Clotted Life and Brittle Waters

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

Fieldwork/fieldwalking: Art, sauntering and science in the walking country

fieldwork/fieldwalking is a contemporary art project exploring practices of walking and science in the field. 11 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 \u27fieldwork\u27 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 \u27ordinary wilderness\u27: much of one\u27s 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\u27s (2004) conversational aesthetics and nonrepresentational 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 \u27emptiness\u27 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)

Seeping, maintaining, flooding and repairing: How to act in a both/and world

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

Particular Planetary Aesthetics

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

Writing with Multiple Appendages: Scratchings of the Skittering Limbs of Stygofauna

Four pairs of images from the Postcards from the Underground (2022) print series are presented here as experiments in translating invertebrate underground worlds. Artist Perdita Phillips and cultural theorist Astrida Neimanis collaborated to create an interdisciplinary ‘walkshop’ event to the coal mining town of Lithgow, as part of Phillips’ Artsource both/and artist in residence at Artspace, Sydney in 2017. The many forms of stygofauna—small invertebrate animals including worms, mites, snails, insects and many crustacea—can be found in the millimetreswide in-between spaces in groundwater. Short-range endemism is common—due to their distribution in isolated patches beneath semi-arid to rainforest landscapes in Australia—and sporadic relic distribution world-wide. Working between Neimanis’ text and Phillips’ drawings and found images, the conversations with and through stygofauna, underground water and mining were then developed into colour postcards, that use a red/cyan optical masking technique. The images can be decoded with a red filter that is held up to the eye. The previously invisible cyan delineations are then revealed from beneath—alluding to the layers of concern and the double state of both/and—“caught up in both the noticing and notnoticing of each other” that the artist/author were articulating (Neimanis and Phillips 137). The swirling patterns of swimming and the complex fingering of many limbs were rendered into cryptic scores. The postcards explore notions of hiding/revealing and comprehension and miscomprehension of subterranean ecosystems, through the multiple scratchings of the skittering limbs of stygofauna. Phillips, Perdita and Astrida Neimanis. Postcards from the Underground. 2022. Private Collection

Historical textile dyeing with Genista tinctoria L.:a comprehensive study by UPLC-MS/MS analysis

Polyphenolic components from Genista species have been well characterised because of their potential as antioxidants and as therapeutic leads; however, the identification of dyer's greenweed (Genista tinctoria L.) in historical textiles has been the subject of only limited studies. This paper presents a comprehensive UPLC-PDA MS/MS study of reference and historical yarns dyed with this species. Several so far unreported dye components that could assist with the identification of this dye source, were characterised by MS/MS. Furthermore, the effect of photo-degradation and textile preparation techniques (such as over-dyeing) on the dye fingerprint was investigated and the results correlated with those obtained from historical samples from the Burrell and Bodleian collections, UK

Conformational dynamics of alpha-synuclein:insights from mass spectrometry

The aggregation and deposition of alpha-synuclein in Lewy bodies is associated with the progression of Parkinson's disease. Here, Mass Spectrometry (MS) is used in combination with Ion Mobility (IM), chemical crosslinking and Electron Capture Dissociation (ECD) to probe transient structural elements of alpha-synuclein and its oligomers. Each of these reveals different aspects of the conformational heterogeneity of this 14 kDa protein. IM-MS analysis indicates that this protein is highly disordered, presenting in positive ionisation mode with a charge state range of 5 <= z <= 21 for the monomer, along with a collision cross section range of similar to 1600 angstrom(2)). Chemical crosslinking applied in conjunction with IM-MS captures solution phase conformational families enabling comparison with those exhibited in the gas phase. Crosslinking IM-MS identifies 3 distinct conformational families, Compact (similar to 1200 angstrom(2)), Extended (similar to 1500 angstrom(2)) and Unfolded (similar to 2350 angstrom(2)) which correlate with those observed in solution. ECD-Fourier Transform-Ion Cyclotron Resonance Mass Spectrometry (ECD-FT-ICR MS) highlights the effect of pH on alpha-synuclein structure, identifying the conformational flexibility of the N and C termini as well as providing evidence for structure in the core and at times the C terminus. A hypothesis is proposed for the variability displayed in the structural rearrangement of alpha-synuclein following changes in solution pH. Following a 120 h aggregation time course, we observe an increase in the ratio of dimer to monomer, but no gross conformational changes in either, beyond the significant variations that are observed day-to-day from this conformationally dynamic protein