{"id":24166,"date":"2020-09-11T07:35:45","date_gmt":"2020-09-11T07:35:45","guid":{"rendered":"https:\/\/hy-phen.space\/journal\/?page_id=24166"},"modified":"2022-03-02T20:36:06","modified_gmt":"2022-03-02T20:36:06","slug":"hyphen-colloquium-overflows-and-interdependencies","status":"publish","type":"page","link":"https:\/\/hy-phen.space\/journal\/hyphen-colloquium-overflows-and-interdependencies\/","title":{"rendered":"Hyphen Colloquium: Overflows and Interdependencies (2020)"},"content":{"rendered":"

Hyphen Journal<\/a> presents:<\/h4>\n

Hyphen Colloquium: Overflows and Interdependencies<\/h1>\n

To mark the publication of Hyphen Journal<\/em><\/a> Issue 2: Excess<\/a>, we invite you to join us for an online colloquium on Wednesday 23 September, 2\u20136:30pm.<\/p>\n

This colloquium reflects on the intersections between Overflows and Interdependencies in relation to creative and interdisciplinary modes of research, interplays between theory and fiction, ecologies in the expanded sense, as well as embodied knowledges and practices of resistance.<\/p>\n

The colloquium will be held via Zoom. Please register your attendance<\/strong> here<\/a> by 21 September<\/strong>. Information on how to attend will be sent out before the event.<\/p>\n

Programme<\/a>
\nAbstracts<\/a>
\nBiographies<\/a><\/p>\n

\n

Keynote<\/h4>\n

Andreas Philippopoulos-Mihalopoulos<\/strong> (Professor of Law & Theory<\/a>, University of Westminster)
\nTracing Submergence<\/strong><\/em><\/p>\n

Tracing layers of geology through paper, water, ink and gold. Thinking across disciplines:\u00a0law, art, geology, ecology. Making across continents: Jan Hogan in Tasmania, Australia,\u00a0Andreas Philippopoulos-Mihalopoulos in London, UK, a collaboration on Zoom and also\u00a0physical, that found expression in a recent\u00a0online exhibition<\/a>. In this presentation, Andreas\u00a0will talk about and through the artworks, weaving in theory from his work on atmospherics\u00a0and fiction from his recent novel\u00a0And our Distance Became Water<\/em>.<\/p>\n

<\/a><\/p>\n

\"\"
Image: Andreas Philippopoulos-Mihalopoulos<\/figcaption><\/figure>\n
\n

Programme<\/h4>\n

Panel 1: Overflows<\/strong>
\n2pm\u20133:30pm<\/p>\n

Diann Bauer<\/strong> (CREAM, University of Westminster)
\nProtocols for the Phase Transition<\/em>, by AST<\/strong><\/p>\n

Jill Daniels<\/strong> (School of Arts and Creative Industries, University of East London)
\nAesthetics of Resistance: Reframing the Nonfiction Oppositional Film<\/strong><\/p>\n

Kasturi Torchia<\/strong> (Esprit Concrete\/Parkour UK)
\nReplaying\u00a0Our\u00a0Past\u00a0or\u00a0Starting\u00a0Anew:\u00a0Our\u00a0Environment\u00a0As\u00a0Our\u00a0Trigger\u00a0or Our\u00a0Solution<\/strong><\/p>\n

Moderator: Matthias Kispert<\/strong> (CREAM, University of Westminster)<\/p>\n

\n

Panel 2: Interdependencies<\/strong>
\n3:45\u20135:15pm<\/p>\n

El\u017cbieta Kowalska<\/strong> (Institute of Theatre and Media Arts,\u00a0Adam Mickiewicz University, Pozna\u0144)
\nMapping the Gut Buddies<\/strong><\/p>\n

Amanda Egbe<\/strong> (School of Media and Performance, University of Bedfordshire)
\nImitations: Representations of Blackness as an Ecology of Images in\u00a0Cinema and Machine Learning<\/strong><\/p>\n

Manuela Johanna Covini<\/strong> (Independent artist)
\nThe New Village Project<\/em> (I Have to Change My Life)<\/strong><\/p>\n

Moderator: Mirko Nikoli\u0107<\/strong> (Department of Culture and Society (IKOS), Link\u00f6ping University)<\/p>\n

\n

Keynote<\/strong>
\n5:30\u20136:30pm<\/a><\/p>\n

Andreas Philippopoulos-Mihalopoulos<\/strong> (Professor of Law & Theory<\/a>, University of Westminster)
\nTracing Submergence<\/strong><\/em><\/p>\n

Moderator: Harshavardhan Bhat<\/strong> (School of Architecture and Cities, University of Westminster)<\/p>\n

\n

Abstracts<\/h4>\n

Diann Bauer<\/strong> (CREAM, University of Westminster)
\nProtocols for the Phase Transition<\/i>, by AST<\/strong><\/p>\n

We now exist in an unstable condition of flux \u2013 highly volatile, as well as extraordinarily generative \u2013 and we are all accountable for and subject to the future that emerges from these shifting conditions. A future built through this flux demands new territories and creates nodes from which to act. The collaborative AST proposes a set of protocols for the construction of 21<\/span>st<\/span>century alliances traversing borders, nation states and species. Bauer, a member of AST, will briefly introduce these protocols and show a few of the short videos that were made to correspond with them.<\/span><\/p>\n

strelkamag.com\/en\/article\/protocols-for-the-phase-transition-towards-new-alliances<\/a><\/p>\n

\n

Manuela Johanna Covini<\/strong> (Independent artist)
\nThe New Village Project<\/em> (I have to Change My Life)<\/strong><\/p>\n

You have to change your life! Who could say this to whom? Our modern psyche is in the meanwhile organized in such a way that we would not allow anymore any authority to say to us that we have to do something.<\/p>\n

But some things have to be changed. Now! One of those things is to live a good life.
\nWhat reads like an esoteric sentence are ultimately a lot of small things in everyday practice. Also in the practice of producing art.
\nProvided we understand the term \u201egood\u201c as \u201ebeing self-sufficient\u201c and \u201eas resourceless as
\npossible\u201c.<\/p>\n

A self-sufficient life\/ also speaking of a self-sufficient art production is naturally designed individually, because the political and moral context of independence is constantly being reformulated. Neither we nor our environment\/ nature are in a static state.
\nAnd this is the challenge: A self-experiment, a process with new questions and unexpected or forgotten answers, a feeling as if you can see again. Meaning to organize myself and find out what are really my own wishes and desires. Sounds again like psychotherapy, but I’m afraid modern people probably need one.
\nAnyway: Since I discovered the richness of a simple and conscious life I am bored of wandering the pathways to promised prosperity.<\/p>\n

So for this so for this Hyphen Colloquium: Overflows and Interdependencies on 23 September 2020 I like to suggest to speak about my quest for relief from dependencies and my production of a good live that involves changes or at least a more conscious approach to the things of daily life. The talk will be also about the joy of working and a new relation to nature, will talk about detaills how to restore\/ manage a house and farm without electricity, but still keep up with the times, to be connected with the others. It is also about living with new neighbours and to build up a small functioning community. But above all it is a film about the love for the planet.<\/p>\n

My references will relate amongst others to Joseph Beuys \u0301 Honeypump at work, the painter Andreas Erikkson and german philosopher Peter Sloterdijk.<\/p>\n

Recent works by Manuela Johanna Covini: The Honey and the Pump<\/a><\/em> (2020),\u00a0Hybris <\/a><\/em>(2020), We \u2013 The Distance between You and Me<\/em><\/a>\u00a0(2019), A Short Lecture<\/a><\/em> (2019)<\/p>\n

\n

Jill Daniels<\/strong> (School of Arts and Creative Industries, University of East London)
\nAesthetics of Resistance: Reframing the Nonfiction Oppositional Film<\/strong><\/p>\n

In 2010, Hito Steyerl noted in her article, Aesthetics of Resistance? Artistic Research\u00a0As Discipline and Conflict<\/em>, that throughout history moments of extreme conflict and\u00a0crisis gave rise to the development of a new range of aesthetic approaches to artistic\u00a0research\u2013including the essayistic documentary film\u2013which may undermine the\u00a0dominant division of labour. Observing that the effects of the current Covid-19\u00a0pandemic is likely to lead to increased political and economic crisis, conflict and\u00a0nationalism I consider whether the reflexive oppositional essay film may act as a\u00a0poetic catalyst for action as well as reflection. I reference the methodological\u00a0decisions I took in the construction of an interlinked trilogy of epistolary films\u00a0Breathing Still<\/em>, Breathing Still 2020<\/em> and a work still in progress, Resisters<\/em>. I adopted\u00a0a method influenced by Alexander Kluge, who compared the production of a film to\u00a0the creation of a construction site, bringing all the elements together in an order, but\u00a0by its fragmented nature it has no definitive closure. The openings that this creates\u00a0may enable spectatorial reflection and lead to the possibility of action.<\/p>\n

Vimeo link to Breathing Still 2020<\/em><\/a><\/p>\n

\n

Amanda Egbe<\/strong>\u00a0(School of Media and Performance, University of Bedfordshire)
\nImitations: Representations of Blackness as an Ecology of Images in\u00a0Cinema and Machine Learning<\/strong><\/p>\n

This paper reflects upon the visual framework developed by the author in her video essay Imitations<\/em>. The film utilises Douglas Sirk\u2019s film Imitation of Life<\/em> as a starting point, to consider the ways in which blackness is represented in moving image in the forms of cinema and machine learning (Artificial Intelligence).<\/p>\n

Imitations<\/em> begins as a critique of Laura Mulvey\u2019s proposition of \u201cdelayed cinema\u201d an analysis that fails to go beyond the privileged gaze, in deciphering the visibility of blackness in Sirk\u2019s film. Rather a revelatory practice is developed in the film that builds upon critiques of ways of seeing\/looking that are co-produced with technology. This includes the encoding of information within machine vision and learning frameworks which purport an objectivity of vision. The approach taken with this film, considers the idea of an ecology of images, the production of an umwelt, as related to Jackob von Uexk\u00fcll\u2019s thought experiment. In this framework, rather than the reciprocal worlds of animals and their environments, umwelt speaks to the interconnectedness of histories, politics, practices, technologies and gazes that inform the visual. The ecology utilised in Imitations<\/em> is as a problematising practice to allow for the reading of moving images in their relations of apparatus, content and solidarity, to overcome the dichotomy between technological and cultural readings of the moving Image in relation to that of seeing or looking at blackness.<\/p>\n

The critiques of how media and other forms visualise blackness are present in notions such as situated gaze and the coded gaze, found in critiques of computer science, sociology and critical race theory, and offer support in this paper\u2019s framework to develop an approach to image making that conceptualises blackness beyond notions of visible and invisible, rather as an ecology of images, that also leaves it\u2019s trace upon the wider environment.<\/p>\n

\n

El\u017cbieta Kowalska<\/strong> (Institute of Theatre and Media Arts,\u00a0Adam Mickiewicz University, Pozna\u0144)
\nMapping the Gut Buddies<\/strong><\/p>\n

John Brian Harley was one of the first strong voices of human geography science, challenging\u00a0the way we understand maps and space representations. Taking a notion on the very act of mapping\u00a0is crucial here. As the act of having power over broadly understood knowledge production, it does\u00a0matter who is the maker, what types of data are chosen, and how the final form is represented.\u00a0As Deleuze and Guattari write, the transformative process of creating a new map for each case\u00a0and each situation can lead to revolution. Map-making can be a performative act, constructing\u00a0connections between the unconscious, fostering connections between earlier unknown fields.<\/p>\n

As an artist and person who experienced Small Intestine Bacterial Overgrowth (SIBO),\u00a0I want to investigate whether the gut dysbiosis mapped by modern science tools can create\u00a0representations taking into account the multiple components of this spectrum. Taking an approach\u00a0from the Guattari\u2019s three ecologies, I would like to propose a way of experimental, ethico-aesthetic,\u00a0transversal mapping of the subjectivity microbiome.<\/p>\n

Commonly mapping the human microbiome in the sciences takes into consideration data\u00a0obtained by medical research. Quantitative data are produced out of the bodies, tested by human-machine assemblage in the laboratory, represented in special units, in relation to proposed by\u00a0science norms. Interviews, based as much on the doctor\u2019s knowledge and approach as on the\u00a0patient\u2019s consciousness of one\u2019s body, and images from the gut exploration, belong to non-quantitative data.<\/p>\n

The gut buddies, as called by Jamie Lorimer, have great impact on human health, mood and\u00a0cognition. The unbalanced bacterial flora can influence at least the body comfort of everyday\u00a0life, social relations and political engagement, and without special treatment it can lead to more\u00a0bodily painful and socially excluding effects. Reducing representation of microbiome dysbiosis to\u00a0already mentioned data is not enough to tell the story about the aftermath of those increasingly\u00a0occurring in modern society symptoms. Through an speculative finding and founding, including\u00a0the experimental thinking and different set of activities, I will try to reformulate already existing\u00a0connections and create enriching, diversifying representations.<\/p>\n

\n

<\/a>Andreas Philippopoulos-Mihalopoulos<\/strong> (Professor of Law & Theory<\/a>, University of Westminster)
\nTracing Submergence<\/strong><\/em><\/p>\n

Tracing layers of geology through paper, water, ink and gold. Thinking across disciplines:\u00a0law, art, geology, ecology. Making across continents: Jan Hogan in Tasmania, Australia,\u00a0Andreas Philippopoulos-Mihalopoulos in London, UK, a collaboration on Zoom and also\u00a0physical, that found expression in a recent online exhibition<\/a>. In this presentation, Andreas\u00a0will talk about and through the artworks, weaving in theory from his work on atmospherics\u00a0and fiction from his recent novel And our Distance Became Water<\/em>.<\/p>\n

\n

Biographies<\/h4>\n

Diann Bauer<\/strong><\/p>\n

Diann Bauer is an artist and writer based in London. She studied both art and architecture at the Cooper Union in NY and Goldsmiths College, London. She is currently a researcher at Westminster University working on questions regarding the discrepancy between time at extra-human scale and the linear persistence of temporality focusing on what this discrepancy means for how we understand ourselves as a species in relation to the anthropocene.<\/span><\/p>\n

Much of her practice is collaborative and interdisciplinary with projects including Laboria Cuboniks, with whom she collaboratively wrote and published <\/span>Xenofeminism, A Politics for Alienation <\/span><\/i>in 2015. (<\/span>laboriacuboniks.net<\/span><\/a>) and A.S.T. (the Alliance of the Southern Triangle), a working group of artists, architects and curators that use the art field as a platform to broaden interdisciplinary collaboration with a focus on urbanism and climate change.\u00a0<\/span><\/p>\n

Bauer has screened and exhibited independently at Tate Britain, The ICA, The Showroom and FACT Liverpool, Deste Foundation, Athens, The New Museum, and Socrates sculpture park, New York. She has recently completed a project with Arts at CERN and is currently working as part of a team on the German Pavilion for the 2021 Architecture Biennale in Venice. She has taught and lectured widely at universities and cultural institutions including: Cornell University, Yale University, the New School and Cooper Union (US), HKW (Germany), ETH (Switzerland), DAI (Netherlands), Ashkal Alwan (Lebanon), The Tate and the ICA London.<\/span><\/p>\n

diannbauer.net<\/a><\/p>\n

\n

Manuela Johanna Covini<\/strong><\/p>\n

Born 1960 in Germany, worked a long time as TV journalist\u00a0in Switzerland. Since 2012 lives and works in Mexico City and Berlin.<\/p>\n

Basically, Covini sees her artistic work as an irritating interaction that tells how life goes\u00a0beyond its own subjective limits. But her narrations have no clear action. They are more\u00a0productions\/stagings that initially refuse the viewer to orient themselve in time and place.\u00a0Also important to Covini is to explore the subject of simultaneity in her projects:\u00a0simultaneity of space and time, of memory and present, of dream and reality, truth and\u00a0lies…<\/p>\n

In particular the digital image, allows her to present the dimensions of space and time as a\u00a0tangible, fictional universe in her own visual vocabulary (as an aesthetically resilient\u00a0material).<\/p>\n

covini.com<\/a>
\nkulturstadt.org<\/a>
\nmentalmetropolis.com<\/a><\/p>\n

\n

Amanda Egbe<\/strong><\/p>\n

Amanda Egbe is an artist and media lecturer at the University of Bedfordshire, her research and practice is concerned with the moving\u00a0image, emerging technologies, ethics, and justice.\u00a0 Amanda’s most recent artistic project Where Were You in 1992?\u00a0<\/i>(https:\/\/1992.maydayrooms.org<\/a>) was a collaborative project investigating the rise of racism, fascism and nationalism in the 90\u2019s through archival materials and oral histories.\u00a0 Her research is concerned with the history, design and application of media technologies, often utilising archives, repositories and found materials as part of a participatory visual practice.<\/p>\n

amandaegbe.co.uk<\/a><\/p>\n

\n

Jill Daniels<\/strong><\/p>\n

Jill Daniels is an award winning filmmaker and scholar. Over thirty years she has\u00a0made numerous experimental documentary and essay films, including Not\u00a0Reconciled<\/em>, (2009), The Border Crossing<\/em> (2011), My Private Life<\/em> (2013), My Private\u00a0Life II<\/em> (2014), Journey to the South<\/em> (2017), Breathing Still<\/em> (2018) and Breathing Still\u00a02020<\/em> (2019). She is the co-editor of Truth or Dare: Art and Documentary Revisited<\/em>\u00a0(2013) and Memory, Place and Autobiography: Experiments in Documentary\u00a0Filmmmaking<\/em> (2019). She is a member of the editorial board of the journal Media\u00a0Practice and Education<\/em> and Senior Lecturer in Film at the University of East London.<\/p>\n

jilldanielsfilms.com<\/a><\/p>\n

\n

El\u017cbieta Kowalska<\/strong> (Institute of Theatre and Media Arts,\u00a0Adam Mickiewicz University, Pozna\u0144)<\/p>\n

El\u017cbieta Kowalska is a media theorist with background in visual communication and interaction\u00a0design. She has finished BA in Printmaking and in Visual Communication at the Art University\u00a0in Pozna\u0144, then MA in Interactive Media and Performance at Institute of Theater and New Media\u00a0at Adam Mickiewicz University. El\u017cbieta has over 8 years of experience in visual art projects,\u00a0commissions and strategies for institutional and commercial use, using various traditional\u00a0and digital techniques. Furthermore, she explores creative coding implemented into art\u00a0installations, websites and games.<\/p>\n

Building on experience gained on interdisciplinary projects, El\u017cbieta focuses her work on\u00a0critical engagement with distribution of knowledge through mapping. Her goal is to explore new\u00a0methods of creating spatial representations that are lead by spatial and mobility turn. These\u00a0embodied and cognitive maps, radical cartography and new media poetics in contemporary art\u00a0and science influences her writing and projects.<\/p>\n

elzbietka.pl<\/a><\/p>\n

\n

Andreas Philippopoulos-Mihalopoulos<\/strong><\/p>\n

Andreas Philippopoulos-Mihalopoulos<\/a> works with performance, photography and text, as\u00a0well as sculpture and painting. He has performed at the 58th Venice Art Biennale 2019, the\u00a016th Venice Architecture Biennale 2016, the Tate Modern, Inhotim Instituto de Arte\u00a0Contempor\u00e2nea Brazil, the Danish Royal Cast Collection, the Royal Music Academy of\u00a0Sweden, and other institutions, and has shown his work at the London College of\u00a0Communication, The Arebyte Gallery, the Palais de Tokyo etc. He is a fiction author, with his\u00a0first book The Book of Water<\/em> published in Greek and to be published in English by ERIS\u00a0press. He is also Professor of Law & Theory at the University of Westminster, and founder\u00a0and Director of The Westminster Law & Theory Lab<\/a>, as well as permanently affiliated to the\u00a0University Institute of Architecture, Venice since 2009. His academic books<\/a> include the\u00a0monographs Absent Environments<\/em> (2007), and Spatial Justice: Body Lawscape Atmosphere\u00a0<\/em>(2014).<\/p>\n

andreaspm.com<\/a><\/p>\n

\n

Kasturi Torchia<\/strong><\/p>\n

Kasturi Torchia, co-founder of Esprit Concrete and Mental Health Lead for Parkour UK, is an awarded psychotherapist researching lack of progression within parkour through a counselling psychologist’s lens. Her research and practice centres heavily on somaticized pain, re-experienced trauma and re-enactment through movement-based mediums such as art du deplacement. Kasturi is an art du deplacement practitioner herself in her final months of doctoral training in counselling psychology, her method exploring one\u2019s unconscious responsiveness to one\u2019s environment, mapping one’s management of their environment as embodiment to their relational conflicts to themselves and others. Seeing movement as a visceral demonstration of one’s internal processes projected onto the outside world, conjugally with a means by which one\u2019s internal process can be moulded and even altered by the world, Kasturi enjoys to innovatively fuse her skills as a therapist to guide people on a path of self-discovery, facilitating the learning of movement while healing one’s sense of self.<\/p>\n

espritconcrete.com<\/a>
\nparkour.uk<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Hyphen Journal presents: Hyphen Colloquium: Overflows and Interdependencies To mark the publication of Hyphen Journal Issue 2: Excess, we invite you to join us for an online colloquium on Wednesday 23 September, 2\u20136:30pm. This colloquium […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/journal-text.php","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_FSMCFIC_featured_image_caption":"","_FSMCFIC_featured_image_nocaption":null,"_FSMCFIC_featured_image_hide":null},"_links":{"self":[{"href":"https:\/\/hy-phen.space\/journal\/wp-json\/wp\/v2\/pages\/24166"}],"collection":[{"href":"https:\/\/hy-phen.space\/journal\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/hy-phen.space\/journal\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/hy-phen.space\/journal\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/hy-phen.space\/journal\/wp-json\/wp\/v2\/comments?post=24166"}],"version-history":[{"count":55,"href":"https:\/\/hy-phen.space\/journal\/wp-json\/wp\/v2\/pages\/24166\/revisions"}],"predecessor-version":[{"id":24635,"href":"https:\/\/hy-phen.space\/journal\/wp-json\/wp\/v2\/pages\/24166\/revisions\/24635"}],"wp:attachment":[{"href":"https:\/\/hy-phen.space\/journal\/wp-json\/wp\/v2\/media?parent=24166"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}