a working research space designed and created by MUCK (Must Use Critical Knowledge)
for Stream, a collaborative and experimental knowledge exchange hosted by MUCK on 20.02.21
with source texts shared by The Nature Library
programmed as part of AIR DIVING, a solo exhibition by Matthew Rimmer at 16 Nicholson Street Gallery, Glasgow UK
19.02.21 ~ 07.03.21

source texts shared by The Nature Library:
An interactive feed, 'Stream' invites workshop goers to respond to themes presented in the artist's work, MUCK’s gathering of research and selected source materials from The Nature Library. A live feed of a biotope artwork situated in the Botanical Gardens, Glasgow will take place on Youtube, utilising the platform’s real time collection of data as a fluid method of establishing a waterfall/stream of comments that will go on to comprise a collective text. The comments act as a feed in themselves - the visual and the textual feeding into each other to form new overlaps in knowledge - the natural environment entangling with domestic space through technological apparatus - ecological narratives of scarcity and pollution transmitted into your living room...

MUCK’s role will be to distil research made prior to the live feed and present this body in the form of floating themes/bait for workshop goers to hook onto, asking them to respond in the comments section of the live feed. This stream of comments will be edited by MUCK into a collective text published in the accompanying publication to Matthew's show . With workshop goers' consent, the collective text will be used as an underpinning for further satellite events and developmental research, which workshop goers are invited to take part in in the future. Themes of water scarcity and climate entanglement will emerge from the submerged as MUCK floats ideas relating to our watery inhabitance. The Nature Library will provide source texts to be accessed by workshop goers prior to the live feed, acting as a backdrop to the critical intent of the workshop.

To feed is to ruminate - the biotope ruminates on the unseen life of Scottish waters, asking the viewer to comprehend the materialities of water species and water bodies and the possibilities of liquidity as an anti-Capitalist ideology, (see theory of hydro-logics as discussed by Astrida Neimanis) The live stream transmits the biotope in to the remote and the concurrently isolated human - accessing this feed, or field, of knowledge requires a mutual position between the feeder and the fed.
Scotland will experience more frequent
and more severe droughts in the coming
decades due to climate change. This will
influence water availability for drinking
water, agriculture and ecosystems.
increasing resilience against low water supply episodes
the probability of their occurrence
system resilience
Vulnerability is defined as a combination of the adaptability, sensitivity and exposure of areas.
Adaptability is the ability for an area to change in order to minimize negative effects. Sensitivity is the
amount of change for a given amount of exposure. Exposure is the amount of land use or climate change
that takes place.
Climate x Change, 2019 report (click)
Water supply systems in
some parts of Scotland have relatively low levels of storage, and rely on regular supply from precipitation
as they rely on small lochs or rivers with little groundwater distribution, especially high altitude systems.
Click on image to learn more
Water Memory is a term that was coined in the late 1980’s by a journalist covering the work of French immunologist and water researcher Jacques Benveniste. Benveniste’s work claimed to prove that the configuration of molecules in water was biologically active, and furthermore, this biological activity could be digitized and reproduced in another water sample anywhere on earth. He also wrote about his findings that water could still contain DNA of an added substance, even after being diluted to the point that it could not possibly still contain even traces of the original substance- a study that was subsequently published in the prestigious journal Nature.
The Curious Study of Water Consciousness
Aber (Pictish and Welsh) River mouth
Inbhir (Gaelic) River mouth [eenvir sometimes eenyir] Anglicised to Inver
Esk (Pictish, Welsh and Brythonic) River
Abhainn (Gaelic) River [aveen or locally aween]
Avon (Scotland and England) / Afon (Welsh and Pictish) River
Allt (Gaelic) Stream of burn [owlt]
Eas (Gaelic) Waterfall [ess]
Fèith (Gaelic) Boggy stream [fay]
Glais (Archaic Gaelic) River [glash]
Uisge (Gaelic) Water [ooshka] Sometimes used for a watercourse
Srath (Gaelic) Strath / glen / valley
Gill (Norse) Burn / small stream
Like the myriad other bodies of water with which we coexist, we humans live according to these logics. Such logics can be understood as the specific capacities of certain bodies to affect other bodies. They are ways of being—movements or modes of relationality, sociality, endurance, becoming. We might describe water's logics as hydro-logics...I nonetheless propose that hydro-logics can be described in a schematised way: gestation, dissolution, communication, differentiation, archive, unknowability. Such a schematisation helps us grasp the multivalent ways in which watery bodies are more than just ‘fluid’.
feminist subjectivity, watered - Astrida Neimanis (click)
Push the boat out, compañeros,
push the boat out, whatever the sea.
Who says we cannot guide ourselves
through the boiling reefs, black as they are,
the enemy of us all makes sure of it!...

from At Eighty by Edwin Morgan (click)
Sea Grass Neptune Balls (click)
Sensory Experiments: Psychophysics, Race, and the Aesthetics of Feeling - Erica Fretwell

sea-wrung sea-wracked time-speckled - Suzannah V. Evans

Seaweedsbladet - Life In Seved - Ingela Ihrman

On Hospitality
from Strangers (Essays on the Human and Non-human) - Rebecca Tamás
source images courtesy of Matthew Rimmer (click to enlarge):
Drawing courtesy of Matthew Rimmer
Biotope designed and assembled by Matthew Rimmer
Image courtesy of Matthew Rimmer and Aga Paulina Mlynczak
Aber (Pictish and Welsh) River mouth
Inbhir (Gaelic) River mouth [eenvir sometimes eenyir] Anglicised to Inver
Esk (Pictish, Welsh and Brythonic) River
Abhainn (Gaelic) River [aveen or locally aween]
Avon (Scotland and England) / Afon (Welsh and Pictish) River
Allt (Gaelic) Stream of burn [owlt]
Eas (Gaelic) Waterfall [ess]
Fèith (Gaelic) Boggy stream [fay]
Glais (Archaic Gaelic) River [glash]
Uisge (Gaelic) Water [ooshka] Sometimes used for a watercourse
Srath (Gaelic) Strath / glen / valley
Gill (Norse) Burn / small stream
It attests to the Weltgeist’s sense of humour that glass enclosures for people and things developed in the mid-19th century at the same time as glass enclosures for aquatic flora and fauna. Based on the architectural principles of Gothic cathedrals and consequently endowed with a latent religiosity, the industrial vivarium of London’s Crystal Palace turned the visitors into zoo animals, so to speak, while in the aquarium, especially the home aquarium, once- obscure sea creatures took on human traits.
Appetite for the Magnificent: Plumbing the depths of the aquarium - An essay on Philip Henry Gosse (click)
MUCK home
The Nature Library home
Matthew Rimmer home
16 Nicholson Street Gallery home
themes / threads / hooks / points of departure for engagement
~ click here to register on Eventbrite ~
~ click here to find out more about Matt's show ~
Alongside the useful, then, there was also the curious—the 'exotic', the unique, the unfamiliar. As Sadiah Qureshi argues (2011), ethnographic displays were spaces where urban Victorians could feed their fascination with, and
further their interests in what was considered human natural history, allowing them to engage with a range of contemporary debates from science to slavery
(Qureshi 2011: 8)
"My life is a distorted reflection just as the reflection of a face is distorted in an undulating and unstable lake. Trembling imprecision. Like what happens to water when you dip your hand in it. I'm the faintest reflection of erudition. My receptivity is tuned ceaselessly registering other people's conceptions, reflecting in my mirror the subtle shades of distinctions between the things of life. I who am the result of the true miracle of the instincts. I am a swampy terrain. In me is born a wet moss covering slippery rocks. A swamp with its suffocating intolerably sweet miasmas. A bubbling swamp."

From A Breath of Life by Clarice Lispector
Zwamborn writes: “Many algae that wash ashore have broken free from far-off coasts. They do not respect national borders. Depending on the current, they float towards land. Sometimes they travel for weeks. You could try to calculate where they originated from with a river atlas, a map of the seabed and weather reports, but it would remain guesswork.”
Danse Serpentine - Loïe Fuller (1897)
Click on image to learn more