Over the past 100 years, visual artists probably deserve the most credit for thrift shopping’s place in the cultural milieu.
Are you an artist, musician, hacker, tinkerer, or generally a curious person, between 18 and 24 years?
by Lina Dib Originally published in continent 6(1) CC BY 2.0 DOWNLOAD PDF (https://soundcloud.com/continent/lina-dib-sonic-breakdown-extinction-and-memory) This soundtrack features sounds of environmental as well as technological extinction. Of course, one cannot speak of extinction without first addressing a breakdown of sorts, a breakdown of what was once sustainable. Restoration ecology seeks to reverse damage brought on to ecosystems […]
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The conference will address ‘technical lands’, sites where global knowledge practices and aesthetic categories have converged to literally transform the physical geography of the land.
Harvard, April 6-8, 2017.
Communicating invisible threats is an area of interest in discard studies because it requires distilling and articulating the ideas that matter most in our concepts of contamination and harm. I asked Yuko some questions about the background and choices behind the images for the Radiation Monitoring Project.
How do you communicate permanent pollution and toxicity to future generations? We held workshops with community members in Yellowknife and Dettah to make models about they would communicate the dangers of buried arsenic at the local Giant Mine into the future.
Abjection describes a social and psychological process by which things like garbage, sewage, corpses and rotting food elicit powerful emotional responses like horror and disgust.
The Anthropocene is just one among many moments in time when new scientific objects have altered humanity’s relationship to the past, present, and future. Scientific objects such as fossils, radioactivity, genetic mutations, toxic pesticides, and ice cores, to name a few, have precipitated different narratives and imaginings of the human past and the human future. What might a cabinet of curiosities for the age of the Anthropocene look like?
Keeley Haftner’s public art, two shrink-wrapped bails of recyclable materials, was inspired by her time as a sort-liner at the city’s local recycling plant. Now vandalized, draped in a black tarp and bearing a sign that states, “Our tax dollars are for keeping garbage OFF the streets”, the installation has started a dialogue about waste and art in public spaces.
Are there ways–through art–to acknowledge or conceptualize waste that would do more than celebrate such reuse or recycling? How can artists, philosophers, theorists, activists, and others produce new ways to acknowledge or envision events and phenomena like the Great Pacific Garbage Patch, radioactive wastelands like Fukushima or Bikini Atoll, the animal wastes of feedlots, the water wastes of fracking, or the mountains of trash produced by consumer culture?