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From sea to summit
Staniczek, Jan ; Solčáni, Ján (referee) ; Šrámek, Jan (advisor)
In my thesis I try to convey strange feelings that are inherently connected with post-anthropocentric, ecological thinking of inter-object coexistence, through an installation of a series of clay speakers. From a theoretical point of view, I rely upon Fisher's conception of weird and Morton's conception of dark ecology, in which I found a surprisingly apt articulation of my own feelings, as well as inspiration for further thinking and imagination. The main points in the otherwise difficult to define direction of my work are the planes of blurring borders, ephemerality of experience and intimate contact with otherness.
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From sea to summit
Staniczek, Jan ; Solčáni, Ján (referee) ; Šrámek, Jan (advisor)
In my thesis I try to convey strange feelings that are inherently connected with post-anthropocentric, ecological thinking of inter-object coexistence, through an installation of a series of clay speakers. From a theoretical point of view, I rely upon Fisher's conception of weird and Morton's conception of dark ecology, in which I found a surprisingly apt articulation of my own feelings, as well as inspiration for further thinking and imagination. The main points in the otherwise difficult to define direction of my work are the planes of blurring borders, ephemerality of experience and intimate contact with otherness.
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The clash of hyperobjects: plastic oceans strike back
Kvizda, Jakub ; Tremčinský, Martin (advisor) ; Sedláčková, Tereza (referee)
Ocean plastics permeate ever deeper into the lives of a growing number of humans and nonhumans and as such present an enormous environmental problem. However, its form is not self-evident, as well as the fact that we speak of a problem at all. In this paper, therefore, I trace processes of reality enactment of ocean plastics that were and still continue to be performed in many practices (e.g. scientific or activist), and their framing as a problem. With the help of Bruno Latour's concept of collective, I put the emergence of the whole problem into historical context. Ocean plastics were for many years of their gradual accumulation not visible, leading to their growth into a massive and dangerous hyperobject. It was registered by work of many particular practices thanks to which we have gradually learned to see ocean plastics. However, this was not merely a neutral discovering of their reality - this reality was being in these practices variously enacted which had as an effect its multiplication. Thus, I analyze realities forming within three projects - The Ocean Cleanup, Wasteland, Adidas x Parley - including mutual negotiations about ontology and aesthetics (sensual perception) of the problem that make possible speaking of a single ocean plastics problem. Its important part is an imaginary. Most...
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