SOILS AND INTERVENTIONS
Abstract
The problem that I have identified during my research for this dissertation is the quantifiable depletion and exhaustion of large percentages of the world's soils through human activity in agriculture and other industrial practices. In the course of researching this problem I have looked closely at some of the primary causes, and a range of proposed and applied solutions in the field of ecology. The primary focus of the research has been in looking at how artists have responded to ecological issues and have engaged in environmental activism in their practices. Integral to the research has been direct participation in collaborative art practices that investigate and strive to raise public awareness about issues related to soil ecology. It has proceeded through reading established texts, interviewing expert practitioners, publishing my findings, and presenting at numerous conferences, concurrently with direct participation in ecologically oriented practices, related artistic projects, professional art exhibits, activist events, and working in the field of professional organic farming. During the research phase I attended nine Planetary Collegium Sessions with fellow researchers and received valuable direction from supervising professors. The result is a written, theoretical dissertation that documents the research through text and photography in seven chapters. It has also produced a body of sculptures and documented physical experiments and performances that are motivated by, and speak directly to issues of soil ecology. The efficacy of the artwork that has been made in the course of researching problems in soil ecology comes from its continuation of, and direct participation in, established, contemporary art projects and movements that have had a demonstrable influence of society. The contribution that it makes to new knowledge is by addressing in unique ways the emerging subject of soils, which have tended to be overlooked in many ecological discussions, and in so doing it also brings to bear a unique combination of influences in its practice. These include: Art practice, Situationist performances, Core Shamanic practice (as developed by Michael Harner), soil science, inspiration drawn from a number of continental theorists, participation in sustainable agriculture, and political activism, applied simultaneously in a transdisciplinary body of work described herein specifically on behalf of soils. In this endeavor the dissertation and its body of produced objects and performances has also sought to blur some of the conventional lines between theoretical research, contemplation and practice, as appropriate to a trans-disciplinary project. Numerous discoveries have been made in the course of the research, chief among them that the new transdisciplinary approach to soil studies that my collaborators and I have taken turns out to be of necessity if we are to avert large-scale collapses of agriculture due to soil degradation on a global scale in the course of this century.
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- Perry, Willaim. Against the Wall: The Art of Resistance in Palestine. Chicago: Lawrence Hill Books, 2011. (10). It is worth noting here that I learned from Banksy: "If you want to be invisible in public all you need is a clipboard, a hard hat, and a reflective vest." (See Yosemite Valley Listening Installation, figure 5-1). 370 events.ucl.ac.uk › Events Home › All Events (Viewed 03/12/15). This is an announcement of a program dealing with these. Negativland Negativland started in the late 1970's as a high school band/art project with Mark Hosler, Richard Lyons, David Wills ("The Weatherman"), Peter Dayton, Joan, Chris Grigg, and Ian Allen in the San Francisco Bay Area suburbs (Concord). Later it included Peter Conheim, Tim Maloney, Jonathan Land, Tom Koch, and others referred to as "Stukke and Stakke." 371 The projects of Negativland appropriate and satirize mainstream media, using radio jamming, and other forms of disruption have influenced our work over the years as well. While not always overtly concerned with ecology, Negativland has been actively engaged with critiquing and satirizing various elements of what they consider to be the suburban, commercial status quo, and its responses to a broad range of political issues, including the environment. Commenting on "peak oil", Richard Heinberg has referred to the suburbs as perhaps "the greatest misallocation of resources in history." 372 As a result of their Concord (East Bay suburb) experiences, the cultural attributes of the suburbs are central to many of Negativland's projects. Their work includes satirical pieces on suburban neighborhoods that double as gun resorts, and camping with satellite TV experiences gone awry due to insects. It is not so much the themes of their pieces, or
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- http://www.cartage.org.lb/en/themes/arts/scultpureplastic/SculptureHistory/European2 0thCentury/Futuristsculpture/WhatisFuturism/WhatisFuturism.htm http://vserver1.cscs.lsa.umich.edu/~crshalizi/T4PM/futurist-manifesto.html http://www.theartstory.org/movement-futurism.htm "On January 3 Friedrich Nietzsche witnesses the whipping of a horse in Piazza Carlo Alberto. 'You inhumane, you bully of beasts and thinking beings, slaughterer of this steed!' says. The coachman, afraid, retracts. Nietzsche bends and embraces the horse, moved, excited, as after years of adventurous and vain research he has found a brother lost in a shipwreck. Then he collapses on the sidewalk. After this episode, Nietzsche becomes mentally unstable and will remain in the care of his mother and sister until his death in 1900. I investigated many of Turin's libraries and archives, where I found numerous tidbits about Nietzsche's life in Italy, though no official reports documenting this curious event. Despite this lack of confirmation, I read this anecdote, whether invented or not, as a symbolic point of entry into the debate on Nature versus Culture as well a good introductory image for an ecological thinking." 482 The fact that Nietzsche's younger brother had been lost in a shipwreck on the same date as his collapse created another tie-in for the project. 483 Our first attempt to physically reach the location of the USS Macon wreck site was also originally scheduled for January 3rd. While Benjamin's writings on animals (as exemplars for various aspects of his thinking on historicity and violence), exceeds the scope of this dissertation, Young's work has been engaged with these concepts as they related to animalities and technology for many years. Collaboratively, our interest was particularly in Benjamin's descriptions of art as related to his notion of a radically open ended aesthetic that would defy hermetic closure, becoming "completely useless for the purposes of Fascism." 484 Especially in light of our ongoing inability to reach the Macon physically, we were attracted to the idea of a project that either would not or could not reach predictable closure. The 482 http://www.serenaporrati.com/nietzsche-in-turin.html 483 http://www2.fiu.edu/~grenierg/nietzsche_bio.html
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