The Lassitude of the world shaken off in the Promisory Environs of the Classroom / by Matthew-Robin Nye

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Each Methodology has its own life history. It starts as a dodge facilitating the accomplishment of some nascent urge of life. In its prime, it represents some wide coordination of thought and action whereby this urge expresses itself as a major satisfaction of existence. Finally it enters upon the lassitude of old age, its second childhood. The larger contrasts attainable within the scope of the method have been explored and familiarized. The satisfaction from repetition has faded away. Life then faces the last alternatives in which its fate depends [....] When any methodology of life has exhausted the novelties within its scope and played upon them up to the incoming of fatigue, one final decision determines the fate of the species. It can stabilize itself, and relapse so as to live; or it can shake itself free, and enter upon the adventure of living better (Whitehead 1929: 18-19)

It is my objective to begin to knit the Field (or Landscape of Absolute Potential) that these elements of my practice – artistic, curatorial, pedagogical, and philosophical - can reside within. Ublimé’s Fields is both an intra-practice and inter-practice project: On one hand, it articulates a methodological approach of affiliated artworks, exhibitions, non-profit organizations, collaborations; on the other it works towards a philosophical grounding of creative process, knowledge making, and practice. This approach is processual, in which I interrogate the idea of presenting a work in its ‘finality’ becomes a logical fallacy, as a presentation is nothing but a refined snapshot of continually evolving process. In practical terms, Ublimé’s Fields represents a constellation of events, deadlines and goals that I would like to achieve by the end of the August 2015.

The Lassitude of the Art Object produced to either (accumulate the affect of the moving world) or (to crumble into oblivion)

Architecture is defined by the organization of people in space; a territorialization outside of the actual/presentationally immediate world, instead located in Whitehead's prehensive space or Deleuze's virtual space. None of my recent works look like architecture. 'Architecture' becomes a prompt, an organizational principle, or a system to rail against. Architecture is articulated by the in-process: smell, ephemera, and movement.  In my artistic presentations, visitor/participant encounters representations of our built environment and inhabited spaces through works which I believe to be queer; queer not necessarily because of a differently performed sexuality, but because these spaces may not be expressed in the material dimensions of the built environment.

The Lassitude of Performance: to enter a space with the outcomes of the event pre-determined

During the three years of my Master’s program, I have focussed my research questions on the definition and production of Queer Utopic Architectural Space (QUAS); in order to define QUAS, one must first ask: how does this space articulate in the perceptible world? What political valence does an architecture in movement embody? What operational techniques can queer architecture deploy, shedding the predominant heteroparadigm? The final production of a working definition of QUAS as my Master’s thesis is generated from my artistic practice, rooted in the hybrid territory of research-creation. Specifically, this refers to a production of artworks that responds to my research and deepening knowledge production in Process Philosophy and Queer Theory, the articulation of a conceptually complex landscape through the production of interpretive performative and visual gestures. This interdisciplinarity allows me to develop a methodology that portions my investigation in both distinct and blurred parcels through research, and research-as-production. 

If the Artist/Educator is the mediator of knowledge and experience, where does the work lay?