How can one think of the relationship between the definitiveness of conversion, the teleological reconstruction of the past, and the integrity of the self? What are the implications in terms of subjectivity, gender, and desire? Is conversion a process that can be narrated or rather something constituted through the performance of narration itself? Can the paradox that conversion appears as both the condition and the performative product of self-narration be resolved through conversion’s teleological temporal structure? To what extent is an irreducibly complex experience reduced by being unfolded in such a linear temporality and at what cost for the self and for others? And finally, if Western paradigms not only of autobiography but of narration as such have arguably become inextricably bound up with conversion and its temporality, can one think of (narrative and textual) forms that propose other articulations of time and subjectivity?
This workshop will problematize the concept of conversion by looking at the interactions between theological discussions and literary re/presentations. It will also question conversion’s temporal structure by considering contemporary critiques of teleology, normativity, and futurity.
The workshop includes a presentation by Daniel C. Barber and will discuss texts by Augustine, Foucault, and Ryan Szpiech.
14:00 Daniel Barber: Death of Recognition
followed by discussion
15:00 Coffee break
15:30-17:00 Discussion of pre-circulated texts
17:00 Coffee break
17:30-19:00 Discussion of pre-circulated textsOn Conversion, workshop, ICI Berlin, 11 July 2017 <https://doi.org/10.25620/e170711>
Re-: With the general sense of ‘back’ or ‘again’, occurring in a large number of words directly or indirectly adopted from Latin, or of later Romance origin, and on the model of these freely employed in English as a prefix of verbs, and of nouns or adjectives derived from these. […]
Oxford English Dictionary
In modern English, the prefix re- is used to coin verbs and nouns denoting a repetition. In older formations, re- can also indicate a movement back to a previous state, or carry an intensifying force. At first glance transparent and directional, re- in fact complicates the linear and teleological models commonly accepted as structuring the relations between past, present and future, opening onto many temporal paradoxes.
As the first presentation of the collaborative work undertaken as part of the ICI’s Core Project ERRANS, in Time, this workshop seeks erratic temporalities in which sequences are agitated, teleologies unsettled, and time unhinged. Taking various instantiations of re- as its points of departure, current ICI Fellows will present an errant glossary in order to provoke reactions, resonances and responses.Programme
10:15-11:15 Re- Talks
(Arianna Sforzini, Hannah Proctor, Clio Nicastro, Julie Gaillard, Christiane Frey – 5x 10 min)
11:15-11:30 Coffee Break
(Tom Vandeputte, Daniel Reeve, Birkan Taş, Francesco Giusti, Cristina Baldacci, Rebecca Dolgoy – 6x 10 min)
13:00-15:00 Lunch Break
(Clio Nicastro, Daniel Reeve, Julie Gaillard, Hannah Proctor, Tom Vandeputte –
5 x 10 min)
16:00-16:15 Coffee Break
(Arianna Sforzini, Francesco Giusti, Birkan Taş, Christiane Frey, Cristina Baldacci – 5 x 10 min)
17:15-18:00 DiscussionRE-: Repetition. Recirculation. Renewal. Revolution. Reenactment. Rehabilitation. Research. Resistance. Recovery. Resolution. Reversion. Recitation., workshop, ICI Berlin, 25 September 2017 <https://doi.org/10.25620/e170925>
Yet the notion of an organization of perception also relates to the wider context of aesthetic theories and practices of the 1920s and 1930s, including a series of sensorial experiments exploring this link: Thus, in theorizing rhythm, the Soviet avantgarde negotiates between transgressions of a homogeneous, linear time regime and the industrial organization of movements and frequencies of body, speech, and thought. Projection, on the other hand, structures the perception of light and redefines the materiality of perception in such a radical way that the very notion of materialism is challenged.
The workshop considers the relation of media and perception in terms of historicity, rhythm, and projection, thereby connecting to the current ICI Focus ‘ERRANS, in Time’. It brings together a number of scholars who have researched particular constellations of the historical, technical, and political organization of perception.
16:10 Antonio Somaini (Université Sorbonne Nouvelle Paris 3)
Light as Medium
16:40 Elena Vogman (DFG project ‘Rhythm and Projection’ at FU Berlin)
Rhythm, Medium, Milieu: On the Memory of Forms
17:00 Gertrud Koch (Freie Universität Berlin)
Film Theory as Media Theorie
17:50 Coffee break
18:10 Ekaterina Tewes (DFG project ‘Rhythm and Projection’ at FU Berlin)
Organization of Perception, Organization of Matter
18:30 Georg Witte (DFG project ‘Rhythm and Projection’ at FU Berlin)
Rhythm, Organization, Form
18:50 Clara Masnatta (ICI Berlin)
Paradoxical Presence: Projecting Colors
19:10 DiscussionOrganization of Perception: Rhythm and Projection, workshop, ICI Berlin, 19 January 2018 <https://doi.org/10.25620/e180119>
A detailed outline of the day and specifics about each part of workshop will be distributed to registered participants in advance of the session.DE-, workshop, ICI Berlin, 22 January 2018 <https://doi.org/10.25620/e180122>
Beginning with a short presentation of Camille Robcis’s recent work on Félix Guattari’s involvement in the development of Institutional Psychotherapy in France, the workshop will then discuss a text by Guattari himself, alongside a contextual delineation of his work by Dagmar Herzog. The second half of the workshop will cast light on comparable practices and debates which unfolded in the USA, UK, Algeria, Italy, Germany, and Eastern Europe. By placing radical psychiatry in its broader international context, we will trace the dialogues and transformations that occurred as concepts crossed political and geographical borders.Schedule
14:00-16:00 Part I
Introduction and discussion of pre-circulated texts
16:30-18:00 Part II
Situating French Institutional Psychotherapy in an international perspective
19:30-21.00 Keynote by Camille Robcis
Disalienation: Philosophy, Politics and Radical Psychiatry in France
This workshop is a collaboration with the Zentrum für Literatur- und Kulturforschung and is occasioned by the (videorecorded) talk ‘When Time Becomes Form’ Eva Geulen gave in the context of the ICI Lecture Series ERRANS, in Time.Last Things Before Last: Kracauer’s History, workshop, ICI Berlin, 7 May 2018 <https://doi.org/10.25620/e180507>
This workshop — an event showcasing work by the current cohort of ICI fellows, who have worked collectively on the ICI core project ‘ERRANS, in Time’ over the past two years — will explore and explode questions of time and temporality.
Working across, between, and against disciplines and engaging with a diverse array of objects encompassing film, literature, psychology, philosophy, visual art, and critical theory, the speakers will address questions related to temporal errancy in conversation with invited discussants.
Aiming at bringing to a halt understandings of time as merely developmentalist, linear, and/or progressive, the event will investigate different forms and aesthetics of temporal errancies and their political implications.Programme
10:30-13:15 Panel I: Asynchronic Encounters
Future Un/known: Cripping In/dependence’
With and Despite Others: On Empathic Encounters
11:45 Coffee break
Scars Behind: On Revolutionary Politics and Healing
Shadows of Time and The Yet to Come: Political Imaginaries of Human Rights
Respondent: Taraneh Fazeli
13:15 Lunch break
14:30-15:45 Panel II: A Shared Present
Gesture Is so Contemporary, Contemporary, Contemporary (on Philippe Parreno)
Suspended Gestures: Lyric Time and the Transhistorical
Respondent: Fabian Goppelsröder
15:45 Coffee break
16:00-18:45 Panel III: Counter-Times
Standstill: Time and Political Affect in Benjamin
On Interim Politics – between Hobbes and Arendt
17:15 Coffee break
Emancipation, you said? Un/ending autonomy (on Lyotard)
Banal Conversion: Universality and Difference in the Late Middle Ages
Respondent: Vivian LiskaIt’s About Time, workshop, ICI Berlin, 4 July 2018 <https://doi.org/10.25620/e180704>
14. November 2018, 18:00 – 21:00
Taste as a Collective Involvement to Expand the Worlds We Inhabit
One might “take a liking” to a style of music, a wine region, any number of things; but how does taste shape objects and in turn how does it shape oneself? Sociologists have systematically investigated what determines taste, not what taste determines. This talk, on the other hand, will consider tasting, sensing, valuing things in their performative dimension: Amateurs and the objects they hold dear inform one another through a long process in the course of which devices and bodies, collectives and subjectivities take shape. A study of this process gives a better account of the amateur experience, which is both a demanding involvement and an uncertain fate that makes the particular force of things emerge and lets one be sensitive to them. By testing the object’s capacity to respond and evolve, but also by offering the opportunity to grasp it and render it with greater intensity, taste expands the potential of our world. In short, all aesthetics also contains an ethics and a politics.
Challenging the Sensory Order: Artistic Practice and Forms of Perception
‘This exhibition is an accusation’ – these were the words Lina Bo Bardi used to introduce her 1963 Nordeste exhibition, the inaugural show at the Museu de Arte Popular (MAP) in Salvador da Bahia. Standing accused was a modernism forgetful of history, purely formalist, and full of disregard for the Afro-Brazilian population’s ways of life. Through this example, the talk will provide a practice-theoretical examination of the interdependent relationship between collectively shared schemes of perception and material culture. This will both address the ‘form’ as a mediation of sensory ordering and engage with the artistic and curatorial practices that, through aesthetic means, question the established canon of forms – and the social forms contained therein.Sensing Collectives: Aesthetic and Political Practices Interwined, workshop, ICI Berlin, 14–16 November 2018 <https://doi.org/10.25620/e181114>
13:15-14:45 SESSION I & II: AIR TECHNICS AND EMBODIMENT / ANTHROPOCENTRISM LISTENING AND VOICE
Oriana Walker, Ventilators and the Voice from the Iron Lung to Positive Pressure
Naomi Waltham-Smith, Extant Listening: or Ec(h)otechnics
Martin Daughtry, Precarious Songs of the Anthropocene
Andreas Borregaard, Asthma — for accordion and video (Simon Steen-Andersen, 2017)
16:00-17:15 SESSION III: ECOPOLITICS OF SOUND AND SILENCE
Jessica Feldman, “We are Nature Defending Herself”: Decentering the Human through Collective Listening and Coordinated Silence in Climate Protest
Zeynep Bulut, On Non-Dialogic Voicing
17:15-17:45 FINAL DISCUSSIONThe workshop will bring artists and scholars together for a sustained conversation on the theme of voice and environment. It will explore physical, cultural, sonic, and social interactions between voice and environment as well as issues relating to atmosphere, climate change, precarious vocality, and varied physical and cultural dynamics of breath and breathlessness. How do our voices interact with the physical, cultural, political, historical, and cosmological milieus in which they are emplaced? Can attention to environmental concerns lead to a productive expansion of the category of voice, stretching it beyond the conventional parameters of the human body and aurality/sound? How might this expanded, posthuman conception of voice help us understand our place in a multispecies world? Can environments listen? Can environments speak or sing? Can humans give voice to nonhuman perspectives? These questions, which engage with recent art and scholarship on the Anthropocene, biopolitics, posthumanism, sound studies, and ecocriticism, will frame the exploration of the entangled dynamics of voice and environment. The workshop will include a panel of short position papers and an intermedial performance, followed by a free-ranging discussion.
Daniel A. Barber is an associate professor of architecture at the University of Pennsylvania, where he is also Chair of the PhD Program. He is the author of A House in the Sun: Modern Architecture and Solar Energy in the Cold War (2016) and Climatic Effects: Architecture, Media, and the Great Acceleration (forthcoming). He has published and lectured widely, and has held research fellowships at Harvard University and Princeton University. He is currently a Research Fellow at the Max Planck Institute for the History of Science in Berlin. Barber edits the series ‘Accumulation’ on e-flux architecture.
Andreas Borregaard is recognized as one of the world’s most exciting young accordionists. He has appeared in solo and chamber music recitals in Australia, South America, US, and most parts of Europe. In 2007/2008, Andreas Borregaard was the first ever accordionist to be admitted to the prestigious and highly acclaimed Guildhall School of Music and Drama in London. Since 2010 Andreas Borregaard has been teaching accordion and chamber music at the Royal Danish Academy of Music in Copenhagen and in 2017 he was appointed accordion lecturer at the Norwegian Academy of Music in Oslo, where he is currently also a PhD fellow in artistic research (‘Just Do It! — Exploring the Musician’s Use of Bodily Performance’).
Zeynep Bulut’s research sits at the intersection of voice and sound studies, experimental music, and sound art. Bulut is a lecturer in music at Queen’s University Belfast and visiting research fellow at King’s College London. Prior to joining Queen’s, she was a lecturer in music at King’s College London and a research fellow at the ICI Berlin. She is sound review editor for Sound Studies: An Interdisciplinary Journal and project lead for the collaborative research initiative ‘Map A Voice’. Her current book project, Building a Voice: Sound, Surface, Skin, theorizes the emergence, embodiment, and mediation of voice as skin. Her articles have appeared in various volumes and journals, including Perspectives of New Music, Postmodern Culture, and Music and Politics.
Martin Daughtry is an associate professor of music at New York University. He teaches and writes on acoustic violence; human and nonhuman vocality; listening; jazz; Russian-language sung poetry; sound studies; and the auditory imagination. His monograph, Listening to War: Sound, Music, Trauma, and Survival in Wartime Iraq (2015) received a PROSE Award from the Association of American Publishers, and the Alan Merriam Prize from the Society for Ethnomusicology. He is currently writing a book on voice and atmosphere in the Anthropocene.
Jessica Feldman is an assistant professor in the Department of Global Communications at American University of Paris. Before that, she was a Postdoctoral Fellow at the Digital Civil Society Lab at Stanford, after earning a PhD in Media, Culture, and Communication from NYU. Her dissertation considered how advances in the surveillance of cell phone data, decentralized mobile networks, and vocal affective monitoring software are changing the ways in which listening exerts power and frames social and political possibilities. She is also an artist whose work has been exhibited and performed internationally. Her current book project, Radical Protocols: Designing Democratic Digital Tools in Social Movements, considers the ways in which democratic values are (or are not) inscribed in the design of emerging networked communication technologies.
Oriana Walker is a historian of medicine and the human body. She received her PhD in the history of science from Harvard University and is currently a postdoctoral fellow at the Berlin Center for the History of Knowledge and at the Humboldt-Universität zu Berlin, having formerly held postdoctoral fellowships on the Wellcome project Life of Breath (Bristol) and at the Max Planck Institute for the History of Science in Berlin. Her work uses the history of the body as a space for exploring how imaginations of self and world are made and forgotten and, in turn, how these limit or expand human possibility.
Naomi Waltham-Smith is associate professor in the Centre for Interdisciplinary Methodologies at the University of Warwick, having beforehand taught music and comparative literature at the University of Pennsylvania. Her research interests lie at the intersection between recent European philosophy, especially deconstruction, and sound studies; and her writings appear in journals including boundary 2, CR: The New Centennial Review, diacritics, Parrhesia: a journal of critical philosophy, Music Theory Spectrum, Music Analysis, and the Journal of Music Theory. She is the author of Music and Belonging Between Revolution and Restoration (2017), and her second book, The Sound of Biopolitics, is forthcoming.Voice and Environment, workshop, ICI Berlin, 18 March 2019 <https://doi.org/10.25620/e190318>
For the workshop, Robert Fletcher explores different positions within this debate and proposes that only a via media offers a productive path forward. Taking the important challenges advanced by post-constructivist perspectives seriously, one can nonetheless ask where they advance an effective environmental politics. The workshop focuses on the so-called ‘ontological turn’ within social anthropology and related fields. Proponents of this perspective commonly present themselves as promoting a radical, even revolutionary politics. Yet others have seen in them a post-political intervention that may undermine the ability to take a firm stance among the various perspectives competing in today’s political landscape. Fletcher suggests that a certain understanding of ontology – what he calls a ‘strong ontological position’ – is indeed incompatible with the type of political engagement that an effective environmental politics demands. The strong ontological option, Fletcher argues, leaves actors with only two options: brute power politics or a retreat into ontological particularity. He concludes that a strong ontological position is incompatible with – and indeed, quite detrimental to – both research and political engagement committed to social and environmental justice.‘The Ontological Turn: Radical Politics or Post-Political Impasse?’, workshop presented at the lecture Robert Fletcher, Can the Posthuman Speak? : In Defense of Anthropocentrism, ICI Berlin, 9 May 2019 <https://doi.org/10.25620/e190509-1>
Full Surrogacy Now by Sophie Lewis brings a fresh perspective to debates around assisted reproduction. Rather than making surrogacy illegal or allowing it to continue as is, Lewis argues we should be looking to radically transform it. Surrogates should be put front and centre, and their rights towards the babies they gestate should be expanded to acknowledge that surrogates are more than mere vessels. In doing so, we break down our assumptions that children necessarily belong to those whose genetics they share. Arguing for solidarity between paid and unpaid gestators, Lewis suggests that the struggles of workers in the surrogacy industry may help illuminate the path towards alternative family arrangements – taking collective responsibility for children would radically transform notions of kinship. This expanded concept of surrogacy helps us see that it always, as the saying goes, takes a village to raise a child.
Sophie Lewis is a water based entity in Philadelphia. In addition to Full Surrogacy Now, Lewis has translated works including Communism for Kids by Bini Adamczak (MIT, 2016), Unterscheiden und Herrschen by Sabine Hark and Paula-Irene Villa (Verso, 2020), and A Brief History of Feminism by Antje Schrupp (MIT, 2017). She is a member of the Out of the Woods collective, whose first book is to be published by Common Notions in 2019, an editor at Blind Field: A Journal of Cultural Inquiry, and a queer feminist geographer committed to cyborg ecology and anti-fascism. Further writings, on subjects ranging from Donna Haraway to dating, have been published in The New York Times, Boston Review, Viewpoint Magazine, Signs, Dialogues in Human Geography, Antipode, Feminism & Psychology, Science as Culture, Frontiers, The New Inquiry, Jacobin, Mute and Salvage Quarterly.
Join Sophie Lewis for a discussion of her new book Full Surrogacy Now: Feminism Against Family, which was released by Verso this May. Donna Haraway has labelled it ‘the seriously radical cry for full gestational justice that I long for’, whilst McKenzie Wark says that it ‘brings us a vision of another life’.Programme
15:00 Introduction Hannah Proctor
15:10 -16:30 Part I
16:30 Coffee break
17:00-18:00 Part IIFull Surrogacy Now, workshop, ICI Berlin, 5 June 2019 <https://doi.org/10.25620/e190605>
This workshop will discuss the theory and politics of terraforming Earth. In ‘Terraforming Earth: A Theory of Ecotechnics’, Derek Woods looks at how terraforming has moved back and forth between US science fiction and science, using the tautology ‘terraforming Earth’ as a site for the study of the cultural politics of the Anthropocene. In ‘The Birth of Geopower’, Ingrid Diran and Antoine Traisnel propose to supplement Foucault’s analysis of biopower with a study of governmentality at the geological level, or geopower, which subsumes the relation of organic and inorganic matter into the explicit calculus of power. Where bio-politics makes legible the politics of man as living being, geo-politics brings into question man as a collective geological force.
Derek Woods is a postdoc in the Society of Fellows at Dartmouth College. He works on ecotheory, science and technology studies, and contemporary Anglophone literature and media.The Year’s Work in Terraforming: with Derek Woods, workshop, ICI Berlin, 12 June 2019 <https://doi.org/10.25620/e190612>
This workshop will address the potential and limits of the ‘ontological turn’ for queer studies, a field long concerned with what is excluded or negated in systems of relation. In their introduction to the recent issue of GLQ: A Journal of Lesbian and Gay Studies, ‘The Ontology of the Couple’, S. Pearl Brilmyer, Filippo Trentin, and Zairong Xiang chase after a ‘zero’ that, they argue, must always be eliminated or dialectically synthesized in order for ‘two to become one’.
Drawing on early psychoanalytic theory, Daoist cosmology, and critical race studies, they work to reconfigure a series of binaries that have divided the field of queer studies over the past few decades: normativity versus antinormativity, future versus no-future, negativity versus optimism, relationality versus antirelationality, West versus non-West. Proceeding from a reading of this introduction, this workshop will ask whether ‘queer’ stands always at the threshold of ontology, a (non)ontological leftover that allows being, life, and relationality to cohere.
16:10 – 17:10 Part I
17:10 – 17:30 Coffee break
17:30 – 18:30 Part IIQueer (Non)ontology: Thinking with the Zero, workshop, ICI Berlin, 24 June 2019 <https://doi.org/10.25620/e190624>
Adriana Knouf, PhD (US) works as an artist, writer, and xenologist. She engages with topics such as wet media, space art, satellites, radio transmission, non-human encounters, drone flight, queer and trans futurities, machine learning, the voice, and papermaking. She is the Founding Facilitator of the tranxxenolab, a nomadic artistic research laboratory that promotes entanglements among entities trans and xeno. Adriana regularly presents her artistic research around the world and beyond, including a work that has flown aboard the International Space Station.
Pre-circulated reading for discussion: The Introduction to Thomas Nail’s Theory of the Earth:
This workshop is the third and final installment of the series ‘In Front of the Factory,’ which has focused on questions of work and the ways in which work/labour have been framed in past and contemporary forms of image-making. The workshop presents the research and conversations that accumulated through the series, including topics such as cinematic representations of women’s labour; the presence or absence of domestic and reproductive labour in visual media; the spatial and temporal dimensions of unemployment; the use of cinema for industrial knowledge production and nation-making; and the gendered and racial dimensions of labour in film and photography.
16:00 Introduction by Clio Nicastro
16:15-18:00 Workshop with Saima Akhtar
19:30 Keynote Silvia Federici: The Globalization of Women’s Work and New Forms of Violence Against Women
Introduction by Rosa BarotsiAs Workers Leave the Factory, What’s Left Behind?, workshop, ICI Berlin, 9 July 2018 <https://doi.org/10.25620/e180709>
‘Affective Ecologies’ presents imaginative methodological exercises in documenting the multi-species afterlives of militarized spaces in the present-day Middle East. The workshop explores the intersection of ethnography and the arts as it provides a haunting, sensual, and dissident document of the militarized, poisonous, and neglected rhythms of daily life in Middle Eastern ecologies. Giving an account of a rigorously affective relationship between the human and the non-human, giving equal aesthetic attention and ethnographic weight to the military and to the ecological, the workshop examines the possibilities of affective ecologies that turn post-human interpretations into situated political fragments.
The workshop researches the convergent and nomadic movement of works that document, but are not necessarily documentaries. It does not attempt to classify these works as genre-defining documents, but is interested instead in researching the anarchic possibilities offered by genre-crossing methods in describing the affective afterlives of life under militarism.
17:00 Welcome by Umut Yildirim
Introduction and Discussion of Texts
with Françoise Vergès
18.30 Coffee Break
19:00 Part II
Panel discussion followed by a Q&A
Experimentation is characterized by exploratory strategies as much as by clear aims and methodological rules, by openness to unprecedented events, contingency and surprise as much as by reproducibility and the stabilizing and control of materials and procedures. Researchers can be more or less certain as to what was actually manipulated or measured, or which factors interfered. Hence, laboratory practices generate uncertainty as to the status of potential novelty and afford means to reduce opacity, ambiguity and instability and achieve certainty. The workshop addresses this tension by examining how personnel, tools or materials enter or leave the lab; how physical, chemical, and biological, as well as social and psychological lab conditions go unnoticed or become targets of control; and how transfers between labs, field sites, and service facilities shape experimental possibilities.Lab Environments: Spaces of Possibility and Certainty in Scientific Practice, workshop, ICI Berlin, 18 October 2019 <https://doi.org/10.25620/e191018>
A seed. An archive. Soaked in material memories of soils, weathers, technologies, journeys, and cross-species interactions. The moment of planting, like an uncertain inscription: will it hold, will it stand up to the scrutiny of bugs and political winds? What endures in the archive and what stands to lose life and the right to flourish are not unrelated. As an effectual epistemic arrangement, archives shore up categories and histories that accord livable lives to some. As a pervious site of things and people, archives can hardly contain the derelictions and nervousness that structure the practices of recording, breeding, and keeping. By introducing other living and non-living records into archival tectonics, what one can call ‘experimental planting’, Nadim and Neumeyer will collectively examine questions of narratives in agricultural practices and archives. They want to pay particular attention to the troubles hidden in their ghostly matters.
They begin by approaching two sites of archival matter: documentary fragments relating to experimental agricultural stations of the German colonial empire kept at the Botanical Museum and Botanical Garden Berlin and the historical archive (Historische Bild- und Schriftgutsammlung) of the Museum für Naturkunde Berlin. In re-sorting, re-classifying, up-turning, and re-describing documents and traces, this workshop will experiment with and speculate about beginnings and endings, plots and plantations, and present pasts.
Tahani Nadim is a junior professor for socio-cultural anthropology in a joint appointment between the Museum für Naturkunde Berlin and the Humboldt-University’s Institute for European Ethnology. Her interdisciplinary research combines the sociology and anthropology of science and problematizes data practices and data infrastructures in biodiversity discovery and natural history collections.
Sybille Neumeyer is a multimedia artist, living and working in Berlin. Her works include drawings, installations, objects, moving and still images through which she explores — with a focus on ecological issues — relationships and entanglements between human and non-human. Currently she is investigating micro-histories and polyphonic (hi)story-telling based on a cross-disciplinary research.
‘Experimental Encounters’, workshop presented at the discussion, lecture Experimental Humanities, ICI Berlin, 15 November 2019 <https://doi.org/10.25620/e191115-1>
Weathering is atmospheric, geological, temporal, transformative. Inherently relational, it refers to a great variety of processes that alter by exposing to the elements, wear down over time, add patina, degrade, or even disintegrate. It can denote the ways in which subjects and objects resist and pass through storms and severe adversity. But questions remain: What does it means to weather or withstand? Who or what is able to pass through safely in various contexts of weathering? And what is lost or gained in the process?
Within the context of the ongoing ICI research focus ‘ERRANS environ/s’, fellows and staff members assemble in this internal workshop to contemplate the theme of weathering across many fields and disciplines. Participants will examine surfaces, environments, scales, reciprocity (or lack thereof), temporalities, and vulnerabilities of weathering and being weathered.On Weathering, workshop, ICI Berlin, 30–1 October 2019 <https://doi.org/10.25620/e191030>
The workshop will use the focus on assistance dogs as co-producers of relationships and companionship with people with disabilities to contribute to political debates about animal welfare, disability justice, while raising new questions about feminist and disability critiques of care, vulnerability, relational autonomy, and independence.Assistance Dogs: Care and Interdependence, workshop, ICI Berlin, 24 September 2020 <https://doi.org/10.25620/e200924>
If today people increasingly face an augmented reality in their everyday life, how will this regime of artificial intelligence affect human perceptions of time, reality, space, the body, and alterity? Can operational images performing specific tasks independently of human control or pictures created by algorithms still be considered by themselves? What about digital media environments that no longer represent anything but are designed to stimulate a multisensory and interactive experience: aren’t they perhaps closer to ‘an-icons’, that is, images that tend to negate themselves as images? And how can one envision the future of images at the crossroads of Internet and Post-Internet art? The workshop will delve into questions concerning the ‘nature’ and role of digital images.Mitra Azar (aka Emanuele Andreoli) is a video-squatter and ARThropologist with a background in aesthetic philosophy. For the last ten years he has been investigating crisis areas in some of the most controversial places through the lens of visual art, filmmaking, and performance. He is currently a PhD candidate at Aarhus University, as well as part of the Geneve2020 think tank (Institute of Research and Innovation, Centre Pompidou). He currently is a visiting scholar at Duke University and the University of California, Berkeley. His work has been featured in academic and exhibition contexts at, among others, Cambridge, NYU, MOMI NY, Spectacle Cinema NY, the School of Creative Media at the City University of Hong Kong, Goldsmiths, the Havana Biennial, The Influencers, Fotomuseum Winterthur, the Venice Bienniale, the Transmediale, Macba [Sonia] Podcast, and the Berlinale.
Jacob Lund is associate professor of Aesthetics and Culture and Director of the research programme ‘Contemporary Aesthetics and Technology’ at the School of Communication and Culture, Aarhus University, Denmark. He is also editor-in-chief of The Nordic Journal of Aesthetics. Lund has published widely within aesthetics, art history, critical theory, and comparative literature. Currently he is finishing a four-year collective research project called ‘The Contemporary Condition’, which focuses on the concept of contemporaneity and changing experiences of time (www.contemporaneity.au.dk). His publications as part of the project include The Contemporary Condition: Introductory Thoughts on Contemporaneity and Contemporary Art(2016, with Geoff Cox) and Anachrony, Contemporaneity and Historical Imagination (2019).
Marisa Olson is an artist and media theorist who performs research in the history of technology and its cultural and environmental affects. She is responsible for coining the term Postinternet Art in 2006. Her work has been presented at the Whitney Museum, the New Museum, Venice Biennale, Fotomuseum Winterthur, C/O Berlin, National Museum of Contemporary Art Athens, Tate Modern + Liverpool, British Film Institute, PS122, Performa Biennial, Samek Museum, and Bard CCS.Art and the Digital Environment: Reconfiguring Images, workshop, ICI Berlin, 30 January 2020 <https://doi.org/10.25620/e200130>