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Welcome to my creative Anthropocene memorial park.Contrasted elements and conflicts abound in scenery. Experience a developing atmosphere with remnants of past design projects, masterpieces, and invasive species. Food is grown in design interventions like greenhouses.
The complete memorial park preserves memories and vegetation. Meanwhile, dying plant kinds are kept alive. Plants that survived the Anthropocene grow in the park. Based on Ernst Haeckel's nature drawings, design and critical post humanism blend into the form's compelling arrangements. We see a city designed for human benefit. Monocultures dominate fields outside the park and city, and cars travel far to carry greenhouse-grown fruits, guaranteeing seasonal supply is available.The unpleasant smell of 'concentrated animal feeding operations' permeates unassuming buildings far from public view and retail places. The bountiful resources that impact our daily life contrast with the continued exploitation in local and distant locations.
This environment is full of life and human-non-human interactions, exemplifying reciprocal transformation. This talent can be seen as a polished skill that specialists use to improve individual welfare, progress, efficiency, and economic growth. Design's significance in protecting non-humans and ecosystems is becoming more apparent. This raises the question of whether design should prioritise service. This public memorial participates in citizens' daily lives beyond its formal role, from a meeting place to a mystical power worship site. Objects become subjects. New Materialism, vitalism, and object-oriented ontology alter memorial thinking.
The park challenges ideas about the world's future, human communities, and their changes. It encourages the public to build knowledge and scholars to think beyond social sciences to natural and life sciences. New materialists like Latour and Jane Bennett, who build on Spinoza's power theory, are fundamental. Spinoza says all items endure inside themselves, affecting humans. Latour and Bennett call this "agency of things".
The complete memorial park preserves memories and vegetation. Meanwhile, dying plant kinds are kept alive. Plants that survived the Anthropocene grow in the park. Based on Ernst Haeckel's nature drawings, design and critical post humanism blend into the form's compelling arrangements. We see a city designed for human benefit. Monocultures dominate fields outside the park and city, and cars travel far to carry greenhouse-grown fruits, guaranteeing seasonal supply is available.The unpleasant smell of 'concentrated animal feeding operations' permeates unassuming buildings far from public view and retail places. The bountiful resources that impact our daily life contrast with the continued exploitation in local and distant locations.
This environment is full of life and human-non-human interactions, exemplifying reciprocal transformation. This talent can be seen as a polished skill that specialists use to improve individual welfare, progress, efficiency, and economic growth. Design's significance in protecting non-humans and ecosystems is becoming more apparent. This raises the question of whether design should prioritise service. This public memorial participates in citizens' daily lives beyond its formal role, from a meeting place to a mystical power worship site. Objects become subjects. New Materialism, vitalism, and object-oriented ontology alter memorial thinking.
The park challenges ideas about the world's future, human communities, and their changes. It encourages the public to build knowledge and scholars to think beyond social sciences to natural and life sciences. New materialists like Latour and Jane Bennett, who build on Spinoza's power theory, are fundamental. Spinoza says all items endure inside themselves, affecting humans. Latour and Bennett call this "agency of things".
Working in public and mobilising the public for social and political change to offer the possibility of an alternate future is at the heart of her work. Van Olden utilises the Japanese Knotweed’s cultural, natural and scientific history to explain a system of human and non-human relations that has brought us to the Anthropocene.
Her PhD research generated materialistic considerations of a plant’s non-human agency by combining critical making and participatory design in zine-making workshops. Via cooperation withJapanese Knotweed through botanical inks and JapaneseKnotweed paper, Van Olden demonstrates how interactions embody and embed plants and individuals with whom they engage in more excellent socio-economic planes.
Catherine’s work has been presented in group and solo exhibitions in Belgium, France, the UK and the Netherlands. Educated at the Rietveld Academy in Amsterdam, the Académie Royale inBrussels (hon.)and the GSA Mlitt program (hon.)in Glasgow, she is the initiator of The Save theLoom Foundation, an international interdisciplinary art project set up to research the influence of sensory experiences in production processes and the significance of handicrafts in cultural history.
Her PhD research generated materialistic considerations of a plant’s non-human agency by combining critical making and participatory design in zine-making workshops. Via cooperation withJapanese Knotweed through botanical inks and JapaneseKnotweed paper, Van Olden demonstrates how interactions embody and embed plants and individuals with whom they engage in more excellent socio-economic planes.
Catherine’s work has been presented in group and solo exhibitions in Belgium, France, the UK and the Netherlands. Educated at the Rietveld Academy in Amsterdam, the Académie Royale inBrussels (hon.)and the GSA Mlitt program (hon.)in Glasgow, she is the initiator of The Save theLoom Foundation, an international interdisciplinary art project set up to research the influence of sensory experiences in production processes and the significance of handicrafts in cultural history.
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