absolute kippleization and The Plastosystem: Metaphors to address complex science in the age of the Anthropocene Rachel Honnery Master of Fine Art 2018 Thesis/Dissertation Sheet Surname/Family Name : Honnery Given Name/s : Rachel Abbreviation for degree as give in the University calendar : MFA Faculty : Art and Design School : Painting absolute kippleization and The Plastosystem: Metaphors to address complex Thesis Title : science in the age of the Anthropocene. Abstract 350 words maximum: (PLEASE TYPE) This exegesis examines the intersections between the visual arts and science, demonstrating that the methodologies of both disciplines provide a powerful and necessary tool to question and communicate environmental change in the age of Anthropocene. With billions of tonnes of plastic waste entering our waterways and oceans, questions about the future of these environments arise. What are the long-term effects on marine environments? How will marine organisms adapt and evolve to cope with unfamiliar forms supplanting the relationships between living and non-living components within their ecosystems? What will these ecosystems look like in the future, in a post-human world? With an emphasis on the materiality, colour and scale of plastic, to articulate both science and speculation my art practice applies the use of different media; installation, painting, documentary photography, collection and data imaging. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). ……….……………………...…….… …………………………………………………………… ……………………………………..……………… Date Signature Witness Signature The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed Date COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed ……………………………………………........................... Date ……………………………………………........................... AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed ……………………………………………........................... Date ……………………………………………........................... Acknowledgements I would like to thank my supervisor, Peter Sharp, for his constant support, encouragement and grounding advice throughout this research. I would also like to acknowledge the support of my family, Michael, Patrick and Evelyn as well as my friend Maura. absolute kippleization and The Plastosystem: Metaphors to address complex science in the age of the Anthropocene. 5 Contents 09 Abstract 11 Introduction 17 Chapter 1: Methodology 33 Chapter 2: The cloak of science as a way of thinking about art and its place! 47 Chapter 3: The Problem With Kipple – A New Materiality 59 Chapter 4: How Many Plastic Bags Does It Take To Fill A Plastic Bag? Issues of scale 74 Conclusion 78 Appendix 82 References 7 8 Abstract This exegesis examines the intersections between the visual arts and science, demonstrating that the methodologies of both disciplines provide a powerful and necessary tool to question and communicate environmental change in the age of Anthropocene. With billions of tonnes of plastic waste entering our waterways and oceans, questions about the future of these environments arise. What are the long- term effects on marine environments? How will marine organisms adapt and evolve to cope with unfamiliar forms supplanting the relationships between living and non-living components within their ecosystems? What will these ecosystems look like in the future, in a post-human world? With an emphasis on the materiality, colour and scale of plastic, to articulate both science and speculation my art practice applies the use of different media; installation, painting, documentary photography, collection and data imaging. 9 Introduction Including chaper outlines Introduction Including chapter outlines Introduction Anthropogenic climate change and its challenges seem so vast and overwhelming that it is easy for humanity to develop a kind of “ecological vertigo”. The heights of the problem are so dizzying that it is difficult to communicate ideas about the uncertainty of our future in the age of the Anthropocene. Image removed due to Copyright If we accept the position of the Anthropocene — the epoch in which significant human impact has altered earth’s geological disposition, through actions that include radionuclides, global warming, urbanisation, atmospheric composition change — then we accept that human interference is complicit in changing the atmosphere, biodiversity, geology. (Working Group On The ‘Anthropocene’,2014.) Figure 01: Wanderer above the Sea of Fog, We accept that humans are not an isolated species, standing Caspar David Friedrich, 1818 on the precipice, gazing upon nature from afar, transfixed by its Photo: Elke Walford awesome magnificence and inspired by European man’s quest for enlightenment as experienced in Caspar David Friedrich’s, 1818 Wanderer above the Sea of Fog (Figure 01). Instead we are faced with the fallout and turmoil that will determine the Anthropocene epoch. Consumed with a meta-species way of thinking, politicians struggle to form policy, industry is slow to implement renewable energies, and western governments fail to acknowledge responsibility towards vulnerable countries and people are immobilised with fear. Political, scientific, social and cultural engagements will be paramount in securing climate change stability. Over the past century, humanity has embraced new advancements in technologies, transport, food productions, health and more. We have demanded, desired and devoured, causing a tumorous abnormality that has grown to ensnare the earth’s ecosystem. Humanity is now waking up to climate change; but how do we respond to environmental shock without denial, panic or inertia? “Shock can become familiar. Shock can wear off.” (S. Sontag, 2004, p.64.) 12 The Anthropocene is a geological age that humans must take responsibility for. Through the use of fossil fuels, wars, and the invention of synthetic materials such as plastics and so on we have directly played a role in changing the geological markers that define epochs. Humans have always borne witness to geological forces such as volcanic eruptions, landslides and earthquakes. But post World War 2 we have collectively interfered with systems that provide life force on earth. We are no longer at arm’s length from the stratigraphy that measures the history of the earth, events that have happened in the past. We are responsible for this new layer. In this exegesis, I demonstrate how I and other artists have developed methods of art making to communicate the complex ideas and problems that have become apparent within the age of the Anthropocene. I have chosen contemporary artists who are responding to issues of time and scale, energy consequences, water pollution, nuclear fallout,