Posts Tagged ‘Tammy Lu’

Realist Magic: Objects, Ontology, Causality, by Timothy Morton

14 February 2013

Timothy Morton’s new book, Realist Magic: Objects, Ontology, Causality, is the latest in the New Metaphysics series at Open Humanities Press. The open access HTML version is now available here. PDF and paperback to follow.

Object-oriented ontology offers a startlingly fresh way to think about causality that takes into account developments in physics since 1900. Causality, argues, OOO, is aesthetic. In this book, Timothy Morton explores what it means to say that a thing has come into being, that it is persisting, and that it has ended. Drawing from examples in physics, biology, ecology, art, literature and music, Morton demonstrates the counterintuitive yet elegant explanatory power of OOO for thinking causality.

Cover art by Tammy Lu, cover design by Katherine Gillieson.

Realist Magic - Timothy Morton

METAphorisms

4 December 2012

Berlin-based META Magazine presents METAphorisms by Tim Morton and Tammy Lu. Aphorisms by Morton, drawings by Lu.

META asked artist Tammy Lu and philosopher Tim Morton to meditate on classical metaphysical vocabulary, by means of philosophical musings, color, form and motion. (…) Here, she takes on Morton’s philosophy by providing visual, topical and poetic maps, objects of all shapes and sizes, growing and enmeshing, and so it dawns on us that we are objects ourselves, entangled with other objects, no matter if these are bees or coffee machines.

New Materialism: Interviews & Cartographies

20 October 2012

The latest book from OHP’s New Metaphysics series, edited by Graham Harman and Bruno Latour:  “New Materialism: Interviews & Cartographies,” by Rick Dolphijn and Iris van der Tuin. Open access book available as HTML here, download as PDF here [2.3MB]. Paperback coming soon. Design by Katherine Gillieson. Cover Illustration by Tammy Lu.

This book is the first monograph on the theme of “new materialism,” an emerging trend in 21st century thought that has already left its mark in such fields as philosophy, cultural theory, feminism, science studies, and the arts. The first part of the book contains elaborate interviews with some of the most prominent new materialist scholars of today: Rosi Braidotti, Manuel DeLanda, Karen Barad, and Quentin Meillassoux. The second part situates the new materialist tradition in contemporary thought by singling out its transversal methodology, its position on sexual differing, and by developing the ethical and political consequences of new materialism.

T for Thing

29 January 2012

Under the letter “T” in David Evans’s Critical Dictionary, “Thing” is represented by Tammy Lu and Katherine Gillieson’s cover design for Levi Bryant’s The Democracy of Objects book, accompanied by Graham Harman and Bruno Latour’s prospectus for the New Metaphysics series at Open Humanities Press. Hat tip to Tammy Lu.

Abandoning the conventional format of the dictionary, Critical Dictionary is an ambitious cornucopia of ideas, images, and illustrations, that emphasise the open-ended, provisional and unfinished nature of language, communication and meaning. Inspired by the mock dictionary Georges Bataille edited for ‘Documents’ in 1929 and 1930, Critical Dictionary is an adventurous title, aiming to puncture pretension, and declassify terms in a playful, humourous manner. Bringing together newly commissioned work, material gathered from online art magazine criticaldictionary.com, and featuring elements such as a retrospective assessment of the ZG magazine by former editor Rosetta Brooks, one of the seminal products of the art scene in the 1980s, and catalyst to the development of the so-called ”Pictures Generation”, Critical Dictionary is a rich exploration of ideas and language in all its forms.

Update: 

The Critical Dictionary exhibition had just opened at the WORK Gallery in London and will be on until 25 February 2012.

Hatch by Tammy Lu and Crystal Bueckert

27 January 2012

If you happen to be in the resurgent boomtown of Saskatoon in Saskatchewan, Canada between March 30 and June 10 this year, and have an interest in the intersection of art and urbanism, check out Hatch, Tammy Lu and Crystal Bueckert’s show at the Mendel Art Gallery:

Artists by Artists: Tammy Lu and Crystal Bueckert

Hatch
March 30 to June 10, 2012

Hatch is an exhibition of parallel investigations into notions of path finding and city building. Tammy Lu and Crystal Bueckert’s research and drawings address historical and imagined narratives of Saskatoon by tracing and layering events, characters, infrastructures and geography.

Using human and architectural characters of Saskatoon as a narrative code, Lu proposes a process of city planning that involves a continual personal re-configuration of local stories. Bueckert renders collected images into hybrid maps that explore the evolutions and revisions of city building. Employing a non-linear book format, the artists splice their imagined urban spaces to form permutations of possible mapping schemes.

Lu and Bueckert’s collaborative image immediately reminded me of this Sloterdijk passage:

Life is a matter of form–that is the hypothesis we associate with the venerable philosophical and geometrical term “sphere.” It suggests that life, the formation of spheres and thinking are different  expressions for the same thing. Referring to a vital spheric geometry is only productive, however, if one concedes the existence of a form of theory that knows more about life than life itself does–and that wherever human life is found, whether nomadic or settled, inhabited orbs appear, wandering or stationary orbs which, in a sense, are rounder than anything that can be drawn with compasses. (pp. 10-11)

Peter Sloterdijk, Spheres. Volume I: Bubbles. Microspherology

Levi Bryant on book covers

12 November 2011

Speaking of Tammy Lu’s drawings, I have just come across this recent interview with Levi Bryant, which includes the following exchange on the topic of his book covers (both of which have been featured on this blog, here and here):

The cover of Democracy of Objects features a series of fantastical objects of similar scale and spacing strung on a piece of something like barbed wire. The book The Speculative Turn that you edited with Graham Harman and Nick Srnicek features a pair of pruning shears. Barbed wire was a revolutionary technology that fundamentally shifted settlement patterns across the North American midwest; pruners are the ideal general purpose tool for maintenance and propagation of vegetation. Can you talk a little bit about the choice of those images?

To be quite honest I had no role in choosing the images for either of my books, though I couldn’t be more pleased with the choices of the editors. I’m particularly fond of Tammy Lu’s cover for The Democracy of Objects as I believe it very much captures the spirit of my thought. Seen from afar it looks like flowers intertwined along threads of ivy. This very much captures my conception of objects as something that “bloom” or unfold, just as the Greeks conceived phusis as a blooming or unfolding. However, as you look more closely you suddenly see a hint of menace (the barb wire and fishing tackle), as well as a universe that somehow manages to beautifully interweave natural entities, computer memory storage devices, barb wire, fishing tackle and so on. Tammy Lu’s work captures the sense of a flat ontology where nature, culture, and technology are not distinct ontological realms but rather where all entities are intermingled on a single flat plain of immanence and where there is no supplementary space that contains them but only the relations they forge with one another generating a network space. It is a world of great beauty as well as lurking menace.

The cover of The Speculative Turn is a bit more masculine and difficult for me to decipher. No doubt pruning sheers were dimly chosen to convey the sense of something of the tradition—the Kantian correlationist legacy—being pruned away. This would be the aggressive, warlike dimension that seems especially popular among those speculative realists that fall in the nihilistic eliminativist camp and that seem to revel in death and destruction. Indeed, perhaps a major fault-line in speculative realism is between that camp that emphasizes construction and building (though without a anthropocentric reference for these terms) found among the object-oriented ontologists and the process-relationists, and that side that seems delighted by tearing down, destroying, and death found among the nihilistic eliminativists. A more generous reading of the pruning sheers, however, would be to comprehend them along the lines of the bonsai tree, as the collaborative process that takes place between humans and nonhumans in the cultivation of collectives.

The rest of the interview is also well worth reading: it contains discussions on “intersections between his work and ideas of wilderness, landscape, control mechanisms and the ambivalence of utopian fictions in affecting public space.”

ANTHEM facelift

9 November 2011

Thank you to Tammy Lu for her permission to use part of her drawing entitled “W” as the new ANTHEM header.

The Democracy of Objects by Levi Bryant

14 September 2011

Levi Bryant, The Democracy of ObjectsThe latest addition to object-oriented ontology: Levi Bryant of Larval Subjects fame publishes the HTML version of his new book, The Democracy of Objects. PDF and paper version to follow. This is the first book in the New Metaphysics series edited by Graham Harman and Bruno Latour at Open Humanities Press. Cover design by Katherine Gillieson, illustration by Tammy Lu.

Since Kant, philosophy has been obsessed with epistemological questions pertaining to the relationship between mind and world and human access to objects. In The Democracy of Objects, Bryant proposes that we break with this tradition and once again initiate the project of ontology as first philosophy. Drawing on the object-oriented ontology of Graham Harman, as well as the thought Roy Bhaskar, Gilles Deleuze, Niklas Luhman, Aristotle, Jacques Lacan, Bruno Latour and the developmental systems theorists, Bryant develops a realist ontology that he calls “onticology”. This ontology argues that being is composed entirely of objects, properties, and relations such that subjects themselves are a variant of objects. Drawing on the work of the systems theorists and cyberneticians, Bryant argues that objects are dynamic systems that relate to the world under conditions of operational closure. In this way, he is able to integrate the most vital discoveries of the anti-realists within a realist ontology that does justice to both the material and cultural. Onticology proposes a flat ontology where objects of all sorts and at different scales equally exist without being reducible to other objects and where there are no transcendent entities such as eternal essences outside of dynamic interactions among objects.

Algorithmic Allure

19 December 2009

It is nice to learn from Graham Harman that his Bournemouth talk last year on Heidegger’s “origin of the work of art” essay has directly inspired this interesting forthcoming paper by Robert Jackson: “Heidegger, Harman and Algorithmic Allure.” That event was actually organised by Tammy Lu at the Arts Institute at Bournemouth (since then  renamed as the Arts University College at Bournemouth), although I was the one who took this crazy photo of Graham:

Three days later Graham gave another talk on “The Greatness of McLuhan” at the Media School at Bournemouth University. We posted the recordings of both talks on this blog and they both became quite popular, however the Heidegger talk has the edge: it has been downloaded 1,027 times since 8 February 2008, as opposed to the 884 downloads of the McLuhan talk.

Strangely, both of these talks are more popular than Harman’s first lecture at the LSE  “On Actors, Networks, and Plasma: Heidegger vs. Latour vs. Heidegger” on 29 November 2007, which has been downloaded 778 times, even though that was the event that launched the Heideggero-Latourian project most explicitly. I would have thought that the juxtaposition of Heidegger and Latour and the invocation of Latour’s concept of the plasma would be provocatively alluring (or alluringly provocative) enough to attract more attention. But the most popular Harman download (besides the respectable 1,688 downloads of the Harman Review itself) seems to be his “Assemblages According to Manuel DeLanda” from November 2008, with 1,385 downloads since then.

[Although I should hasten to add that these figures are somewhat misleading, as both the plasma talk and the Harman Review are also available on the LSE website, so probably just as many people if not more would have downloaded them from there. As for the DeLanda talk, it received a boost after being listed on Speculative Heresy.]

Jackson’s paper sounds very interesting though, so I’ll reproduce his abstract here:

(more…)

ANTHEM facelift

29 September 2009

It was about time to say good-bye to the generic WordPress header and inject some colour into our façade. Many thanks to our in-house artist, Tammy Lu, for allowing us to use one of her images. It is fitting that Untitled 11 is associated with a quote involving Heidegger. And the number 4 in the image is a good reminder that Heidegger’s fourfold is of central interest here.


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