Here, both artistic practice and creative research help to locate the situated awareness of these “new sensitivities”, in a context that is experiential and publicly accessible, while simultaneously renegotiating the defining boundaries of such a context. In Chapter 3 I also explore media arts practice that draws its surrounding as a dynamic and evolving environment, which is something in which to actively engage with and intervene. Such an awareness is created through the artistic and tactical employment of the “new sensitivities” (Latour 2013). By doing this, I aim to support my argument for the vital contribution that a situated awareness offers to the discussion of a poetics of responsibility from a media arts perspective.
I analyse these examples according to the sense of situated awareness that they create. I am interested here in media arts practices that combine technology and sensory perception, in order to extend, refine or simply shift human sensory perception. This discussion includes the audio/video installation My City is a Hungry Ghost, the video project Nature in the Dark, and the sound installation planet ocean. In the third Chapter Sharing Space Sonically in an Extremophile Age I discuss selected examples of media practices and work by tactical media artists, including my own unrelated related series. The authors consider the work of artists Tony Capellán, Jean-Ulrick Désert, María Magdalena Campos-Pons, Nadia Huggins, and David Gumbs. Building upon the 2017 exhibition Relational Undercurrents: Contemporary Art of the Caribbean Archipelago, curated by Tatiana Flores, this article expands the conversation from the archipelagic to the submarine, engaging “tidalectic” representations of underwater bodies through ontologies and aesthetics of diffraction. The authors’ work turns the visual focus from the surface to the depths, engaging with the Caribbean Sea and contemporary artists who depict a gendered oceanic intimacy and aesthetics of diffraction and submergence. This work generally focuses on a universalized ocean (as nonhuman nature) rather than a geographically and culturally specific place (as history).
Recent scholarship in the blue humanities, or critical ocean studies, has turned to the mutable relationship between human bodies and the ocean, shifting from depictions of a seascape across which human bodies attain agency to considering the experience and representability of sea ontologies, wet matter, and transcorporeal engagements with the more-than-human world.
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