A Re-Evaluation of the Experimental Art Practice Through Complex Adaptive Systems and Quantum Ontology: An Examination of the Methodologies Associated with Generation Within Contemporary Experimental Ceramic Fine Art Practice, including but not Limited to my Own Ceramics Practice, in Terms of the Writings of Deleuze and Guattari, Complex Adaptive Systems and Quantum Ontology.
Research Project Summary:
Clare Marie Beattie’s research essentially embodies an examination of the production of experimental pathways in experimental art practices, both material and conceptual, by establishing a methodological ontology for the complex adaptive systems involved in these networks of production. It outlines how these practices refer to the systems of production as defined by the aesthetic paradigms of Deleuze and Guattari in particular but also Latour, Bourriaud, De Landa, Serres and Massumi, Rheinberger and Kublar. It also draws on the theories of complex systems and quantum genesis. These writers have all indicated the necessity for a rethinking of methodologies of evaluation and production in order to dislodge hegemony and accelerate morphogenesis. Drawing on the theories of becoming instigated by Deleuze and Guattari, continued by Massumi and DeLanda; and also drawing on the new physics of genesis and becoming in quantum genesis, Clare will describe how experimental fine art practice provides a blueprint for genesis and innovation of great value to practice across disciplines. Thus providing the basis for engagement in the process of genesis in both material and conceptual terms by defining processes for innovation through collective subjectivities, assemblage, possibility and dynamic process. This research addresses the inertia that hermeneutics, structuralism, and post structuralism have experienced under the influence of the interpretive approach. In this way it provides a comprehensive conceptual panopticon for the paradigm shift instigated by new quantum and cultural theory. Utilising both the tacit knowledge of a ceramics practice and more technical research into the capabilities of bone china and porcelain as a model, this research delivers the material knowledge for creative methodologies and strategies for innovation that can then be applied to practice across disciplines. The objective of this research is to create a new or revised methodological vehicle, or an altered perspective for both the creative act of the practice, and its critical theory.
Beattie’s practice is concerned with the material and alchemical nature of clay. She uses clay, presently porcelain, bone-china and Parian, in collaboration with other materials like glass, light, wax, furniture, and film. Her work articulates the layers of production which trace the material process of ceramic praxis and which provides an articulation of genesis and innovation as systemic production. Her work often references the fragile and transitional nature of ceramics practice, reflecting the relationship that ceramics practice continues to have with risk, failure, chance and complexity. Clare has exhibited her work widely and produced many papers published on academia.edu. She continues to take part in academic conferences both in this country and in Europe.