Studio 2: Contemporary Ecology
Image: INTERPRT Site FP, 2017
In Studio 2 we will explore environmental topics through the lens of art, architecture, spatial practice, media and design disciplines. It will foster alternative ways of thinking about our place in nature, our relationship to nonhumans, the interrelations between ecology, economy and labour, the politics of self-determination and territoriality, the violence of extraction and environmental crimes. While focused on art, architecture and design methodologies, the studio will be in dialogue with environmental humanities, history, international law, continental philosophy, fiction, geography, anthropology, indigenous politics, science and technology studies (STS) and other disciplines and radical thought.
Students will be encouraged to investigate topics that have an intellectual depth and real-world relevance such as those that address the historical and contemporary challenges of climate change, pollution, biodiversity and environmental justice. As we move towards developing individual dissertation topics we will look at a series of geographically distributed case studies, with a special attention to the global ocean, in the process uncovering histories of science and colonialism, nature and power. Given that oceans and islands, for example in the Pacific are at the frontiers of climate change, we will examine how the arts and humanities can offer new analytical tools, narratives and strategies for raising public awareness and political action. Teaching will take place primarily through seminars, workshops, field trips, listening sessions, screenings and case studies. You'll be expected to attend events taking place in London throughout the year related to the broad and diverse themes covered in the studio.
Outline of the first seven weeks of study
- Week 1: Introduction and organisational meeting
- Week 2: Theories/contemporary ecology
- Week 3: Site introduction
- Week 4: Interdiscipinary research methods
- Week 5: Field trip to the Thames Estuary
- Week 6: Theories/politics and spatial practice
- Week 7: Case study with guests
- Michael Wheeler (ed.), Ruskin and Environment: The Storm-Cloud of the Nineteenth Century. Manchester: Manchester University Press, 1995.
- WJT Mitchell, Landscape and Power. Chicago: Chicago University Press, 1994.
- Donna Haraway, When Species Meet. Minneapolis: University of Minnesota Press, 2008.
- Gregory Bateson, "Metalogue – What is an Instinct?", in Steps to an Ecology of Mind. Jason Aronson: New Jersey, 1987.
- Bill McKibben. “From The End of Nature.” The Norton Book of Nature Writing. Robert Finch & John Elder, eds. New York: Norton & Company, 2002.
- Claude Levi-Strauss. “Categories, Elements, Species, Numbers.” The Savage Mind. Hertfordshire: Garden City Press, 1966.
- Eduardo Kohn. “Trans-Species Pidgins.” How Forests Think: Toward an Anthropology Beyond the Human. Berkeley: University of California Press, 2013.
- Andreas Malm. "The Anthropocene Myth". Jacobin. March 2013.
- David Harvey. "On Architects, bees, and species-being". Spaces of Hope. Edinburgh: Edinburgh University Press, 2000.
- Naomi Klein. "Introduction". This Changes Everything: Caplitalism vs. The Climate. Toronto: Knopf, 2014.
- TJ Demos. Against the Anthropocene: Visual Culture and Environment today. Berlin: Sternberg Press, 2016.
Studio 1: Another India will examine, reflect upon and critique the historic use of "exotic" motifs in design.
In Studio 2 we will explore environmental topics through the lens of art, architecture, spatial practice, media and design disciplines.
Studio 3: Music is the Weapon: Performance, Culture and the Music Industry is an exploration of race, gender, class and more in music.
Studio 4: What Not to Wear? will investigate the roles that dress and fashion play in our workplaces.
Studio 5: Imperfect Theories allows you to critically examine any work that can be seen as theory or presents an interesting relationship with theory.
Nico de Oliveira
Studio 6: This dissertation studio is designed to help students who are interested in curating as a broad subject, as well as those who wish to contextualise their own practice within the scope of displaying art.
Dr Lesley Stevenson
Studio 7: This studio is concerned with those objects that are lent a particular enchantment because of their relationship with the past.
Studio 8 will look at one element of that system – the picture postcard – from a number of different perspectives.
Studio 9: Together we will explore the space of criticism; acknowledging our point of encounter with objects, places, sites and processes and the relationship between text, writer and reader.
As creative practitioners we digest and produce images every day – as citizens of the digital age we consume between hundreds and thousands of images each day. This dissertation studio will slim down your daily diet to one image.
Speculative descriptions of the future reveal a magnified — or distorted — reflection of the fears and desires of the present.
Much is happening in the world today that foregrounds questions pertinent to our identities in a globalised world.
How does the relationship of memory to fantasy affect history? What are the links between desire, sexuality and trauma? How are these relationships played out or negotiated in visual and written practice? These questions will form the beginning of our enquiries into artworks, films and literature.
We will look at how the idea of nature has been constructed over time and place, and study its impact on design practice in an age marked by the sustainability imperative.
Studio 15: Music, Technology and Ideas encourages you to explore how and why we make music, including its origin, relationship to technology and more.
Studio 16: Narrative and Storytelling will see you produce storygraphs, storyboards and various forms of narrative analysis in the seminars.
Studio 17: Knowing Audiences will encourage you to study an audience group using qualitative research methods in your investigations.
This workshop will address some perennial problems of writing in the field of visual culture.
Studio 19: This studio will explore a reading of objects focusing on the interplay between materials, the objects they form and their context.
This Dissertation Studio examines instances of the liminal as they occur in critical theory and culture, and is open to any topic and students from all disciplines.
This year, Studio 21 will stage an unusual experiment. It will move, unpack, catalogue, and perform readings from one private library; and make this library, without exception, the single resource for all the research and writing in the studio.
Studio 22: Meaningful work explores the value of making and the idea of craft as meaningful work.