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Into/Across the Sea
  • ISSN: 1477-965X
  • E-ISSN: 1758-9533

Abstract

The issue delves and extends the sea by exploring critical art practices and methodologies at the intersections of performance art, new media and site-specific/installation art, that integrate ocean, waves, currents, tides, coasts, depths, sea objects/vessels or environmental conditions as vital agents of the artwork. It presents nine articles by artists and scholars whose art practice and research engages with performative, embodied, participatory and technological aspects of the sea by integrating processes of drifting, floating, standing, recording, transmitting and mapping, which sink and move the sea but also take place the permeable boundaries of coasts.

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/content/journals/10.1386/tear_00127_2
2025-01-28
2025-03-15
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References

  1. Austen, Kat (2024), ‘The Constitution of the Sea: New boundaries and identity through watery, transdisciplinary artistic practice’, Technoetic Arts: A Journal of Speculative Research, Special Issue: ‘Into/Across the Sea’, 22:2, pp. 18396, https://doi.org/10.1386/tear_00130_1.
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  2. Benson, Tracey M. (2024), ‘Conceptualizing the OneWater: Exploring the plural possibilities of community, saltwater and freshwater’, Technoetic Arts: A Journal of Speculative Research, Special Issue: ‘Into/Across the Sea’, 22:2, pp. 26781, https://doi.org/10.1386/tear_00136_1.
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  3. Blume, Félix and Psarras, Bill (2024), ‘Reflections on sea, listening and sound installations: A conversation with Félix Blume’, Technoetic Arts: A Journal of Speculative Research, Special Issue: ‘Into/Across the Sea’, 22:2, pp. 20920, https://doi.org/10.1386/tear_00132_1.
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  4. Collins, Susan (2024), ‘Open seas, open systems’, Technoetic Arts: A Journal of Speculative Research, Special Issue: ‘Into/Across the Sea’, 22:2, pp. 15566, https://doi.org/10.1386/tear_00128_1.
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  5. Dragona, Daphne (2024), ‘How to be with the sea: Artistic practices in the midst of the climate crisis’, Technoetic Arts: A Journal of Speculative Research, Special Issue: ‘Into/Across the Sea’, 22:2, pp. 25366, https://doi.org/10.1386/tear_00135_1.
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  6. Haraway, D. (1988), ‘Situated knowledges: The science question in feminism and the privilege of partial perspective’, Feminist Studies, 14:3, pp. 57599, https://doi.org/10.2307/3178066.
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  7. Jue, Melody (2020), Wild Blue Media: Thinking through Seawater, Durham: Duke University Press.
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  8. Mentz, Steve (2024), An Introduction to the Blue Humanities, New York: Routledge.
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  9. Neimanis, Astrida (2017), Bodies of Water: Posthuman Feminist Phenomenology, New York: Bloomsbury.
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  10. Psarras, Bill (2024), ‘Drifting poetries, floating gestures: Performing with/upon the sea in contemporary media arts’, Technoetic Arts: A Journal of Speculative Research, Special Issue: ‘Into/Across the Sea’, 22:2, pp. 23751, https://doi.org/10.1386/tear_00134_1.
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  11. Šebjanič, Robertina (2024), ‘Exploring watery sonic imaginaries in the age of the Aquatocene’, Technoetic Arts: A Journal of Speculative Research, Special Issue: ‘Into/Across the Sea’, 22:2, pp. 197208, https://doi.org/10.1386/tear_00131_1.
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  12. Truax, Raegan and Sunde, Sarah Cameron (2024), ‘Becoming Sea-swallowed: Sarah Cameron Sunde’s 36.5 / A Durational Performance with the Sea’, Technoetic Arts: A Journal of Speculative Research, Special Issue: ‘Into/Across the Sea’, 22:2, pp. 16782, https://doi.org/10.1386/tear_00129_1.
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  13. Zafeiropoulos, Theodoros (2024), ‘Shoreless’, Technoetic Arts: A Journal of Speculative Research, Special Issue: ‘Into/Across the Sea’, 22:2, pp. 22135, https://doi.org/10.1386/tear_00133_1.
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  • Article Type: Editorial
Keyword(s): drifting; interdisciplinary; new media; ocean; performance art; sea; tide
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