LOUISE BOSCACCI …roll call↩︎ postings: blog stream

  • About What is Given
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    • In the Riverbowl, 2013
    • Shaw Street Seven, 2012
    • Spinoza was a lens maker (2015)
    • ‘Cicada Waterfall’ 2012- 2014 – Cummings & Boscacci
    • Lacrimae five
    • Three Hemispheres
    • Cumulus 2009
    • Beaker Culture 2009
    • Eleven fingers 2009
    • Solace Works 2008 – ‘solastalgia is a new word, I hear’
    • Chemistry Set 2003
    • Paper clay experimanifest 1995–6
  • Selected Words
    • After-Affect Skin Songs 2014
    • Pulse_Pause: : Exploring Eco-ethical Aesthetics in the Shadow Places (2013)
    • Beaker
    • Hold, Trace, Listen (2008)
    • It’s not on any map; true places never are (1999)
    • New Empiricists 2010
    • The Other Side of The Line (2001)
    • Groundtruthing Project (2003)
    • The Art of Bell Ringing (2007)
    • Cicada Waterfall: a still moving collaboration … (2014)
    • Porcelain for the fleeting moment 2006
    • Ecological Research (Selected)
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  • Archive: Groundtruthing Projects
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    • People, people: wondrous workings

Eleventh Autumn 2013

Posted on February 23, 2014 by Louise Boscacci: The Blue Chamber
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Eleventh Autumn 2013
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affect Affective attunement affective emplacement affective encounters affective objects affective trace Affect theory After-Affect Skin Songs Anthropocene Archive place (Twilight) Archive Place (Twilight) 2012 Australian mammal species loss bodies Bundanon Trust Contemporary Australian porcelain Country eco-affective trace Ecoarts 2013 ecology and affect extinction Field sounding Light Localised Anthropocene Maralinga material ecologies MECO research network naturecultures new materialism Nullarbor political ecologies porcelain Louise Boscacci Postcards pulse_pause Shadow Places shadows trace Shadow Toponymy Solar LED Sound sounding The Round Table Postcard Archive The Round Table Postcard Project Twilght twilight Val Plumwood Val Plumwood and the concept of Shadow Places water objects Wingecarribee Wit(h)nessing WomSAT writing
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