duskin drum, PhD, is a professor and researcher at the School of Advanced Studies, University of Tyumen.
At the School of Advanced Studies, duskin drum is a founding professor and researcher in the Material Relations research group. He is an interdisciplinary scholar, artist, performer, and woodsman. In 2017, he completed a doctorate in Performance Studies with designated emphases in Native American Studies, and Science and Technology Studies at University of California, Davis. In 2005, he earned a Bachelors of Arts studying interdisciplinary theatre and performance at Evergreen State College . For 15 years, duskin has been making art and performance in Asia, Europe and the Americas.
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Abstract: Petroleum Performances
This dissertation is a study of petroleum performances. It is a creative, performative, and speculative analysis of industrial petroleum operations, rhetorics about petroleum, and everyday North American life capacitated by petroleum products. North American petroleum operations and relations are examined through comparison and substitution with indigenous legal thought. This two part dissertation focuses the technical operations of a refinery and a crude oil pipeline hub.
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melt with us
by Sarah Lewison and duskin drum
published in the Journal of Aesthetics and Protest #9
“The refuse between mind and matter is a mine of information” Robert Smithson
One of the key concepts conveyed by permacultural practice is the reimagining of that which is in-between the barriers of a human built world: roads, fences, buildings. In permaculture, borders and edges are encounter sites where translation and adaptation between species encourages diversity and resiliency.
We humans also have edges. (1) We participate in multiple encounters and translations with the edges of other bodies within context-suffused mediums called “environments.”
The seed bomb is a permacultural meme that intensifies awareness of this participation. Popularized by microbiologist and farmer Yasunobu Fukuoka (2) and the New York’s Urban Guerillas circa 1973, seed bombs, a mix of seeds and compost rolled into damp mud balls, were also used by prehistoric farmers. Because seeds are lightweight, their mix facilitates distribution and germination by providing weight and protective cover; tossed over a border or fence, the ball, grenade, or bomb waits until rain melts it into the ground. As the seeds swell and cotyledons emerge, seedlings are supported by microbes and the chemistry of root and soil. (3) An amalgam of seeds, fungi, microbe and ground becomes a manifesto for the fullness of in-between.
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Location: Lijiang Studio, Lashihai, Lijiang, Yunnan, China
Date: July 2012
Description: Improvised display of watercolor paintings on molding ecophilosophy articles on 8.5″ X 11″ printer paper. The paintings diagram the performance of “sad penguins” at Santa Cruz Museum of Art and History thinking through O0O.
remember the flies eating the watercolors.
i was painting O0O schemes on a some moldy pages of:
Morton, Timothy. “Here comes everything: The promise of object-oriented ontology.” Qui Parle: Critical Humanities and Social Sciences 19, no. 2 (2011): 163-190.
Location: In front of Memorial Union, University of California, Davis
Date: November 20, 2014
Description: Three hours sad penguin painting, sumi ink , oak gall ink (made from on campus galls) watercolor, paper, milk crate, cardboard, digital camera, sound recordings of ice floes and penguins.
I set up in front of the UC Davis Memorial Union in the row of tables where student clubs and associations flyer and bake sell. I painted sad penguins and gave them to students. The video is edited from the first hour and twenty minutes. Subsequently, the camera ran out of battery and the sky with rain. The penguins and I took cover under the eves. I painted with both sumi and oak gall ink made by artist Kim Zitzow from galls gathered on UC Davis campus.