imagined and anticipated. Representations of southern boobook owls (Ninox novaeseelandiae) made from rainfall maps fly across the installation. Water from Leschenault Inlet (part of Derbal Elaap) was brought into the gallery space. The overall poetics and affective register of material elements of the installation are enhanced by being presented as full spread images.
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Catalogue essay produced for Portals: past, present, future 14 November to 13 December, Western Australian Maritime Museum Victoria Quay Fremantle. The exhibition featured 23 emerging and established artists with work based around the... more
Catalogue essay produced for Portals: past, present, future 14 November to 13 December, Western Australian Maritime Museum Victoria Quay Fremantle. The exhibition featured 23 emerging and established artists with work based around the port of Fremantle:
Patricia Tarrant, Shiva Amir-Ansari, Nic Compton, Simon Gilby, Denise V Brown, Sally Stoneman, Lorraine Spencer Pichette, Angelo Caranna, Beverley Iles, David Small, Vanessa Wallace, Eva Fernández, Tracey Hart, Denise Pepper, Criss Sullivan, Dianne Souphandavong, Anna DeLaney, Andrew Nicholls, Richard Foulds, Karin Wallace, Robyn Pickering, Stuart Elliott, Perdita Phillips
Patricia Tarrant, Shiva Amir-Ansari, Nic Compton, Simon Gilby, Denise V Brown, Sally Stoneman, Lorraine Spencer Pichette, Angelo Caranna, Beverley Iles, David Small, Vanessa Wallace, Eva Fernández, Tracey Hart, Denise Pepper, Criss Sullivan, Dianne Souphandavong, Anna DeLaney, Andrew Nicholls, Richard Foulds, Karin Wallace, Robyn Pickering, Stuart Elliott, Perdita Phillips
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This article draws lessons from a walkshop organised by the authors to Lithgow, NSW, where participants walked through a park dedicated to former coal-based infrastructures to arrive at the Lithgow mining museum. The aim of the walkshop... more
This article draws lessons from a walkshop organised by the authors to Lithgow, NSW, where participants walked through a park dedicated to former coal-based infrastructures to arrive at the Lithgow mining museum. The aim of the walkshop was to better understand the tensions around groundwater and extraction in Australia. This article focuses on two key elements of the walkshop: (1) First, they interrogate an attempt to engage bodily with an elemental phenomenon—groundwater—that is for the most part inaccessible to human experience. The authors thus draw on the practice of posthuman phenomenology (Neimanis) to explain how bodily attunement to our own wateriness, alongside the “proxy stories” of arts and sciences expertise, can aid in bringing groundwater into lived experience. (2) Second, they ask how walkshopping—as a coming together—can nonetheless hold onto the ambivalences, tensions, and glitches that are part of sharing space in the face of fraught issues such as mining. Here, t...
Research Interests:
"Artists who engage with the earth sciences have been able to explore all kinds of information about the natural environment, including information about the atmosphere, extremes of physical formations across immense dimensions of time... more
"Artists who engage with the earth sciences have been able to explore all kinds of information about the natural environment, including information about the atmosphere, extremes of physical formations across immense dimensions of time and space, and increasingly ‘invisible’ realms of materials at the nanoscale. The results of this engagement are being shown not only through the way artists and designers are developing innovative visual representations but also through the way images are combined with other media or through artists challenging the status of the visual through prioritising other media, such as sound.
The ways in which artists have worked with geological data is also a rich area for identifying the relationship between digital and material cultures. Many artists working with this subject are crossing boundaries and testing out the liminal spaces between the virtual and the real. Instead of accepting, or even creating, binary oppositions this paper will examine how virtual and material spaces are not oppositional but connected and communicated through creative practice for the earth sciences.
This presentation will provide a short overview of theoretical links between visualisation and geology, mineralogy and crystallography, highlighting historically significant examples. It will include a discussion of themes being explored in the work of interdisciplinary artist, Perdita Phillips whose project, The Sixth Shore is exploring the geological formations and the natural environment at Lake Clifton, in the Yalgorup National Park, Western Australia. Phillips works with spatial sound, presenting immersive sound environments in galleries and in situ (using GPS technology). How connections are made back to the material world and the consequences of meshing the visual and the sonic will be analysed and discussed."
The ways in which artists have worked with geological data is also a rich area for identifying the relationship between digital and material cultures. Many artists working with this subject are crossing boundaries and testing out the liminal spaces between the virtual and the real. Instead of accepting, or even creating, binary oppositions this paper will examine how virtual and material spaces are not oppositional but connected and communicated through creative practice for the earth sciences.
This presentation will provide a short overview of theoretical links between visualisation and geology, mineralogy and crystallography, highlighting historically significant examples. It will include a discussion of themes being explored in the work of interdisciplinary artist, Perdita Phillips whose project, The Sixth Shore is exploring the geological formations and the natural environment at Lake Clifton, in the Yalgorup National Park, Western Australia. Phillips works with spatial sound, presenting immersive sound environments in galleries and in situ (using GPS technology). How connections are made back to the material world and the consequences of meshing the visual and the sonic will be analysed and discussed."
The concept of sustainability, its discourse and societal application has been subject to pointed critique, including claims that the term has become an empty rhetorical vessel, is liable to greenwashing or that critical reflection is... more
The concept of sustainability, its discourse and societal application has been subject to pointed critique, including claims that the term has become an empty rhetorical vessel, is liable to greenwashing or that critical reflection is required on the political and philosophical underpinnings of sustainability and sustainable development (Holden 2010; Phillips 2007). Part of the critical framing around an aesthetics of sustainability has already been explored by artists and thinkers such as Maja and Reuben Fowkes (2012) and Sacha Kagan (2011). Sustainability’s broad nature mirrors the complexity of environmentalism and allows for many different aesthetic approaches. It asks of us to decrease our consumption and also to take a transdisciplinary perspective (Kagan, 2010). However a significant trend in twenty-first century relations with the natural world has been a ‘darkening’ in the tone of debate and mobilisation of apocalyptic metaphors. Climate denial by some in society is mirrored by an underlying zeitgeist of despair and guilt in areas of the environmental movement (Anderson, 2010). I have argued elsewhere that this has left us open to ‘zombie environmentalism’ (Phillips, 2012b). Is it possible to stir from this apparent stalemate to a state of flourishing, by moving on from disaster? Morton (2012) argues for a re-examination of sadness and Soper (2008) reconfigures austerity into alternative hedonism. TJ Demos (2013) discusses the significance of a political ecology to artists working towards new formulations of eco-aesthetics. A key strategy for arts practice is to relinquish “the privileged position of its autonomous and exceptionalist positioning” at the same time as maintaining a ‘countervisuality’, or ability to see things and see them differently (Mizroeff, 2013). In my own work I see eco-aesthetics as a broad set of tendencies that will take us into new futures. Elsewhere I have outlined eight sensibilities in artworks that are more adaptive at dealing with uncertainty and imperfection, risk and opportunity (Phillips, 2012a). Working through Lauren Berlant’s ideas of cruel optimism (Berlant, 2011) as a way of escaping this sense of environmental procrastination, I’ve been considering how an artwork can both embody and encourage resilience in an unruly world, something that is still positive at the same time as it ‘stays with the trouble’ (Haraway, 2013). In a recent project about Little Penguins in Sydney I’ve been grappling with applying some sense of anticipatory readiness or “a cultivated, patient, sensory attentiveness to nonhuman forces” (Bennett, 2010, p. xiv). Through this practice-based example, this paper invites an aesthetics of action in the face of the inevitable uncertainties inherent in an ecological worldview.
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Short review of Kynan Tan's work
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Artists who engage with the earth sciences have been able to explore all kinds of information about the natural environment, including information about the atmosphere, extremes of physical formations across immense dimensions of time and... more
Artists who engage with the earth sciences have been able to explore all kinds of information about the natural environment, including information about the atmosphere, extremes of physical formations across immense dimensions of time and space, and increasingly ‘invisible’ realms of materials at the nanoscale. The results of this engagement are being shown not only through the way artists and designers are developing innovative visual representations but also through the way images are combined with other media or through artists challenging the status of the visual through prioritising other media, such as sound.
The ways in which artists have worked with geological data is also a rich area for identifying the relationship between digital and material cultures. Many artists working with this subject are crossing boundaries and testing out the liminal spaces between the virtual and the real. Instead of accepting, or even creating, binary oppositions this paper will examine how virtual and material spaces are not oppositional but connected and communicated through creative practice for the earth sciences.
This presentation will provide a short overview of theoretical links between visualisation and geology, mineralogy and crystallography, highlighting historically significant examples. It will include a discussion of themes being explored in the work of interdisciplinary artist, Perdita Phillips whose project, The Sixth Shore is exploring the geological formations and the natural environment at Lake Clifton, in the Yalgorup National Park, Western Australia. Phillips works with spatial sound, presenting immersive sound environments in galleries and in situ (using GPS technology). How connections are made back to the material world and the consequences of meshing the visual and the sonic will be analysed and discussed.
The ways in which artists have worked with geological data is also a rich area for identifying the relationship between digital and material cultures. Many artists working with this subject are crossing boundaries and testing out the liminal spaces between the virtual and the real. Instead of accepting, or even creating, binary oppositions this paper will examine how virtual and material spaces are not oppositional but connected and communicated through creative practice for the earth sciences.
This presentation will provide a short overview of theoretical links between visualisation and geology, mineralogy and crystallography, highlighting historically significant examples. It will include a discussion of themes being explored in the work of interdisciplinary artist, Perdita Phillips whose project, The Sixth Shore is exploring the geological formations and the natural environment at Lake Clifton, in the Yalgorup National Park, Western Australia. Phillips works with spatial sound, presenting immersive sound environments in galleries and in situ (using GPS technology). How connections are made back to the material world and the consequences of meshing the visual and the sonic will be analysed and discussed.
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Perdita Phillips is a Western Australian artist working across the media of walking, sound, installation, photography and digital media. Through her multi-disciplinary multi-media art practice she explores the mutual relationships between... more
Perdita Phillips is a Western Australian artist working across the media of walking, sound, installation, photography and digital media. Through her multi-disciplinary multi-media art practice she explores the mutual relationships between people and the nonhuman world. Over the past ten years she has worked on art projects drawn from, and co-produced with, termites, minerals, bowerbirds, rabbits, cane toads, salmon gum trees and thrombolites, amongst others. With a background in environmental science Phillips’ work is often complementary to, though not constrained by, scientific understanding. Indeed her work often focuses on matter(s) that exceed scientific understanding or which might not be considered logically sensible in order to recover a sense of astonishment or wonder often stripped from scientific interpretation.
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Roebuck Bay’s waters and shoreline fringes in the Kimberley of Western Australia are host to nonhuman worlds of waders and bowerbirds. The Broome Bird Observatory (BBO) is the site of scientific investigations by professional... more
Roebuck Bay’s waters and shoreline fringes in the Kimberley of Western Australia are host to nonhuman worlds of waders and bowerbirds. The Broome Bird Observatory (BBO) is the site of scientific investigations by professional ornithologists and amateur birdwatchers. Focussing on bird banding and the bowers of the Great Bowerbird, the author undertook fieldwork to investigate the nature of these points of exchange between nonhumans, scientists and artists. The imagery presented contrasts the dramatic colour and compositional elements of the environment with the more awkward and intimate details of human-animal encounters. Waders have worlds that span the globe, whereas male bowerbirds focus considerable attention on their bowers and the objects that they collect for them. Both bird banding and working with bowerbirds created sites of dialogue that mingled objective (scientific) and emotionally motivated processes in what Whitney calls ‘emotional ecologies’. For both waders and bowerbirds the surrounding environment was a significant ecological participant that fleshed out and enriched the field of investigation. In the art and science project Green, Grey or Dull Silver small green objects were offered as part of a ‘conversation’ at bowers. With bowerbirds, the individuality of birds played an important role in creating more reciprocal and dynamic engagements. A mixture of interaction and inter-patience (Candea) was required to both ‘speak’ and listen to the conversation of others. This image essay, therefore, endeavours to convey the richness of the affective landscape of emotional and material exchange at BBO.
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An image essay about interacting with bowerbirds. Submitted version available at http://www.perditaphillips.com/portfolio/fieldwork-with-bowerbirds-as-submitted/
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This image essay brings together notions of dehydration and lostness in outback walking (based on personal experience) with its ecological counterpoint of the rapid change occurring in our world today. Analogical comparisons are drawn... more
This image essay brings together notions of dehydration and lostness in outback walking (based on personal experience) with its ecological counterpoint of the rapid change occurring in our world today. Analogical comparisons are drawn between the point where walking loses its rhythm (because of exhaustion) with ecosystems that, too, appear to have lost their way. Questioning whether it is only through rhythmic walking that positive states can occur, it is proposed that walking out-of-step leads to contrapuntal adjustments that can reinvigorate creative practice, utilising the same ‘adjustment to failure’ strategies critical to the experimental nature of contemporary art practice. The continual fine-tuning required for traversing rough ground also reflects the dynamic nature of ecosystems, which are permanently adjusting to change. Recent ecological theory’s focus on complex adaptive systems -- and resilience rather than stability -- means that our responses to ecosystems and the pressures we are placing upon them, must be dynamic, responsive and contingent. Does the sharpness of being without water focus us on the shifting socio-ecological conditions ahead? Walking and bodily sensitisation to place opens us up to different spatial and temporal scales. In making linkages with disability philosophy and research into community inaction in the face of climate change, it is argued that the inflection or break-in-step of a resilient style of walking can also be employed for creative socio-ecological change.
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In 2006 it was reported that cane toads at the fore of the front of expansion across the Top End of Australia were developing longer legs. Popular and scientific speculation was couched in terms of accelerated evolution. Cane toads were... more
In 2006 it was reported that cane toads at the fore of the front of expansion across the Top End of Australia were developing longer legs. Popular and scientific speculation was couched in terms of accelerated evolution. Cane toads were originally introduced into Queensland in 1935 in an attempt to control beetles in sugar cane. Since then they have expanded north and westward, increasing markedly in velocity in the last ten years, reportedly reaching Western Australia on 9 May 2009. Cane toads are poisonous and have led to the rapid decline and local extinction of top predator species such as quolls, freshwater crocodiles, goanna and snake species. Over 70 years a rich network of associations, as monster, plague bringer, scientific subject, pet and folk anti-hero has developed. Of prime concern is how we resolve the place of cane toads as “feral” in a future ecology, given the considerable impact they have on the animals around them, and given their imbrication into a fabric of fear of invasion and change. Can they be envisaged anew as part of resilient ecosystems or are the changes too great?
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This paper discusses the beginnings of a soundscape project, The Sixth Shore, at Lake Clifton in the Yalgorup National Park, south of Mandurah, Western Australia. The final endpoint of the project is a site-specific art installation at... more
This paper discusses the beginnings of a soundscape project, The Sixth Shore, at Lake Clifton in the Yalgorup National Park, south of Mandurah, Western Australia. The final endpoint of the project is a site-specific art installation at Lake Clifton where audiences will be able to hear on headphones a 3D sound environment composed of strata of sound recordings. The route that participants walk through the landscape will determine what they hear. The kinds of sounds involved will include in situ ambient sound recordings and birdcalls, sounds and voices from scientific knowledge about the environment, from human communities and from the local oral archive. The structuring of the project comes from the layering of six different timescales of differing ecological agents including birds, ecosystems and people. The focus in this essay is on just two layers: deep thrombolitic time and shifting shorelines. My aim in The Sixth Shore is to articulate the competing agents at Lake Clifton in a way that decentres the current environmental impasse to encourage new solutions to human-nonhuman interactions. Using the findings of scientific understandings of thrombolites and the sequence of changing sea levels and evolving coastal deposits, I then draw forth their metaphorical implications that in turn inform the composition of the sound world that I will be creating. As additional complexities are revealed I examine how ‘brittle’ non-fecund wetlands can be part of an expanded sense of place in Australia.
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""Growth of Tongues of Land were unique-state placemats in photocopy and watercolour on paper at the Conference Dinner.
Sound travels in waves crossing both air and water allowing communication and connections to take place. Discuss.""
Sound travels in waves crossing both air and water allowing communication and connections to take place. Discuss.""
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""Accompanying examples of initial visual experimentation from the fieldwork/field walking PhD project the paper outlines some of the challenges being an artist and using systems of understanding from science, the new ethnography and... more
""Accompanying examples of initial visual experimentation from the fieldwork/field walking PhD project the paper outlines some of the challenges being an artist and using systems of understanding from science, the new ethnography and cultural geography as a framework for making contemporary art. The PhD project is in its preliminary stages and is designed to explore the area of walking and fieldwork in art, and as art. Some of the challenges are the ambiguous role of the artist as scientist, ethnographer and researcher, the role of reflexivity in art practice; and the pitfalls of ‘academic art’. While cultural geographers have used artworks as texts to explain places, this project endeavours to work with issues of place, landscapes, power, identity and representation in the art, to feed back into this dialogue. The bulk of the project will take place in the Kimberley region of Western Australia where the concepts of wilderness and wildness are most relevant. The research question of fieldwork/field walking is, within the discourse between Art and Science what is the connection between fieldwork and walking in the field?
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walking; fieldwork; the field; contemporary art; artist as ethnographer; site specific art; Kimberley region; art and science; reflexivity; wilderness; wildness; nature; interdisciplinary; poetics""
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walking; fieldwork; the field; contemporary art; artist as ethnographer; site specific art; Kimberley region; art and science; reflexivity; wilderness; wildness; nature; interdisciplinary; poetics""
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"With accompanying examples of initial visual experimentation from the fieldwork/field walking PhD project, the paper outlines some of the challenges of being an artist and using systems of understanding from science, the new ethnography,... more
"With accompanying examples of initial visual experimentation from the fieldwork/field walking PhD project, the paper outlines some of the challenges of being an artist and using systems of understanding from science, the new ethnography, and cultural geography as a framework for making contemporary art. The PhD project is in its preliminary stages and is designed to explore the area of walking and fieldwork in art, and as art. Some of the challenges are the ambiguous role of the artist as scientist, ethnographer and researcher, the role of reflexivity in art practice; and the pitfalls of 'academic art'. While cultural geographers have used artworks as texts to explain places, this project endeavours to work with issues of place, landscapes, power, identity and representation in the art, to feed back into this dialogue. The bulk of the project will take place in the Kimberley region of Western Australia where the concepts of wilderness and wildness are most relevant. The research question posed by the fieldwork/field walking project is: within the discourse between art and science what is the connection between fieldwork and walking in the field?
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Research Interests: Human Geography, Cultural Geography, Wilderness (Environment), Contemporary Art, Reflexivity, and 9 morePoetics, Art and Science, Walking (Art), Site-Specific Art, Nature Culture, Art And Ecology, Philosophy of Nature, Cultural geography in relation to creative arts practice, literature, etc, and Kimberley
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... ECU Publications. Title. Thinking skin ( on the absence and presence of cane toads in WA). Authors. Perdita Phillips, Edith Cowan University. Document Type. Original Creative Work. Faculty. Education and Arts. School. Communications ...
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... ECU Publications. Title. Photocopies Gone Wrong, Supermart. Authors. Perdita Phillips, Edith Cowan University. Document Type. Original Creative Work. Faculty. Community Services, Education and Social Sciences. School. WA ...
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This is not a jellyfish A short fictionella that starts with thombolites and finishes with the decimation of Banksia Woodlands on the Swan Coastal Plain. A mediation on CaCO3, when fossils are not and when history and the future needs... more
This is not a jellyfish
A short fictionella that starts with thombolites and finishes with the decimation of Banksia Woodlands on the Swan Coastal Plain. A mediation on CaCO3, when fossils are not and when history and the future needs revision(ing). You will discover living fossils and quorum sensing, the story of Tennant’s Cabinet, pseudofossils, the Leedermeg, future fossils and lost worlds. This book was part of the Lost Rocks Project by A Published Event
A short fictionella that starts with thombolites and finishes with the decimation of Banksia Woodlands on the Swan Coastal Plain. A mediation on CaCO3, when fossils are not and when history and the future needs revision(ing). You will discover living fossils and quorum sensing, the story of Tennant’s Cabinet, pseudofossils, the Leedermeg, future fossils and lost worlds. This book was part of the Lost Rocks Project by A Published Event
Research Interests: Contemporary Art, Space and Place, History and Memory, Environmental Art, Ecological Art, and 15 moreArt And Ecology, Environmental Humanities, Museology, Decolonisation, Anthropocene studies, Geopoetics, Fossils, Quorum Sensing, Stromatolites, Thrombolites, Lake Clifton, Geoaesthetics, Perth Basin, Calcium Carbonate, and Noongar Language and Culture
A variety of artists today are working with geoaesthetics and/or long-term scales of thinking that relate to geological processes or geological timescales. Volcanism, earthquakes, weathering and/or the stages of change in plate tectonic... more
A variety of artists today are working with geoaesthetics and/or long-term scales of thinking that relate to geological processes or geological timescales. Volcanism, earthquakes, weathering and/or the stages of change in plate tectonic processes are dealt with directly, or as analogical and metaphorical terrains for wider issues. The artists recognise the large-scale processes that may go backwards or forwards in time at scales that are more-than-human. Tectonic thinking looks at social, ecological, political, and human issues through the lens of ‘deep time’, particularly recognising forces causing change at different scales: from the local and structural to the significant or considerable. It reverses the polarity of human-centred reasoning. Diverse approaches and media are included in the online exhibition. Some creative works explore exchanges of energies or radiation; others work with geo-materiality. Responses include speculations, performance, video, sculpture and site specific works.
Research Interests: Contemporary Art, Hybrid Ecologies, Art and Science, Ecological Art, Art And Ecology, and 13 moreEnvironmental Humanities, Fieldwork, Geopoetics, Decolonial Thought, More-Than-Human Geographies, Deep time, Geohumanities, Human-Nonhuman relations, Geoaesthetics, Extractivismo, Mining and Art, En-echelon cracks, and contemporary art and covid-19
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"A collaboration of pictures and poetry that began with my photographs walking around the terminal moraine of Athabasca Glacier in 2007 Photography with an eye for symbolism and hint of narrative, prose filled with visual acuity and... more
"A collaboration of pictures and poetry that began with my photographs walking around the terminal moraine of Athabasca Glacier in 2007
Photography with an eye for symbolism and hint of narrative, prose filled with visual acuity and flurries and flakes of inventiveness. There is a tangible synergy here between text and image, giving rise to “dissolved aspirations”, depth…past mourning” and the “notes of ages”. ‘A simple rain’ is a book to linger over, a book to savour.
Kevin Gillam (award-winning poet)
Glance’s poetry and Phillips’s images – spiritually intelligent, spacious and honest responses to this austere and shapely northern wilderness, and to each other’s work – teach us how to see again, less simply but more clearly: into our own and each other’s hearts and into the architecture of this world of places.
Mark Tredinnick (author and poet, winner Montreal Poetry Prize)"
Photography with an eye for symbolism and hint of narrative, prose filled with visual acuity and flurries and flakes of inventiveness. There is a tangible synergy here between text and image, giving rise to “dissolved aspirations”, depth…past mourning” and the “notes of ages”. ‘A simple rain’ is a book to linger over, a book to savour.
Kevin Gillam (award-winning poet)
Glance’s poetry and Phillips’s images – spiritually intelligent, spacious and honest responses to this austere and shapely northern wilderness, and to each other’s work – teach us how to see again, less simply but more clearly: into our own and each other’s hearts and into the architecture of this world of places.
Mark Tredinnick (author and poet, winner Montreal Poetry Prize)"
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"birdlife is a collaborative art and text book that explores the avian world… Contemporary artist Perdita Phillips’ (Fremantle) photographs, doodles and sketches range from covert photography from within museums around the world, to... more
"birdlife is a collaborative art and text book that explores the avian world…
Contemporary artist Perdita Phillips’ (Fremantle) photographs, doodles and sketches range from covert photography from within museums around the world, to tracking bowerbirds in the Kimberley. Poets Michael Farrell (Melbourne), Graeme Miles (Hobart), Nandi Chinna (Fremantle) and writer Nyanda Smith (Perth) cover subjects ranging from watching birdwatchers, politics, fatherhood, to having a haircut."
Contemporary artist Perdita Phillips’ (Fremantle) photographs, doodles and sketches range from covert photography from within museums around the world, to tracking bowerbirds in the Kimberley. Poets Michael Farrell (Melbourne), Graeme Miles (Hobart), Nandi Chinna (Fremantle) and writer Nyanda Smith (Perth) cover subjects ranging from watching birdwatchers, politics, fatherhood, to having a haircut."
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""fieldwork/fieldwalking is a contemporary art project exploring practices of walking and science in the field. It explores the themes of walking and fieldwork in art, and as art. Whilst the sociology of science in the laboratory has been... more
""fieldwork/fieldwalking is a contemporary art project exploring practices of walking and science in the field. It explores the themes of walking and fieldwork in art, and as art. Whilst the sociology of science in the laboratory has been well theorised, less has been said about the field in the natural sciences. And, equally, the most recent and provocative walking art is found in urban areas, in a fabric dominated by the patterns of human settlement. How could new walking art be made in non-urban places? The project set out to investigate how these two, fieldwork and walking, could be combined in artwork. The research question was: in the common ground shared between art and science, what are the connections between fieldwork and walking in the field? The project explored this and five sub-questions through photography, video, and the creation of installations and sound art walks. Much of the research revolved around one field location, the walkingcountry in the Kimberley of Western Australia that was visited six times over different seasons from 2004 to 2006. Activities included walking and general immersion in the place, scientific and artistic ‘fieldwork’ and the observation and documentation of the work of scientists at the site and in the Kimberley.
Non-urban areas can offer intense and specific experiences with heightened materiality and direct engagement with nonhuman agents. This was borne out in the fieldwork undertaken in the project. However the artworks created are also set in contrast to the work of other walking artists such as Hamish Fulton and Richard Long that are often based on sublime wilderness experiences. Based on my experiences I formulated and applied the concept of ‘ordinary wilderness’: much of one’s time in the field is involved in pragmatic and bodily encounters. Some of the aesthetic experiences are local and ephemeral. Wildness and the delight of wonder are more appropriate than the fear and awe of the sublime. fieldwork/fieldwalking draws together threads from sources as diverse as recent scientific ecology, Ric Spencer’s (2004) conversational aesthetics and non-representational theory in human geography to make art that questioned representational strategies and explored an expanded model of artworks where the relationships between the artist, the audience, the environment and the material art object are of equal importance.
A significant issue was how to creatively transform the experience of elsewhere (the field) into artworks in a gallery. In the sound art walk To Meander and back (strange strolls, Moores Building Contemporary Art Gallery (MBCAG), 2005) the strategy was to fold and imbricate the walkingcountry, the gallery in Fremantle, and the space in-between together. This artwork also sought to reconcile the ‘emptiness’ of Euro-Australian belonging by encouraging via sound and silence an understanding of place that is more living, changing and performative.
Other artworks included Zoo for the Species at the National Review of Life Art (Midland, 2003) and works in the solo exhibitions Four Tales from Natural History (Perth Institute of Contemporary Art, 2004), Semi (Spectrum Project Space/Kurb Gallery, 2004) and fieldwork/fieldwalking (MBCAG, 2006).
Keywords: science and art, walking, fieldwork, place, belonging, nonhuman, feral, wildness, wonder, sound art, conversational aesthetics, non-representational theory, processes of silence, the walkingcountry, Kimberley, Australia, site-specificity, FutureNatural.""
Non-urban areas can offer intense and specific experiences with heightened materiality and direct engagement with nonhuman agents. This was borne out in the fieldwork undertaken in the project. However the artworks created are also set in contrast to the work of other walking artists such as Hamish Fulton and Richard Long that are often based on sublime wilderness experiences. Based on my experiences I formulated and applied the concept of ‘ordinary wilderness’: much of one’s time in the field is involved in pragmatic and bodily encounters. Some of the aesthetic experiences are local and ephemeral. Wildness and the delight of wonder are more appropriate than the fear and awe of the sublime. fieldwork/fieldwalking draws together threads from sources as diverse as recent scientific ecology, Ric Spencer’s (2004) conversational aesthetics and non-representational theory in human geography to make art that questioned representational strategies and explored an expanded model of artworks where the relationships between the artist, the audience, the environment and the material art object are of equal importance.
A significant issue was how to creatively transform the experience of elsewhere (the field) into artworks in a gallery. In the sound art walk To Meander and back (strange strolls, Moores Building Contemporary Art Gallery (MBCAG), 2005) the strategy was to fold and imbricate the walkingcountry, the gallery in Fremantle, and the space in-between together. This artwork also sought to reconcile the ‘emptiness’ of Euro-Australian belonging by encouraging via sound and silence an understanding of place that is more living, changing and performative.
Other artworks included Zoo for the Species at the National Review of Life Art (Midland, 2003) and works in the solo exhibitions Four Tales from Natural History (Perth Institute of Contemporary Art, 2004), Semi (Spectrum Project Space/Kurb Gallery, 2004) and fieldwork/fieldwalking (MBCAG, 2006).
Keywords: science and art, walking, fieldwork, place, belonging, nonhuman, feral, wildness, wonder, sound art, conversational aesthetics, non-representational theory, processes of silence, the walkingcountry, Kimberley, Australia, site-specificity, FutureNatural.""
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a work presented in the form of paper circlets placed around the stems of wine glasses at the Opening Drinks: cocktail conversation starters.
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Research Interests: Human-Animal Relations, Installation Art, Contemporary Art, Animal Studies, Critical Animal Studies, and 8 moreInstallation (Art), Collaboration (Art), Site-Specific Art, Space And Place (Art), Interspecies Communication, Human-Animal Relationships, Phenomenology of Space and Place, and Artist-in-residence
Research Interests: Cultural Geography, Human-Animal Relations, Contemporary Art, Psychogeography, Soundscape Studies, and 13 moreWalking (Art), Environmental Art, Mobile and Locative Art, Collaboration (Art), Ecological Art, Art And Ecology, Site-Specific Art and Performance, Conceptualisations of Nature, Artist-in-residence, Eco-Art, Cultural geography in relation to creative arts practice, literature, etc, Art and ecology/ environment, and Soundwalking
Research Interests: Landscape Ecology, Installation Art, Contemporary Art, Installation (Art), Sense of Place, and 17 moreWalking (Art), Environmental Art, Mobile and Locative Art, Ecological Art, Site-Specific Art, Space And Place (Art), Art And Ecology, Phenomenology of Space and Place, Environmental Change, Land Art, Conceptualisations of Nature, Sound Art, Fieldwork (Geography), Eco-Art, Environmental Art Writing, Cultural geography in relation to creative arts practice, literature, etc, and Soundwalking
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Field working slow making features creative works by artists who are renowned for working with collections of materials (text, image, objects and raw materials) gathered specifically from field-based experiences in non-urban spaces... more
Field working slow making features creative works by artists who are renowned for working with collections of materials (text, image, objects and raw materials) gathered specifically from field-based experiences in non-urban spaces (bush). Their slow making and place making evolves from personal relationships with the WA bush (remote regions and communities, native forests, spinifex country, mine sites and stations) and on processing bush-derived materials and experiences for inquiry
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Art historian and critic TJ Demos (2013) recently discussed the significance of a political ecology to artists working towards new formulations of eco-aesthetics. A key strategy for environmental arts practice is to relinquish “the... more
Art historian and critic TJ Demos (2013) recently discussed the significance of a political ecology to artists working towards new formulations of eco-aesthetics. A key strategy for environmental arts practice is to relinquish “the privileged position of its autonomous and exceptionalist positioning” at the same time as maintaining a ‘countervisuality’, or ability to see things and see them differently (Mizroeff 2013). This visual presentation outlines an urban walking project in Fremantle that uses practice-based research to investigate the possibility for change via attention to invisible matters and flows. Moving from a 134KV substation, past remediated industrial land and urban scrubland destined to become a sustainable urban renewal project, the route encounters local neighbourhoods and the plastic festooned shores of the Swan River. The project sought to combine interaction with ‘inter-patience’ (Candea 2010) to both ‘speak’ and listen to the conversation of others, looking for the small, unnoticed fissures that may become the rents of the future. Viewers are encouraged to participate in a walking event at the site.
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A recent trend in twenty-first century relations with the natural world has been a ‘darkening’ in the tone of debate. The popularity of the zombie as a cultural symbol points towards our apparent attraction to the ‘dark side’ where... more
A recent trend in twenty-first century relations with the natural world has been a ‘darkening’ in the tone of debate. The popularity of the zombie as a
cultural symbol points towards our apparent attraction to the ‘dark side’ where polluted environmental conditions make for ‘sexy’ contemporary art. Disengagement with the consequences of individual or collective behaviours can be seen both within and outside of environmentally conscious thought. To counter this tendency of retreating from disaster and ‘battening down the hatches,’ I mobilise resilience, complexity and contingency in my visual arts practice. In February 2013 I completed a solo project called fast:slow:complex that brings together waste and wastelands, disaster and recovery. Drawing from process-based and socially engaged art practice, specific parallels between personal and societal consumption are linked by combining exploration of the urban wild of abandoned lands near the artist’s home, with a personal reassessment of the deluge of things central to modern consumer lifestyles. A central visual motif in this project is the tropical cyclone as a natural and devastating force and as something that is changing its character as part of global warming. The critical question under consideration is, within the shadow of critical environmental conditions, whether destructive change can lead to productive developments. The paper invites an aesthetics of action in the face of the inevitable uncertainties inherent in an ecological worldview.
cultural symbol points towards our apparent attraction to the ‘dark side’ where polluted environmental conditions make for ‘sexy’ contemporary art. Disengagement with the consequences of individual or collective behaviours can be seen both within and outside of environmentally conscious thought. To counter this tendency of retreating from disaster and ‘battening down the hatches,’ I mobilise resilience, complexity and contingency in my visual arts practice. In February 2013 I completed a solo project called fast:slow:complex that brings together waste and wastelands, disaster and recovery. Drawing from process-based and socially engaged art practice, specific parallels between personal and societal consumption are linked by combining exploration of the urban wild of abandoned lands near the artist’s home, with a personal reassessment of the deluge of things central to modern consumer lifestyles. A central visual motif in this project is the tropical cyclone as a natural and devastating force and as something that is changing its character as part of global warming. The critical question under consideration is, within the shadow of critical environmental conditions, whether destructive change can lead to productive developments. The paper invites an aesthetics of action in the face of the inevitable uncertainties inherent in an ecological worldview.
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A recent trend in twenty-first century relations with the natural world has been a ‘darkening’ in the tone of debate. The popularity of the zombie as a cultural symbol points towards our apparent attraction to the ‘dark side’ where... more
A recent trend in twenty-first century relations with the natural world has been a ‘darkening’ in the tone of debate. The popularity of the zombie as a cultural symbol points towards our apparent attraction to the ‘dark side’ where polluted environmental conditions make for ‘sexy’ contemporary art. Disengagement with the consequences of individual or collective behaviours can be seen both within and outside of environmentally conscious thought. To counter this tendency of retreating from disaster and ‘battening down the hatches,’ I mobilise resilience, complexity and contingency in my visual arts practice. In February 2012 I will be showing a solo project called fast:slow:complex at the Spectrum Project Space, a project that brings together waste and wastelands, disaster and recovery. Drawing from process-based and socially engaged art practice, specific parallels between personal and societal consumption are linked by combining exploration of the urban wild of abandoned lands near the artist’s home, with a personal reassessment of the deluge of things central to modern consumer lifestyles. A central visual motif in this project is the tropical cyclone as a natural and devastating force and as something that is changing its character as part of global warming. The critical question under consideration is, within the shadow of critical environmental conditions, whether destructive change can lead to productive developments. The paper invites an aesthetics of action in the face of the inevitable uncertainties inherent in an ecological world view.
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A recent trend in twenty-first century relations with the natural world has been a ‘darkening’ in the tone of debate. The popularity of the zombie as a cultural symbol points towards our apparent attraction to the ‘dark side’ where... more
A recent trend in twenty-first century relations with the natural world has been a ‘darkening’ in the tone of debate. The popularity of the zombie as a cultural symbol points towards our apparent attraction to the ‘dark side’ where polluted environmental conditions make for ‘sexy’ contemporary art. Disengagement with the consequences of individual or collective behaviours leaves plenty of scope for an alternative aesthetics of complexity and connection. Countering a certain tendency in environmentalism for retreating from disaster and ‘battening down the hatches,’ I will mobilise concepts of ecological complexity, resilience and advances in adaptive management, drawing attention to existing artworks and artists exploring a conception of the world as a network of dynamic ecological circumstances. Eight potential directions for critical future creative works will be discussed. The paper invites an aesthetics of action in the face of the inevitable uncertainties inherent in an ecological world view.
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A discussion of complex adaptive systems, resilience and adaptive management and how they might influence the aesthetics and practices of environmental art. It argues that a narrow belief in a balance of nature is destructive and... more
A discussion of complex adaptive systems, resilience and adaptive management and how they might influence the aesthetics and practices of environmental art. It argues that a narrow belief in a balance of nature is destructive and concludes: 'complex adaptive systems are not chaotic in the pure sense of the word and living systems do expend some of their energies building up systems with order. But unfortunately the very diversity of life/ecosystem processes and the very number and uneven distribution of elements is part of what makes systems changing, unruly and unbalanced – prompting us to rethink and re-act in an environment in flux.'
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... Research Online. Home > ECU Works -2010 > 2699. ECU Publications Pre. 2011. Title. Ordinary wilderness - Be True to the Earth Conference. Authors. Perdita Phillips. Document Type. Original Creative Work. Faculty. Community... more
... Research Online. Home > ECU Works -2010 > 2699. ECU Publications Pre. 2011. Title. Ordinary wilderness - Be True to the Earth Conference. Authors. Perdita Phillips. Document Type. Original Creative Work. Faculty. Community Services, Education and Social Sciences. School ...
Research Interests:
((Pollen)) is a project that began in response to the InConversation exhibition that was shown at Spectrum project space, Western Australia October 9 to 24 2014. A diverse group of makers and thinkers have been investigating pollen — in... more
((Pollen)) is a project that began in response to the InConversation exhibition that was shown at Spectrum project space, Western Australia October 9 to 24 2014. A diverse group of makers and thinkers have been investigating pollen — in particular how pollen can be interpreted in different ways in different disciplines and by utilising different perspectives.
The aim of the InConversation exhibition overall was to bring together teams of three or more collaborators. Collaborators had to be from a different discipline or profession, in an attempt to work through the difficulties of transdisciplinarity.
The ((Pollen)) project began with a mail art exchange. So far the project has generated letters (c.f. “love letters” to nonhuman worlds) and other material exchanges, as well as a short video/performance about Canola in Western Australia. Most of what we created as part of the collaboration couldn’t be included in the InConversation exhibition and plans are underway to bring the works together as a whole in 2015.
Inconversation was a cross-disciplinary/cross-art form collaborative exhibition held at Spectrum Project Space 9 to 24 October 2014. Works by the ((pollen)) collective were shown in the abbreviated form of pollen sampling tubes containing text, prints or thumb drives of video works. A digital print was created that mapped the collaborative process. A collaborative response text titled - collaboration is airborne - was written for the exhibition catalogue.
The aim of the InConversation exhibition overall was to bring together teams of three or more collaborators. Collaborators had to be from a different discipline or profession, in an attempt to work through the difficulties of transdisciplinarity.
The ((Pollen)) project began with a mail art exchange. So far the project has generated letters (c.f. “love letters” to nonhuman worlds) and other material exchanges, as well as a short video/performance about Canola in Western Australia. Most of what we created as part of the collaboration couldn’t be included in the InConversation exhibition and plans are underway to bring the works together as a whole in 2015.
Inconversation was a cross-disciplinary/cross-art form collaborative exhibition held at Spectrum Project Space 9 to 24 October 2014. Works by the ((pollen)) collective were shown in the abbreviated form of pollen sampling tubes containing text, prints or thumb drives of video works. A digital print was created that mapped the collaborative process. A collaborative response text titled - collaboration is airborne - was written for the exhibition catalogue.
Research Interests:
This is the first of two conference panel sessions convened by Louise Boscacci (Australia), Perdita Phillips (Australia), and Sally Ann McIntyre (Aotearoa New Zealand/) for: "Ngā Tūtaki – Encounter/s: Agency, Embodiment, Exchange,... more
This is the first of two conference panel sessions convened by Louise Boscacci (Australia), Perdita Phillips (Australia), and Sally Ann McIntyre (Aotearoa New Zealand/) for: "Ngā Tūtaki – Encounter/s: Agency, Embodiment, Exchange, Ecologies." 2019 AAANZ Conference, 3 - 6 December, Auckland/ Tāmaki Makaurau, Aotearoa New Zealand. The short title in the program is: "Affective Traces, Shadow Places, and Resonant Naturecultures."
This was followed up with a second panel series: "Encounters with and within the Anthropocene: Speculating on Particular-Planetary Aesthetics." Convenors: Boscacci, Phillips and McIntyre.
This event was a full day of three separate sessions with nine papers by the following ten speakers:
Associate Prof. Janine Randerson, Auckland University of Technology, Auckland.
Prof. Heather Galbraith and Raewyn Martyn, Massey University, Wellington.
Christopher Houghton, University of South Australia, Adelaide.
Heather Hesterman, RMIT University, Melbourne.
Rob Kettels, Curtin University, Perth.
Maria O'Toole, Massey University, Wellington.
Kelly Lee Hickey, Victoria University, Melbourne.
Nicola Dickson, Independent Researcher, Canberra.
Leighton Upson, Independent Researcher/ Massey University, Wellington.
SEE THE FULL PROGRAM PDF FOR ALL ABSTRACTS.
Here are our two Introductions to our panels of artist-researchers, natureculture writers, curators, art historians and environmental humanities scholars:
"Affective Encounters, Shadow Traces, and Resonant Naturecultures in the Anthropocene: Particular-planetary aesthetics in the feminist ecosocial turn.
Convenors: Louise Boscacci, Perdita Phillips, Sally Ann McIntyre.
Listen. There. A Southern Boobook Owl is calling in the fresh dark. It is 6:58 pm, 9 June 2019. She reminds us that the work of art in the Anthropocene is under interrogation by contemporary artists, theorists and historians. New collaborations across the emerging open-field of the postconventional arts and humanities are creating alternative critical frameworks to engage with: the human is more-than-human and the social is an ecosocial domain in this age of extinction and climate change.
How are artist-researchers in Australia and Aotearoa New Zealand responding to the impingements and implications—the effects and affects—of the Anthropocene-in-the- making? This panel highlights and explores the affective encounter as a vital waymaker of contemporary art praxis and action. Here we name, make, listen, think and intervene with three instances of particular-planetary aesthetics that emerge from the feminist ecosocial pivot towards local, embodied and affect-engaged practices that also trace and make planetary connections. Each begins with a bodily encounter, or an encounter-exchange. Through multispecies conversations and resonances we listen to the faint signals of extinct New Zealand birds in the noise of history, lost traces re-collected from encounters with colonial-era ornithological collections re-figured as ‘minor’ memorials and re-sited within their original landscapes (McIntyre); trace, wit(h)ness and sound shadow ecologies of zinc entangled with extractive colonisation of Country in northern Australia, in the here and now (Boscacci); and follow the water down mountains to the sea, as the rocks, water, weeds and humans of Albany deal with seeping, maintaining, flooding, and repairing (Phillips)."
and
"Encounters with and within the Anthropocene: Speculating on Particular-Planetary Aesthetics. (Call For Papers)
Convenors: Louise Boscacci, Perdita Phillips, Sally Ann McIntyre
Listen. A Southern Boobook Owl is calling in the fresh dark. It is 6:58 pm, 9 June 2019. She is heard but not seen. She reminds us that the work of art in the Anthropocene continues to be interrogated by contemporary artists, writers, theorists and historians. In this age of extinction and climate-change, many are working to expand alternative critical frameworks and modes in which the human is more-than-human and the social is an ecosocial domain.
How are artist-researchers in Australia and Aotearoa New Zealand responding to the push and pull—the effects, affects and implications—of the Anthropocene-in-the-making? This follow-on panel explores the bodily encounter as a vital waymaker of contemporary art praxis and action. We situate this in a developing ‘field’ of particular-planetary aesthetics that emerges from feminist ecosocial thinking and pivots towards local and affect-engaged practices. We delve into diverse contemporary practices that trace and make planetary connections and ecologies of relations in multispecies naturecultures: connections and intersections that can be unknown, unpredictable or provocative; speculations, narratives or poetic reveals. Papers by the convenors will detail encounters with colonial-era ornithological collections, shadow ecologies of zinc mined in northern Australia Country, and seepages and flows of water through granite and swamp lands.
We invite twenty-minute papers or presentations on art practices, collaborations, alliances, or speculations that take the pulse of what is happening now in the capricious spaces of attunement to the Anthropocene-in-the-making. Proposals for alternative presentations in media and methods other than a scholarly paper are welcome."
CITATION (please cite if you use this work).
Boscacci, Louise, Phillips, Perdita and McIntyre, Sally Ann 2019. ‘Affective Encounters, Shadow Traces, and Resonant Naturecultures in the Anthropocene: Particular-planetary aesthetics in the feminist ecosocial turn,’ in Ngā Tūtaki – Encounter/s: Agency, Embodiment, Exchange, Ecologies, Art Association of Australia and New Zealand (AAANZ) Conference 3-6 December 2019, University of Auckland, Tāmaki Makaurau, Aotearoa New Zealand.
This was followed up with a second panel series: "Encounters with and within the Anthropocene: Speculating on Particular-Planetary Aesthetics." Convenors: Boscacci, Phillips and McIntyre.
This event was a full day of three separate sessions with nine papers by the following ten speakers:
Associate Prof. Janine Randerson, Auckland University of Technology, Auckland.
Prof. Heather Galbraith and Raewyn Martyn, Massey University, Wellington.
Christopher Houghton, University of South Australia, Adelaide.
Heather Hesterman, RMIT University, Melbourne.
Rob Kettels, Curtin University, Perth.
Maria O'Toole, Massey University, Wellington.
Kelly Lee Hickey, Victoria University, Melbourne.
Nicola Dickson, Independent Researcher, Canberra.
Leighton Upson, Independent Researcher/ Massey University, Wellington.
SEE THE FULL PROGRAM PDF FOR ALL ABSTRACTS.
Here are our two Introductions to our panels of artist-researchers, natureculture writers, curators, art historians and environmental humanities scholars:
"Affective Encounters, Shadow Traces, and Resonant Naturecultures in the Anthropocene: Particular-planetary aesthetics in the feminist ecosocial turn.
Convenors: Louise Boscacci, Perdita Phillips, Sally Ann McIntyre.
Listen. There. A Southern Boobook Owl is calling in the fresh dark. It is 6:58 pm, 9 June 2019. She reminds us that the work of art in the Anthropocene is under interrogation by contemporary artists, theorists and historians. New collaborations across the emerging open-field of the postconventional arts and humanities are creating alternative critical frameworks to engage with: the human is more-than-human and the social is an ecosocial domain in this age of extinction and climate change.
How are artist-researchers in Australia and Aotearoa New Zealand responding to the impingements and implications—the effects and affects—of the Anthropocene-in-the- making? This panel highlights and explores the affective encounter as a vital waymaker of contemporary art praxis and action. Here we name, make, listen, think and intervene with three instances of particular-planetary aesthetics that emerge from the feminist ecosocial pivot towards local, embodied and affect-engaged practices that also trace and make planetary connections. Each begins with a bodily encounter, or an encounter-exchange. Through multispecies conversations and resonances we listen to the faint signals of extinct New Zealand birds in the noise of history, lost traces re-collected from encounters with colonial-era ornithological collections re-figured as ‘minor’ memorials and re-sited within their original landscapes (McIntyre); trace, wit(h)ness and sound shadow ecologies of zinc entangled with extractive colonisation of Country in northern Australia, in the here and now (Boscacci); and follow the water down mountains to the sea, as the rocks, water, weeds and humans of Albany deal with seeping, maintaining, flooding, and repairing (Phillips)."
and
"Encounters with and within the Anthropocene: Speculating on Particular-Planetary Aesthetics. (Call For Papers)
Convenors: Louise Boscacci, Perdita Phillips, Sally Ann McIntyre
Listen. A Southern Boobook Owl is calling in the fresh dark. It is 6:58 pm, 9 June 2019. She is heard but not seen. She reminds us that the work of art in the Anthropocene continues to be interrogated by contemporary artists, writers, theorists and historians. In this age of extinction and climate-change, many are working to expand alternative critical frameworks and modes in which the human is more-than-human and the social is an ecosocial domain.
How are artist-researchers in Australia and Aotearoa New Zealand responding to the push and pull—the effects, affects and implications—of the Anthropocene-in-the-making? This follow-on panel explores the bodily encounter as a vital waymaker of contemporary art praxis and action. We situate this in a developing ‘field’ of particular-planetary aesthetics that emerges from feminist ecosocial thinking and pivots towards local and affect-engaged practices. We delve into diverse contemporary practices that trace and make planetary connections and ecologies of relations in multispecies naturecultures: connections and intersections that can be unknown, unpredictable or provocative; speculations, narratives or poetic reveals. Papers by the convenors will detail encounters with colonial-era ornithological collections, shadow ecologies of zinc mined in northern Australia Country, and seepages and flows of water through granite and swamp lands.
We invite twenty-minute papers or presentations on art practices, collaborations, alliances, or speculations that take the pulse of what is happening now in the capricious spaces of attunement to the Anthropocene-in-the-making. Proposals for alternative presentations in media and methods other than a scholarly paper are welcome."
CITATION (please cite if you use this work).
Boscacci, Louise, Phillips, Perdita and McIntyre, Sally Ann 2019. ‘Affective Encounters, Shadow Traces, and Resonant Naturecultures in the Anthropocene: Particular-planetary aesthetics in the feminist ecosocial turn,’ in Ngā Tūtaki – Encounter/s: Agency, Embodiment, Exchange, Ecologies, Art Association of Australia and New Zealand (AAANZ) Conference 3-6 December 2019, University of Auckland, Tāmaki Makaurau, Aotearoa New Zealand.