Minds in the Cave: Insects as Metaphors for Place and Loss

H. Nankin
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Abstract

The practice-led PhD art research project 'Gathering Shadows' investigates the visual poetics of a speculative ‘ecological gaze’ at a time of ecological crisis. The project considers two environments but avers from the distancing objectification characteristic of lens-based capture and the tired genre of ‘landscape’. Instead, it proposes a symbolic order in which imagery of native invertebrates are presented as indices of the generic non-human 'Other'. This is conveyed with reflections on deep time, ecological sited-ness, ecological continuities and, most importantly, ecological disruption. Employing a unique analogic plein air technique for recording diminutive live subjects without a camera, the research pivots upon a trio of ecomimetic cues: first, its deeply indexical processes reveal an insect umwelten of uncanny intimacy and semiotic presence. Second, it is a process in which images tend to be facilitated not predetermined, where results are partially outcomes of chance-driven, counter-anthropocentric interactions between artist and environment. Third, rather than evoke traditional use of chiaroscuro the artworks present an inverted world of x-ray-like shadows—an oblique and somber metaphor appropriate to the 'dark' ecological conditions the project confronts. The project responds to two sites: semi-arid Lake Tyrrell in the Victorian Mallee, and the sub-alpine plateau of Mount Buffalo. Lake Tyrrell once informed a sacred reciprocity of sky with country in indigenous culture. The loss of this reciprocity is memorialised by using raw starlight falling on the lakebed to contact-print fresh photographic films with the imagery of relics of insect fauna gathered from the lakeshore. In the Australian Alps (the subject of this paper) the project focuses on the keystone species Bogong Moth Agrotis Infusa. These iconic invertebrates, and the imminent decline of their ecosystem due to climate change, inform the exquisitely detailed digital enlargements derived from cameraless images of swarming moths gathered from a summit cave. 
洞穴中的心灵:以昆虫作为地方与失落的隐喻
以实践为主导的博士艺术研究项目“聚集阴影”研究了在生态危机时期投机性“生态凝视”的视觉诗学。该项目考虑了两种环境,但从基于镜头的捕捉的距离物化特征和令人厌倦的“景观”类型中解脱出来。相反,它提出了一种象征性的顺序,在这种顺序中,原生无脊椎动物的图像被呈现为一般非人类“他者”的索引。这是通过对深度时间、生态选址性、生态连续性以及最重要的生态破坏的反思来传达的。该研究采用了一种独特的模拟plein air技术,在没有相机的情况下记录微小的活体对象,研究以三个仿生学线索为中心:首先,它的深度索引过程揭示了昆虫的神秘亲密和符号学存在。其次,在这个过程中,图像往往是被促进的,而不是预先确定的,其中的结果部分是艺术家和环境之间偶然驱动的、反人类中心主义的相互作用的结果。第三,与传统的明暗对比不同,这些艺术品呈现出一个倒置的x射线阴影世界——一个倾斜而阴沉的隐喻,适合该项目面临的“黑暗”生态条件。该项目回应了两个地点:位于维多利亚Mallee的半干旱的泰瑞尔湖和布法罗山的亚高山高原。蒂勒尔湖曾经告诉我们,在土著文化中,天空与国家是神圣的对等关系。这种相互作用的丧失是通过使用落在湖床上的原始星光来接触打印从湖岸收集的昆虫动物群遗迹图像的新鲜摄影胶片来纪念的。在澳大利亚阿尔卑斯山脉(本文的主题),该项目侧重于关键物种Bogong蛾Agrotis Infusa。这些标志性的无脊椎动物,以及它们的生态系统因气候变化而迫在眉睫的衰退,提供了精美详细的数码放大图像,这些图像来自于从山顶洞穴中聚集的成群飞蛾的无相机图像。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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