Spring 2019 Course: Art and Sensory Acuity (taught by Christine Lee)

For the course Art and Sensory Acuity, we looked at how our perception and ability to experience a range of sensation can inform the creation of artistic and design based work. We explored perception through the lens of artist James Turrell’s Roden Crater, under which specific materials, environment, and conditions present, shaped our sensory experience. Concurrently we expanded our sensory acuity through engagement with guest speakers ASU Assoc. Professor Patrick Young and Assist. Professor Christy Spackman, Ed Krupp Director of Griffith Observatory, and writer Lawrence Weschler, to develop a deeper sensibility across media, time and space. The resulting sculptural forms/prototypes, performance, and installations were designed and constructed in response to the collective experience.

Mixed media.

Spring 2019 Course: Indigenous Stories and Sky Science (taught by Wanda Dalla Costa)

Roden Crater is situated in the territorial homelands of at least eight Arizona tribes. To honor local history and the continued practice of Indigenous sky science in the southwest, the field lab Indigenous Stories and Sky Science will view the Crater through the lens of Indigeneity. The students, who went on a five-day journey to Navajo Nation and the Hopi Tribe, meeting locals, interacting with place and touring sites of sky observation, shared their experience using the four knowledges of community resilience: empirical, traditional, revealed and contemporary (From Johnson, et al. (2015). Weaving Indigenous and sustainability sciences to diversify our methods).

Mixed media.

Spring 2019 Course: Indigenous Stories and Sky Science (taught by Wanda Dalla Costa)

Roden Crater is situated in the territorial homelands of at least eight Arizona tribes. To honor local history and the continued practice of Indigenous sky science in the southwest, the field lab Indigenous Stories and Sky Science will view the Crater through the lens of Indigeneity. The students, who went on a five-day journey to Navajo Nation and the Hopi Tribe, meeting locals, interacting with place and touring sites of sky observation, shared their experience using the four knowledges of community resilience: empirical, traditional, revealed and contemporary (From Johnson, et al. (2015). Weaving Indigenous and sustainability sciences to diversify our methods).

Collected fallen palo verde blossoms.

Spring 2019 Course: Art and Sensory Acuity (taught by Christine Lee)

For the course Art and Sensory Acuity, we looked at how our perception and ability to experience a range of sensation can inform the creation of artistic and design based work. We explored perception through the lens of artist James Turrell’s Roden Crater, under which specific materials, environment, and conditions present, shaped our sensory experience. Concurrently we expanded our sensory acuity through engagement with guest speakers ASU Assoc. Professor Patrick Young and Assist. Professor Christy Spackman, Ed Krupp Director of Griffith Observatory, and writer Lawrence Weschler, to develop a deeper sensibility across media, time and space. The resulting sculptural forms/prototypes, performance, and installations were designed and constructed in response to the collective experience.

Spring 2019 Course: Indigenous Stories and Sky Science (taught by Wanda Dalla Costa)

Roden Crater is situated in the territorial homelands of at least eight Arizona tribes. To honor local history and the continued practice of Indigenous sky science in the southwest, the field lab Indigenous Stories and Sky Science will view the Crater through the lens of Indigeneity. The students, who went on a five-day journey to Navajo Nation and the Hopi Tribe, meeting locals, interacting with place and touring sites of sky observation, shared their experience using the four knowledges of community resilience: empirical, traditional, revealed and contemporary (From Johnson, et al. (2015). Weaving Indigenous and sustainability sciences to diversify our methods).

Drawing on collective biography, memory work, and diffractive analysis, this chapter examines childhood memories of our entanglements with plants. By approaching research as a ceremony, our goal is to reanimate the relationships we have shared with plants and places, illuminating multiple intra-actions and weaving different worlds together.  Our collective ceremony of re-membering brings into focus how plants called us forward, evoked our gratitude and reciprocity, shared knowledge, and offered comfort, companionship, love, belongingness, and understanding throughout life. The process of our collective re-membering and writing has turned into a series of ceremonial gatherings and practices, bringing forth vivid memories, poetic expressions, and creative drawings.  As humans, we have often (re)acted to plants’ generous gifts in meaningful gestures and communications that have co-created and made visible our deeply felt inter-species love and care.

This article combines collective biography, diffractive analysis, and speculative fabulation to weave together
the authors’ childhood memories of “common worlding.” Our collective biography brings into focus how we
engaged in common worlding in our childhoods through dreaming, metamorphosis, and play by tactfully
moving across different worlds and learning with the human and more-than-human others we encountered. As
we foreground childhood memory and its potential to reimagine pasts, presents, and futures, we explore what
kind of conditions are necessary to (re)attune ourselves to the multiple worlds around us in order to maintain
and nurture children’s—and our own—other-worldly connections.