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    The materialised temporality of dust: developing a biodesign methodology to spatialise time and temporalise space.
    (Cambridge University Press, 2025-01-27) Ramirez-Figueroa C; Nevin A; Orme C
    The paper uses the material and conceptual figure of dust and matter out of place to amplify more-than-human perspectives of time, to trace the changing orientations and ethos of a site. Dust contains a complex mixture of inorganic and organic material, made up of an exuberance of microbial life such as Penicillium, Aspergillus and Cladosporium and around 20 other fungal sources. We are interested in dust as a material and metaphorical device to situate and critique temporality and the way we narrate and investigate the past and future, from a non-human, microbial point of view. Dust implies residual matter, a contradiction to order often associated with dirt. It indicates something that needs to be removed, or rearranged, something that is “out of place,” an element that does not fit. Dust also indicates time and space and signals movement and life: dust hosts a medley of non-human particles and microbial communities that engage in their own worldmaking practices. The paper brings together methods of “un-cleaning” with archival research and spatial methods of 3D scanning, modelling and mapping, as an opportunity to decentre human hubris and explore the ways in which non-humans have and continue to inhabit “our” spaces.
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    The empty portrait : encounters with a photographer : an exegesis presented in partial fulfilment of the requirements for the degree of Masters of Fine Arts, Massey University, Wellington, New Zealand
    (Massey University, 2009) Woods-Jack, Virginia
    The Empty Portrait forefronts a new experience of the portrait for all participants involved: the photographer, the subject, and the viewer. Breaking away from the camera, the materiality of the photograph, and the portrait as a locus of identity are central aspects of this new experience. As it challenges the relationship between photography and temporality, The Empty Portrait attempts to blur the boundary between the photographic and cinematic image, asking the viewer to look and contemplate further.