Nano-art,dynamic matter and the sight/sound of touch |
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| Institution: | 1. Department of Geography, Queens Building, Royal Holloway University of London, Egham, United Kingdom;2. School of Geographical and Earth Sciences, University of Glasgow, Glasgow G128QQ, United Kingdom;1. Department of Chemical Engineering, Kyung Hee University, 1732 Deogyeong-daero, Giheung-gu, Yongin-si, Gyeonggi-do 446-701, Republic of Korea;2. Center for Fuel Cell Research, Korea Institute of Science and Technology, Hwarang-ro 14-gil 5, Seongbuk-gu, Seoul 136-791, Republic of Korea;3. School of Chemical Engineering, Universiti Sains Malaysia, 14300 Nibong Tebal, Penang, Malaysia;1. Microelectronics Research Center, Department of Electrical and Computer Engineering, Iowa State University, Ames, IA 50011, USA;2. Department of Physics and Astronomy and Ames Laboratory, Iowa State University, Ames, IA 50011, USA;3. Lightwave Power, 57 Smith Place, Cambridge, MA 02138, USA;1. College of Chemistry & Environmental Science, Inner Mongolia Key Laboratory of Green Catalysis, Inner Mongolia Normal University, Hohhot, 010022, PR China;2. State Key Laboratory of Coal Conversion, Institute of Coal Chemistry, Chinese Academy of Sciences, Taiyuan, 030001, PR China;3. National Energy Center for Coal to Clean Fuels, Synfuels China Co., Ltd, Huairou District, Beijing, 101400, PR China;1. Transport University “T. Kableshkov”, 158 Geo Milev Str., Sofia, Bulgaria;2. Institute of Mechanics, Bulgarian Academy of Sciences, Acad. G. Bonchev Str., bl. 4, Sofia 1113, Bulgaria;3. Institute for Nuclear Research and Nuclear Energy-BAS, 72 Tsarigradsko shosse Blvd., Sofia 1784, Bulgaria |
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| Abstract: | This paper offers an auto-ethnographic account of Midas, an immersive bio-media installation created by artist Paul Thomas. The experiences of the installation provide a stepping-off point for a discussion of the corporeal geographies and the nano-imaginaries that the work develops. Understanding the senses as a principle means whereby the body mingles with the world and with itself, we begin from a focus on Midas’s presentation of the inter-relations of touch, vision and hearing, thereby extending geographical thinking on aurality, but also reworking the immersive geographies that are implicated within ontologies of touch. We draw out these geographies by way of the depths and passages of Irigaray’s (1993) fluid ontology of touch. From here we explore the ‘creative rethinking’ of matter that the installation develops, exploring the organismic topographies that it develops which stand against nano-imaginaries of matter that are focused either on the corporeal violence of nano-splatter, or the understanding of nanotechnologies through the mastery and control of matter. |
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| Keywords: | Touch Hearing Art Nano-imaginaries Matter Vibrations Immersive geographies |
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