It is the psychedelic space inside the head and our own oscillation between the “the inner and outer worlds that we inhabit” (Brüggemeier 2013) that can be considered as extremophile. 11), the role of media technology has been instrumental in exploring and gaining direct experience of the range of inaccessible places previously described. Given that sound represents only a small biologically mediated fraction of all physical vibrations of the “vibrating world” (Sterne 2003, p. It does this through discussing sonic and radio related media practices, beginning with the early 20th Century radio amateur movement, interspecies communication research and the work of tactical media artists including Natalie Jeremijenko and Marko Peljhan. Chapter 3 traverses the vast distance of sound and radio waves from the extreme environment of outer space to the depths of the oceans and cross species boundaries. This forms Rancièrian tactical “communities of sense”, with the potential to transform into a tool for a politics that does not yet exist. ![]() The wider quest for a poetics of responsibility, as with the tactical employment of “new sensitivities,” becomes a political act. Here, both artistic practice and creative research help to locate the situated awareness of these “new sensitivities”, in a context that is experiential and publicly accessible, while simultaneously renegotiating the defining boundaries of such a context. In Chapter 3 I also explore media arts practice that draws its surrounding as a dynamic and evolving environment, which is something in which to actively engage with and intervene. Such an awareness is created through the artistic and tactical employment of the “new sensitivities” (Latour 2013). By doing this, I aim to support my argument for the vital contribution that a situated awareness offers to the discussion of a poetics of responsibility from a media arts perspective. I analyse these examples according to the sense of situated awareness that they create. I am interested here in media arts practices that combine technology and sensory perception, in order to extend, refine or simply shift human sensory perception. This discussion includes the audio/video installation My City is a Hungry Ghost, the video project Nature in the Dark, and the sound installation planet ocean. In the third Chapter Sharing Space Sonically in an Extremophile Age I discuss selected examples of media practices and work by tactical media artists, including my own unrelated related series. Contributors include Amy Balkin, Ursula Biemann, Amanda Boetzkes, Lindsay Bremner, Joshua Clover & Juliana Spahr, Heather Davis, Sara Dean, Elizabeth Ellsworth & Jamie Kruse (smudge studio), Irmgard Emmelhainz, Anselm Franke, Peter Galison, Fabien Giraud & Ida Soulard, Laurent Gutierrez & Valérie Portefaix (MAP Office), Terike Haapoja & Laura Gustafsson, Laura Hall, Ilana Halperin, Donna Haraway & Martha Kenney, Ho Tzu Nyen, Bruno Latour, Jeffrey Malecki, Mary Mattingly, Mixrice (Cho Jieun & Yang Chulmo), Natasha Myers, Jean-Luc Nancy & John Paul Ricco, Vincent Normand, Richard Pell & Emily Kutil, Tomás Saraceno, Sasha Engelmann & Bronislaw Szerszynski, Ada Smailbegovic, Karolina Sobecka, Zoe Todd, Richard Streitmatter-Tran & Vi Le, Anna-Sophie Springer, Sylvère Lotringer, Peter Sloterdijk, Etienne Turpin, Pinar Yoldas, and Una Chaudhuri, Fritz Ertl, Oliver Kellhammer & Marina Zurkow. ![]() ![]() Taking as its premise that the proposed geologic epoch of the Anthropocene is necessarily an aesthetic event, this book explores the relationship between contemporary art and knowledge production in an era of ecological crisis, with contributions from artists, curators, theorists and activists.
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