Hacking Antarctica

• Main Author: Perez, A.
• Format: Doctoral or Postdoctoral Thesis
• Language: unknown
• Published: University of Westminster 2020
• Subjects: Antarctic; Strauss; The Antarctic; Antarc*; Antarctica
• Online Access: https://westminsterresearch.westminster.ac.uk/item/qyy62/hacking-antarctica; https://westminsterresearch.westminster.ac.uk/download/b1cceb0e016bbaa8b9175f260dc865dc0dc65e58989fc3579d48d1ad6f19a697/23815143/Hacking%2520Antarctica.pdf; https://doi.org/10.34737/qyy62

Hacking Antarctica is an investigation focused on rendering aesthetic responses to Antarctica beyond normative representations of the sublime and the imperceptible. It is based on fieldwork in polar and subpolar areas over the last 9 years. At its core, the research uses Immanuel Kant’s Critique of Judgement as a way of understanding what is meant by the sublime and from that develops a practice that examines what a Kantian lack of access to nature implies. This key Kantian concept is explained and devised into art works and then tested through concepts such as translation, transduction, infection and representation, using hacking methodologies informed by bricolage (L ´ evi-Strauss 1968), and diffraction (Barad 2007). The research expands on the taxonomies of the polar to reconsider the Antarctic as a border and periphery, bringing a conjunction of hacking methods and site-specific art that enables a performative causality with which to study the production of site. In other words, a performative approach as Barad and other feminist writers recognize, is questioning the traditional causality of ends and means and observer and observed and rather focuses on processes within discursive practices. Causality is reworked as a local externalization of the intra-acting relations of matter. Within the overall system of research for Antarctica, technical methods used included; Free Libre Open Source software and hardware techniques, black and white and infrared photography, ultraviolet light sensing, sound recordings, hydrophone recordings, very low frequency recordings, AM radio sensing, error in photography (light leakage, displaced focus), in text (cut-up compositions), in video (glitch) and error in bodies as infections; bio-sensing agents (including yeast and lactobacillus), point-array analysis, translation of images to raw data, and from raw data to sound, land art performances, spatialization of sound, stereo panning, quadraphonic sound, interactive embroidery, radio broadcast and installations. Specific outputs ...