Singer, YvonneMcGeough, Ella Dawn2024-07-222024-07-222023-10-172024-07-22https://hdl.handle.net/10315/42225We Change Everything We Touch and Everything We Touch Changes draws upon the vast, expressive potential of beds in their many forms, human and otherwise (i.e., coral-beds, death-beds, flower-beds, fossil-beds, river-beds, sedimentary-rock-beds, sleeping-beds, and so on). Qualities of horizontality and support draw this research together, but also a certain nondistinction between surface and depth, exterior and interior, which reminds us that when we are in-the-bed we lie on-the-bed. Applying the logic of assemblage, the formal structure of this work grasps several genres and a broad selection of subject matter via storied descriptions and visual material to form a recursive sense of textuality. Throughout, extimate aesthetics offers a conceptual foundation to register the indivisibility of exterior-objective forces within interior-subjective experience.Author owns copyright, except where explicitly noted. Please contact the author directly with licensing requests.Fine artsArt historyElectronic Thesis or Dissertation2024-07-22AestheticsAnecdotesAntsAssemblingBedsBlanketsBreathButterfliesCareCastingCatsChangeCocoonsCollaborationCollectivityColourConmenContainersCoralCreationDeathDoughDreamsEphemeraEndometriosisEnchantmentsExhaustionExtimacyFabricFantasyFloodsFloorsFlowersFormFormlessnessFriendsGrammarIllnessImaginationInheritanceIntroductionsLife writingMedusaMermaidsMothsMothersMutualismsMythObligationsPainPerceptionPillowsPrecarityRestRitualRiversSleepSmokeSpeculatingSupport structuresTimeTouchVisual artVocablesVoicesVolcanoesWaxWitches