Phenology out of joint: An investigation into seasonality as a model for arts practice

这项研究将探索如何使用艺术实践结合物候学来应用和理解季节性的概念；研究组成不同季节的自然过程，即。迁徙、涌现、成长和衰败。我将使用自我民族志写作和基于实践的方法，包括表演、物体制作和视频作品，探索艺术如何超越单纯的表现来体现季节。因此，这位博士试图回答以下研究问题：季节性如何作用于构建地方感和时间感？艺术实践如何体现季节性的概念，并作为一种方法，与季节性变化一起工作，最终减少对人为气候变化的贡献？既然大众科学已经将人类造成的气候变化的概念嵌入到公众意识中(Latour，2017；Stengers，2015)，艺术实践如何颠覆英国目前对四季框架的理解，创造一种新的体现时间的感觉？我将在Delia Hannah的作品《没有冬天的一年》(2018)的基础上，通过质疑四季的现有框架，专注于环境哲学中的生活时间。我将使用公历模型开发一个展览，部分灵感来自于探索尼泊尔计时系统的六季展园(2020)。研究将包括两年内的八个不同的季节，遵循英国的四季-以凉爽的冬季和温暖的夏季为特征的温带海洋性气候-留出6个月的时间来规划双方，6个月的时间来完成书面研究和最终确定艺术品和展览。这项研究将对季节变化的不确定性做出回应--例如，夏季的冬季展览。这将包括研究动物和植物的生命节奏如何有能力被打乱顺序(Bastian 2017)，代表着一种脱节的物候，并调查这些现象如何进一步影响人类与守时的关系。

This research will explore how the concept of seasonality can be applied and understood using arts practice in combination with Phenology; the study of natural processes that make up the different seasons, ie. migration, emergence, growth, and decay. Using autoethnographic writing and practice- based methods including performance, object making and video work, I will explore how art can embody the seasons beyond mere representation.This PhD, therefore, seeks to answer the following research questions:How does seasonality work to construct a sense of place and time? How can art practice embody the concept of seasonality and as a method, work with seasonal variability; ultimately reducing contribution to anthropogenic climate change?Now that popular science has embedded the notion of human made climate-change into public consciousness (Latour, 2017; Stengers, 2015) how can arts practice disrupt current understandings of the four-season framework in the UK, creating a new sense of embodying time?Building on the work of Delia Hannah A Year Without a Winter (2018), I will focus on lived time within environmental philosophy, by questioning the existing framework of the four seasons. I will develop an exhibition using the Gregorian calendar model, partially inspired by the exhibition Garden of Six Seasons (2020) which explored Nepali systems of counting time.The research will be composed of eight different seasonal periods over two years of the PhD, following the four seasons in the UK - a temperate maritime climate characterised by cool winters and warm summers - leaving 6 months for planning either side, and 6 months for concluding the written research and finalising artworks and exhibitions. The research will respond to the uncertainty of seasonal variations - for example, a winter exhibition in summer. This will include researching how rhythms of animal and plant life have the capacity to be thrown out of sequence (Bastian 2017) representing a phenology out of joint, and investigating how these phenomena further affect human relationships to timekeeping.