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After developing the story concept, she was also responsible for the project’s visual execution.\n",[],{"_key":1249,"_type":219,"children":1250,"markDefs":1287,"style":232},"89593ce96417",[1251,1255,1259,1263,1267,1271,1275,1279,1283],{"_key":1252,"_type":223,"marks":1253,"text":1254},"68a18c1429900",[],"Following Cyberhelvetia, Susanne Hofer co-founded the ",{"_key":1256,"_type":223,"marks":1257,"text":1258},"68a18c1429901",[225],"video production company flimmern.ch",{"_key":1260,"_type":223,"marks":1261,"text":1262},"68a18c1429902",[]," with Katrin Oettli in 2003 and has since produced her own videos and films as a ",{"_key":1264,"_type":223,"marks":1265,"text":1266},"68a18c1429903",[225],"director, cinematographer and editor",{"_key":1268,"_type":223,"marks":1269,"text":1270},"68a18c1429904",[],". 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Together, they are working on a ",{"_key":1423,"_type":223,"marks":1424,"text":1425},"e18b4b587c503",[225],"transmedia project for children",{"_key":1427,"_type":223,"marks":1428,"text":1429},"e18b4b587c504",[],", which was awarded and supported as one of four projects by Swiss Transmedia Projects (BAK, ProHelvetia, Solothurn Film Festival, and Focal). The project continues to run on various channels. The latest endeavour is an immersive theater piece ",{"_key":1431,"_type":223,"marks":1432,"text":1433},"e18b4b587c505",[225],"NOëLAND Cie",{"_key":1435,"_type":223,"marks":1436,"text":1437},"e18b4b587c506",[]," in collaboration with the Fabriktheater Rote Fabrik and a documentary about the vision into the future of our youth. Working Title ",{"_key":1439,"_type":223,"marks":1440,"text":1441},"e18b4b587c507",[225],"Memory into the future",{"_key":1443,"_type":223,"marks":1444,"text":1097},"e18b4b587c508",[],[],{"_key":1447,"_type":219,"children":1448,"markDefs":1468,"style":232},"045cfdb1e2c8",[1449,1453,1456,1460,1464],{"_key":1450,"_type":223,"marks":1451,"text":1452},"85a27478f6dc",[],"And in 2024 she teamed up with ",{"_key":1454,"_type":223,"marks":1455,"text":1161},"81ec373e6532",[225],{"_key":1457,"_type":223,"marks":1458,"text":1459},"26d18bfcc586",[]," for the Project ",{"_key":1461,"_type":223,"marks":1462,"text":1463},"a6eb7f0e5b22",[225],"A Woman in the World",{"_key":1465,"_type":223,"marks":1466,"text":1467},"9ba30113f298",[],". A participatory transmedia project in the making.",[],"Born 1966 in Linz, Austria; studied Mathematics in Linz and Fine Arts, Film and Transdisciplinarity at ZHdK. Co-founded flimmern.ch with K. Oettli and works as director, cinematographer, editor and animator. And teaches at art schools for 20+ years.",{"alt":7,"asset":1471},{"_id":1472,"height":1473,"orientation":1474,"ratio":1475,"url":1476,"width":1477},"image-5a0339ccdc1452cbf14564c66693328e71531865-2056x1942-jpg",1942,"landscape",1.05870236869207,"https://cdn.sanity.io/images/eodip22e/production/5a0339ccdc1452cbf14564c66693328e71531865-2056x1942.jpg",2056,{"filterYear":1479},[1480],{"_id":98,"title":102},[1482,1485,1488],{"_type":1138,"label":1483,"url":1484},"flimmern","http:/www.flimmern.ch",{"_type":1138,"label":1486,"url":1487},"intopolitiks","https://www.intopolitiks.com",{"_type":1138,"label":1489,"url":1490},"Working Space Collective","https://www.kontrast.ch",{"locations":1492,"other":1495},[1493],{"_id":331,"_type":308,"seo":7,"slug":1494,"title":334},{"_type":9,"current":333},[1496],{"_key":1497,"_type":219,"children":1498,"markDefs":1503,"style":232},"36d712b7310c",[1499],{"_key":1500,"_type":223,"marks":1501,"text":1502},"0b96a7aa4053",[],"Zurich, Vienna",[],[1505,101],"susanne hofer",{"_type":9,"current":1507},"susanne-hofer","Susanne Hofer",{"alt":1510,"asset":1511},"A Woman in The World AWITW",{"_id":1512,"height":1513,"orientation":1129,"ratio":1514,"url":1515,"width":1516},"image-551c33c016c9e09683bd34e4afe138a378f21e01-1115x1711-jpg",1711,0.6516656925774401,"https://cdn.sanity.io/images/eodip22e/production/551c33c016c9e09683bd34e4afe138a378f21e01-1115x1711.jpg",1115,{"filterCategory":1518,"filterLocation":1530,"filterYear":1532},[1519,1520,1521,1522,1523,1524,1525,1526,1527,1528,1529],{"_id":455,"title":458},{"_id":410,"title":413},{"_id":700,"title":703},{"_id":865,"title":868},{"_id":790,"title":793},{"_id":600,"title":603},{"_id":605,"title":608},{"_id":510,"title":513},{"_id":545,"title":548},{"_id":680,"title":683},{"_id":475,"title":478},[1531],{"_id":331,"title":334},[1533],{"_id":98,"title":102},[],{"locations":1536,"other":1539},[1537],{"_id":331,"_type":308,"seo":7,"slug":1538,"title":334},{"_type":9,"current":333},[1540],{"_key":1541,"_type":219,"children":1542,"markDefs":1547,"style":232},"e7dfc6300244",[1543],{"_key":1544,"_type":223,"marks":1545,"text":1546},"363736132b820",[],"Based in Zürich",[],[1549,1566,1574,1581,1597,1605,1612],{"_key":1550,"_type":219,"children":1551,"markDefs":1565,"style":232},"6c15a9d2da19",[1552,1556,1561],{"_key":1553,"_type":223,"marks":1554,"text":1555},"5d1bfdaa1f5f",[],"May 2026 ",{"_key":1557,"_type":223,"marks":1558,"text":1560},"1edc22d779f9",[1559],"em","Denken & Essen",{"_key":1562,"_type":223,"marks":1563,"text":1564},"79ceb46ae51f",[]," event N°6",[],{"_key":1567,"_type":219,"children":1568,"markDefs":1573,"style":232},"3b9409428c48",[1569],{"_key":1570,"_type":223,"marks":1571,"text":1572},"0677254b82a5",[],"on turning points, decisions and social attributions",[],{"_key":1575,"_type":219,"children":1576,"markDefs":1580,"style":232},"dc66c805e0c0",[1577],{"_key":1578,"_type":223,"marks":1579,"text":1405},"ff1cedf63e79",[],[],{"_key":1582,"_type":219,"children":1583,"markDefs":1596,"style":232},"e4c4dd558f9c",[1584,1588,1592],{"_key":1585,"_type":223,"marks":1586,"text":1587},"690a87e2b63b",[],"April 2026",{"_key":1589,"_type":223,"marks":1590,"text":1591},"fe82dacea3d4",[1559]," Denken & Essen",{"_key":1593,"_type":223,"marks":1594,"text":1595},"2eee222fc91c",[]," event N°5",[],{"_key":1598,"_type":219,"children":1599,"markDefs":1604,"style":232},"4ec38e049f84",[1600],{"_key":1601,"_type":223,"marks":1602,"text":1603},"92b4956ea163",[],"about learning and unlearning what it means to be a woman",[],{"_key":1606,"_type":219,"children":1607,"markDefs":1611,"style":232},"269207fe11ff",[1608],{"_key":1609,"_type":223,"marks":1610,"text":1405},"60aac79e45b0",[],[],{"_key":1613,"_type":219,"children":1614,"markDefs":1618,"style":232},"6331ff86d163",[1615],{"_key":1616,"_type":223,"marks":1617,"text":1405},"21a5a0de4eb1",[],[],[1620,1624],{"_type":1621,"caption":7,"image":1622},"imageBlock",{"alt":7,"asset":1623},{"_id":1512,"height":1513,"orientation":1129,"ratio":1514,"url":1515,"width":1516},{"_type":1625,"settings":1626,"text":1628},"textBlock",{"textColumnCount":1627},"1",[1629,1640,1648,1656,1671,1679,1686,1701,1708,1716],{"_key":1630,"_type":219,"children":1631,"markDefs":1639,"style":232},"0d2e8e25c8eb",[1632,1635],{"_key":1633,"_type":223,"marks":1634,"text":1093},"c398da7f652f0",[225,1559],{"_key":1636,"_type":223,"marks":1637,"text":1638},"c398da7f652f1",[]," is an artistic practice-based research project. It originated when we noticed common ground in our respective film and art practices: a series of interviews with women about decisions and turning points (Susanne Hofer), and care work combined with research into the multifaceted life of an older woman (Sabine Hagmann).\n",[],{"_key":1641,"_type":219,"children":1642,"markDefs":1647,"style":232},"babb3b299906",[1643],{"_key":1644,"_type":223,"marks":1645,"text":1646},"c4bf34e880dc0",[],"Our shared interest in the expectations of a life as a woman was the starting point for our collaboration. We are now exploring what it means to age as a woman. There are neither enough role models for young women, nor are post-menopausal women adequately represented in Western society.\n",[],{"_key":1649,"_type":219,"children":1650,"markDefs":1655,"style":232},"49a4cd8e7818",[1651],{"_key":1652,"_type":223,"marks":1653,"text":1654},"b511c5425ccd0",[],"We aim to promote the diversity of women’s life paths through what might ultimately take the form of a ‘transdisciplinary installation road movie’ (working format). We plan to do this through a series of encounters with women whom we visit. We intend to record our conversations with them (and possibly some of their friends) and develop a staged photograph together with them.\n",[],{"_key":1657,"_type":219,"children":1658,"markDefs":1670,"style":232},"ff2fb9f8558a",[1659,1663,1666],{"_key":1660,"_type":223,"marks":1661,"text":1662},"2ca252360f460",[],"To help us to narrow the focus of our project, we have launched a series of brainstorming sessions in the form of dinner events: ",{"_key":1664,"_type":223,"marks":1665,"text":1560},"2ca252360f461",[225,1559],{"_key":1667,"_type":223,"marks":1668,"text":1669},"2ca252360f462",[]," (Thinking & Eating). To each of these participatory events, we invite a selected group of around four women.\n",[],{"_key":1672,"_type":219,"children":1673,"markDefs":1678,"style":232},"f67e64163598",[1674],{"_key":1675,"_type":223,"marks":1676,"text":1677},"f6fee29de2e40",[],"We cook a nice meal and, during dinner, discuss a specific topic that has been announced in advance, structured around questions and exercises.",[],{"_key":1680,"_type":219,"children":1681,"markDefs":1685,"style":232},"181d956e97d7",[1682],{"_key":1683,"_type":223,"marks":1684,"text":1405},"1704042dadba0",[],[],{"_key":1687,"_type":219,"children":1688,"markDefs":1700,"style":232},"b54da85e2de2",[1689,1693,1697],{"_key":1690,"_type":223,"marks":1691,"text":1692},"4bcf2d8f67930",[],"The topics of the dinners we have organised so far were: ",{"_key":1694,"_type":223,"marks":1695,"text":1696},"4bcf2d8f67931",[1559],"female roles/female role models, middle age as a woman (post menopause), mothers, learning and unlearning, body images",{"_key":1698,"_type":223,"marks":1699,"text":1097},"4bcf2d8f67932",[],[],{"_key":1702,"_type":219,"children":1703,"markDefs":1707,"style":232},"c65759560323",[1704],{"_key":1705,"_type":223,"marks":1706,"text":1405},"65b85d31d9880",[],[],{"_key":1709,"_type":219,"children":1710,"markDefs":1715,"style":232},"2444d7b591d9",[1711],{"_key":1712,"_type":223,"marks":1713,"text":1714},"a4466d67aad50",[],"The dinners were intense, intimate and very enriching for all participants. We have recognised that there is a great desire for spaces that enable discussion and exchange on these topics. The dinners have evolved into a project in their own right, a search for the creation and establishment of a common space for (ageing) women to share their experiences in dealing with expectations of what a woman’s life should look like.",[],{"_key":1717,"_type":219,"children":1718,"markDefs":1730,"style":232},"f1296a06222a",[1719,1723,1726],{"_key":1720,"_type":223,"marks":1721,"text":1722},"b9b2b4964a0f0",[],"Our project therefore consists of two parallel initiatives: the continuation of the ",{"_key":1724,"_type":223,"marks":1725,"text":1560},"b9b2b4964a0f1",[1559],{"_key":1727,"_type":223,"marks":1728,"text":1729},"b9b2b4964a0f2",[]," dinner events and the development of the road movie. We aim to approach this in a playful and joyful manner, seeking connections, solidarity and intergenerational dialogue.",[],[1732,1743,1753,1763],{"_type":1733,"question":1734},"researchQuestion",[1735],{"_key":1736,"_type":219,"children":1737,"markDefs":1742,"style":232},"7279a512bfe4",[1738],{"_key":1739,"_type":223,"marks":1740,"text":1741},"59b525648f160",[],"How do we involve the women we want to meet in our project?",[],{"_type":1733,"question":1744},[1745],{"_key":1746,"_type":219,"children":1747,"markDefs":1752,"style":232},"a101e2816fb9",[1748],{"_key":1749,"_type":223,"marks":1750,"text":1751},"49725bbbcc49",[],"How can we navigate between a participatory approach and individual authorship?",[],{"_type":1733,"question":1754},[1755],{"_key":1756,"_type":219,"children":1757,"markDefs":1762,"style":232},"420d6eb167c0",[1758],{"_key":1759,"_type":223,"marks":1760,"text":1761},"77b58717635a",[],"How can we develop a concept for our final (road movie) project?",[],{"_type":1733,"question":1764},[1765],{"_key":1766,"_type":219,"children":1767,"markDefs":1772,"style":232},"5c6d7701437f",[1768],{"_key":1769,"_type":223,"marks":1770,"text":1771},"7e202af2455e",[],"How can we create a community beyond the individual events? How do we make the process and findings within the project accessible and sustainable for more than the momentary participants?",[],[1774,101,1775,1776,1777,1778,1779,333,1780,1158,1505,1781,1782,1783,1784,1785,1786,1787,1788,1789,547,682,477],"a woman in the world (awitw)","how do we involve the women we want to meet in our project?","how can we navigate between a participatory approach and individual authorship?","how can we develop a concept for our final (road movie) project?","how can we create a community beyond the individual events? how do we make the process and findings within the project accessible and sustainable for more than the momentary participants?","may 2026 denken & essen event n°6\n\non turning points, decisions and social attributions\n\n\n\napril 2026 denken & essen event n°5\n\nabout learning and unlearning what it means to be a woman\n\n\n\n","based in zürich","a woman in the world awitw is an artistic practice-based research project. it originated when we noticed common ground in our respective film and art practices: a series of interviews with women about decisions and turning points (susanne hofer), and care work combined with research into the multifaceted life of an older woman (sabine hagmann).\n\n\nour shared interest in the expectations of a life as a woman was the starting point for our collaboration. we are now exploring what it means to age as a woman. there are neither enough role models for young women, nor are post-menopausal women adequately represented in western society.\n\n\nwe aim to promote the diversity of women’s life paths through what might ultimately take the form of a ‘transdisciplinary installation road movie’ (working format). we plan to do this through a series of encounters with women whom we visit. we intend to record our conversations with them (and possibly some of their friends) and develop a staged photograph together with them.\n\n\nto help us to narrow the focus of our project, we have launched a series of brainstorming sessions in the form of dinner events: denken & essen (thinking & eating). to each of these participatory events, we invite a selected group of around four women.\n\n\nwe cook a nice meal and, during dinner, discuss a specific topic that has been announced in advance, structured around questions and exercises.\n\n\n\nthe topics of the dinners we have organised so far were: female roles/female role models, middle age as a woman (post menopause), mothers, learning and unlearning, body images.\n\n\n\nthe dinners were intense, intimate and very enriching for all participants. we have recognised that there is a great desire for spaces that enable discussion and exchange on these topics. the dinners have evolved into a project in their own right, a search for the creation and establishment of a common space for (ageing) women to share their experiences in dealing with expectations of what a woman’s life should look like.\n\nour project therefore consists of two parallel initiatives: the continuation of the denken & essen dinner events and the development of the road movie. we aim to approach this in a playful and joyful manner, seeking connections, solidarity and intergenerational dialogue.","collective memory","artistic research","learning environment / spaces of knowledge","situational knowledge","performative activism","feminist knowledge transfer","field work","d.i.w.o (do it with others)",{"_type":9,"current":1791},"a-woman-in-the-world-awitw","A Woman in The World (AWITW)",{"_id":1794,"_type":1027,"categories":1795,"credits":1815,"featuredImage":2107,"filterables":2115,"footnotes":2126,"locations":2127,"logbook":2131,"pageBuilder":2217,"researchQuestion":7,"researchQuestions":2229,"searchables":2281,"seo":7,"slug":2291,"title":2292,"year":102},"b485be6c-72d2-4ac3-af3f-1ccabfcf58f0",[1796,1799,1803,1807,1811],{"_id":700,"_type":362,"colorPrimary":1797,"seo":7,"slug":1798,"title":703},{"label":1031,"value":1040},{"_type":9,"current":702},{"_id":1004,"_type":362,"colorPrimary":1800,"seo":7,"slug":1802,"title":1007},{"label":1031,"value":1801},"#ff7300",{"_type":9,"current":1006},{"_id":795,"_type":362,"colorPrimary":1804,"seo":7,"slug":1806,"title":798},{"label":1031,"value":1805},"#f0f0ff",{"_type":9,"current":797},{"_id":395,"_type":362,"colorPrimary":1808,"seo":7,"slug":1810,"title":398},{"label":1031,"value":1809},"#00ff55",{"_type":9,"current":397},{"_id":590,"_type":362,"colorPrimary":1812,"seo":7,"slug":1814,"title":593},{"label":1031,"value":1813},"#00ff41",{"_type":9,"current":592},{"other":1816,"profiles":1865},[1817],{"_key":1818,"_type":219,"children":1819,"markDefs":1864,"style":232},"dd455a46bf2e",[1820,1824,1828,1832,1836,1840,1844,1848,1852,1856,1860],{"_key":1821,"_type":223,"marks":1822,"text":1823},"022b278ef1130",[225],"‘",{"_key":1825,"_type":223,"marks":1826,"text":1827},"022b278ef1131",[1559],"The Expert Learner’",{"_key":1829,"_type":223,"marks":1830,"text":1831},"022b278ef1132",[]," experiments with ",{"_key":1833,"_type":223,"marks":1834,"text":1835},"022b278ef1133",[1559],"how to learn",{"_key":1837,"_type":223,"marks":1838,"text":1839},"022b278ef1134",[]," (or learning how) rather than ",{"_key":1841,"_type":223,"marks":1842,"text":1843},"022b278ef1135",[1559],"what to learn",{"_key":1845,"_type":223,"marks":1846,"text":1847},"022b278ef1136",[],". Refuting the master/pupil duality and acknowledging learning as a continuum, where individuals are at different stages in their learning which changes their position in the continuum. ‘",{"_key":1849,"_type":223,"marks":1850,"text":1851},"022b278ef1137",[1559],"Show Don’t Tell’ ",{"_key":1853,"_type":223,"marks":1854,"text":1855},"022b278ef1138",[],"is a collective doing/exploration where information sharing uses a variety of methods including demonstration, dialogue, and practical co-making. Aiming to acknowledge the roles (makers, dreamers, filmmakers, observers) that offer modes of engagement, reframing collaboration. ‘",{"_key":1857,"_type":223,"marks":1858,"text":1859},"022b278ef1139",[1559],"Convivial Parallel Play’ ",{"_key":1861,"_type":223,"marks":1862,"text":1863},"022b278ef11310",[],"explores cooperation growing organically rather than the dominant prevalence of enforced collaboration as a learning strategy. Collaboration can be more complex and not beneficial for some learners who are neurodiverse or not easily welcomed in the university due to class or race. Our research focuses on processes of learning that allow for individual outcomes/insights/breakthroughs.",[],[1866,1978,2038],{"_id":1867,"_type":1078,"activeYears":1868,"bio":1871,"bioShort":1939,"featuredImage":1940,"filterables":1948,"links":1951,"locations":1960,"searchables":1973,"seo":7,"slug":1975,"title":1977},"402b9963-e47f-4150-ab7c-2080b5eb2d2b",[1869],{"_id":98,"_type":99,"seo":7,"slug":1870,"title":102},{"_type":9,"current":101},[1872,1880,1899],{"_key":1873,"_type":219,"children":1874,"markDefs":1879,"style":232},"386c3c33c5cb",[1875],{"_key":1876,"_type":223,"marks":1877,"text":1878},"dba8d53381bd0",[],"O’Neill is an artist, author, and educator whose practice engages with profound cultural issues that often leave us mute, such as isolation and loss. Through her writing and artworks, she explores the search for meaning in the face of life experiences that can render existence chaotic and incomprehensible.",[],{"_key":1881,"_type":219,"children":1882,"markDefs":1896,"style":232},"be61076f00e7",[1883,1887,1892],{"_key":1884,"_type":223,"marks":1885,"text":1886},"9ca9f021438e0",[],"Her recent projects draw on maritime language and the laws of salvage as metaphors to reflect on both personal grief and the collective losses inherent in an ever-changing world. From an original interest in ephemeral art and notions of mortality and immortality, her research has developed to explore intangible culture, in particular the lost skills that are embodied in museum objects. These works weave together moving images, sculpture, text, and sound, ranging from spoken word to recordings of the natural environment. ",{"_key":1888,"_type":223,"marks":1889,"text":1891},"9ca9f021438e1",[1890],"e6339662ed93","The Wolfe Island Collection ",{"_key":1893,"_type":223,"marks":1894,"text":1895},"152de1eb8be1",[],"is a series of artefacts and fictive academic publications that document the history of the now abandoned island and its inhabitants.",[1897],{"_key":1890,"_type":249,"href":1898},"https://maryoneill884258.substack.com",{"_key":1900,"_type":219,"children":1901,"markDefs":1933,"style":232},"3d8b58935101",[1902,1906,1911,1915,1920,1924,1928],{"_key":1903,"_type":223,"marks":1904,"text":1905},"b08b886bf9eb0",[],"Recent short films",{"_key":1907,"_type":223,"marks":1908,"text":1910},"b08b886bf9eb1",[1909,1559],"74f08c4c6386","Re-creative Practice: Learning from the Past",{"_key":1912,"_type":223,"marks":1913,"text":1914},"b08b886bf9eb2",[],", and ",{"_key":1916,"_type":223,"marks":1917,"text":1919},"b08b886bf9eb3",[1918,1559],"7eaf0dac676b","Museum of Leathercraft – Ordinary Objects: Extraordinary Stories",{"_key":1921,"_type":223,"marks":1922,"text":1923},"b08b886bf9eb4",[1559],",",{"_key":1925,"_type":223,"marks":1926,"text":1927},"b08b886bf9eb5",[]," in collaboration with film maker Nik Trzcinowicz, explore the role of museum as repositories of knowledge and the potential of re-creative practice to afford a deep engagement with history and to re-vivify museum ",{"_key":1929,"_type":223,"marks":1930,"text":1932},"3c589bc81779",[1931],"598af53b19c5","objects.",[1934,1936,1938],{"_key":1909,"_type":249,"blank":250,"href":1935},"https://www.youtube.com/watch?v=K29EF7idwa0&t=3s",{"_key":1918,"_type":249,"href":1937},"https://vimeo.com/890603281",{"_key":1931,"_type":249},"Mary O’Neill is an artist, author, and educator whose practice engages with profound cultural issues that often leave us mute, such as isolation and loss. Through her artworks and publications she explores the search for meaning in the face of life experiences that can render the world chaotic and incomprehensible.",{"alt":1941,"asset":1942},"Dr Mary O’Neill",{"_id":1943,"height":1944,"orientation":1129,"ratio":1945,"url":1946,"width":1947},"image-aff35d5dafda37e212f47d171d1a341a83eb500f-1072x1620-png",1620,0.6617283950617284,"https://cdn.sanity.io/images/eodip22e/production/aff35d5dafda37e212f47d171d1a341a83eb500f-1072x1620.png",1072,{"filterYear":1949},[1950],{"_id":98,"title":102},[1952,1954,1956,1958],{"_type":1138,"label":1139,"url":1953},"https://www.dmu.ac.uk/about-dmu/academic-staff/art-design-humanities/mary-oneill/mary-oneill.aspx",{"_type":1138,"label":1955,"url":1898},"Wolfe Island Collection",{"_type":1138,"label":1957,"url":1937}," Ordinary Objects; Extraordinary Stories ",{"_type":1138,"label":1959,"url":1935},"Re-creative: Learning from the past influence the future",{"locations":1961,"other":1964},[1962],{"_id":331,"_type":308,"seo":7,"slug":1963,"title":334},{"_type":9,"current":333},[1965],{"_key":1966,"_type":219,"children":1967,"markDefs":1972,"style":232},"2036305386d5",[1968],{"_key":1969,"_type":223,"marks":1970,"text":1971},"e1b9c66e4fc2",[],"Irish based in Leicester, United Kingdom.",[],[1974,101],"mary o’neill",{"_type":9,"current":1976},"dr-mary-o-neill","Mary O’Neill",{"_id":1979,"_type":1078,"activeYears":1980,"bio":1983,"bioShort":2008,"featuredImage":2009,"filterables":2017,"links":7,"locations":2020,"searchables":2033,"seo":7,"slug":2035,"title":2037},"d8b5e983-1b66-4225-b979-7caa413d4de1",[1981],{"_id":98,"_type":99,"seo":7,"slug":1982,"title":102},{"_type":9,"current":101},[1984,1992,2000],{"_key":1985,"_type":219,"children":1986,"markDefs":1991,"style":232},"e459c098228a",[1987],{"_key":1988,"_type":223,"marks":1989,"text":1990},"f7f185ece6a80",[],"Artist and Curator. My research focuses on democracy and knowledge exchange, and critical pedagogy as a curatorial and artistic methodology. Co-lead research contract with Natural England on nature based collaborative creative stroy telling for nature recovery and engagement.",[],{"_key":1993,"_type":219,"children":1994,"markDefs":1999,"style":232},"95f1ecb6762e",[1995],{"_key":1996,"_type":223,"marks":1997,"text":1998},"e9e4c40f8b4d0",[],"Key highlights: Brent Biennial 2025, films selected for the London Film Festival and winner of best experimental at the experimental Busam Film festival. Curated over 20 exhibitions across the UK and Europe. Author of Art, Critical Pedagogy and Capitalism (Routledge 2021) co-author a new monograph on Educational Aesthetics with Bloomsbury (due 2024). Founder of the Middlesbrough Art Weekender and The Alternative Art College. Innovation in academic study and curatorial learning.",[],{"_key":2001,"_type":219,"children":2002,"markDefs":2007,"style":232},"35ca363fb671",[2003],{"_key":2004,"_type":223,"marks":2005,"text":2006},"1942e912fe160",[],"Principal lecturer at Teesside University and leads the MA Curating programme.  PhD (2018) Teesside University and a MA in Art and Politics from Goldsmiths College as well as a BA (Hons) Degree in Fine Art from Lincoln University. Co-founded the Middlesbrough Art Weekender in and has set up collectives including the Alternative Art College  and currently working with Sarah Perks as Forms of Circulation. ",[],"Paul Stewart is a socially engaged artist and curator, based in Newcastle, using film, performance, and sound to explore how histories are shared, and how knowledge can be embodied when working with multiple voices and communities. ",{"alt":2010,"asset":2011},"head shot, wihte man wearing a hat looking to the left in black and white",{"_id":2012,"height":2013,"orientation":1129,"ratio":2014,"url":2015,"width":2016},"image-d3474a6e000c7d5d5c3b6cff672905d7c7e9dce9-590x756-png",756,0.7804232804232805,"https://cdn.sanity.io/images/eodip22e/production/d3474a6e000c7d5d5c3b6cff672905d7c7e9dce9-590x756.png",590,{"filterYear":2018},[2019],{"_id":98,"title":102},{"locations":2021,"other":2024},[2022],{"_id":331,"_type":308,"seo":7,"slug":2023,"title":334},{"_type":9,"current":333},[2025],{"_key":2026,"_type":219,"children":2027,"markDefs":2032,"style":232},"a2a5ffa4f125",[2028],{"_key":2029,"_type":223,"marks":2030,"text":2031},"2775aed488cc",[],"United Kingdom",[],[2034,101],"paul alexander stewart",{"_type":9,"current":2036},"paul-alexander-stewart","Paul Alexander Stewart",{"_id":2039,"_type":1078,"activeYears":2040,"bio":2043,"bioShort":2083,"featuredImage":7,"filterables":2084,"links":2087,"locations":2090,"searchables":2102,"seo":7,"slug":2104,"title":2106},"c57a6190-1e79-4dfb-95bc-009970808107",[2041],{"_id":98,"_type":99,"seo":7,"slug":2042,"title":102},{"_type":9,"current":101},[2044,2052],{"_key":2045,"_type":219,"children":2046,"markDefs":2051,"style":232},"39382a02caa5",[2047],{"_key":2048,"_type":223,"marks":2049,"text":2050},"811b5d7e0d220",[],"Anouk Hoogendoorn is an artistic researcher that works with text, textile, and performance. The (spoken) texts, textiles, sketches, and sounds that come out of this practice are moments of processes rather than presentations fixed once and for all. They are currently doing a practice-based PhD at School of Arts and Creative Industries, TeessideUniversity (UK) and Institute for Performing Arts and Film, Zurich University of the Arts (CH). Their research explores the materiality and material conditions of writing and reading. Here the material is meant in twofold: both the socio-political dimension (informed by queer and disability studies) and the artistic (informed by language-based artistic research).",[],{"_key":2053,"_type":219,"children":2054,"markDefs":2082,"style":232},"0b7f19fe278d",[2055,2059,2063,2067,2071,2074,2078],{"_key":2056,"_type":223,"marks":2057,"text":2058},"ea1d278efd07",[],"\nAnouk has a practice that always has an important collaborative, experimental, and pedagogical orientation to it.Currently they are Theory and Artistic Research Tutor at BEAR Fine Arts, are a part of the School of Commons ’26 Cohort, and co-host the special interest group ",{"_key":2060,"_type":223,"marks":2061,"text":2062},"811b5d7e0d2249",[1559],"Words",{"_key":2064,"_type":223,"marks":2065,"text":2066},"811b5d7e0d2250",[]," ",{"_key":2068,"_type":223,"marks":2069,"text":2070},"811b5d7e0d2251",[1559],"as",{"_key":2072,"_type":223,"marks":2073,"text":2066},"811b5d7e0d2252",[],{"_key":2075,"_type":223,"marks":2076,"text":2077},"811b5d7e0d2253",[1559],"Matter",{"_key":2079,"_type":223,"marks":2080,"text":2081},"811b5d7e0d2254",[]," at the Language-Based Artistic Research Group. Anouk often shares their research at symposia and through workshops. They have done (guest) teaching at Master in Curating Teesside University (UK), Åbo Akademi (FI), and Sandberg Institute (NL) among others. In the last couple of years, they were visiting researcher at Access in the Making Lab (CA), artist in residence at Titanik Gallery (FI) and Casa Liquida (BR), and part of the Nida Doctoral School (LI). Prior to this, they were part of the PEERS ’22/’23 cohort and No Academy 2021.",[],"Anouk Hoogendoorn is an artistic researcher that works with text, textile, and performance. The (spoken) texts, textiles, sketches, and sounds that come out of this practice are moments of processes rather than presentations fixed once and for all. ",{"filterYear":2085},[2086],{"_id":98,"title":102},[2088],{"_type":1138,"label":1139,"url":2089},"https://www.anoukhoogendoorn.com/",{"locations":2091,"other":2094},[2092],{"_id":331,"_type":308,"seo":7,"slug":2093,"title":334},{"_type":9,"current":333},[2095],{"_key":2096,"_type":219,"children":2097,"markDefs":2101,"style":232},"25145542c81f",[2098],{"_key":2099,"_type":223,"marks":2100,"text":2031},"8a3b50e9e1b5",[],[],[2103,101],"anouk hoogendoorn",{"_type":9,"current":2105},"anouk-hoogendoorn","Anouk Hoogendoorn",{"alt":2108,"asset":2109},"Show don't tell - learning alongside",{"_id":2110,"height":2111,"orientation":1474,"ratio":2112,"url":2113,"width":2114},"image-66e6ceb4687d217cf39b9b37fa3e95038f7d749f-3536x2102-jpg",2102,1.6822074215033302,"https://cdn.sanity.io/images/eodip22e/production/66e6ceb4687d217cf39b9b37fa3e95038f7d749f-3536x2102.jpg",3536,{"filterCategory":2116,"filterLocation":2122,"filterYear":2124},[2117,2118,2119,2120,2121],{"_id":700,"title":703},{"_id":1004,"title":1007},{"_id":795,"title":798},{"_id":395,"title":398},{"_id":590,"title":593},[2123],{"_id":351,"title":354},[2125],{"_id":98,"title":102},[],{"locations":2128,"other":7},[2129],{"_id":351,"_type":308,"seo":7,"slug":2130,"title":354},{"_type":9,"current":353},[2132,2140,2159,2167,2181,2193,2201,2209],{"_key":2133,"_type":219,"children":2134,"markDefs":2139,"style":232},"1129039779aa",[2135],{"_key":2136,"_type":223,"marks":2137,"text":2138},"5fcfe0751f13",[],"Beginning and Bending - meeting outcome.",[],{"_key":2141,"_type":219,"children":2142,"markDefs":2156,"style":232},"b849df02b3ac",[2143,2147,2152],{"_key":2144,"_type":223,"marks":2145,"text":2146},"833e3f273fb0",[],"How can we think about learning as 'beginning and bending' rather than beginning and ",{"_key":2148,"_type":223,"marks":2149,"text":2151},"0bad4d7c3460",[2150],"51479d35a654","ending.",{"_key":2153,"_type":223,"marks":2154,"text":2155},"6e2b27fc43bf",[]," Learning isn't finite - there is no real ending but along the way there may be bending. ",[2157],{"_key":2150,"_type":2158,"file":7},"fileUploadLink",{"_key":2160,"_type":219,"children":2161,"markDefs":2166,"style":232},"944f9d68f700",[2162],{"_key":2163,"_type":223,"marks":2164,"text":2165},"bc2e3c615a41",[],"Bends - ",[],{"_key":2168,"_type":219,"children":2169,"level":2178,"listItem":2179,"markDefs":2180,"style":232},"fe61b1d37901",[2170,2174],{"_key":2171,"_type":223,"marks":2172,"text":2173},"770fb2bbf6320",[225],"Verb (action):",{"_key":2175,"_type":223,"marks":2176,"text":2177},"770fb2bbf6321",[]," Curve, twist, flex, bow, stoop, warp, curl, loop, veer, buckle.",1,"bullet",[],{"_key":2182,"_type":219,"children":2183,"level":2178,"listItem":2179,"markDefs":2192,"style":232},"2d1397fc353e",[2184,2188],{"_key":2185,"_type":223,"marks":2186,"text":2187},"18fee4a7191e0",[225],"Noun (shape):",{"_key":2189,"_type":223,"marks":2190,"text":2191},"18fee4a7191e1",[]," Curve, angle, arc, crook, corner, turn, curvature, loop.",[],{"_key":2194,"_type":219,"children":2195,"level":2178,"listItem":2179,"markDefs":2200,"style":232},"b40b5048d612",[2196],{"_key":2197,"_type":223,"marks":2198,"text":2199},"7153509ceb47",[],"or perhaps ",[],{"_key":2202,"_type":219,"children":2203,"markDefs":2208,"style":232},"612c506eb0a2",[2204],{"_key":2205,"_type":223,"marks":2206,"text":2207},"4e290e95292f0",[],"\"The bends\" (decompression sickness) is a, sometimes fatal, condition caused by nitrogen bubbles forming in the blood and tissues due to a rapid decrease in surrounding pressure. ",[],{"_key":2210,"_type":219,"children":2211,"markDefs":2216,"style":232},"0752fa0e25dc",[2212],{"_key":2213,"_type":223,"marks":2214,"text":2215},"7833f8de73f50",[],"divers who surface too quickly.",[],[2218],{"_type":1625,"settings":2219,"text":2220},{"textColumnCount":1627},[2221],{"_key":2222,"_type":219,"children":2223,"markDefs":2228,"style":232},"5bdd96acf444",[2224],{"_key":2225,"_type":223,"marks":2226,"text":2227},"17ab6b17c343",[],"“Alongside: learning as a parallel action to proximate peers, projects and things in the neighbourhood” will be explored through three propositions: “The Expert Learner” which alters the master/pupil duality into learning on a continuum; “Show Don’t Tell” where sharing is rethought and remade; “Parallel Play in Conviviality” where conviviality is thought as a learning side-by-side rather than one-plus-one. The propositions posit the commons or commoning, not as collaboration, but working in parallel or alongside, recognising difference and avoid the conflation of collaboration as agreement or singular but multiple. \n\nOur collective of three exists of teachers and students from different generations, where x tutored y, y tutored z, and z will tutor a student to come. But rather than seeing it as a formal system of hierarchies, we somehow ended up following each other's learning in a matter of being alongside, as being each other’s expert-learners. We want to explore how this came to be and how we can give this forward. \n\nThe project isn't pre-existing but it builds on a legacy of over 30 years of combined learning and making around the topics of commoning, learning, becoming, and activism through art and pedagogy. As a trio, we strive to all be present for the programme with at least two of us at all times. The expert learner doesn’t dismiss prior knowledge or experience but acknowledges the multiple ways knowledge is held and shared. It positions the teacher as not the expert on knowledge but the expert on learning, they have learnt how to orate or share. Through ‘being with’ both others, materials, and ideas, the ambition is to explore without prescribed notions, using durational working, following energy, stopping, not aiming for end goals but experiencing the process. This method allows for individually negotiated or defined notions of ‘success’ and acknowledges that each member of the session will be at a different learning stage, it shifts the capitalist malaise from learning as a thing to get through for accumulation to becoming the essence of commoning, the activity of being with and of the world.",[],[2230,2251,2268],{"_type":1733,"question":2231},[2232,2244],{"_key":2233,"_type":219,"children":2234,"markDefs":2240,"style":232},"ffeced3c8f3c",[2235],{"_key":2236,"_type":223,"marks":2237,"text":2239},"82166941289e0",[2238],"6f264bef2d07","How can we develop supportive and inclusive strategies that do not rely on traditional models of expert teachers and passive students that acknowledge fluidity, risk, not-knowing and chance as key elements of the development of any creative practice? ",[2241],{"_key":2238,"_type":2242,"label":1031,"value":2243},"highlightColor","#00ff04",{"_key":2245,"_type":219,"children":2246,"markDefs":2250,"style":232},"3e891cb68915",[2247],{"_key":2248,"_type":223,"marks":2249,"text":1405},"ca3486931497",[],[],{"_type":1733,"question":2252},[2253],{"_key":2254,"_type":219,"children":2255,"markDefs":2265,"style":232},"457ee29cc3a9",[2256,2261],{"_key":2257,"_type":223,"marks":2258,"text":2260},"abb80d27f59b",[2259],"4c105e4d8764","What does it mean to engage in 'learning as becoming' rather than learning for accumulation or measurable success?",{"_key":2262,"_type":223,"marks":2263,"text":2264},"16f3cd147f8f",[]," ",[2266],{"_key":2259,"_type":2242,"label":1031,"value":2267},"#01aefe",{"_type":1733,"question":2269},[2270],{"_key":2271,"_type":219,"children":2272,"markDefs":2278,"style":232},"ea6d0111c8a4",[2273],{"_key":2274,"_type":223,"marks":2275,"text":2277},"29aa4ab3f5dd",[2276],"1a7eba49d1bd","How can teaching be a form of being an expert on learning, in a manner of being alongside the learning?",[2279],{"_key":2276,"_type":2242,"label":1031,"value":2280},"#db02ff",[2282,101,2283,2284,2285,2286,353,1974,2034,2103,2287,2288,1784,1006,797,2289,2290],"alongside","how can we develop supportive and inclusive strategies that do not rely on traditional models of expert teachers and passive students that acknowledge fluidity, risk, not-knowing and chance as key elements of the development of any creative practice? \n\n","what does it mean to engage in 'learning as becoming' rather than learning for accumulation or measurable success? ","how can teaching be a form of being an expert on learning, in a manner of being alongside the learning?","beginning and bending - meeting outcome.\n\nhow can we think about learning as 'beginning and bending' rather than beginning and ending. learning isn't finite - there is no real ending but along the way there may be bending. \n\nbends - \n\nverb (action): curve, twist, flex, bow, stoop, warp, curl, loop, veer, buckle.\n\nnoun (shape): curve, angle, arc, crook, corner, turn, curvature, loop.\n\nor perhaps \n\n\"the bends\" (decompression sickness) is a, sometimes fatal, condition caused by nitrogen bubbles forming in the blood and tissues due to a rapid decrease in surrounding pressure. \n\ndivers who surface too quickly.","‘the expert learner’ experiments with how to learn (or learning how) rather than what to learn. refuting the master/pupil duality and acknowledging learning as a continuum, where individuals are at different stages in their learning which changes their position in the continuum. ‘show don’t tell’ is a collective doing/exploration where information sharing uses a variety of methods including demonstration, dialogue, and practical co-making. aiming to acknowledge the roles (makers, dreamers, filmmakers, observers) that offer modes of engagement, reframing collaboration. ‘convivial parallel play’ explores cooperation growing organically rather than the dominant prevalence of enforced collaboration as a learning strategy. collaboration can be more complex and not beneficial for some learners who are neurodiverse or not easily welcomed in the university due to class or race. our research focuses on processes of learning that allow for individual outcomes/insights/breakthroughs.","“alongside: learning as a parallel action to proximate peers, projects and things in the neighbourhood” will be explored through three propositions: “the expert learner” which alters the master/pupil duality into learning on a continuum; “show don’t tell” where sharing is rethought and remade; “parallel play in conviviality” where conviviality is thought as a learning side-by-side rather than one-plus-one. the propositions posit the commons or commoning, not as collaboration, but working in parallel or alongside, recognising difference and avoid the conflation of collaboration as agreement or singular but multiple. \n\nour collective of three exists of teachers and students from different generations, where x tutored y, y tutored z, and z will tutor a student to come. but rather than seeing it as a formal system of hierarchies, we somehow ended up following each other's learning in a matter of being alongside, as being each other’s expert-learners. we want to explore how this came to be and how we can give this forward. \n\nthe project isn't pre-existing but it builds on a legacy of over 30 years of combined learning and making around the topics of commoning, learning, becoming, and activism through art and pedagogy. as a trio, we strive to all be present for the programme with at least two of us at all times. the expert learner doesn’t dismiss prior knowledge or experience but acknowledges the multiple ways knowledge is held and shared. it positions the teacher as not the expert on knowledge but the expert on learning, they have learnt how to orate or share. through ‘being with’ both others, materials, and ideas, the ambition is to explore without prescribed notions, using durational working, following energy, stopping, not aiming for end goals but experiencing the process. this method allows for individually negotiated or defined notions of ‘success’ and acknowledges that each member of the session will be at a different learning stage, it shifts the capitalist malaise from learning as a thing to get through for accumulation to becoming the essence of commoning, the activity of being with and of the world.","alongside learning","expert learner",{"_type":9,"current":2282},"Alongside",{"_id":2294,"_type":1027,"categories":2295,"credits":2302,"featuredImage":2413,"filterables":2421,"footnotes":2429,"locations":2430,"logbook":7,"pageBuilder":2443,"researchQuestion":7,"researchQuestions":2459,"searchables":2490,"seo":7,"slug":2497,"title":2499,"year":102},"b42752b7-d03e-4814-aa4d-dcbd20595e4c",[2296,2299],{"_id":410,"_type":362,"colorPrimary":2297,"seo":7,"slug":2298,"title":413},{"label":1031,"value":1036},{"_type":9,"current":412},{"_id":700,"_type":362,"colorPrimary":2300,"seo":7,"slug":2301,"title":703},{"label":1031,"value":1040},{"_type":9,"current":702},{"other":7,"profiles":2303},[2304],{"_id":2305,"_type":1078,"activeYears":2306,"bio":2309,"bioShort":2390,"featuredImage":2391,"filterables":2398,"links":2401,"locations":2404,"searchables":2408,"seo":7,"slug":2410,"title":2412},"01631306-0bc4-4a63-ae57-2f88d3b409ff",[2307],{"_id":98,"_type":99,"seo":7,"slug":2308,"title":102},{"_type":9,"current":101},[2310],{"_key":2311,"_type":219,"children":2312,"markDefs":2375,"style":232},"4118b0e0a6f6",[2313,2317,2322,2326,2331,2335,2340,2344,2349,2353,2358,2362,2366,2370],{"_key":2314,"_type":223,"marks":2315,"text":2316},"4e42720d32ac0",[],"Art critic, art curator and media manager\n\n♿️ The creator of the inclusive art project \"",{"_key":2318,"_type":223,"marks":2319,"text":2321},"a3f1a0099e1b",[2320],"f44ace9e2394","I will come",{"_key":2323,"_type":223,"marks":2324,"text":2325},"353b2c8a2d93",[],"\" \n🎨 The telegram channel \"",{"_key":2327,"_type":223,"marks":2328,"text":2330},"aa80b4cb8051",[2329],"55b6ea859b86","About art and more",{"_key":2332,"_type":223,"marks":2333,"text":2334},"75f5517e5f31",[],"\" \n🇵🇱 Telegram chats \"",{"_key":2336,"_type":223,"marks":2337,"text":2339},"30035dc8bd6e",[2338],"20dc76bbd0f0","Inclusive Poland",{"_key":2341,"_type":223,"marks":2342,"text":2343},"b96c4d0296ba",[],"\" \n✨ \"",{"_key":2345,"_type":223,"marks":2346,"text":2348},"6b934e543bf0",[2347],"f06fe575fa5d","Inclusive Poland. Autism",{"_key":2350,"_type":223,"marks":2351,"text":2352},"c24a90959191",[],"\"\n🖼 ArtPolska ",{"_key":2354,"_type":223,"marks":2355,"text":2357},"85a6d8960564",[2356],"1300a7917427","Virtual gallery of artists in Poland",{"_key":2359,"_type":223,"marks":2360,"text":2361},"80aafe19598d",[],"\n🖥 Channel about people with disabilities \"",{"_key":2363,"_type":223,"marks":2364,"text":2321},"b4819f01e3a9",[2365],"6f8040fff40f",{"_key":2367,"_type":223,"marks":2368,"text":2369},"728da99e95e1",[],"\" \n✌️ I invite you to the art community of ",{"_key":2371,"_type":223,"marks":2372,"text":2374},"a78fee80c9d3",[2373],"2f601513d809","emigrant artists in Poland",[2376,2378,2380,2382,2384,2386,2388],{"_key":2320,"_type":249,"blank":250,"href":2377},"https://instagram.com/ya_priedu",{"_key":2329,"_type":249,"blank":250,"href":2379},"https://t.me/ya_priedu",{"_key":2338,"_type":249,"blank":250,"href":2381},"https://t.me/inclusivepoland",{"_key":2347,"_type":249,"blank":250,"href":2383},"https://t.me/inclusivepolandautism",{"_key":2356,"_type":249,"href":2385},"https://t.me/ArtPolska",{"_key":2365,"_type":249,"blank":250,"href":2387},"https://youtube.com/@Yapriedu",{"_key":2373,"_type":249,"blank":250,"href":2389},"https://t.me/+ESsg6ny7QGM5YTIx","Art critic, art curator and media manager",{"alt":7,"asset":2392},{"_id":2393,"height":2394,"orientation":1129,"ratio":2395,"url":2396,"width":2397},"image-0480468251afe89b4500a5ebe75eecaa10cf09ef-720x1280-jpg",1280,0.5625,"https://cdn.sanity.io/images/eodip22e/production/0480468251afe89b4500a5ebe75eecaa10cf09ef-720x1280.jpg",720,{"filterYear":2399},[2400],{"_id":98,"title":102},[2402],{"_type":1138,"label":1142,"url":2403},"https://www.instagram.com/elvirakoroleva007",{"locations":2405,"other":7},[2406],{"_id":331,"_type":308,"seo":7,"slug":2407,"title":334},{"_type":9,"current":333},[2409,101],"elvira koroleva",{"_type":9,"current":2411},"elvira-koroleva","Elvira Koroleva",{"alt":2414,"asset":2415},"Art in Exile by Elvira Koroleva",{"_id":2416,"height":2417,"orientation":1129,"ratio":2418,"url":2419,"width":2420},"image-b11be0acd9794995cbabbe2f351c50327710e9f9-602x1092-png",1092,0.5512820512820513,"https://cdn.sanity.io/images/eodip22e/production/b11be0acd9794995cbabbe2f351c50327710e9f9-602x1092.png",602,{"filterCategory":2422,"filterLocation":2425,"filterYear":2427},[2423,2424],{"_id":410,"title":413},{"_id":700,"title":703},[2426],{"_id":331,"title":334},[2428],{"_id":98,"title":102},[],{"locations":2431,"other":2434},[2432],{"_id":331,"_type":308,"seo":7,"slug":2433,"title":334},{"_type":9,"current":333},[2435],{"_key":2436,"_type":219,"children":2437,"markDefs":2442,"style":232},"a2054dbb0633",[2438],{"_key":2439,"_type":223,"marks":2440,"text":2441},"d59c8ebf2e390",[],"Based in Warsaw",[],[2444],{"_type":1625,"settings":2445,"text":2446},{"textColumnCount":1627},[2447],{"_key":2448,"_type":219,"children":2449,"markDefs":2458,"style":232},"a2095c572ae9",[2450,2454],{"_key":2451,"_type":223,"marks":2452,"text":2453},"f6440a7e9df80",[225],"Inclusive Art in Switzerland: Artists with Disabilities and Migration Experience as an Essential Part of the Artistic Landscape",{"_key":2455,"_type":223,"marks":2456,"text":2457},"f6440a7e9df81",[]," explores how artists with disabilities and migration backgrounds contribute to contemporary art and cultural life in Switzerland. The project focuses on issues of visibility, access, representation, and belonging, examining how artists with lived experiences of disability and displacement challenge dominant narratives and enrich artistic ecosystems. Through research, interviews, curatorial inquiry, and engagement with artists, institutions, and communities, the project aims to identify more inclusive models of cultural participation and support. It also investigates how museums, residency programs, and cultural organizations can create sustainable conditions for artistic development and equal participation. By connecting disability studies, migration, and curatorial practice, the project seeks to contribute to broader discussions on diversity, accessibility, and social justice in contemporary art. ",[],[2460,2470,2480],{"_type":1733,"question":2461},[2462],{"_key":2463,"_type":219,"children":2464,"markDefs":2469,"style":232},"c1de1c7f89fb",[2465],{"_key":2466,"_type":223,"marks":2467,"text":2468},"4487f02580ed",[],"How can artists with disabilities and migration backgrounds be more fully recognized and integrated as essential contributors to contemporary art ecosystems in Switzerland?",[],{"_type":1733,"question":2471},[2472],{"_key":2473,"_type":219,"children":2474,"markDefs":2479,"style":232},"f95d8a9b0f69",[2475],{"_key":2476,"_type":223,"marks":2477,"text":2478},"94fda60d1fa0",[],"What curatorial, institutional, and community-based models best support their visibility, agency, and professional development?",[],{"_type":1733,"question":2481},[2482],{"_key":2483,"_type":219,"children":2484,"markDefs":2489,"style":232},"3f6aa3dadd8e",[2485],{"_key":2486,"_type":223,"marks":2487,"text":2488},"1356f7e17433",[],"How do experiences of disability and migration influence artistic practices and cultural narratives?",[],[2491,101,2492,2493,2494,333,2495,2409,2496,1783,1784],"art in exile","how can artists with disabilities and migration backgrounds be more fully recognized and integrated as essential contributors to contemporary art ecosystems in switzerland?","what curatorial, institutional, and community-based models best support their visibility, agency, and professional development?","how do experiences of disability and migration influence artistic practices and cultural narratives?","based in warsaw","inclusive art in switzerland: artists with disabilities and migration experience as an essential part of the artistic landscape explores how artists with disabilities and migration backgrounds contribute to contemporary art and cultural life in switzerland. the project focuses on issues of visibility, access, representation, and belonging, examining how artists with lived experiences of disability and displacement challenge dominant narratives and enrich artistic ecosystems. through research, interviews, curatorial inquiry, and engagement with artists, institutions, and communities, the project aims to identify more inclusive models of cultural participation and support. it also investigates how museums, residency programs, and cultural organizations can create sustainable conditions for artistic development and equal participation. by connecting disability studies, migration, and curatorial practice, the project seeks to contribute to broader discussions on diversity, accessibility, and social justice in contemporary art. ",{"_type":9,"current":2498},"art-in-exile","Art in Exile",{"_id":2501,"_type":1027,"categories":2502,"credits":2518,"featuredImage":2581,"filterables":2588,"footnotes":2599,"locations":2600,"logbook":7,"pageBuilder":2606,"researchQuestion":7,"researchQuestions":2610,"searchables":2631,"seo":7,"slug":2637,"title":2639,"year":102},"70ef6710-a0ea-4691-80e8-d4d9f7edaeba",[2503,2507,2511,2514],{"_id":365,"_type":362,"colorPrimary":2504,"seo":7,"slug":2506,"title":368},{"label":1031,"value":2505},"#555bda",{"_type":9,"current":367},{"_id":685,"_type":362,"colorPrimary":2508,"seo":7,"slug":2510,"title":688},{"label":1031,"value":2509},"#ff1414",{"_type":9,"current":687},{"_id":455,"_type":362,"colorPrimary":2512,"seo":7,"slug":2513,"title":458},{"label":1031,"value":1032},{"_type":9,"current":457},{"_id":420,"_type":362,"colorPrimary":2515,"seo":7,"slug":2517,"title":423},{"label":1031,"value":2516},"#69ff00",{"_type":9,"current":422},{"other":7,"profiles":2519},[2520],{"_id":2521,"_type":1078,"activeYears":2522,"bio":2525,"bioShort":2558,"featuredImage":2559,"filterables":2566,"links":2569,"locations":2572,"searchables":2576,"seo":7,"slug":2578,"title":2580},"753bbe0a-45b7-4146-8666-83b0dcaeb850",[2523],{"_id":98,"_type":99,"seo":7,"slug":2524,"title":102},{"_type":9,"current":101},[2526,2534,2542,2550],{"_key":2527,"_type":219,"children":2528,"markDefs":2533,"style":232},"76ce265e70b8",[2529],{"_key":2530,"_type":223,"marks":2531,"text":2532},"ef7d6db76a38",[],"Manning is a dancer and choreographer currently base in Zurich",[],{"_key":2535,"_type":219,"children":2536,"markDefs":2541,"style":232},"a661f0b9298a",[2537],{"_key":2538,"_type":223,"marks":2539,"text":2540},"95edcb31cd86",[],"After completing BA ballet performance in Shanghai Theatre Academy, she joined Suzhou Ballet as a soloist, where she won the First Prize and Best Performance Award at Ballet Grand Prix Vienna. She travelled to Austria to study contemporary dance and now completing her MA choreography in University of the Arts Zurich. She is also a registered trainer of Gyrokinesis®.",[],{"_key":2543,"_type":219,"children":2544,"markDefs":2549,"style":232},"712164ef61b6",[2545],{"_key":2546,"_type":223,"marks":2547,"text":2548},"291cc58892a40",[],"She was a member of the ATLAS choreography programme at the Impulstanz Festival 2024 Vienna and assistant at the Semperoper Ballet in Dresden. She has performed her own works in different places. Such as Gessneralle zurich, kulturmarkt , Kunsthaus Zurich etc.",[],{"_key":2551,"_type":219,"children":2552,"markDefs":2557,"style":232},"a92b43bc53b6",[2553],{"_key":2554,"_type":223,"marks":2555,"text":2556},"76b3334f4e520",[],"She is interested in interdisciplinary collaborative work. 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does power act on bodies and groups through social institutions and norms in the research and artistic practice of corporeality, ‘the relationship between power structures and social systems’?",[],{"_type":1733,"question":2622},[2623],{"_key":2624,"_type":219,"children":2625,"markDefs":2630,"style":232},"1d27a979ea90",[2626],{"_key":2627,"_type":223,"marks":2628,"text":2629},"50e258c44a220",[],"Is it possible for us to re-understand and change the social structures in which we live through bodily experience?",[],[2632,101,2633,2634,333,318,2577,2635,687,1782,2636],"hard boiled wonderland","how does power act on bodies and groups through social institutions and norms in the research and artistic practice of corporeality, ‘the relationship between power structures and social systems’?","is it possible for us to re-understand and change the social structures in which we live through bodily experience?"," embracing chaos","body 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Despov (fka Mairlyn Nova White) ",{"_key":2692,"_type":223,"marks":2693,"text":2694},"55f08fb95c47",[],"(they/them) is a Berlin-based ",{"_key":2696,"_type":223,"marks":2697,"text":2700},"e9e351fe6943",[2698,2699],"722ba586f84c","3adb91c70e30","Performer",{"_key":2702,"_type":223,"marks":2703,"text":2704},"dfd84b4bed77",[],", ",{"_key":2706,"_type":223,"marks":2707,"text":2710},"a985b5401b75",[2708,2709],"84b7ff9b38c2","4e140893e54b","Actor",{"_key":2712,"_type":223,"marks":2713,"text":1198},"c20c8dccaed1",[],{"_key":2715,"_type":223,"marks":2716,"text":2719},"6e9097b5ca5f",[2717,2718],"2966a7de22ed","29e9a6fb95d1","Drag King",{"_key":2721,"_type":223,"marks":2722,"text":2723},"69399c992649",[]," working at the intersection of performance, intimacy and artistic research. Their practice moves between stage, workshop, and embodied experimentation, exploring how identity is constructed, performed, and transformed.",[2725,2727,2730,2731,2732,2733,2734,2735],{"_key":2688,"_type":2242,"label":1031,"value":2726},"#000000",{"_key":2689,"_type":2728,"color":7,"label":1031,"value":2729},"textColor","#ffffff",{"_key":2698,"_type":2728,"color":7,"label":1031,"value":2729},{"_key":2699,"_type":2242,"label":1031,"value":2726},{"_key":2708,"_type":2242,"label":1031,"value":2726},{"_key":2717,"_type":2242,"label":1031,"value":2726},{"_key":2709,"_type":2728,"color":7,"label":1031,"value":2729},{"_key":2718,"_type":2728,"color":7,"label":1031,"value":2729},{"_key":2737,"_type":219,"children":2738,"markDefs":2756,"style":232},"53ac683cf13c",[2739,2743,2747,2751],{"_key":2740,"_type":223,"marks":2741,"text":2742},"4caacdb9e59b0",[],"Rooted in their Bulgarian heritage and shaped by their work as a Drag King and facilitator,  Marilyn investigates gender as a fluid, relational practice. Through their long-term Drag King project ",{"_key":2744,"_type":223,"marks":2745,"text":2746},"4caacdb9e59b1",[1559],"MALED IT!",{"_key":2748,"_type":223,"marks":2749,"text":2750},"4caacdb9e59b2",[],", they develop spaces where gender can be tried on, exaggerated, undone, and reimagined ",{"_key":2752,"_type":223,"marks":2753,"text":2755},"14697716e71e",[2754],"bbfb90de7841","collectively.",[2757],{"_key":2754,"_type":2728,"color":7},{"_key":2759,"_type":219,"children":2760,"markDefs":2765,"style":232},"e1ce8d4c65fc",[2761],{"_key":2762,"_type":223,"marks":2763,"text":2764},"e76200bac0260",[],"Their work combines movement, body, humor, and biographical fragments — often blurring the lines between fine lines and lived experience. At the core is an interest in Drag Kinging as a method of embodied knowledge production, collective un/learning, and queer world-making.",[],{"_key":2767,"_type":219,"children":2768,"markDefs":2781,"style":232},"96d340a13ebb",[2769,2773,2777],{"_key":2770,"_type":223,"marks":2771,"text":2772},"591860e3ec350",[],"At SoC, Marilyn develops ",{"_key":2774,"_type":223,"marks":2775,"text":2776},"591860e3ec351",[1559],"Drag King Utopia",{"_key":2778,"_type":223,"marks":2779,"text":2780},"591860e3ec352",[]," as a shared, commons-based practice: a temporary space for experimentation, transformation, and the possibility of becoming otherwise.",[],"Nova Despov (fka Marilyn Nova White) (they/them) is a Berlin-based Performer, Actor and Drag King working at the intersection of performance, intimacy and artistic research. 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It is rooted in queer-feminist, anti-normative practices and unfolds through MALED IT! – a long-term workshop series I have been developing since 2018. MALED IT! empowers queer, trans*, non-binary and FLINTA* persons through drag as a form of joyful resistance and transformation.",[],{"_key":2886,"_type":219,"children":2887,"markDefs":2892,"style":232},"391a1c3f9f28",[2888],{"_key":2889,"_type":223,"marks":2890,"text":2891},"0b0da03771a5",[]," My interest within the School of Commons lies in further developing Drag Kinging as a commons-based methodology for peer learning, critical play, and transdisciplinary research. The focus is not on performance as outcome, but on what becomes possible through the act of becoming someone else together – shifting norms, reclaiming agency, and imagining other futures through the body.",[],{"_type":2894,"slides":2895},"sliderBlock",[2896,2899,2907,2915],{"_type":1621,"caption":7,"image":2897},{"alt":7,"asset":2898},{"_id":2786,"height":2787,"orientation":1129,"ratio":2788,"url":2789,"width":2790},{"_type":1621,"caption":7,"image":2900},{"alt":7,"asset":2901},{"_id":2902,"height":2903,"orientation":1129,"ratio":2904,"url":2905,"width":2906},"image-efefdf2709da4a9f285ba267689a6e1a32e13153-690x928-png",928,0.7435344827586207,"https://cdn.sanity.io/images/eodip22e/production/efefdf2709da4a9f285ba267689a6e1a32e13153-690x928.png",690,{"_type":1621,"caption":7,"image":2908},{"alt":7,"asset":2909},{"_id":2910,"height":2911,"orientation":1129,"ratio":2912,"url":2913,"width":2914},"image-70767253215029f6120205ceeb7b059e2541f803-662x888-png",888,0.7454954954954955,"https://cdn.sanity.io/images/eodip22e/production/70767253215029f6120205ceeb7b059e2541f803-662x888.png",662,{"_type":1621,"caption":7,"image":2916},{"alt":7,"asset":2917},{"_id":2918,"height":2919,"orientation":1129,"ratio":2920,"url":2921,"width":2922},"image-f32389b6c05bb6b10b25faec8ed4c0e5cc0a4e8d-2316x3088-jpg",3088,0.75,"https://cdn.sanity.io/images/eodip22e/production/f32389b6c05bb6b10b25faec8ed4c0e5cc0a4e8d-2316x3088.jpg",2316,{"_type":1625,"settings":2924,"text":2925},{"textColumnCount":1627},[2926,2941,2949,2962,2969,2977,2991,2999,3007,3015,3023,3031,3039,3047,3055,3063,3071,3079,3087,3095,3103,3111,3119,3127,3135,3143,3151,3159,3167,3174,3181],{"_key":2927,"_type":219,"children":2928,"markDefs":2938,"style":232},"4a02aa318293",[2929,2934],{"_key":2930,"_type":223,"marks":2931,"text":2933},"b708cd83804f",[225,2932],"d88da1fa904b","+++",{"_key":2935,"_type":223,"marks":2936,"text":2937},"0372c4a43ff6",[225]," SoC Gathering",[2939],{"_key":2932,"_type":2728,"color":7,"label":1031,"value":2940},"#6301dd",{"_key":2942,"_type":219,"children":2943,"markDefs":2948,"style":232},"b1dd89acd6bc",[2944],{"_key":2945,"_type":223,"marks":2946,"text":2947},"9e22203194d7",[225],"July 3 - 5 in 2026 ",[],{"_key":2950,"_type":219,"children":2951,"markDefs":2960,"style":232},"ac6bdf71aa3f",[2952,2956],{"_key":2953,"_type":223,"marks":2954,"text":2955},"6e8df102e5dc",[225],"@ZHdK Zürich ",{"_key":2957,"_type":223,"marks":2958,"text":2933},"883e9a1542bd",[225,2959],"1d79a393ff7f",[2961],{"_key":2959,"_type":2728,"color":7,"label":1031,"value":2940},{"_key":2963,"_type":219,"children":2964,"markDefs":2968,"style":232},"8123a86eb0a9",[2965],{"_key":2966,"_type":223,"marks":2967,"text":1405},"37dad5d10e94",[],[],{"_key":2970,"_type":219,"children":2971,"markDefs":2976,"style":232},"efdc2331635a",[2972],{"_key":2973,"_type":223,"marks":2974,"text":2975},"5de9b5262d20",[225],"____",[],{"_key":2978,"_type":219,"children":2979,"markDefs":2989,"style":232},"0a7c1d919f94",[2980,2984],{"_key":2981,"_type":223,"marks":2982,"text":2983},"d3bee6984b690",[],"Welcome to ",{"_key":2985,"_type":223,"marks":2986,"text":2988},"462ad1bffdd1",[225,2987],"9d02a9c40fa4","Drag King Utopia: A Collective Rehearsal",[2990],{"_key":2987,"_type":2728,"color":7,"label":1031,"value":2940},{"_key":2992,"_type":219,"children":2993,"markDefs":2998,"style":232},"0fe0b4542772",[2994],{"_key":2995,"_type":223,"marks":2996,"text":2997},"77bbc399434f0",[],"For the next hour, I would like to invite you into a temporary experiment.",[],{"_key":3000,"_type":219,"children":3001,"markDefs":3006,"style":232},"2615df237aff",[3002],{"_key":3003,"_type":223,"marks":3004,"text":3005},"80fb712b174b0",[],"Before we begin, a few words about Drag Kings and masculinity*.",[],{"_key":3008,"_type":219,"children":3009,"markDefs":3014,"style":232},"bd28af7d4fb7",[3010],{"_key":3011,"_type":223,"marks":3012,"text":3013},"17d372b504780",[],"My name is Marilyn Nova or Marilyn Moustache.",[],{"_key":3016,"_type":219,"children":3017,"markDefs":3022,"style":232},"27b69e0d89ff",[3018],{"_key":3019,"_type":223,"marks":3020,"text":3021},"f40a3d911f980",[],"Drag Kings are performers, artists, and researchers who explore masculinity* through embodiment, transformation, exaggeration, imitation, and play. Rather than treating masculinity* as something natural or fixed, Drag Kinging approaches it as something that can be observed, learned, rehearsed, questioned, and reinvented.",[],{"_key":3024,"_type":219,"children":3025,"markDefs":3030,"style":232},"49a0a27043e9",[3026],{"_key":3027,"_type":223,"marks":3028,"text":3029},"e36d09d5f73f0",[],"In this workshop, masculinity* is not understood as something that belongs to men.",[],{"_key":3032,"_type":219,"children":3033,"markDefs":3038,"style":232},"21c34bfd14b9",[3034],{"_key":3035,"_type":223,"marks":3036,"text":3037},"dccdd044132b0",[],"Instead, I invite us to think of masculinity* as a collection of gestures, behaviours, postures, expectations, fantasies, privileges, vulnerabilities, and ways of relating to others. Some of these we inherit. Some we resist. Some we consciously choose. Others we may still need to invent.",[],{"_key":3040,"_type":219,"children":3041,"markDefs":3046,"style":232},"eb9d37f578bd",[3042],{"_key":3043,"_type":223,"marks":3044,"text":3045},"2393b108fdaf0",[],"My interest is not in defining what masculinity* is or teaching you how to become a Drag King.",[],{"_key":3048,"_type":219,"children":3049,"markDefs":3054,"style":232},"af0adb786614",[3050],{"_key":3051,"_type":223,"marks":3052,"text":3053},"9e04afb311440",[],"My interest is in asking:",[],{"_key":3056,"_type":219,"children":3057,"markDefs":3062,"style":232},"8b9677c4a7e7",[3058],{"_key":3059,"_type":223,"marks":3060,"text":3061},"b356867d2b200",[],"How does masculinity* move through bodies?\nHow is it learned?\nHow is it performed?\nHow can it be transformed?",[],{"_key":3064,"_type":219,"children":3065,"markDefs":3070,"style":232},"3e8699b2221e",[3066],{"_key":3067,"_type":223,"marks":3068,"text":3069},"4782cb86d12b0",[],"And I am interested in the knowledge that lives in our bodies.",[],{"_key":3072,"_type":219,"children":3073,"markDefs":3078,"style":232},"134e72d531f3",[3074],{"_key":3075,"_type":223,"marks":3076,"text":3077},"3840a63fa2240",[],"The knowledge we inherit.\nThe knowledge we perform.\nThe knowledge we resist.\nThe knowledge we pass on to others without even noticing.",[],{"_key":3080,"_type":219,"children":3081,"markDefs":3086,"style":232},"5e20335d0f6d",[3082],{"_key":3083,"_type":223,"marks":3084,"text":3085},"b5ddb65a78360",[],"Today, we will use Drag Kinging not as a performance genre, but as a research tool.",[],{"_key":3088,"_type":219,"children":3089,"markDefs":3094,"style":232},"4ad673b4b9e7",[3090],{"_key":3091,"_type":223,"marks":3092,"text":3093},"7fdeaf2433bb0",[],"Recently, two terms have been accompanying my research: Body Rebellion and Flowing Knowledge.",[],{"_key":3096,"_type":219,"children":3097,"markDefs":3102,"style":232},"f8b2c009f2b3",[3098],{"_key":3099,"_type":223,"marks":3100,"text":3101},"58b143e127600",[],"Body Rebellion makes me wonder:\nWhere does resistance live in the body?\nWhat parts of ourselves have learned to adapt?\nWhat parts still refuse?",[],{"_key":3104,"_type":219,"children":3105,"markDefs":3110,"style":232},"28174cdb93a9",[3106],{"_key":3107,"_type":223,"marks":3108,"text":3109},"637bf39cbcdd0",[],"Flowing Knowledge makes me wonder:\nHow does knowledge travel?\nWhat happens when it moves from one body to another?\nWhat changes along the way?\nWhat gets lost?\nWhat gets invented?",[],{"_key":3112,"_type":219,"children":3113,"markDefs":3118,"style":232},"465128b0bd4c",[3114],{"_key":3115,"_type":223,"marks":3116,"text":3117},"3269fe5240700",[],"For the next hour, I would like us to approach these questions together.",[],{"_key":3120,"_type":219,"children":3121,"markDefs":3126,"style":232},"81c992df5b2c",[3122],{"_key":3123,"_type":223,"marks":3124,"text":3125},"74a23619d0700",[],"You will be invited to write, move, observe, speak, imagine, and perhaps try on a beard.",[],{"_key":3128,"_type":219,"children":3129,"markDefs":3134,"style":232},"e8c36d811565",[3130],{"_key":3131,"_type":223,"marks":3132,"text":3133},"e4755a6b2a880",[],"You don't need any previous experience with drag.\nYou don't need to perform.\nYou don't need to know the right answer.",[],{"_key":3136,"_type":219,"children":3137,"markDefs":3142,"style":232},"5ecf22b1b838",[3138],{"_key":3139,"_type":223,"marks":3140,"text":3141},"b59ab8f009d30",[],"I am not looking for expertise.\nI am looking for traces.",[],{"_key":3144,"_type":219,"children":3145,"markDefs":3150,"style":232},"2a30202c8d01",[3146],{"_key":3147,"_type":223,"marks":3148,"text":3149},"5e118a27721b0",[],"Traces of knowledge.\nTraces of rebellion.\nTraces of transformation.",[],{"_key":3152,"_type":219,"children":3153,"markDefs":3158,"style":232},"b7efefd87761",[3154],{"_key":3155,"_type":223,"marks":3156,"text":3157},"aee3842f28790",[],"Together, we will create a temporary Drag King Utopia: not a perfect place, but a space where other ways of being can be rehearsed.",[],{"_key":3160,"_type":219,"children":3161,"markDefs":3166,"style":232},"414506a21c05",[3162],{"_key":3163,"_type":223,"marks":3164,"text":3165},"4918b55593550",[],"Let's 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kinging as a collective utopia & un/learning","how can drag kinging become a shared method for collective learning, unlearning, and knowledge production?\n\n","what knowledge is accessed when we step into alternative masculinities* and gender roles – and how can this be documented, shared, and opened up to others?","what can the body know that language cannot articulate?","what role does cultural memory play in embodied gender performance?","what does an archive of gestures look like?","how can utopia be made visible without fixing it?","who what why where is diddy daddy?","between berlin and bulgaria","this project explores drag kinging as a method of embodied, collective knowledge production. it is rooted in queer-feminist, anti-normative practices and unfolds through maled it! – a long-term workshop series i have been developing since 2018. maled it! empowers queer, trans*, non-binary and flinta* persons through drag as a form of joyful resistance and transformation.\n\n my interest within the school of commons lies in further developing drag kinging as a commons-based methodology for peer learning, critical play, and transdisciplinary research. the focus is not on performance as outcome, but on what becomes possible through the act of becoming someone else together – shifting norms, reclaiming agency, and imagining other futures through the body.","+++ soc gathering\n\njuly 3 - 5 in 2026 \n\n@zhdk zürich +++\n\n\n\n____\n\nwelcome to drag king utopia: a collective rehearsal\n\nfor the next hour, i would like to invite you into a temporary experiment.\n\nbefore we begin, a few words about drag kings and masculinity*.\n\nmy name is marilyn nova or marilyn moustache.\n\ndrag kings are performers, artists, and researchers who explore masculinity* through embodiment, transformation, exaggeration, imitation, and play. rather than treating masculinity* as something natural or fixed, drag kinging approaches it as something that can be observed, learned, rehearsed, questioned, and reinvented.\n\nin this workshop, masculinity* is not understood as something that belongs to men.\n\ninstead, i invite us to think of masculinity* as a collection of gestures, behaviours, postures, expectations, fantasies, privileges, vulnerabilities, and ways of relating to others. some of these we inherit. some we resist. some we consciously choose. others we may still need to invent.\n\nmy interest is not in defining what masculinity* is or teaching you how to become a drag king.\n\nmy interest is in asking:\n\nhow does masculinity* move through bodies?\nhow is it learned?\nhow is it performed?\nhow can it be transformed?\n\nand i am interested in the knowledge that lives in our bodies.\n\nthe knowledge we inherit.\nthe knowledge we perform.\nthe knowledge we resist.\nthe knowledge we pass on to others without even noticing.\n\ntoday, we will use drag kinging not as a performance genre, but as a research tool.\n\nrecently, two terms have been accompanying my research: body rebellion and flowing knowledge.\n\nbody rebellion makes me wonder:\nwhere does resistance live in the body?\nwhat parts of ourselves have learned to adapt?\nwhat parts still refuse?\n\nflowing knowledge makes me wonder:\nhow does knowledge travel?\nwhat happens when it moves from one body to another?\nwhat changes along the way?\nwhat gets lost?\nwhat gets invented?\n\nfor the next hour, i would like us to approach these questions together.\n\nyou will be invited to write, move, observe, speak, imagine, and perhaps try on a beard.\n\nyou don't need any previous experience with drag.\nyou don't need to perform.\nyou don't need to know the right answer.\n\ni am not looking for expertise.\ni am looking for traces.\n\ntraces of knowledge.\ntraces of rebellion.\ntraces of transformation.\n\ntogether, we will create a temporary drag king utopia: not a perfect place, but a space where other ways of being can be rehearsed.\n\nlet's begin.\n\n\n\n\n\n","____\n\nthe knowledge exchange\n\nthe cover\n\n+++ what knowledge lives in your body? knowledge travels. from body to body. think of a skill, habit, gesture, survival strategy or piece of knowledge that has shaped you. +++","____\n\npage 1 & 2\n\n+++ which parts of the body symbolise rebellion?\n\nwhich ones symbolise conformity? +++","____\n\ndrag king utopia census\n\n+++ i learned masculinity* from +++","____\n\nthe hangers remain empty\n\n+++ what are you wearing even when nobody sees it? +++","____\n\npage 3\n\n+++ r  eflection +++","whisper\n\nwhisper\n\nwhisper\n\nwhisper\n\n\n\nwho you could become?\n\n\n\n+++ rehearsal end +++","diddy\n\ndaddy","+++\n\n🦋🦋🦋 interactive answers 🦋🦋🦋\n\nan attempt to find some answers. an open online survey featuring the following questions on drag kinging and un/learning:","methods for knowledge decentralisation",{"metaDescription":7,"metaTitle":3949,"shareImage":7},"MALED IT! Body Rebellion Drag King Collective Utopia",{"_type":9,"current":3951},"maled-it","MALED IT! – Body Rebellion and Flowing Knowledge: Drag Kinging as a Collective Utopia & Un/learning",{"_id":3954,"_type":1027,"categories":3955,"credits":3971,"featuredImage":4197,"filterables":4205,"footnotes":4215,"locations":4216,"logbook":4236,"pageBuilder":4269,"researchQuestion":7,"researchQuestions":4377,"searchables":4428,"seo":7,"slug":4443,"title":4198,"year":102},"755dd2a1-4a67-44cc-8225-d1f27643a276",[3956,3960,3964,3968],{"_id":995,"_type":362,"colorPrimary":3957,"seo":7,"slug":3959,"title":998},{"label":1031,"value":3958},"#00ffc3",{"_type":9,"current":997},{"_id":840,"_type":362,"colorPrimary":3961,"seo":7,"slug":3963,"title":843},{"label":1031,"value":3962},"#61bfe8",{"_type":9,"current":842},{"_id":560,"_type":362,"colorPrimary":3965,"seo":7,"slug":3967,"title":563},{"label":1031,"value":3966},"#407fff",{"_type":9,"current":562},{"_id":625,"_type":362,"colorPrimary":3969,"seo":7,"slug":3970,"title":628},{"label":1031,"value":1032},{"_type":9,"current":627},{"other":3972,"profiles":3981},[3973],{"_key":3974,"_type":219,"children":3975,"markDefs":3980,"style":232},"0593ee84280c",[3976],{"_key":3977,"_type":223,"marks":3978,"text":3979},"618eacff5246",[],"About our collective: Our transdisciplinary team includes a community leader, artists, a social science researcher, an ethnographic writer and an environmental expert. Together, we approach bio-cultural practice through multiple lenses and foster dialogue among communities navigating ecosystem degradation, the erosion of cultural memory, and governance challenges—especially the marginalization of local knowledge in environmental governance.",[],[3982,4038,4073,4108,4135,4168],{"_id":3983,"_type":1078,"activeYears":3984,"bio":3987,"bioShort":3996,"featuredImage":3997,"filterables":4005,"links":4008,"locations":4011,"searchables":4034,"seo":7,"slug":4036,"title":3998},"11ed1aa1-a0c2-4669-8551-8b0a3393cab9",[3985],{"_id":98,"_type":99,"seo":7,"slug":3986,"title":102},{"_type":9,"current":101},[3988],{"_key":3989,"_type":219,"children":3990,"markDefs":3995,"style":232},"23e5513d6366",[3991],{"_key":3992,"_type":223,"marks":3993,"text":3994},"ed8609a977280",[],"Chengwei is an artist from Sichuan, China, currently based in London. Her practice moves across drawing, writing, and making, approaching art as a slow, relational process of co-presence, care, and cultivation. Her work unfolds through long-term attention to specific places and relationships. It brings together personal narrative, local knowledge, and embodied experience, taking shape through practices such as foraging, growing, and making. Through these processes, she attends to non-linear temporalities and to forms of knowledge that are often overlooked or marginalized, exploring how they might be sensed, remembered, and re-articulated.",[],"Chengwei is an artist from Sichuan, China, currently based in London. Her practice moves across drawing, writing, and making, approaching art as a slow, relational process of co-presence, care, and cultivation. Her work unfolds through long-term attention to specific places and relationships.",{"alt":3998,"asset":3999},"Chengwei Xia",{"_id":4000,"height":4001,"orientation":1129,"ratio":4002,"url":4003,"width":4004},"image-3236525d8907bb21de27c1b3a9bc0368906a502c-1024x1544-jpg",1544,0.6632124352331606,"https://cdn.sanity.io/images/eodip22e/production/3236525d8907bb21de27c1b3a9bc0368906a502c-1024x1544.jpg",1024,{"filterYear":4006},[4007],{"_id":98,"title":102},[4009],{"_type":1138,"label":1139,"url":4010},"https://chengweixia.com",{"locations":4012,"other":4017},[4013,4015],{"_id":326,"_type":308,"seo":7,"slug":4014,"title":329},{"_type":9,"current":328},{"_id":331,"_type":308,"seo":7,"slug":4016,"title":334},{"_type":9,"current":333},[4018,4026],{"_key":4019,"_type":219,"children":4020,"markDefs":4025,"style":232},"d228b1fb3491",[4021],{"_key":4022,"_type":223,"marks":4023,"text":4024},"a941fa69b7be",[],"Sichuan",[],{"_key":4027,"_type":219,"children":4028,"markDefs":4033,"style":232},"ed74e1bbe28a",[4029],{"_key":4030,"_type":223,"marks":4031,"text":4032},"625f6bfbeef6",[],"London",[],[4035,101],"chengwei xia",{"_type":9,"current":4037},"chengwei-xia",{"_id":4039,"_type":1078,"activeYears":4040,"bio":4043,"bioShort":4052,"featuredImage":4053,"filterables":4059,"links":7,"locations":4062,"searchables":4068,"seo":7,"slug":4070,"title":4072},"084e8179-6ffb-4e0e-802b-7326246863b8",[4041],{"_id":98,"_type":99,"seo":7,"slug":4042,"title":102},{"_type":9,"current":101},[4044],{"_key":4045,"_type":219,"children":4046,"markDefs":4051,"style":232},"b9b33e86273f",[4047],{"_key":4048,"_type":223,"marks":4049,"text":4050},"de5334e415b7",[],"Huiqiao (丘慧巧) is a social scientist who is interested in exploring art as a method to facilitate ethical and emancipatory knowledge production in relation to entanglement between human and more-than-human. My past initiatives include collaboration with other artists and practitioners, supported by local NGOs, aiming at facilitate residents' narratives around water, climate, food through applied theatre, participatory workshops, community-based events, and other participatory methods.    ",[],"Huiqiao (丘慧巧) is a social science researcher in Development Planning, examining how local practices and relationality could inform solutions toward socio-environmental challenges. ",{"alt":7,"asset":4054},{"_id":4055,"height":4056,"orientation":1129,"ratio":2920,"url":4057,"width":4058},"image-0b1aaf3f4eac28e64a82ab2767ff562e12a3ef09-1200x1600-jpg",1600,"https://cdn.sanity.io/images/eodip22e/production/0b1aaf3f4eac28e64a82ab2767ff562e12a3ef09-1200x1600.jpg",1200,{"filterYear":4060},[4061],{"_id":98,"title":102},{"locations":4063,"other":7},[4064,4066],{"_id":326,"_type":308,"seo":7,"slug":4065,"title":329},{"_type":9,"current":328},{"_id":331,"_type":308,"seo":7,"slug":4067,"title":334},{"_type":9,"current":333},[4069,101],"huiqiao qiu",{"_type":9,"current":4071},"huiqiao-qiu","Huiqiao Qiu",{"_id":4074,"_type":1078,"activeYears":4075,"bio":4078,"bioShort":4094,"featuredImage":4095,"filterables":4100,"links":7,"locations":7,"searchables":4103,"seo":7,"slug":4105,"title":4107},"b83c9754-5f08-4185-9577-b5377d849aa5",[4076],{"_id":98,"_type":99,"seo":7,"slug":4077,"title":102},{"_type":9,"current":101},[4079,4087],{"_key":4080,"_type":219,"children":4081,"markDefs":4086,"style":232},"1f1a677c6b3d",[4082],{"_key":4083,"_type":223,"marks":4084,"text":4085},"30c7c56e8a6a0",[],"Shuhao Lin (林树浩) is an advisor to the Haikou Duotan Wetland Research Institute; a member of the IUCN Horseshoe Crab Specialist Group; designer and editor of popular science books; freshwater fish surveys.",[],{"_key":4088,"_type":219,"children":4089,"markDefs":4093,"style":232},"0e27746ebfd8",[4090],{"_key":4091,"_type":223,"marks":4092,"text":1405},"e8c6006a45f50",[],[],"An advisor to the Haikou Duotan Wetland Research Institute; a member of the IUCN Horseshoe Crab Specialist Group; designer and editor of popular science books; freshwater fish surveys.",{"alt":7,"asset":4096},{"_id":4097,"height":2831,"orientation":1474,"ratio":3344,"url":4098,"width":4099},"image-a351d1c1f3c651456eda0da51c432710126bb822-1440x1080-jpg","https://cdn.sanity.io/images/eodip22e/production/a351d1c1f3c651456eda0da51c432710126bb822-1440x1080.jpg",1440,{"filterYear":4101},[4102],{"_id":98,"title":102},[4104,101],"shuhao lin",{"_type":9,"current":4106},"shuhao-lin","Shuhao Lin",{"_id":4109,"_type":1078,"activeYears":4110,"bio":4113,"bioShort":4122,"featuredImage":4123,"filterables":4127,"links":7,"locations":7,"searchables":4130,"seo":7,"slug":4132,"title":4134},"35f6f048-410c-4e13-b8b6-f16d786d8a64",[4111],{"_id":98,"_type":99,"seo":7,"slug":4112,"title":102},{"_type":9,"current":101},[4114],{"_key":4115,"_type":219,"children":4116,"markDefs":4121,"style":232},"fae80c390296",[4117],{"_key":4118,"_type":223,"marks":4119,"text":4120},"7207c978a0c00",[],"Songzi is an independent writer who explores the relationship between people and nature in local communities, she uses interviews and writing to uncover local experiences and ecological knowledge. Her work has appeared in publications such as Huaxia Geography, Sixth Tone, and The Paper.",[],"Songzi (王松子) is an independent writer who explores the relationship between people and nature in local communities, she uses interviews and writing to uncover local experiences and ecological knowledge.  ",{"alt":7,"asset":4124},{"_id":4125,"height":2831,"orientation":1474,"ratio":2585,"url":4126,"width":1944},"image-e0cdc8d75788e290c6c9a6d5a3c2ed58beb6c4a5-1620x1080-jpg","https://cdn.sanity.io/images/eodip22e/production/e0cdc8d75788e290c6c9a6d5a3c2ed58beb6c4a5-1620x1080.jpg",{"filterYear":4128},[4129],{"_id":98,"title":102},[4131,101],"songzi wang",{"_type":9,"current":4133},"songzi-wang","Songzi Wang",{"_id":4136,"_type":1078,"activeYears":4137,"bio":4140,"bioShort":4149,"featuredImage":4150,"filterables":4154,"links":7,"locations":4157,"searchables":4163,"seo":7,"slug":4165,"title":4167},"3cecc579-db08-466e-b0fa-9cfbff3a48f7",[4138],{"_id":98,"_type":99,"seo":7,"slug":4139,"title":102},{"_type":9,"current":101},[4141],{"_key":4142,"_type":219,"children":4143,"markDefs":4148,"style":232},"819274124582",[4144],{"_key":4145,"_type":223,"marks":4146,"text":4147},"e52286e6ed7d0",[],"Hello everyone, I'm Alan Tan (谭喜云), the former chief of Laoshi Village. With over 10 years of experience in architectural design and project management and 8 years of experience in community govermance and sustainable development. I'm thrilled to join SoC to explore how 'commoning' can reshape rural spaces and facilitate local residents.",[],"The former chief of Laoshi Village. With over 10 years of experience in architectural design and project management and 8 years of experience in community govermance and sustainable development. I'm thrilled to join SoC to explore how 'commoning' can reshape rural spaces and facilitate local residents.",{"alt":7,"asset":4151},{"_id":4152,"height":2394,"orientation":1474,"ratio":2585,"url":4153,"width":2834},"image-891814d7d73c8533fd2cfbbc7cb38c79eb859e8a-1920x1280-jpg","https://cdn.sanity.io/images/eodip22e/production/891814d7d73c8533fd2cfbbc7cb38c79eb859e8a-1920x1280.jpg",{"filterYear":4155},[4156],{"_id":98,"title":102},{"locations":4158,"other":7},[4159,4161],{"_id":326,"_type":308,"seo":7,"slug":4160,"title":329},{"_type":9,"current":328},{"_id":341,"_type":308,"seo":7,"slug":4162,"title":344},{"_type":9,"current":343},[4164,101],"xiyun tan",{"_type":9,"current":4166},"xiyun-tan","Xiyun Tan",{"_id":4169,"_type":1078,"activeYears":7,"bio":4170,"bioShort":4179,"featuredImage":4180,"filterables":4187,"links":7,"locations":4188,"searchables":4192,"seo":7,"slug":4194,"title":4196},"6a919eb5-7e44-4958-b126-fca2cad37411",[4171],{"_key":4172,"_type":219,"children":4173,"markDefs":4178,"style":232},"9a85b435b75a",[4174],{"_key":4175,"_type":223,"marks":4176,"text":4177},"ab0bc32f3ca10",[],"Gu Qiu (顾秋) comes from an island of southern China. As a content creator whose primary mediums are photography and poetry, she focuses on community transformation and individual emotional memories—exploring how a place is remembered and how individuals navigate their own memories. She is currently working on a project involving image editing and self-curation: the “Bedside Solo Exhibition series—I Planted a Tree by My Bedside”.\n",[],"A content creator whose primary mediums are photography and poetry.\n",{"alt":7,"asset":4181},{"_id":4182,"height":4183,"orientation":1129,"ratio":4184,"url":4185,"width":4186},"image-ab10dadfd5a4561f22b5440b8d8a18e036c064a2-1081x1619-jpg",1619,0.6676961087090797,"https://cdn.sanity.io/images/eodip22e/production/ab10dadfd5a4561f22b5440b8d8a18e036c064a2-1081x1619.jpg",1081,{"filterYear":7},{"locations":4189,"other":7},[4190],{"_id":326,"_type":308,"seo":7,"slug":4191,"title":329},{"_type":9,"current":328},[4193],"gu qiu ",{"_type":9,"current":4195},"gu-qiu","Gu Qiu ",{"alt":4198,"asset":4199},"Mou Gan Project",{"_id":4200,"height":4201,"orientation":1474,"ratio":4202,"url":4203,"width":4204},"image-afe1a59bfeb735e4c098fc50ff5fa02795505d0f-1256x960-jpg",960,1.3083333333333333,"https://cdn.sanity.io/images/eodip22e/production/afe1a59bfeb735e4c098fc50ff5fa02795505d0f-1256x960.jpg",1256,{"filterCategory":4206,"filterLocation":4211,"filterYear":4213},[4207,4208,4209,4210],{"_id":995,"title":998},{"_id":840,"title":843},{"_id":560,"title":563},{"_id":625,"title":628},[4212],{"_id":326,"title":329},[4214],{"_id":98,"title":102},[],{"locations":4217,"other":4220},[4218],{"_id":326,"_type":308,"seo":7,"slug":4219,"title":329},{"_type":9,"current":328},[4221,4229],{"_key":4222,"_type":219,"children":4223,"markDefs":4228,"style":232},"d64b704ef06b",[4224],{"_key":4225,"_type":223,"marks":4226,"text":4227},"d86ba5bf3d510",[],"Laoshi village, the site of the project, is located in the western region of Hainan Island, the southernmost province of China. It sits near a harbour where seawater meets freshwater flowing down from the central mountains. This mingling of salt and fresh water sustains a rich local biodiversity, while also making possible the traditional livelihood of sea salt production, both historically and in the present.",[],{"_key":4230,"_type":219,"children":4231,"markDefs":4235,"style":232},"0edc0d749e13",[4232],{"_key":4233,"_type":223,"marks":4234,"text":1405},"8950afb2312e",[],[],[4237,4245,4253,4261],{"_key":4238,"_type":219,"children":4239,"markDefs":4244,"style":232},"0b26908c6016",[4240],{"_key":4241,"_type":223,"marks":4242,"text":4243},"e3d7302fbc0c",[],"04/2026",[],{"_key":4246,"_type":219,"children":4247,"markDefs":4252,"style":232},"8af6bba90288",[4248],{"_key":4249,"_type":223,"marks":4250,"text":4251},"80db0447ab74",[],"Mou Gan Project emerges from the long-term cultivation of eco-cultural relations within the local community of Laoshi, in Danzhou, Hainan. The project centers situated and embodied knowledge, activated through local narratives, relational mapping, and forms of labor, alongside ongoing reflective dialogue. It seeks to recognize and foreground marginalized local knowledge within contemporary environmental governance.",[],{"_key":4254,"_type":219,"children":4255,"markDefs":4260,"style":232},"be0af8c3a28a",[4256],{"_key":4257,"_type":223,"marks":4258,"text":4259},"7e16eb06458c",[],"The project brings together community residents, scientists, social scientists/ethnographers, and artists. It also operates as a space of encounter between local culture, ecosystems, and diverse knowledge systems.",[],{"_key":4262,"_type":219,"children":4263,"markDefs":4268,"style":232},"5af0e18668b8",[4264],{"_key":4265,"_type":223,"marks":4266,"text":4267},"810e0afe6de4",[],"In April 2026, collective members Songzi, Shuhao, and Gu Qiu traveled to Laoshi to prepare for the upcoming Mapping and Sea Salt Farm School workshops in June. They engaged with local eco-cultural relations through transdisciplinary approaches, including river-centered walking practices attentive to encounters between human and more-than-human actors, photography, sea salt making, and the gathering of local narratives.",[],[4270,4290,4346,4361],{"_type":1621,"caption":4271,"image":4288},[4272,4280],{"_key":4273,"_type":219,"children":4274,"markDefs":4279,"style":232},"eb4f57a9a0bf",[4275],{"_key":4276,"_type":223,"marks":4277,"text":4278},"1ce40b196693",[],"Chengwei Xia | Estuary",[],{"_key":4281,"_type":219,"children":4282,"markDefs":4287,"style":232},"b819b76991ef",[4283],{"_key":4284,"_type":223,"marks":4285,"text":4286},"c3e88a120ffa",[],"walnut ink, Chinese ink, and watercolor on Nepalese mountain paper\n2025",[],{"alt":4198,"asset":4289},{"_id":4200,"height":4201,"orientation":1474,"ratio":4202,"url":4203,"width":4204},{"_type":1625,"settings":4291,"text":4292},{"textColumnCount":1627},[4293,4301,4308,4316,4323,4331,4338],{"_key":4294,"_type":219,"children":4295,"markDefs":4300,"style":232},"af0ffba6e78b",[4296],{"_key":4297,"_type":223,"marks":4298,"text":4299},"383ea54054380",[],"In the local language of the rural community where our project is based, \"Mou Gan\" means the roots and trunk of a tree. The community is surrounded by a forest of tamarind trees planted by ancestors. These trees play a vital ecological role in preventing soil erosion along a local estuary that brings seawater to the village's salt farm which is essential to local livelihoods. By naming our project “Mou Gan,” we honour the ecological significance of these trees while expressing our wish for the project to be deeply rooted in local soil, nurtured by the community, and to provide shade and resources for the village while also extending our reach to a broader context.",[],{"_key":4302,"_type":219,"children":4303,"markDefs":4307,"style":232},"ce6cc5fd60e7",[4304],{"_key":4305,"_type":223,"marks":4306,"text":1405},"191cdbafb5b30",[],[],{"_key":4309,"_type":219,"children":4310,"markDefs":4315,"style":232},"f0d179d1a38b",[4311],{"_key":4312,"_type":223,"marks":4313,"text":4314},"014da6943e8c0",[],"Our collective invites villagers and the public to explore the ecological and cultural life surrounding the major ecosystems of the village. Developed as a platform for co-learning bio-cultural connections, we aim to challenge top-down models of environmental governance that prioritize technocracy. We aim to center traditional knowledge, embodied experiences, and emotional connections as valid forms of environmental understanding. We follow three main trajectories: learning from local knowledge systems through embodied experiences, fostering collaborative practices via art, science, storytelling, and governance, and connecting this learning to broader environmental discourses.",[],{"_key":4317,"_type":219,"children":4318,"markDefs":4322,"style":232},"9348dfdd6f19",[4319],{"_key":4320,"_type":223,"marks":4321,"text":1405},"1ae8e0ac1aee0",[],[],{"_key":4324,"_type":219,"children":4325,"markDefs":4330,"style":232},"c3d9d5acf88f",[4326],{"_key":4327,"_type":223,"marks":4328,"text":4329},"f6fbc156b7b80",[],"We will use participatory, interactive, and embodied approaches in two main activities: transect walks and salt-making. Transect walks along the local river will bring together residents, officials, planners, collective members, and others to move through and reflect on community spaces. We will hold mapping workshops to co-create participatory maps of ecological change, memory, and daily life. These maps will be shared both in the village and on our digital platform, forming a living archive. We will also launch a Seasalt Farm School, where participants will learn salt-making from local salt farmers and the environment itself—reading tides, sunlight, and weather. This labor fosters intimate, bodily relationships with place and reframes knowledge as something lived, sensed, and shared.",[],{"_key":4332,"_type":219,"children":4333,"markDefs":4337,"style":232},"38aef5a11375",[4334],{"_key":4335,"_type":223,"marks":4336,"text":1405},"163c4d4ac46a0",[],[],{"_key":4339,"_type":219,"children":4340,"markDefs":4345,"style":232},"100c6fc73d17",[4341],{"_key":4342,"_type":223,"marks":4343,"text":4344},"255ec18b5f600",[],"These activities support eco-centered, embodied knowledge as an essential part of environmental governance. They also offer spaces for local people to collectively revisit bio-cultural memory and activate their stewardship with nature and place.",[],{"_type":1621,"caption":4347,"image":4356},[4348],{"_key":4349,"_type":219,"children":4350,"markDefs":4355,"style":232},"aad38a7e2776",[4351],{"_key":4352,"_type":223,"marks":4353,"text":4354},"26689d6236fd",[],"Shuhao Lin | May prosperity to the boat @ Haitou",[],{"alt":7,"asset":4357},{"_id":4358,"height":2834,"orientation":1474,"ratio":2585,"url":4359,"width":4360},"image-c759cba4869440947efb7d2b7b1aaacd1557f601-2880x1920-jpg","https://cdn.sanity.io/images/eodip22e/production/c759cba4869440947efb7d2b7b1aaacd1557f601-2880x1920.jpg",2880,{"_type":1621,"caption":4362,"image":4371},[4363],{"_key":4364,"_type":219,"children":4365,"markDefs":4370,"style":232},"9af471107615",[4366],{"_key":4367,"_type":223,"marks":4368,"text":4369},"4582fcd24d56",[],"Gu Qiu | Light on a fish boat",[],{"alt":7,"asset":4372},{"_id":4373,"height":2834,"orientation":1129,"ratio":4374,"url":4375,"width":4376},"image-3dfbb3f546022c25481ba93c152063d31accd6c8-1279x1920-jpg",0.6661458333333333,"https://cdn.sanity.io/images/eodip22e/production/3dfbb3f546022c25481ba93c152063d31accd6c8-1279x1920.jpg",1279,[4378,4388,4398,4408,4418],{"_type":1733,"question":4379},[4380],{"_key":4381,"_type":219,"children":4382,"markDefs":4387,"style":232},"37d469a42232",[4383],{"_key":4384,"_type":223,"marks":4385,"text":4386},"2570d1f537ee0",[],"To push the boundary of knowledge and challenge the knowledge politics behind environmental governance, we proposed three key questions to understand and engage with the village’s bio-cultural history and its present as a living entanglement of the biosphere, local traditions, foodways, beliefs, and the interactions between human and non-human entities:",[],{"_type":1733,"question":4389},[4390],{"_key":4391,"_type":219,"children":4392,"markDefs":4397,"style":232},"b72cedfec8e6",[4393],{"_key":4394,"_type":223,"marks":4395,"text":4396},"505ecc9c67cd",[],"1. How do residents culturally and socially shape the relationships between ecological systems and community life in their everyday practices?",[],{"_type":1733,"question":4399},[4400],{"_key":4401,"_type":219,"children":4402,"markDefs":4407,"style":232},"389525d37511",[4403],{"_key":4404,"_type":223,"marks":4405,"text":4406},"dbdc79fe58a0",[],"2. What collaborative actions can we take—through art, science, storytelling, and governance—that nurture, restore, or reimagine the connections between local ecologies and culture?",[],{"_type":1733,"question":4409},[4410],{"_key":4411,"_type":219,"children":4412,"markDefs":4417,"style":232},"121929438239",[4413],{"_key":4414,"_type":223,"marks":4415,"text":4416},"4c2bbbb819aa",[],"3. How does learning from a specific local knowledge system and its practices inform our understanding of knowledge production and governance in a broader context?",[],{"_type":1733,"question":4419},[4420],{"_key":4421,"_type":219,"children":4422,"markDefs":4427,"style":232},"692cf9f8b948",[4423],{"_key":4424,"_type":223,"marks":4425,"text":4426},"edd2aecfbd94",[],"Like the growth of a tamarind tree, the first question serves as the root, firmly grasping the local context and allowing us to thoroughly study the local system. The second question represents the trunk, linking the roots to the branches and facilitating exchanges between the local environment and the outside world. The third question embodies the branches and foliage, illustrating how our project extends to a wider context, responding to governance crisis beyond our village.",[],[4429,101,4430,4431,4432,4433,4434,4435,328,4436,4035,4069,4104,4131,4164,4193,4437,4438,4439,4440,4441,4442],"mou gan project","to push the boundary of knowledge and challenge the knowledge politics behind environmental governance, we proposed three key questions to understand and engage with the village’s bio-cultural history and its present as a living entanglement of the biosphere, local traditions, foodways, beliefs, and the interactions between human and non-human entities:","1. how do residents culturally and socially shape the relationships between ecological systems and community life in their everyday practices?","2. what collaborative actions can we take—through art, science, storytelling, and governance—that nurture, restore, or reimagine the connections between local ecologies and culture?","3. how does learning from a specific local knowledge system and its practices inform our understanding of knowledge production and governance in a broader context?","like the growth of a tamarind tree, the first question serves as the root, firmly grasping the local context and allowing us to thoroughly study the local system. the second question represents the trunk, linking the roots to the branches and facilitating exchanges between the local environment and the outside world. the third question embodies the branches and foliage, illustrating how our project extends to a wider context, responding to governance crisis beyond our village.","04/2026\n\nmou gan project emerges from the long-term cultivation of eco-cultural relations within the local community of laoshi, in danzhou, hainan. the project centers situated and embodied knowledge, activated through local narratives, relational mapping, and forms of labor, alongside ongoing reflective dialogue. it seeks to recognize and foreground marginalized local knowledge within contemporary environmental governance.\n\nthe project brings together community residents, scientists, social scientists/ethnographers, and artists. it also operates as a space of encounter between local culture, ecosystems, and diverse knowledge systems.\n\nin april 2026, collective members songzi, shuhao, and gu qiu traveled to laoshi to prepare for the upcoming mapping and sea salt farm school workshops in june. they engaged with local eco-cultural relations through transdisciplinary approaches, including river-centered walking practices attentive to encounters between human and more-than-human actors, photography, sea salt making, and the gathering of local narratives.","laoshi village, the site of the project, is located in the western region of hainan island, the southernmost province of china. it sits near a harbour where seawater meets freshwater flowing down from the central mountains. this mingling of salt and fresh water sustains a rich local biodiversity, while also making possible the traditional livelihood of sea salt production, both historically and in the present.\n\n","about our collective: our transdisciplinary team includes a community leader, artists, a social science researcher, an ethnographic writer and an environmental expert. together, we approach bio-cultural practice through multiple lenses and foster dialogue among communities navigating ecosystem degradation, the erosion of cultural memory, and governance challenges—especially the marginalization of local knowledge in environmental governance.","in the local language of the rural community where our project is based, \"mou gan\" means the roots and trunk of a tree. the community is surrounded by a forest of tamarind trees planted by ancestors. these trees play a vital ecological role in preventing soil erosion along a local estuary that brings seawater to the village's salt farm which is essential to local livelihoods. by naming our project “mou gan,” we honour the ecological significance of these trees while expressing our wish for the project to be deeply rooted in local soil, nurtured by the community, and to provide shade and resources for the village while also extending our reach to a broader context.\n\n\n\nour collective invites villagers and the public to explore the ecological and cultural life surrounding the major ecosystems of the village. developed as a platform for co-learning bio-cultural connections, we aim to challenge top-down models of environmental governance that prioritize technocracy. we aim to center traditional knowledge, embodied experiences, and emotional connections as valid forms of environmental understanding. we follow three main trajectories: learning from local knowledge systems through embodied experiences, fostering collaborative practices via art, science, storytelling, and governance, and connecting this learning to broader environmental discourses.\n\n\n\nwe will use participatory, interactive, and embodied approaches in two main activities: transect walks and salt-making. transect walks along the local river will bring together residents, officials, planners, collective members, and others to move through and reflect on community spaces. we will hold mapping workshops to co-create participatory maps of ecological change, memory, and daily life. these maps will be shared both in the village and on our digital platform, forming a living archive. we will also launch a seasalt farm school, where participants will learn salt-making from local salt farmers and the environment itself—reading tides, sunlight, and weather. this labor fosters intimate, bodily relationships with place and reframes knowledge as something lived, sensed, and shared.\n\n\n\nthese activities support eco-centered, embodied knowledge as an essential part of environmental governance. they also offer spaces for local people to collectively revisit bio-cultural memory and activate their stewardship with nature and place.","walking together along your river","seasalt farm school","embodied knowledge","geography of 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Kranjc is a researcher and artist working with games and performative methods as engines for networked post-capitalist imagination. He holds a BA in Sociology and an MSc in Environmental Governance. He is president of the Crypto Commons Association, founder of Futurescraft, and collaborates regularly with the P2P Foundation, Aksioma – Institute for Contemporary Art, Maska Institute, Krater Collective, ŠUM Journal and others. His work has been presented at the The Seashore of Endless Worlds (Geneva, 2023), panke.gallery (Berlin, 2023), the International Computer Arts Festival (Maribor, 2024), and in Ljubljana at the Museum of Modern Art (2025) and the Museum of Contemporary Art Metelkova (2025). He participated with Game-Changers: The Game in Aksioma’s U30+ programme (2022) and Akademie Schloss Solitude’s Polymorphic Futures residency (2026), and developed Future 14b (2023–2025) through Maska Institute’s Yugofuturism programme.",[],"Rok is a researcher and artist working with games and performative methods as engines for networked post-capitalist imagination. With a background in sociology and political ecology, he leads and collaborates with initiatives including the Crypto Commons Association, Futurescraft, Aksioma, Maska Institute, and the P2P Foundation.",{"filterYear":4499},[4500],{"_id":98,"title":102},{"locations":4502,"other":7},[4503,4505],{"_id":331,"_type":308,"seo":7,"slug":4504,"title":334},{"_type":9,"current":333},{"_id":351,"_type":308,"seo":7,"slug":4506,"title":354},{"_type":9,"current":353},[4508,101],"\u2028rok kranjc",{"_type":9,"current":4510},"rok-kranjc","\u2028Rok Kranjc",{"_id":4513,"_type":1078,"activeYears":4514,"bio":4517,"bioShort":4622,"featuredImage":4623,"filterables":4630,"links":4633,"locations":4640,"searchables":4648,"seo":7,"slug":4650,"title":4652},"fd19b32d-d5a9-4696-8da8-712f00c2e8f3",[4515],{"_id":98,"_type":99,"seo":7,"slug":4516,"title":102},{"_type":9,"current":101},[4518,4526,4533,4607,4614],{"_key":4519,"_type":219,"children":4520,"markDefs":4525,"style":232},"4f66911883fe",[4521],{"_key":4522,"_type":223,"marks":4523,"text":4524},"40b0a554a0280",[],"Pablo (Mexico City, 1992) works as a designer, programmer and artist creating ambiguous software, generative systems, transmedia narratives, collaborative tactics and odd music. Their practice explores prefigurative politics, alternative economies, structural violence, decentralized technologies and the commons, while engaging with the politics of computation, language, value, time and games.",[],{"_key":4527,"_type":219,"children":4528,"markDefs":4532,"style":232},"fddbdd30d234",[4529],{"_key":4530,"_type":223,"marks":4531,"text":1405},"bdcd6912f4ed",[],[],{"_key":4534,"_type":219,"children":4535,"markDefs":4594,"style":232},"827805d546bd",[4536,4540,4545,4549,4554,4558,4563,4567,4572,4576,4581,4585,4590],{"_key":4537,"_type":223,"marks":4538,"text":4539},"d4ce29ce5568",[],"Pablo is part of ",{"_key":4541,"_type":223,"marks":4542,"text":4544},"14ceaf4fa267",[4543],"31574e8f93eb","sudoraع",{"_key":4546,"_type":223,"marks":4547,"text":4548},"10083c8597ff",[]," A collective based in Bremen around sound, music and action. A core contributor to the ",{"_key":4550,"_type":223,"marks":4551,"text":4553},"44e7a5d599a6",[4552],"c3c17d44b425","Economic Space Agency (ECSA)",{"_key":4555,"_type":223,"marks":4556,"text":4557},"17888705cfaa",[]," an economic technology and imagination network for distributed economic agency . A participant in ",{"_key":4559,"_type":223,"marks":4560,"text":4562},"c5f760d6ae3d",[4561],"491123083bfa","XORG",{"_key":4564,"_type":223,"marks":4565,"text":4566},"2288eaa3d263",[]," a collective playing at the intersection of games and organizations . Half of the duo ",{"_key":4568,"_type":223,"marks":4569,"text":4571},"ab365ccf3c62",[4570],"3eb1cc78e315","Actual Occasions",{"_key":4573,"_type":223,"marks":4574,"text":4575},"9513b273f608",[]," An ongoing sound & distribution exploratory practice inspired by philosophies of affect, materiality and modulation. A member of the ",{"_key":4577,"_type":223,"marks":4578,"text":4580},"801c8b15b803",[4579],"c9ec8063a55a","Crypto Commons Association (CCA)",{"_key":4582,"_type":223,"marks":4583,"text":4584},"1798dbb09b45",[]," A non-profit organization exploring the use of distributed ledger technologies for furthering the commons. A member of the",{"_key":4586,"_type":223,"marks":4587,"text":4589},"8f064622e665",[4588],"273154f90f57"," Liberatory Computing Front",{"_key":4591,"_type":223,"marks":4592,"text":4593},"113104abac77",[],": a loose collective of researchers, artists, and activists working to liberate computing from capitalism.",[4595,4597,4599,4601,4603,4605],{"_key":4552,"_type":249,"blank":250,"href":4596},"https://economicspace.agency/",{"_key":4561,"_type":249,"blank":250,"href":4598},"https://xorg.how/",{"_key":4570,"_type":249,"blank":250,"href":4600},"https://actualoccasions.xyz/",{"_key":4579,"_type":249,"blank":250,"href":4602},"https://www.crypto-commons.org/",{"_key":4543,"_type":249,"blank":250,"href":4604},"https://www.instagram.com/sudora3___/",{"_key":4588,"_type":249,"blank":250,"href":4606},"https://www.libcomp.org/",{"_key":4608,"_type":219,"children":4609,"markDefs":4613,"style":232},"19f95107f88b",[4610],{"_key":4611,"_type":223,"marks":4612,"text":1405},"340c96084ffe",[],[],{"_key":4615,"_type":219,"children":4616,"markDefs":4621,"style":232},"6e4859db6579",[4617],{"_key":4618,"_type":223,"marks":4619,"text":4620},"f189213c767b",[],"Pablo's worked has been presented in various places in Mexico and Europe including Casa del Lago UNAM CDMX, Centro de Cultura Digital CDMX, Museo Tamayo CDMX, Centro Cultural Tlatelolco, Spedition Bremen Deichtorhallen Hamburg, STRP Festival Eindhoven, Panke Gallery Berlin, Matadero Medialab Madrid and MFRU International Festival for Computer Arts, Maribor among others.",[],"Pablo's practice explores prefigurative politics, alternative economies, structural violence, decentralized technologies and the commons, while engaging with the politics of computation, language, value, time and games.",{"alt":4624,"asset":4625},"Ambiguous human figure walking down a colorful street",{"_id":4626,"height":1516,"orientation":1129,"ratio":4627,"url":4628,"width":4629},"image-a2d91cb3721955cdd228159b607a0bf75a614075-750x1115-jpg",0.672645739910314,"https://cdn.sanity.io/images/eodip22e/production/a2d91cb3721955cdd228159b607a0bf75a614075-750x1115.jpg",750,{"filterYear":4631},[4632],{"_id":98,"title":102},[4634,4637],{"_type":1138,"label":4635,"url":4636},"personal website","https://pablo.sx/",{"_type":1138,"label":4638,"url":4639},"instagram :(","https://www.instagram.com/palabro_/",{"locations":4641,"other":7},[4642,4644,4646],{"_id":321,"_type":308,"seo":7,"slug":4643,"title":324},{"_type":9,"current":323},{"_id":331,"_type":308,"seo":7,"slug":4645,"title":334},{"_type":9,"current":333},{"_id":351,"_type":308,"seo":7,"slug":4647,"title":354},{"_type":9,"current":353},[4649,101],"pablo somonte ruano",{"_type":9,"current":4651},"pablo-somonte-ruano","Pablo Somonte Ruano",{"alt":7,"asset":4654},{"_id":4655,"height":4201,"orientation":1474,"ratio":3344,"url":4656,"width":2394},"image-ca7357d3aef482edcc55cbfe4b975651045e8cc0-1280x960-jpg","https://cdn.sanity.io/images/eodip22e/production/ca7357d3aef482edcc55cbfe4b975651045e8cc0-1280x960.jpg",{"filterCategory":4658,"filterLocation":4668,"filterYear":4671},[4659,4660,4661,4662,4663,4664,4665,4666,4667],{"_id":795,"title":798},{"_id":470,"title":473},{"_id":705,"title":708},{"_id":785,"title":788},{"_id":1009,"title":1012},{"_id":890,"title":893},{"_id":685,"title":688},{"_id":850,"title":853},{"_id":465,"title":468},[4669,4670],{"_id":331,"title":334},{"_id":321,"title":324},[4672],{"_id":98,"title":102},[],{"locations":4675,"other":7},[4676,4678],{"_id":331,"_type":308,"seo":7,"slug":4677,"title":334},{"_type":9,"current":333},{"_id":321,"_type":308,"seo":7,"slug":4679,"title":324},{"_type":9,"current":323},[4681],{"_type":1733,"question":4682},[4683],{"_key":4684,"_type":219,"children":4685,"markDefs":4690,"style":232},"b3dbc02aca7f",[4686],{"_key":4687,"_type":223,"marks":4688,"text":4689},"7fa9f503f9600",[],"How can speculative design, worlding, and LARPing function as hyperstitional tools to build shared, self-sustaining fiction commons for prefigurative politics and collective economic experimentation?",[],[4692,101,4693,333,4694,4508,4649,797,4695,4696,787,1011,892,687,4697,467],"peerticipatory worldplay","how can speculative design, worlding, and larping function as hyperstitional tools to build shared, self-sustaining fiction commons for prefigurative politics and collective economic experimentation?","central america","commons-based methods and practices","live action role-playing (larp)","self-organised practices",{"_type":9,"current":4699},"peerticipatory-worldplay","Peerticipatory Worldplay",{"_id":4702,"_type":1027,"categories":4703,"credits":4718,"featuredImage":4848,"filterables":4854,"footnotes":4864,"locations":4865,"logbook":7,"pageBuilder":4878,"researchQuestion":7,"researchQuestions":4929,"searchables":4960,"seo":7,"slug":4969,"title":4971,"year":102},"78d738c1-cb5d-4015-9cef-a6f70e52620d",[4704,4707,4711,4715],{"_id":410,"_type":362,"colorPrimary":4705,"seo":7,"slug":4706,"title":413},{"label":1031,"value":1036},{"_type":9,"current":412},{"_id":1000,"_type":362,"colorPrimary":4708,"seo":7,"slug":4710,"title":1002},{"label":1031,"value":4709},"#ff3700",{"_type":9,"current":89},{"_id":780,"_type":362,"colorPrimary":4712,"seo":7,"slug":4714,"title":783},{"label":1031,"value":4713},"#91ff00",{"_type":9,"current":782},{"_id":470,"_type":362,"colorPrimary":4716,"seo":7,"slug":4717,"title":473},{"label":1031,"value":4453},{"_type":9,"current":472},{"other":7,"profiles":4719},[4720,4785],{"_id":4721,"_type":1078,"activeYears":4722,"bio":4725,"bioShort":7,"featuredImage":4753,"filterables":4760,"links":7,"locations":4763,"searchables":4780,"seo":7,"slug":4782,"title":4784},"9fbeea2e-a9e6-4eab-b831-27e2251acb3b",[4723],{"_id":98,"_type":99,"seo":7,"slug":4724,"title":102},{"_type":9,"current":101},[4726,4734],{"_key":4727,"_type":219,"children":4728,"markDefs":4733,"style":232},"ec24d856f66a",[4729],{"_key":4730,"_type":223,"marks":4731,"text":4732},"b4cef495c3ec",[],"Marianna Stefanitsi is an artist, researcher, and cultural worker. Her practice explores artistic labour, cultural institutions, precarity, institutional critique, activism, and feminism. She holds a BA from the Athens School of Fine Arts and Master's degrees from Panteion University and Utrecht University. ",[],{"_key":4735,"_type":219,"children":4736,"markDefs":4750,"style":232},"b795f263e3be",[4737,4741,4746],{"_key":4738,"_type":223,"marks":4739,"text":4740},"a8f61d8aaecd",[],"Since 2019, she has been a member of the ",{"_key":4742,"_type":223,"marks":4743,"text":4745},"b2c0f71b681c",[4744],"9da6324f2a78","Center of New Media and Feminist Public Practices",{"_key":4747,"_type":223,"marks":4748,"text":4749},"e52e03a8a670",[],". Her work has been presented through exhibitions, research projects, and residency programs in Greece and internationally.",[4751],{"_key":4744,"_type":249,"href":4752},"https://schoolofcommons.org/community/profiles/centre-of-new-media-and-feminist-public-practices",{"alt":7,"asset":4754},{"_id":4755,"height":4756,"orientation":1129,"ratio":4757,"url":4758,"width":4759},"image-1281c24cb333f3402dabfa492f16eb43f1e6e612-3487x4649-jpg",4649,0.7500537750053775,"https://cdn.sanity.io/images/eodip22e/production/1281c24cb333f3402dabfa492f16eb43f1e6e612-3487x4649.jpg",3487,{"filterYear":4761},[4762],{"_id":98,"title":102},{"locations":7,"other":4764},[4765,4772],{"_key":4766,"_type":219,"children":4767,"markDefs":4771,"style":232},"f0d11e650104",[4768],{"_key":4769,"_type":223,"marks":4770,"text":1405},"fc13d8e885080",[],[],{"_key":4773,"_type":219,"children":4774,"markDefs":4779,"style":232},"0c064745131f",[4775],{"_key":4776,"_type":223,"marks":4777,"text":4778},"ad8c1a8cf2fe0",[],"\n",[],[4781,101],"marianna stefanitsi",{"_type":9,"current":4783},"marianna-stefanitsi","Marianna Stefanitsi",{"_id":4786,"_type":1078,"activeYears":4787,"bio":4790,"bioShort":4823,"featuredImage":7,"filterables":4824,"links":4827,"locations":4830,"searchables":4843,"seo":7,"slug":4845,"title":4847},"b4967e9f-b101-48ff-b9a7-4c0704846a83",[4788],{"_id":98,"_type":99,"seo":7,"slug":4789,"title":102},{"_type":9,"current":101},[4791,4799,4807,4815],{"_key":4792,"_type":219,"children":4793,"markDefs":4798,"style":232},"779d5cb90225",[4794],{"_key":4795,"_type":223,"marks":4796,"text":4797},"2aaeb8b0f1350",[],"Dedicated to the production, postproduction, distribution and support of feminist practices and development of feminist theory. The centre is an innovative initiative which by definition involves application of information and technology, imagination and diverse methods in deriving new and different values and ethos in new media, feminist practice and public space. The center organizes an on-going relational archive of relevant practices. ",[],{"_key":4800,"_type":219,"children":4801,"markDefs":4806,"style":232},"ea109c240708",[4802],{"_key":4803,"_type":223,"marks":4804,"text":4805},"0349d5deea5c",[],"Through workshops, seminars, tutorials and lectures, it provides the theoretical and technical expertise for starting projects combined with media, public space, labor and intellectual work in order to produce (symbolic) capital. Diverse and innovative methodologies are introduced in order for the local potential to succeed in the ever changing and increasing competitive global environment. ",[],{"_key":4808,"_type":219,"children":4809,"markDefs":4814,"style":232},"73c61400baa3",[4810],{"_key":4811,"_type":223,"marks":4812,"text":4813},"f53281b9b702",[],"The connection of technology and feminism is crucial at the time of globalized technology, post-digital condition, expanded capitalism, and the crisis of institutions where patriarchal structures and traditional powers are resiling, and they confirm that feminist claims are no more than a finished affair.",[],{"_key":4816,"_type":219,"children":4817,"markDefs":4822,"style":232},"8d026346c651",[4818],{"_key":4819,"_type":223,"marks":4820,"text":4821},"25d18fde2ac1",[],"The CNMFPP operates as a spectral institution, without a permanent fundraising infrastructure, but supported by a strong network of partners and kins, undertaking small and medium scale projects.\n",[],"Dedicated to the production, postproduction, distribution and support of feminist practices and development of feminist theory.",{"filterYear":4825},[4826],{"_id":98,"title":102},[4828],{"_type":1138,"label":1139,"url":4829},"https://www.centrefeministmedia.arch.uth.gr",{"locations":4831,"other":4834},[4832],{"_id":331,"_type":308,"seo":7,"slug":4833,"title":334},{"_type":9,"current":333},[4835],{"_key":4836,"_type":219,"children":4837,"markDefs":4842,"style":232},"faa049e5200e",[4838],{"_key":4839,"_type":223,"marks":4840,"text":4841},"01bc430e875a",[],"Italy / London / Greece ",[],[4844,101],"centre of new media and feminist public practices",{"_type":9,"current":4846},"centre-of-new-media-and-feminist-public-practices","Centre of New Media and Feminist Public Practices",{"alt":7,"asset":4849},{"_id":4850,"height":4851,"orientation":1129,"ratio":2920,"url":4852,"width":4853},"image-450ba85cd2f4e2178f6d2d1369e179706343fc63-1536x2048-jpg",2048,"https://cdn.sanity.io/images/eodip22e/production/450ba85cd2f4e2178f6d2d1369e179706343fc63-1536x2048.jpg",1536,{"filterCategory":4855,"filterLocation":4860,"filterYear":4862},[4856,4857,4858,4859],{"_id":410,"title":413},{"_id":1000,"title":1002},{"_id":780,"title":783},{"_id":470,"title":473},[4861],{"_id":331,"title":334},[4863],{"_id":98,"title":102},[],{"locations":4866,"other":4869},[4867],{"_id":331,"_type":308,"seo":7,"slug":4868,"title":334},{"_type":9,"current":333},[4870],{"_key":4871,"_type":219,"children":4872,"markDefs":4877,"style":232},"6a336c9e1c82",[4873],{"_key":4874,"_type":223,"marks":4875,"text":4876},"c5c824be85a40",[],"Greece",[],[4879],{"_type":1625,"settings":4880,"text":4881},{"textColumnCount":1627},[4882,4890,4914,4922],{"_key":4883,"_type":219,"children":4884,"markDefs":4889,"style":232},"889f03386e2f",[4885],{"_key":4886,"_type":223,"marks":4887,"text":4888},"a23e38b353c70",[],"Provisional Infrastructures: artistic mobility as practice and experiment in commoning unfolds as the artistic research of Marianna Stefanitsi and Centre of New Media and Feminist Public Practices. ",[],{"_key":4891,"_type":219,"children":4892,"markDefs":4913,"style":232},"5b7bfefa2c24",[4893,4897,4901,4905,4909],{"_key":4894,"_type":223,"marks":4895,"text":4896},"c649a14d8a92",[],"The work is built around through two complementary methodologies. ",{"_key":4898,"_type":223,"marks":4899,"text":4900},"a23e38b353c71",[1559],"Commoning as Infrastructure",{"_key":4902,"_type":223,"marks":4903,"text":4904},"a23e38b353c72",[]," experiments with speculative instituting, co-learning sessions and shared meals, creating moments of encounter that extend mobility beyond elite or exclusive circuits. These gatherings become micro-infrastructures of solidarity, small but potent interventions that disrupt institutional rhythms, expectations, and logics of productivity. In parallel, ",{"_key":4906,"_type":223,"marks":4907,"text":4908},"a23e38b353c73",[1559],"Kinship and Togetherness",{"_key":4910,"_type":223,"marks":4911,"text":4912},"a23e38b353c74",[]," moves through walking practices, grocery runs, and rituals of miscommunication, probing the tension between visibility and invisibility in artistic labor and the hierarchies of validation. Togetherness is practiced as a method, rehearsing kinship and refusal as political and artistic acts that emerge in the gaps and cracks of official mobility programs.",[],{"_key":4915,"_type":219,"children":4916,"markDefs":4921,"style":232},"ce76fd301be6",[4917],{"_key":4918,"_type":223,"marks":4919,"text":4920},"b6c36092624d0",[],"Throughout, the project remains attentive to the paradigms that frame mobility today. From EU cultural policies to digital platforms that circulate calls and shape visibility, the work positions itself within these systems, not as an outsider critique, but as artists entangled in these networks, tracing the possibilities of shared infrastructures and testing how solidarity can be enacted, rehearsed, and sustained.",[],{"_key":4923,"_type":219,"children":4924,"markDefs":4928,"style":232},"acec040637af",[4925],{"_key":4926,"_type":223,"marks":4927,"text":4778},"5efb37f0e7950",[],[],[4930,4940,4950],{"_type":1733,"question":4931},[4932],{"_key":4933,"_type":219,"children":4934,"markDefs":4939,"style":232},"5d1ab544e986",[4935],{"_key":4936,"_type":223,"marks":4937,"text":4938},"c1d5a875eacd0",[],"In the contemporary, globalized, and digitalized art context, how is artistic mobility experienced and understood, particularly across centres and peripheries, and what potential does it hold for commoning?",[],{"_type":1733,"question":4941},[4942],{"_key":4943,"_type":219,"children":4944,"markDefs":4949,"style":232},"14880a048d20",[4945],{"_key":4946,"_type":223,"marks":4947,"text":4948},"14cf8809b5c00",[],"In what ways is the movement of artists and creative professionals interpreted and valued?",[],{"_type":1733,"question":4951},[4952],{"_key":4953,"_type":219,"children":4954,"markDefs":4959,"style":232},"4ed8a35ce2d9",[4955],{"_key":4956,"_type":223,"marks":4957,"text":4958},"29f3f9c72efd0",[],"How does mobility intersect with broader questions of national belonging, inclusivity, privilege, temporality, solidarity, unequal access to movement, and the gendered, racialized, and classed conditions that shape mobility?",[],[4961,101,4962,4963,4964,333,4965,4781,4844,4966,1783,4967,4968,4695],"provisional infrastructures: artistic mobility as practice and experiment in commoning","in the contemporary, globalized, and digitalized art context, how is artistic mobility experienced and understood, particularly across centres and peripheries, and what potential does it hold for commoning?","in what ways is the movement of artists and creative professionals interpreted and valued?","how does mobility intersect with broader questions of national belonging, inclusivity, privilege, temporality, solidarity, unequal access to movement, and the gendered, racialized, and classed conditions that shape mobility?","greece","provisional infrastructures: artistic mobility as practice and experiment in commoning unfolds as the artistic research of marianna stefanitsi and centre of new media and feminist public practices. \n\nthe work is built around through two complementary methodologies. commoning as infrastructure experiments with speculative instituting, co-learning sessions and shared meals, creating moments of encounter that extend mobility beyond elite or exclusive circuits. these gatherings become micro-infrastructures of solidarity, small but potent interventions that disrupt institutional rhythms, expectations, and logics of productivity. in parallel, kinship and togetherness moves through walking practices, grocery runs, and rituals of miscommunication, probing the tension between visibility and invisibility in artistic labor and the hierarchies of validation. togetherness is practiced as a method, rehearsing kinship and refusal as political and artistic acts that emerge in the gaps and cracks of official mobility programs.\n\nthroughout, the project remains attentive to the paradigms that frame mobility today. from eu cultural policies to digital platforms that circulate calls and shape visibility, the work positions itself within these systems, not as an outsider critique, but as artists entangled in these networks, tracing the possibilities of shared infrastructures and testing how solidarity can be enacted, rehearsed, and sustained.\n\n\n","ways and workings","peer to peer",{"_type":9,"current":4970},"provisional-infrastructures-artistic-mobility-as-practice-and-experiment-in-commoning","Provisional Infrastructures: artistic mobility as practice and experiment in commoning",{"_id":4973,"_type":1027,"categories":4974,"credits":4993,"featuredImage":5085,"filterables":5093,"footnotes":5104,"locations":5105,"logbook":7,"pageBuilder":5118,"researchQuestion":7,"researchQuestions":5175,"searchables":5220,"seo":7,"slug":5230,"title":5232,"year":102},"2e11a51f-f314-4fd3-a601-9646ccb28574",[4975,4979,4982,4985,4989],{"_id":555,"_type":362,"colorPrimary":4976,"seo":7,"slug":4978,"title":558},{"label":1031,"value":4977},"#50ff50",{"_type":9,"current":557},{"_id":700,"_type":362,"colorPrimary":4980,"seo":7,"slug":4981,"title":703},{"label":1031,"value":1040},{"_type":9,"current":702},{"_id":865,"_type":362,"colorPrimary":4983,"seo":7,"slug":4984,"title":868},{"label":1031,"value":1044},{"_type":9,"current":867},{"_id":900,"_type":362,"colorPrimary":4986,"seo":7,"slug":4988,"title":903},{"label":1031,"value":4987},"#fff0b4",{"_type":9,"current":902},{"_id":675,"_type":362,"colorPrimary":4990,"seo":7,"slug":4992,"title":678},{"label":1031,"value":4991},"#be7f00",{"_type":9,"current":677},{"other":4994,"profiles":5006},[4995],{"_key":4996,"_type":219,"children":4997,"markDefs":5003,"style":232},"28808ee928ee",[4998],{"_key":4999,"_type":223,"marks":5000,"text":5002},"fba886242a6f0",[5001],"5ba92906bbc0","The Owl House, Goa",[5004],{"_key":5001,"_type":249,"blank":250,"href":5005},"https://www.theowlhousegoa.org",[5007],{"_id":5008,"_type":1078,"activeYears":5009,"bio":5012,"bioShort":5053,"featuredImage":5054,"filterables":5062,"links":5065,"locations":5068,"searchables":5081,"seo":7,"slug":5083,"title":5055},"e5736300-6633-466d-8aab-30a00e9b39f7",[5010],{"_id":98,"_type":99,"seo":7,"slug":5011,"title":102},{"_type":9,"current":101},[5013,5021,5029,5037,5045],{"_key":5014,"_type":219,"children":5015,"markDefs":5020,"style":232},"fc939e3d5aac",[5016],{"_key":5017,"_type":223,"marks":5018,"text":5019},"25fb4471111e0",[],"Pakhi Sen is a visual artist, illustrator, and educator based in Goa. Her practice is rooted in storytelling, using drawing as a way to observe, record, and make sense of the worlds she moves through. Working across oil painting, oil pastel, and pencil, she creates meditative works shaped by close attention to landscape, memory, and everyday encounters.",[],{"_key":5022,"_type":219,"children":5023,"markDefs":5028,"style":232},"688f679a08a6",[5024],{"_key":5025,"_type":223,"marks":5026,"text":5027},"8bf4fa7725450",[],"Journaling is central to her process. Through walking, collecting, and observational drawing, she develops a body of visual research that informs her larger works and ongoing enquiries into the stories of ecology, place, and community and their in-betweens. ",[],{"_key":5030,"_type":219,"children":5031,"markDefs":5036,"style":232},"0f19216329db",[5032],{"_key":5033,"_type":223,"marks":5034,"text":5035},"17eae0fb4aaa0",[],"Alongside her studio practice, Pakhi works as an illustrator, using digital and interactive interfaces to engage with archives and community-oriented storytelling. She collaborates with organizations and publications working in socio-political and cultural spaces, using art as a way to visualize stories and make layered ideas differently accessible.",[],{"_key":5038,"_type":219,"children":5039,"markDefs":5044,"style":232},"7a6a519b73df",[5040],{"_key":5041,"_type":223,"marks":5042,"text":5043},"ef285c056ead0",[],"As an educator, she develops arts pedagogy and learning modules at The Owl House, a learning centre for neurodivergent individuals, building frameworks for creative learning that centre experimentation, sensitivity, and self-expression.",[],{"_key":5046,"_type":219,"children":5047,"markDefs":5052,"style":232},"fcb276f62f5f",[5048],{"_key":5049,"_type":223,"marks":5050,"text":5051},"8a374ab2ed870",[],"Pakhi has exhibited at Serendipity Arts Festival and India Art Fair with GallerySKE, and regularly with Goa Open Arts. She sees her practice as an ongoing dialogue with place and community, excited by the intimacy of living systems that hold the world together.",[],"Pakhi is a visual artist, educator, and illustrator based in Goa. Her work moves across painting, comics, and participatory storytelling - exploring ecology, memory, and community through journaling and visual research. She also develops arts pedagogy with neurodiverse learners at The Owl House.",{"alt":5055,"asset":5056},"Pakhi Sen",{"_id":5057,"height":5058,"orientation":1474,"ratio":5059,"url":5060,"width":5061},"image-8c6529680cdda9e98460aea73ef2b2140ccfed3a-5333x4000-jpg",4000,1.33325,"https://cdn.sanity.io/images/eodip22e/production/8c6529680cdda9e98460aea73ef2b2140ccfed3a-5333x4000.jpg",5333,{"filterYear":5063},[5064],{"_id":98,"title":102},[5066],{"_type":1138,"label":1142,"url":5067},"https://www.instagram.com/pakhi.sen/?hl=en",{"locations":5069,"other":5072},[5070],{"_id":316,"_type":308,"seo":7,"slug":5071,"title":319},{"_type":9,"current":318},[5073],{"_key":5074,"_type":219,"children":5075,"markDefs":5080,"style":232},"0becea5f115e",[5076],{"_key":5077,"_type":223,"marks":5078,"text":5079},"e6b5c0784be8",[],"Aldona, Goa, India",[],[5082,101],"pakhi sen",{"_type":9,"current":5084},"pakhi-sen",{"alt":5086,"asset":5087},"painting of a cobra, two marine creatures and some abstract forms and patterns.",{"_id":5088,"height":5089,"orientation":1474,"ratio":5090,"url":5091,"width":5092},"image-ecc3e03bb6700627c4ced200c3d35890267882aa-2718x1976-jpg",1976,1.375506072874494,"https://cdn.sanity.io/images/eodip22e/production/ecc3e03bb6700627c4ced200c3d35890267882aa-2718x1976.jpg",2718,{"filterCategory":5094,"filterLocation":5100,"filterYear":5102},[5095,5096,5097,5098,5099],{"_id":555,"title":558},{"_id":700,"title":703},{"_id":865,"title":868},{"_id":900,"title":903},{"_id":675,"title":678},[5101],{"_id":316,"title":319},[5103],{"_id":98,"title":102},[],{"locations":5106,"other":5109},[5107],{"_id":316,"_type":308,"seo":7,"slug":5108,"title":319},{"_type":9,"current":318},[5110],{"_key":5111,"_type":219,"children":5112,"markDefs":5117,"style":232},"f8299a6ecf7b",[5113],{"_key":5114,"_type":223,"marks":5115,"text":5116},"69fae5de5b560",[],"Set in Aldona, North Goa, the project draws from the Khazan wetlands, a unique socio-ecological landscape shaped by tidal rhythms, biodiversity, and collective stewardship.",[],[5119,5153,5158,5163,5170],{"_type":1625,"settings":5120,"text":5121},{"textColumnCount":1627},[5122,5130,5138,5145],{"_key":5123,"_type":219,"children":5124,"markDefs":5129,"style":232},"b3a5e203afeb",[5125],{"_key":5126,"_type":223,"marks":5127,"text":5128},"d6164443ecdb",[],"Roots and Nerves is a participatory ecological arts initiative based in the khazan landscapes of Aldona, Goa. Working with neurodivergent learners at The Owl House, it explores how sensory perception shapes our relationship with environment, and how different cognitive orientations can offer distinct ways of encountering ecology. Through guided excursions and practices of drawing, play, observation, and sensory repetition, learners form intimate relationships with landscape by attending closely to texture, sound, rhythm, movement, and material presence.",[],{"_key":5131,"_type":219,"children":5132,"markDefs":5137,"style":232},"49bf3355d62b",[5133],{"_key":5134,"_type":223,"marks":5135,"text":5136},"b42a6feeea1a",[],"Grounded in Goa’s estuarine wetlands, where mangroves, agricultural fields, waterways, and human habitation remain deeply intertwined, the work approaches ecology as something lived and felt rather than simply studied or represented. At its core is an interest in relationality: how humans, animals, plants, objects, and technologies come into meaningful contact, and what becomes possible when we widen our understanding of perception and belonging.",[],{"_key":5139,"_type":219,"children":5140,"markDefs":5144,"style":232},"b7a9da160adb",[5141],{"_key":5142,"_type":223,"marks":5143,"text":1405},"bb5cb237ad14",[],[],{"_key":5146,"_type":219,"children":5147,"markDefs":5152,"style":232},"19344eccc5d3",[5148],{"_key":5149,"_type":223,"marks":5150,"text":5151},"a4bcbc13a6d7",[],"The Owl House is a learning and community space in Aldona, Goa, for neurodivergent individuals, creating room for alternative rhythms of learning, expression, and relation.",[],{"_type":1621,"caption":7,"image":5154},{"alt":7,"asset":5155},{"_id":5156,"height":3244,"orientation":1129,"ratio":2920,"url":5157,"width":3246},"image-6610f2e4d06bc82351cc7bd93b539d2e0b6d3bd4-3024x4032-jpg","https://cdn.sanity.io/images/eodip22e/production/6610f2e4d06bc82351cc7bd93b539d2e0b6d3bd4-3024x4032.jpg",{"_type":1621,"caption":7,"image":5159},{"alt":7,"asset":5160},{"_id":5161,"height":3244,"orientation":1129,"ratio":2920,"url":5162,"width":3246},"image-94332f6bb0ffff133f0dbdd096a51fc4ba55e60a-3024x4032-jpg","https://cdn.sanity.io/images/eodip22e/production/94332f6bb0ffff133f0dbdd096a51fc4ba55e60a-3024x4032.jpg",{"_type":1621,"caption":7,"image":5164},{"alt":7,"asset":5165},{"_id":5166,"height":5167,"orientation":1129,"ratio":5168,"url":5169,"width":4099},"image-3e7cba05995276296ce5836cde249a80bab50d2a-1440x1800-jpg",1800,0.8,"https://cdn.sanity.io/images/eodip22e/production/3e7cba05995276296ce5836cde249a80bab50d2a-1440x1800.jpg",{"_type":1621,"caption":7,"image":5171},{"alt":7,"asset":5172},{"_id":5173,"height":5167,"orientation":1129,"ratio":5168,"url":5174,"width":4099},"image-48456316b9bdb4e9f973017d771167498525fc41-1440x1800-jpg","https://cdn.sanity.io/images/eodip22e/production/48456316b9bdb4e9f973017d771167498525fc41-1440x1800.jpg",[5176,5193,5210],{"_type":1733,"question":5177},[5178,5186],{"_key":5179,"_type":219,"children":5180,"markDefs":5185,"style":232},"bfa936a6d9f3",[5181],{"_key":5182,"_type":223,"marks":5183,"text":5184},"8c7248db6e370",[],"How can ecological engagement be made accessible without reducing its complexity?",[],{"_key":5187,"_type":219,"children":5188,"markDefs":5192,"style":232},"c0ece26db90d",[5189],{"_key":5190,"_type":223,"marks":5191,"text":1405},"1806b5a01f240",[],[],{"_type":1733,"question":5194},[5195,5203],{"_key":5196,"_type":219,"children":5197,"markDefs":5202,"style":232},"c0d86c3e4655",[5198],{"_key":5199,"_type":223,"marks":5200,"text":5201},"1221acd48f99",[],"How do neurodivergent modes of perception reconfigure what it means to relate to an environment?",[],{"_key":5204,"_type":219,"children":5205,"markDefs":5209,"style":232},"c52cc8c87490",[5206],{"_key":5207,"_type":223,"marks":5208,"text":1405},"b9a21b855a68",[],[],{"_type":1733,"question":5211},[5212],{"_key":5213,"_type":219,"children":5214,"markDefs":5219,"style":232},"8128f9d8f35a",[5215],{"_key":5216,"_type":223,"marks":5217,"text":5218},"5302f492a07d0",[],"What constitutes relationality across human, technological, material, and ecological domains?",[],[5221,101,5222,5223,5224,318,5225,5082,5226,5227,557,1784,1785,5228,5229],"roots and nerves","how can ecological engagement be made accessible without reducing its complexity?\n\n","how do neurodivergent modes of perception reconfigure what it means to relate to an environment?\n\n","what constitutes relationality across human, technological, material, and ecological domains?","set in aldona, north goa, the project draws from the khazan wetlands, a unique socio-ecological landscape shaped by tidal rhythms, biodiversity, and collective stewardship.","the owl house, goa","roots and nerves is a participatory ecological arts initiative based in the khazan landscapes of aldona, goa. working with neurodivergent learners at the owl house, it explores how sensory perception shapes our relationship with environment, and how different cognitive orientations can offer distinct ways of encountering ecology. through guided excursions and practices of drawing, play, observation, and sensory repetition, learners form intimate relationships with landscape by attending closely to texture, sound, rhythm, movement, and material presence.\n\ngrounded in goa’s estuarine wetlands, where mangroves, agricultural fields, waterways, and human habitation remain deeply intertwined, the work approaches ecology as something lived and felt rather than simply studied or represented. at its core is an interest in relationality: how humans, animals, plants, objects, and technologies come into meaningful contact, and what becomes possible when we widen our understanding of perception and belonging.\n\n\n\nthe owl house is a learning and community space in aldona, goa, for neurodivergent individuals, creating room for alternative rhythms of learning, expression, and relation.","study & planning","inclusi(ve)space ",{"_type":9,"current":5231},"roots-and-nerves","Roots and Nerves",{"_id":5234,"_type":1027,"categories":5235,"credits":5285,"featuredImage":5356,"filterables":5364,"footnotes":5384,"locations":5385,"logbook":5389,"pageBuilder":5401,"researchQuestion":7,"researchQuestions":5581,"searchables":5634,"seo":7,"slug":5644,"title":5646,"year":102},"17171530-88dc-4633-b011-70e16f9110e2",[5236,5239,5242,5245,5249,5253,5257,5261,5265,5268,5272,5275,5278,5281],{"_id":455,"_type":362,"colorPrimary":5237,"seo":7,"slug":5238,"title":458},{"label":1031,"value":1032},{"_type":9,"current":457},{"_id":735,"_type":362,"colorPrimary":5240,"seo":7,"slug":5241,"title":738},{"label":1031,"value":2648},{"_type":9,"current":737},{"_id":410,"_type":362,"colorPrimary":5243,"seo":7,"slug":5244,"title":413},{"label":1031,"value":1036},{"_type":9,"current":412},{"_id":835,"_type":362,"colorPrimary":5246,"seo":7,"slug":5248,"title":838},{"label":1031,"value":5247},"#f500ff",{"_type":9,"current":837},{"_id":430,"_type":362,"colorPrimary":5250,"seo":7,"slug":5252,"title":433},{"label":1031,"value":5251},"#ffc8c8",{"_type":9,"current":432},{"_id":985,"_type":362,"colorPrimary":5254,"seo":7,"slug":5256,"title":988},{"label":1031,"value":5255},"#b9ff00",{"_type":9,"current":987},{"_id":480,"_type":362,"colorPrimary":5258,"seo":7,"slug":5260,"title":483},{"label":1031,"value":5259},"#af0000",{"_type":9,"current":482},{"_id":405,"_type":362,"colorPrimary":5262,"seo":7,"slug":5264,"title":408},{"label":1031,"value":5263},"#f0fff0",{"_type":9,"current":407},{"_id":700,"_type":362,"colorPrimary":5266,"seo":7,"slug":5267,"title":703},{"label":1031,"value":1040},{"_type":9,"current":702},{"_id":505,"_type":362,"colorPrimary":5269,"seo":7,"slug":5271,"title":508},{"label":1031,"value":5270},"#a0a0ff",{"_type":9,"current":507},{"_id":865,"_type":362,"colorPrimary":5273,"seo":7,"slug":5274,"title":868},{"label":1031,"value":1044},{"_type":9,"current":867},{"_id":470,"_type":362,"colorPrimary":5276,"seo":7,"slug":5277,"title":473},{"label":1031,"value":4453},{"_type":9,"current":472},{"_id":680,"_type":362,"colorPrimary":5279,"seo":7,"slug":5280,"title":683},{"label":1031,"value":1068},{"_type":9,"current":682},{"_id":570,"_type":362,"colorPrimary":5282,"seo":7,"slug":5284,"title":573},{"label":1031,"value":5283},"#fff028",{"_type":9,"current":572},{"other":7,"profiles":5286},[5287],{"_id":5288,"_type":1078,"activeYears":5289,"bio":5292,"bioShort":5299,"featuredImage":5325,"filterables":5333,"links":5336,"locations":5339,"searchables":5352,"seo":7,"slug":5354,"title":5326},"12d684d0-9901-4e24-b3e6-25dea918554b",[5290],{"_id":98,"_type":99,"seo":7,"slug":5291,"title":102},{"_type":9,"current":101},[5293,5301,5309,5317],{"_key":5294,"_type":219,"children":5295,"markDefs":5300,"style":232},"a2b0843e0b01",[5296],{"_key":5297,"_type":223,"marks":5298,"text":5299},"a5e1e3a309240",[],"Martha works in transdisciplinary projects at the intersection of art, theory, and space.",[],{"_key":5302,"_type":219,"children":5303,"markDefs":5308,"style":232},"acdff185199c",[5304],{"_key":5305,"_type":223,"marks":5306,"text":5307},"61eaa0f51e7f0",[],"Her practice combines documentary, scenographic, and essayistic formats to explore processes of thinking, perception, and memory.",[],{"_key":5310,"_type":219,"children":5311,"markDefs":5316,"style":232},"e8d60713c6fd",[5312],{"_key":5313,"_type":223,"marks":5314,"text":5315},"ec2d673416560",[],"She studied Applied Theatre Studies in Giessen and Time-Based Media in Linz and is currently a Master’s student in Transdisciplinarity in the Arts at ZHdK.",[],{"_key":5318,"_type":219,"children":5319,"markDefs":5324,"style":232},"32651582bbf7",[5320],{"_key":5321,"_type":223,"marks":5322,"text":5323},"998d8b33d0f00",[],"Alongside her studies, she works in scenography and conceptual development.",[],{"alt":5326,"asset":5327},"Martha 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Bringing spaces of thought into dialogue",[5399],{"_key":5396,"_type":249,"blank":250,"href":5400},"https://www.zhdk.ch/en/news/bringing-spaces-of-thought-into-dialogue-9032",[5402,5424,5482,5496,5511,5525,5539,5553,5567],{"_type":1621,"caption":5403,"image":5420},[5404],{"_key":5405,"_type":219,"children":5406,"markDefs":5419,"style":232},"c4a5076d20d7",[5407,5411,5415],{"_key":5408,"_type":223,"marks":5409,"text":5410},"ba8e74e9c710",[],"Poster \"Gedankenräume - Metaphern als Erkenntnisform zwischen Kunst und Wissenschaft\" (",{"_key":5412,"_type":223,"marks":5413,"text":5414},"8ae38d660b27",[1559],"Spaces of Thought – Metaphors as Forms of Knowledge between Art and Science",{"_key":5416,"_type":223,"marks":5417,"text":5418},"93a77bb2ef18",[],"), Februar 2026; Konzept & Umsetzung: Martha Oelschläger / Grafik: Tim Frei",[],{"alt":7,"asset":5421},{"_id":5422,"height":5360,"orientation":1129,"ratio":5361,"url":5423,"width":5363},"image-bdca5bf15c1d6ac9e107653e6a8996d03ce146a4-3508x4961-jpg","https://cdn.sanity.io/images/eodip22e/production/bdca5bf15c1d6ac9e107653e6a8996d03ce146a4-3508x4961.jpg",{"_type":1625,"settings":5425,"text":5426},{"textColumnCount":1627},[5427,5435,5443,5458,5474],{"_key":5428,"_type":219,"children":5429,"markDefs":5434,"style":232},"4177d995760e",[5430],{"_key":5431,"_type":223,"marks":5432,"text":5433},"9aade5d8012f0",[],"The starting point of this thesis is the observation that we often speak about thinking through spatial images: we orient ourselves, lose the thread, move between positions, or venture into unknown territory. Such metaphors do not merely serve as illustrations; they actively structure perception, thought, and the production of knowledge.",[],{"_key":5436,"_type":219,"children":5437,"markDefs":5442,"style":232},"c5d05baf1adb",[5438],{"_key":5439,"_type":223,"marks":5440,"text":5441},"9f4cc9e650630",[],"This thesis investigates spatial images and metaphors as epistemic tools at the intersection of art and science. It explores how different disciplines employ spatial figures of thought to organize knowledge and what happens when these distinct ways of thinking encounter one another within a shared setting.",[],{"_key":5444,"_type":219,"children":5445,"markDefs":5457,"style":232},"de074592a139",[5446,5450,5453],{"_key":5447,"_type":223,"marks":5448,"text":5449},"ed80b38d9ea10",[],"Methodologically, the project combines two levels of inquiry. First, it includes the conception and realization of the symposium and exhibition ",{"_key":5451,"_type":223,"marks":5452,"text":5414},"ed80b38d9ea11",[1559],{"_key":5454,"_type":223,"marks":5455,"text":5456},"ed80b38d9ea12",[],", understood as a curatorial and scenographic experimental arrangement. Second, it draws on a qualitative analysis of the contributions, conversations, and materials that emerged from this event.",[],{"_key":5459,"_type":219,"children":5460,"markDefs":5473,"style":232},"c002ea205250",[5461,5465,5469],{"_key":5462,"_type":223,"marks":5463,"text":5464},"37445198402b0",[],"From this investigation, a glossary of nineteen ",{"_key":5466,"_type":223,"marks":5467,"text":5468},"37445198402b1",[225],"spatial metaphors",{"_key":5470,"_type":223,"marks":5471,"text":5472},"37445198402b2",[]," was developed, including Archive, Atelier, Construction Site, Bridge, House, Labyrinth, Resonance Space, and Mirror. These concepts are not treated as fixed definitions but as figures of thought in which different forms of knowledge encounter one another.",[],{"_key":5475,"_type":219,"children":5476,"markDefs":5481,"style":232},"477380f2521f",[5477],{"_key":5478,"_type":223,"marks":5479,"text":5480},"a88d30912e5a0",[],"The thesis understands transdisciplinarity not as the fusion of disciplines, but as the creation of in-between spaces in which new perspectives, relationships, and forms of knowledge can emerge.",[],{"_type":1621,"caption":5483,"image":5492},[5484],{"_key":5485,"_type":219,"children":5486,"markDefs":5491,"style":232},"94ce3372a01c",[5487],{"_key":5488,"_type":223,"marks":5489,"text":5490},"4da402fffcd90",[],"Impression aus dem Kunstraum, ZHdK, Veranstaltungsort des Symposiums ©Guillaume 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Musset",[],{"alt":7,"asset":5550},{"_id":5551,"height":2394,"orientation":1474,"ratio":2585,"url":5552,"width":2834},"image-5df50f43753c549522a8cbe772096316cdf1be8a-1920x1280-jpg","https://cdn.sanity.io/images/eodip22e/production/5df50f43753c549522a8cbe772096316cdf1be8a-1920x1280.jpg",{"_type":1621,"caption":5554,"image":5563},[5555],{"_key":5556,"_type":219,"children":5557,"markDefs":5562,"style":232},"8eb49633e140",[5558],{"_key":5559,"_type":223,"marks":5560,"text":5561},"eda72756d3ba0",[],"Impression aus dem Aktionsraum, ZHdK, Veranstaltungsort der Ausstellung ©Guillaume 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Musset",[],{"alt":7,"asset":5578},{"_id":5579,"height":2394,"orientation":1474,"ratio":2585,"url":5580,"width":2834},"image-992e7bfb08d8ecb5a33205d6e5ec018c7724d64a-1920x1280-jpg","https://cdn.sanity.io/images/eodip22e/production/992e7bfb08d8ecb5a33205d6e5ec018c7724d64a-1920x1280.jpg",[5582,5592],{"_type":1733,"question":5583},[5584],{"_key":5585,"_type":219,"children":5586,"markDefs":5591,"style":232},"8d2f4fb3bec7",[5587],{"_key":5588,"_type":223,"marks":5589,"text":5590},"18f54a8549410",[],"How do spatial images and metaphors function as epistemic tools in different disciplinary contexts, and how can their roles and potentials be made visible and tangible through a spatially organized transdisciplinary setting?",[],{"_type":1733,"question":5593},[5594,5602,5610,5618,5626],{"_key":5595,"_type":219,"children":5596,"level":2178,"listItem":2179,"markDefs":5601,"style":232},"0610c98944da",[5597],{"_key":5598,"_type":223,"marks":5599,"text":5600},"542927d5d8ec0",[],"How do spatial metaphors structure processes of thinking and knowledge production in art and science?",[],{"_key":5603,"_type":219,"children":5604,"level":2178,"listItem":2179,"markDefs":5609,"style":232},"e36d0ad62f0a",[5605],{"_key":5606,"_type":223,"marks":5607,"text":5608},"036df1040aed0",[],"What kinds of spaces of thought emerge from discipline-specific spatial imaginaries?",[],{"_key":5611,"_type":219,"children":5612,"level":2178,"listItem":2179,"markDefs":5617,"style":232},"e97a5b56e646",[5613],{"_key":5614,"_type":223,"marks":5615,"text":5616},"09006ce9d1f70",[],"What happens when these metaphors encounter one another within a shared space?",[],{"_key":5619,"_type":219,"children":5620,"level":2178,"listItem":2179,"markDefs":5625,"style":232},"618b38f2f1c2",[5621],{"_key":5622,"_type":223,"marks":5623,"text":5624},"a6798babcfad0",[],"To what extent can a symposium and exhibition function as instruments of knowledge production?",[],{"_key":5627,"_type":219,"children":5628,"level":2178,"listItem":2179,"markDefs":5633,"style":232},"4ff918a289d9",[5629],{"_key":5630,"_type":223,"marks":5631,"text":5632},"47e010e784a70",[],"What forms of knowledge emerge between language, experience, and spatial arrangement?",[],[5635,101,5636,5637,5638,333,5353,5639,1782,3947,1783,837,5640,5641,482,407,1784,5642,1785,4695,682,5643],"spaces of thought","how do spatial images and metaphors function as epistemic tools in different disciplinary contexts, and how can their roles and potentials be made visible and tangible through a spatially organized transdisciplinary setting?","how do spatial metaphors structure processes of thinking and knowledge production in art and science?\n\nwhat kinds of spaces of thought emerge from discipline-specific spatial imaginaries?\n\nwhat happens when these metaphors encounter one another within a shared space?\n\nto what extent can a symposium and exhibition function as instruments of knowledge production?\n\nwhat forms of knowledge emerge between language, experience, and spatial arrangement?","interview: bringing spaces of thought into dialogue","the starting point of this thesis is the observation that we often speak about thinking through spatial images: we orient ourselves, lose the thread, move between positions, or venture into unknown territory. such metaphors do not merely serve as illustrations; they actively structure perception, thought, and the production of knowledge.\n\nthis thesis investigates spatial images and metaphors as epistemic tools at the intersection of art and science. it explores how different disciplines employ spatial figures of thought to organize knowledge and what happens when these distinct ways of thinking encounter one another within a shared setting.\n\nmethodologically, the project combines two levels of inquiry. first, it includes the conception and realization of the symposium and exhibition spaces of thought – metaphors as forms of knowledge between art and science, understood as a curatorial and scenographic experimental arrangement. second, it draws on a qualitative analysis of the contributions, conversations, and materials that emerged from this event.\n\nfrom this investigation, a glossary of nineteen spatial metaphors was developed, including archive, atelier, construction site, bridge, house, labyrinth, resonance space, and mirror. these concepts are not treated as fixed definitions but as figures of thought in which different forms of knowledge encounter one another.\n\nthe thesis understands transdisciplinarity not as the fusion of disciplines, but as the creation of in-between spaces in which new perspectives, relationships, and forms of knowledge can emerge.","cathedral thinking","unpacking the terms together","curatorial research","ephemeral memorials",{"_type":9,"current":5645},"spaces-of-thought","Spaces of 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– Association for the Promotion of Cultural Practice has been active in Berlin since 2002. Its members are artists, researchers and activists whose work spans individual research, project-space curation and international collaboration. The association supports interdisciplinary projects that foster cross-border exchange in experimental contexts, drawing on an infrastructure that includes a project space, a biolab and a web server. Working largely within a postdigital framework, >top develops artistic forms and approaches that explore the interplay of the digital, the organic and the cultural — pointing toward a humanization of digital technologies. The association champions collaborations that advance dialogue and a diversity of artistic forms and attitudes, contributing to the development of civil society.",[],"Top – Association for the Promotion of Cultural Practice has been active in Berlin since 2002. Its members are artists, researchers and activists whose work spans individual research, project-space curation and international collaboration. ",{"alt":7,"asset":5675},{"_id":5676,"height":5677,"orientation":1474,"ratio":3344,"url":5678,"width":5679},"image-d9c09060fbea11290fb84ecc80b66c593a50f3cb-512x384-jpg",384,"https://cdn.sanity.io/images/eodip22e/production/d9c09060fbea11290fb84ecc80b66c593a50f3cb-512x384.jpg",512,{"filterYear":5681},[5682],{"_id":98,"title":102},[5684],{"_type":1138,"label":1139,"url":5685},"https://www.top-ev.de/",{"locations":5687,"other":5690},[5688],{"_id":331,"_type":308,"seo":7,"slug":5689,"title":334},{"_type":9,"current":333},[5691],{"_key":5692,"_type":219,"children":5693,"markDefs":5698,"style":232},"feafa1f7002f",[5694],{"_key":5695,"_type":223,"marks":5696,"text":5697},"4119bf3bd264",[],"Based in Berlin",[],[5700,101],"top e.v",{"_type":9,"current":5702},"top-e-v","Top e.V",{"alt":5705,"asset":5706},"Mountainous landscape in eastern Turkey, golden hillside with green patches",{"_id":5707,"height":5708,"orientation":1474,"ratio":5709,"url":5710,"width":5711},"image-86ae327f5709f74ed6e3fa2523e11a67e03b51a4-2000x1274-jpg",1274,1.5698587127158556,"https://cdn.sanity.io/images/eodip22e/production/86ae327f5709f74ed6e3fa2523e11a67e03b51a4-2000x1274.jpg",2000,{"filterCategory":5713,"filterLocation":5716,"filterYear":5718},[5714,5715],{"_id":455,"title":458},{"_id":615,"title":618},[5717],{"_id":331,"title":334},[5719],{"_id":98,"title":102},[],{"locations":5722,"other":5725},[5723],{"_id":331,"_type":308,"seo":7,"slug":5724,"title":334},{"_type":9,"current":333},[5726],{"_key":5727,"_type":219,"children":5728,"markDefs":5732,"style":232},"4c78db9fcca8",[5729],{"_key":5730,"_type":223,"marks":5731,"text":5697},"741f25fd093c",[],[],[5734],{"_type":1625,"settings":5735,"text":5736},{"textColumnCount":1627},[5737],{"_key":5738,"_type":219,"children":5739,"markDefs":5744,"style":232},"22810df8a8b1",[5740],{"_key":5741,"_type":223,"marks":5742,"text":5743},"6e9240cd01ae",[],"Spatial Narratives of Commoning: Beyond Geographies is a research project that will be facilitated by a duo who is part of a wider artist-run project space and association; each of who work respectively across spatial and artistic practice, research and pedagogy, commons and commoning. It is envisaged as a collaborative research environment and public program dedicated to exploring commoning practices through the lens of architecture and spatial practice beyond disciplinary, geographic, and institutional boundaries. \n\nHow can we find zones of encounter, situated choreographies of commoning, across times and territories? \n\nThe series of public talks and encounters will bring together a diverse group of practitioners—architects, researchers, activists, and artists—who work at the intersections of commoning, community-based design, cultural heritage, and socio-ecological transformation. Through the sharing of research, practice, and stories, the formats developed through the series aim to uncover and speculate upon alternative architectural narratives that emerge from contested territories, peripheral geographies, and informal or collective spatial strategies. \n\nA red thread of questioning will ask: How can architectural and spatial practices respond to displacement, ecological crisis, and social marginalization and prefigure modes of dwelling in common across difference? What kinds of built environments and spatial imaginaries emerge from solidarity, memory, and repair? \n\nThe series, hosted at the artist-run project space of which we are members, will not just include public talks, but also screenings, workshops, roundtable discussions, and alternative happenings—crucially, an ethos of commoning will be embedded throughout the collective learning process, situated in place and the body, in attunement with non-human and non-industrial rhythms, we will invite the public collectivity to become co-researchers and co-protagonists of the documentary and forthcoming spatial narratives of commoning. We envisage that the program will engage with themes such as spatial practices of commoning, feminist urbanism, decolonial pedagogies, traditional construction techniques, the preservation of cultural heritage, and participatory restoration — alongside what evolves organically over the course of the year, shaped by the urgencies and contributions of its participants. \n\nContributors from various regions—including Turkey, Italy, Lebanon, Greece, New Zealand, and Germany—will bring lived experience and critical insights from their local contexts into shared dialogue. The series will culminate in a final public assembly and small exhibition at the artist-run project space of which we are part of inputs collated throughout the process.",[],[5746,101,333,5747,5700,5748,1782,5749],"spatial narratives of commoning: beyond geographies","based in berlin","spatial narratives of commoning: beyond geographies is a research project that will be facilitated by a duo who is part of a wider artist-run project space and association; each of who work respectively across spatial and artistic practice, research and pedagogy, commons and commoning. it is envisaged as a collaborative research environment and public program dedicated to exploring commoning practices through the lens of architecture and spatial practice beyond disciplinary, geographic, and institutional boundaries. \n\nhow can we find zones of encounter, situated choreographies of commoning, across times and territories? \n\nthe series of public talks and encounters will bring together a diverse group of practitioners—architects, researchers, activists, and artists—who work at the intersections of commoning, community-based design, cultural heritage, and socio-ecological transformation. through the sharing of research, practice, and stories, the formats developed through the series aim to uncover and speculate upon alternative architectural narratives that emerge from contested territories, peripheral geographies, and informal or collective spatial strategies. \n\na red thread of questioning will ask: how can architectural and spatial practices respond to displacement, ecological crisis, and social marginalization and prefigure modes of dwelling in common across difference? what kinds of built environments and spatial imaginaries emerge from solidarity, memory, and repair? \n\nthe series, hosted at the artist-run project space of which we are members, will not just include public talks, but also screenings, workshops, roundtable discussions, and alternative happenings—crucially, an ethos of commoning will be embedded throughout the collective learning process, situated in place and the body, in attunement with non-human and non-industrial rhythms, we will invite the public collectivity to become co-researchers and co-protagonists of the documentary and forthcoming spatial narratives of commoning. we envisage that the program will engage with themes such as spatial practices of commoning, feminist urbanism, decolonial pedagogies, traditional construction techniques, the preservation of cultural heritage, and participatory restoration — alongside what evolves organically over the course of the year, shaped by the urgencies and contributions of its participants. \n\ncontributors from various regions—including turkey, italy, lebanon, greece, new zealand, and germany—will bring lived experience and critical insights from their local contexts into shared dialogue. the series will culminate in a final public assembly and small exhibition at the artist-run project space of which we are part of inputs collated throughout the process.","gemeinnützigkeit",{"_type":9,"current":5751},"spatial-narratives-of-commoning-beyond-geographies","Spatial Narratives of Commoning: Beyond Geographies",{"_id":5754,"_type":1027,"categories":7,"credits":5755,"featuredImage":6151,"filterables":6154,"footnotes":6159,"locations":6160,"logbook":7,"pageBuilder":6164,"researchQuestion":7,"researchQuestions":6191,"searchables":6222,"seo":7,"slug":6228,"title":6230,"year":102},"2762c232-0a73-4155-8fb3-7a6f157e2e41",{"other":7,"profiles":5756},[5757,5866,6021,6102],{"_id":5758,"_type":1078,"activeYears":5759,"bio":5762,"bioShort":5842,"featuredImage":5843,"filterables":5849,"links":5852,"locations":5860,"searchables":5864,"seo":7,"slug":5865,"title":5769},"f0598e03-ce47-47b6-a7fd-e9c5143157b2",[5760],{"_id":98,"_type":99,"seo":7,"slug":5761,"title":102},{"_type":9,"current":101},[5763,5775,5782,5794,5806,5814,5822,5830],{"_key":5764,"_type":219,"children":5765,"markDefs":5774,"style":232},"aad36a45c241",[5766,5770],{"_key":5767,"_type":223,"marks":5768,"text":5769},"18893a15cb270",[1559],"footnotes",{"_key":5771,"_type":223,"marks":5772,"text":5773},"bb9febbf95ed",[]," consist of Eliana Kirkcaldy, Johanna Ackva and Lotta Beckers who have met on a crossroad of intersecting curiosities for historical and contemporary languages of desire. Looking at (mostly female*) writing on longing, the erotic, one’s own and/or the lover’s body, we search for those moments in which (hetero)normative representations of desire are getting messed up, counterpointed and deprived of their power to shape relationships and intimacy.",[],{"_key":5776,"_type":219,"children":5777,"markDefs":5781,"style":232},"f402c2ee3d93",[5778],{"_key":5779,"_type":223,"marks":5780,"text":1405},"0eece55c15c6",[],[],{"_key":5783,"_type":219,"children":5784,"markDefs":5793,"style":232},"473fe38ca849",[5785,5789],{"_key":5786,"_type":223,"marks":5787,"text":5788},"8034d6383cfe0",[225],"Johanna Ackva",{"_key":5790,"_type":223,"marks":5791,"text":5792},"8034d6383cfe1",[],"'s artistic practice revolves around the entanglements between so called physical and metaphysical movements. Her works address the mutual influences between body and thought, the living and the dead, the world and our perception of it. As a dance maker, teacher, author, and curator, she is mainly active in Berlin. In Uckermark, she is part of the team that runs Denk- und Produktionsort Libken. Johanna has realized various performances in Berlin, e.g. at Tanzfabrik and Vierte Welt. As part of a team of four, she's currently running the artistic residency Denk- und Produktionsort Libken in the region Uckermark.",[],{"_key":5795,"_type":219,"children":5796,"markDefs":5805,"style":232},"0175989b0f1c",[5797,5801],{"_key":5798,"_type":223,"marks":5799,"text":5800},"5c35c54a604d",[225],"Lotta Beckers",{"_key":5802,"_type":223,"marks":5803,"text":5804},"56a92497d7aa",[]," (she/they) lives in Berlin and works as a dramaturge and artist. She studied Applied Theatre Studies in University Gießen, Choreography and Dance at the Danish National School of Performing Arts in Copenhagen and holds an M.A. in European Media Studies from the University of Potsdam. She is part of the class for performative arts led by Anna Zett and Jule Flierl at Hochschule für Grafik und Buchkunst Leipzig (HGB). ",[],{"_key":5807,"_type":219,"children":5808,"markDefs":5813,"style":232},"1eb93b8ca1bb",[5809],{"_key":5810,"_type":223,"marks":5811,"text":5812},"4b0dabb3b809",[],"As a freelance dramaturge she works in dance and performance, as well as in documentary theatre. She is engaged in an ongoing collaboration with theatre director Noam Brusilovsky and costume and stage designer Magdalena Emmerig. She also collaborates closely as a dramaturge and sometimes performer with choreographer Deva Schubert.",[],{"_key":5815,"_type":219,"children":5816,"markDefs":5821,"style":232},"ee7c735b9fdd",[5817],{"_key":5818,"_type":223,"marks":5819,"text":5820},"10b2a81ec635",[],"Lotta’s own artistic research evolves around the entanglements of desire, affects and power – sometimes through archive research, often in collaborations, sometimes through solo work. The form of the work and the medium are always re-defined through the artistic engagement with a theme and the specific context in which it is realized. At the moment she is particularly curious about movement and text.",[],{"_key":5823,"_type":219,"children":5824,"markDefs":5829,"style":232},"8b38380535b1",[5825],{"_key":5826,"_type":223,"marks":5827,"text":5828},"54bc79021fb8",[],"In her artistic approach, she situates herself between the documentary and the poetic, the intimate and the public and searches for the historical and structural within personal feeling. Theory serves as a driving force in her work, encouraging new modes of perception and experience.",[],{"_key":5831,"_type":219,"children":5832,"markDefs":5841,"style":232},"b9efaebc0d88",[5833,5837],{"_key":5834,"_type":223,"marks":5835,"text":5836},"0ad8c6673cac0",[225],"Eliana Kirkcaldy ",{"_key":5838,"_type":223,"marks":5839,"text":5840},"0ad8c6673cac1",[],"studied contemporary dance and cultural studies in Cologne, Hildesheim, Porto and Berlin. Her research currently deals with questions around societal power structures and their effect on physical practices. She is furthermore interested in exploring collective working structures and has been part of the collective AnaConda am Ufer, currently she is part of Berlin based poetry collective Das Ad Hoc. Together with Vanessa Engelmann, Eliana is working on new translations of the writings of Colette Peignot, which will be published by Matthes & Seitz Berlin. Eliana is a member of the editorial board of literary magazine Berlin Review.",[],"footnotes consist of Eliana Kirkcaldy, Johanna Ackva and Lotta Beckers. The collective researches languages of desire and investigates writing as a means to mess up, counterpoint and subvert (hetero)normative representations of love, intimacy and the erotic.",{"alt":5844,"asset":5845},"splashed liquid on concrete floor, dispersed strawberries",{"_id":5846,"height":3773,"orientation":1474,"ratio":5847,"url":5848,"width":2394},"image-4a3368892d8f2a7eb009fbb75ca9960b08d54824-1280x862-jpg",1.4849187935034802,"https://cdn.sanity.io/images/eodip22e/production/4a3368892d8f2a7eb009fbb75ca9960b08d54824-1280x862.jpg",{"filterYear":5850},[5851],{"_id":98,"title":102},[5853,5856,5858],{"_type":1138,"label":5854,"url":5855},"Eliana Kirkcaldy","https://www.instagram.com/elianakirkcaldy/",{"_type":1138,"label":5788,"url":5857},"https://www.instagram.com/johannaackva/",{"_type":1138,"label":5800,"url":5859},"https://www.instagram.com/lott_lott_lott_/",{"locations":5861,"other":7},[5862],{"_id":331,"_type":308,"seo":7,"slug":5863,"title":334},{"_type":9,"current":333},[5769,101],{"_type":9,"current":5769},{"_id":5867,"_type":1078,"activeYears":5868,"bio":5871,"bioShort":5984,"featuredImage":5985,"filterables":5993,"links":5996,"locations":6004,"searchables":6017,"seo":7,"slug":6019,"title":5788},"88aa7c21-25b5-43bf-bd42-23dd71af66d4",[5869],{"_id":98,"_type":99,"seo":7,"slug":5870,"title":102},{"_type":9,"current":101},[5872,5880,5949],{"_key":5873,"_type":219,"children":5874,"markDefs":5879,"style":232},"c42be418bfa0",[5875],{"_key":5876,"_type":223,"marks":5877,"text":5878},"e65cd299f6660",[],"Johanna (*1989, Berlin) lives and works in Berlin and in the Uckermark region. Her work draws from trans-disciplinary artistic research, performative practice, and anthropological methods. Alongside body- and movement-based approaches, conversations - with experts, strangers and friends alike - are central to Johanna's work. In her performative, textual, sculptural, and editorial projects, Johanna examines phenomena of individual experience as embedded within collectively shaped social, material, and affective lifeworlds - as moments of encounter in which self and world are continuously re-shaped. By foregrounding the processual and the porous, she connects phases of research, experimentation and production with those of public sharing.",[],{"_key":5881,"_type":219,"children":5882,"markDefs":5948,"style":232},"9828efbb56d4",[5883,5887,5891,5894,5898,5901,5905,5909,5913,5916,5920,5924,5928,5932,5936,5940,5944],{"_key":5884,"_type":223,"marks":5885,"text":5886},"86ad3d53b0530",[],"Since 2015, Johanna’s often collaboratively realised projects have engaged with themes such as labor and its value (",{"_key":5888,"_type":223,"marks":5889,"text":5890},"21650684b0d4",[1559],"The Agreement",{"_key":5892,"_type":223,"marks":5893,"text":2704},"f2d4e53bb96a",[],{"_key":5895,"_type":223,"marks":5896,"text":5897},"8e20dd99fdaa",[1559],"AG Arbeit",{"_key":5899,"_type":223,"marks":5900,"text":2704},"ddfeef72a887",[],{"_key":5902,"_type":223,"marks":5903,"text":5904},"397b3521c65d",[1559],"They Ate Our Day",{"_key":5906,"_type":223,"marks":5907,"text":5908},"ce63bb770e80",[],"), mysticism and experiences of nature (",{"_key":5910,"_type":223,"marks":5911,"text":5912},"3d45b33a2289",[1559],"Salt Lake",{"_key":5914,"_type":223,"marks":5915,"text":2704},"56921242a295",[],{"_key":5917,"_type":223,"marks":5918,"text":5919},"89aaba484db2",[1559],"Zweitlandschaften",{"_key":5921,"_type":223,"marks":5922,"text":5923},"d153c7bfa06e",[],"), voice(s) and breath (",{"_key":5925,"_type":223,"marks":5926,"text":5927},"e333f22ed846",[1559],"singalongs, High Fidelity, ~4E8A∞~",{"_key":5929,"_type":223,"marks":5930,"text":5931},"d3edd091cfcf",[],"), longing, intimacy and shame (",{"_key":5933,"_type":223,"marks":5934,"text":5935},"bd785370f76f",[1559],"Women And Watery Men, wherever you are",{"_key":5937,"_type":223,"marks":5938,"text":5939},"b9bd599f2b61",[],"), as well as death, grief, and our relationship to the dead (",{"_key":5941,"_type":223,"marks":5942,"text":5943},"2226a6b95817",[1559],"Clouds On Clear Sky, Grandmothers, aus dem was sprachfähig war, forever goodbye",{"_key":5945,"_type":223,"marks":5946,"text":5947},"99251399fa6b",[],").",[],{"_key":5950,"_type":219,"children":5951,"markDefs":5983,"style":232},"9d858cdf0b17",[5952,5956,5960,5964,5968,5972,5975,5979],{"_key":5953,"_type":223,"marks":5954,"text":5955},"2e6adc0ef05b0",[],"Alongside her artistic work, Johanna regularly teaches as a guest lecturer in the Studium Generale program at the Berlin University of the Arts. Together with Anna Zett and Marie DuPasquier, among others, she has curated and hosted various event series and projects such as the performative exhibition ",{"_key":5957,"_type":223,"marks":5958,"text":5959},"9bb2c5a6691d",[1559],"Postindependent",{"_key":5961,"_type":223,"marks":5962,"text":5963},"20f20dbfc192",[],". Since 2019, she has been involved in shaping and curating ",{"_key":5965,"_type":223,"marks":5966,"text":5967},"a2e43ed98b37",[1559],"Libken Denk- und Produktionsort",{"_key":5969,"_type":223,"marks":5970,"text":5971},"be72e496cd6c",[]," (Uckermark), since 2021 as part of its artistic leadership team. Most recently, she conceived and accompanied the interdisciplinary residency program",{"_key":5973,"_type":223,"marks":5974,"text":2264},"8a2e8805bfa2",[225],{"_key":5976,"_type":223,"marks":5977,"text":5978},"85db9bcbfd43",[1559],"into the fields",{"_key":5980,"_type":223,"marks":5981,"text":5982},"d0bd60e1ad1d",[],", which invited artists from rural regions in Poland, Germany, and the Czech Republic to work together.",[],"Johanna (*1989) is a trans-disciplinary artist, performer and writer based between Berlin and the Uckermark region.",{"alt":5986,"asset":5987},"Johanna Ackva, lying on the floor with their hands in an illuminated square on the floor.",{"_id":5988,"height":5989,"orientation":1474,"ratio":5990,"url":5991,"width":5992},"image-52bf736fa657577cfc147f998abca5864b3c5fc1-1930x1432-png",1432,1.3477653631284916,"https://cdn.sanity.io/images/eodip22e/production/52bf736fa657577cfc147f998abca5864b3c5fc1-1930x1432.png",1930,{"filterYear":5994},[5995],{"_id":98,"title":102},[5997,5998,6001],{"_type":1138,"label":1142,"url":5857},{"_type":1138,"label":5999,"url":6000},"Sounds","https://on.soundcloud.com/i9IpQ6BO0H9LChHlbD",{"_type":1138,"label":6002,"url":6003},"Hosting ","https://libken.de/en/libken-home/",{"locations":6005,"other":6008},[6006],{"_id":331,"_type":308,"seo":7,"slug":6007,"title":334},{"_type":9,"current":333},[6009],{"_key":6010,"_type":219,"children":6011,"markDefs":6016,"style":232},"43aa3f522b70",[6012],{"_key":6013,"_type":223,"marks":6014,"text":6015},"949cfc34b018",[],"Berlin / Uckermark",[],[6018,101],"johanna ackva",{"_type":9,"current":6020},"johanna-ackva",{"_id":6022,"_type":1078,"activeYears":6023,"bio":6026,"bioShort":6033,"featuredImage":6074,"filterables":6081,"links":6084,"locations":6086,"searchables":6098,"seo":7,"slug":6100,"title":5800},"193d30a6-5cfa-47b0-9283-eb923f080d48",[6024],{"_id":98,"_type":99,"seo":7,"slug":6025,"title":102},{"_type":9,"current":101},[6027,6035,6043,6051,6059],{"_key":6028,"_type":219,"children":6029,"markDefs":6034,"style":232},"eedb148a0825",[6030],{"_key":6031,"_type":223,"marks":6032,"text":6033},"72b240012e540",[],"Lotta (she/they) is a Berlin-based dramaturg and artist working across performance, dance, and documentary theatre. She’s into awkward presence, pathetic writing, slowness, cutting and feeling touched (by art). ",[],{"_key":6036,"_type":219,"children":6037,"markDefs":6042,"style":232},"09f687d22867",[6038],{"_key":6039,"_type":223,"marks":6040,"text":6041},"36f04cb94473",[],"With an academic background spanning applied theatre studies in Gießen, dance and choreography in Copenhagen, European media studies in Potsdam, and further development in the class for performative arts at the art academy in Leipzig, she combines theoretical insight with a strong interest in embodied practices.",[],{"_key":6044,"_type":219,"children":6045,"markDefs":6050,"style":232},"31a53cf2cba0",[6046],{"_key":6047,"_type":223,"marks":6048,"text":6049},"0baa065b9bb30",[],"Since many years, she is engaged in a collaboration with theatre director Noam Brusilovsky and costume and stage designer Magdalena Emmerig, developing research-based documentary theatre projects that interrogate power structures and explore the limits of representation on stage. Lotta also collaborates closely as a dramaturge and sometimes performer with choreographer Deva Schubert, whose voice-based dance performances explore the power of intimacy in social relations.",[],{"_key":6052,"_type":219,"children":6053,"markDefs":6058,"style":232},"b2910648add5",[6054],{"_key":6055,"_type":223,"marks":6056,"text":6057},"06bef23eebb10",[],"Her own artistic approach is situated between the documentary and the poetic, the intimate and the public and searches for the historical and structural within the personal feeling. Theory serves as a driving force in her work, encouraging new modes of perception and experience. At the moment she is particularly curious about choreography and text.",[],{"_key":6060,"_type":219,"children":6061,"markDefs":6073,"style":232},"b6fb4e989328",[6062,6066,6069],{"_key":6063,"_type":223,"marks":6064,"text":6065},"205ede0389230",[],"Together with Johanna Ackva and Eliana Kirkcaldy, she is part of ",{"_key":6067,"_type":223,"marks":6068,"text":5769},"205ede0389231",[1559],{"_key":6070,"_type":223,"marks":6071,"text":6072},"205ede0389232",[],", dedicated to researching on ways of writing and performing desire.",[],{"alt":6075,"asset":6076},"Person with white shirt, silver chain, bangs, leaning against a blue curtain",{"_id":6077,"height":6078,"orientation":1129,"ratio":5509,"url":6079,"width":6080},"image-cc495c43d27a457e2d9fa27e2b1ea16f4a7f8937-3648x5472-jpg",5472,"https://cdn.sanity.io/images/eodip22e/production/cc495c43d27a457e2d9fa27e2b1ea16f4a7f8937-3648x5472.jpg",3648,{"filterYear":6082},[6083],{"_id":98,"title":102},[6085],{"_type":1138,"label":1142,"url":5859},{"locations":6087,"other":6090},[6088],{"_id":331,"_type":308,"seo":7,"slug":6089,"title":334},{"_type":9,"current":333},[6091],{"_key":6092,"_type":219,"children":6093,"markDefs":6097,"style":232},"13efeacccf30",[6094],{"_key":6095,"_type":223,"marks":6096,"text":5697},"1781c4745461",[],[],[6099,101],"lotta beckers",{"_type":9,"current":6101},"lotta-beckers",{"_id":6103,"_type":1078,"activeYears":6104,"bio":6107,"bioShort":6132,"featuredImage":6133,"filterables":6138,"links":6141,"locations":6143,"searchables":6147,"seo":7,"slug":6149,"title":5854},"dd0fe01b-beb8-4b9f-9e8f-1d7b9bfaf654",[6105],{"_id":98,"_type":99,"seo":7,"slug":6106,"title":102},{"_type":9,"current":101},[6108],{"_key":6109,"_type":219,"children":6110,"markDefs":6131,"style":232},"42bdcf988f21",[6111,6115,6119,6123,6127],{"_key":6112,"_type":223,"marks":6113,"text":6114},"7fe7a065412b0",[],"Eliana Kirkcaldy is a writer and performer based in Berlin with a background in contemporary dance and cultural studies.\nShe is a founding member of ",{"_key":6116,"_type":223,"marks":6117,"text":6118},"f4686b6d873b",[1559],"Berlin Review",{"_key":6120,"_type":223,"marks":6121,"text":6122},"323260f39a78",[]," magazine and part of the poetry collective ",{"_key":6124,"_type":223,"marks":6125,"text":6126},"7b65fce8592b",[1559],"das ad hoc",{"_key":6128,"_type":223,"marks":6129,"text":6130},"419f8adb5192",[],". Currently, Eliana is working on a publication project on the French author Colette Peignot.\nIn recent years, she has conducted research on Kathy Acker and, more broadly, on language(s) and the articulation of desire together with Lotta Beckers and Johanna Ackva.",[],"Eliana Kirkcaldy is a Berlin-based writer and performer.",{"alt":6134,"asset":6135},"A person with brown hair tied up, wearing a black hoodie, sits outdoors in front of green, bushy plants, looking at the camera.",{"_id":6136,"height":3773,"orientation":1474,"ratio":5847,"url":6137,"width":2394},"image-c2d77679d5819a559e7b341f8acde96c622f69d3-1280x862-jpg","https://cdn.sanity.io/images/eodip22e/production/c2d77679d5819a559e7b341f8acde96c622f69d3-1280x862.jpg",{"filterYear":6139},[6140],{"_id":98,"title":102},[6142],{"_type":1138,"label":1142,"url":5855},{"locations":6144,"other":7},[6145],{"_id":331,"_type":308,"seo":7,"slug":6146,"title":334},{"_type":9,"current":333},[6148,101],"eliana kirkcaldy",{"_type":9,"current":6150},"eliana-kirkcaldy",{"alt":6152,"asset":6153},"splashed liquid and disperced strawberries on concrete floor",{"_id":5846,"height":3773,"orientation":1474,"ratio":5847,"url":5848,"width":2394},{"filterCategory":7,"filterLocation":6155,"filterYear":6157},[6156],{"_id":331,"title":334},[6158],{"_id":98,"title":102},[],{"locations":6161,"other":7},[6162],{"_id":331,"_type":308,"seo":7,"slug":6163,"title":334},{"_type":9,"current":333},[6165,6168],{"_type":1621,"caption":7,"image":6166},{"alt":7,"asset":6167},{"_id":5846,"height":3773,"orientation":1474,"ratio":5847,"url":5848,"width":2394},{"_type":1625,"settings":6169,"text":6170},{"textColumnCount":1627},[6171],{"_key":6172,"_type":219,"children":6173,"markDefs":6190,"style":232},"77f47b65031c",[6174,6178,6182,6186],{"_key":6175,"_type":223,"marks":6176,"text":6177},"1dfe5f1b06a5",[225],"THE TEXT BITES ITS TONGUE",{"_key":6179,"_type":223,"marks":6180,"text":6181},"7eb81757b7ed",[]," is a trans-disciplinary collaborative research that seeks to investigate written and spoken languages of ",{"_key":6183,"_type":223,"marks":6184,"text":6185},"3cb5cb623f75",[1559],"desire",{"_key":6187,"_type":223,"marks":6188,"text":6189},"63849e96f52e",[]," - understood as a messy field of ever changing coordinates in which sensuality, sexuality, intimacy and affect meet. At the centre of our research, language, the characteristics of its grammars, the comical and the attractiveness of text itself, play as much of a role as the visceral experience of what it seeks to describe and the unconscious which it fails to grasp. \n\nInside the gap between physical experience and text, between the mouth and the tongue that it speaks, we look for a motor to feel into and de-personalize “private” experience and to uncover structures of feelings. We are curious about in which language can transform the sensual, restricted, and libidinous body, whereby working with and through pain and shame is one important layer. ",[],[6192,6202,6212],{"_type":1733,"question":6193},[6194],{"_key":6195,"_type":219,"children":6196,"markDefs":6201,"style":232},"b4b7f6f32b9a",[6197],{"_key":6198,"_type":223,"marks":6199,"text":6200},"f02ca82ee84a0",[],"How can the experience of desire be transformed by commoning its languages?",[],{"_type":1733,"question":6203},[6204],{"_key":6205,"_type":219,"children":6206,"markDefs":6211,"style":232},"29eed527260a",[6207],{"_key":6208,"_type":223,"marks":6209,"text":6210},"c6eaf93b0a7f",[],"How does the writing and speaking of desire reveal its more-than-personal, structural, and social dimensions?",[],{"_type":1733,"question":6213},[6214],{"_key":6215,"_type":219,"children":6216,"markDefs":6221,"style":232},"dd5cf0deec0a",[6217],{"_key":6218,"_type":223,"marks":6219,"text":6220},"88f96aff1d8a",[],"How can we foster languages of desire as a way to search for a desirable world?",[],[6223,101,6224,6225,6226,333,5769,6018,6099,6148,6227],"the text bites its tongue","how can the experience of desire be transformed by commoning its languages?","how does the writing and speaking of desire reveal its more-than-personal, structural, and social dimensions?","how can we foster languages of desire as a way to search for a desirable world?","the text bites its tongue is a trans-disciplinary collaborative research that seeks to investigate written and spoken languages of desire - understood as a messy field of ever changing coordinates in which sensuality, sexuality, intimacy and affect meet. at the centre of our research, language, the characteristics of its grammars, the comical and the attractiveness of text itself, play as much of a role as the visceral experience of what it seeks to describe and the unconscious which it fails to grasp. \n\ninside the gap between physical experience and text, between the mouth and the tongue that it speaks, we look for a motor to feel into and de-personalize “private” experience and to uncover structures of feelings. we are curious about in which language can transform the sensual, restricted, and libidinous body, whereby working with and through pain and shame is one important layer. ",{"_type":9,"current":6229},"the-text-bites-its-tongue","The Text Bites Its Tongue",{"_id":6232,"_type":1027,"categories":6233,"credits":6251,"featuredImage":6324,"filterables":6332,"footnotes":6343,"locations":6344,"logbook":7,"pageBuilder":6348,"researchQuestion":7,"researchQuestions":6419,"searchables":6477,"seo":7,"slug":6487,"title":6489,"year":102},"b36546ee-73c6-4bd1-a22a-c61d1e041a28",[6234,6237,6240,6244,6247],{"_id":410,"_type":362,"colorPrimary":6235,"seo":7,"slug":6236,"title":413},{"label":1031,"value":1036},{"_type":9,"current":412},{"_id":555,"_type":362,"colorPrimary":6238,"seo":7,"slug":6239,"title":558},{"label":1031,"value":4977},{"_type":9,"current":557},{"_id":445,"_type":362,"colorPrimary":6241,"seo":7,"slug":6243,"title":448},{"label":1031,"value":6242},"#0095a4",{"_type":9,"current":447},{"_id":790,"_type":362,"colorPrimary":6245,"seo":7,"slug":6246,"title":793},{"label":1031,"value":1048},{"_type":9,"current":792},{"_id":885,"_type":362,"colorPrimary":6248,"seo":7,"slug":6250,"title":888},{"label":1031,"value":6249},"#dcdc00",{"_type":9,"current":887},{"other":7,"profiles":6252},[6253],{"_id":6254,"_type":1078,"activeYears":6255,"bio":6258,"bioShort":6291,"featuredImage":6292,"filterables":6298,"links":6301,"locations":6306,"searchables":6319,"seo":7,"slug":6321,"title":6323},"3b640bf7-7e68-4a63-afeb-f8f69732c79d",[6256],{"_id":98,"_type":99,"seo":7,"slug":6257,"title":102},{"_type":9,"current":101},[6259,6267,6275],{"_key":6260,"_type":219,"children":6261,"markDefs":6266,"style":232},"d5106e03a2cb",[6262],{"_key":6263,"_type":223,"marks":6264,"text":6265},"49be741cf4370",[],"Emidio is an Italian interdisciplinary artist and art director based in Milan. Trained in photography at ÉCAL in Lausanne, his practice examines how images, technologies, and infrastructures shape systems of power, visibility, memory, and ecological relation. Working across installation, image-making, AI, and computational tools, Battipaglia explores the moment in which images cease to simply represent the world and begin to organize perception, knowledge, and behavior.",[],{"_key":6268,"_type":219,"children":6269,"markDefs":6274,"style":232},"67aa39873526",[6270],{"_key":6271,"_type":223,"marks":6272,"text":6273},"358b6ab468600",[],"Through machine vision, data systems, and more-than-human intelligences, his work investigates the structures through which visibility, labour, memory, and extraction are produced. Bringing together physical materials, archival research, generative processes, and responsive environments, Battipaglia approaches technology not only as a tool, but as a material condition that shapes how bodies, environments, and histories are seen, measured, and made legible.",[],{"_key":6276,"_type":219,"children":6277,"markDefs":6290,"style":232},"f5630dd6af02",[6278,6282,6286],{"_key":6279,"_type":223,"marks":6280,"text":6281},"918e30673ec70",[],"Battipaglia’s work has been exhibited internationally. He received the Art Vontobel Contemporary Photography Prize 2023, ",{"_key":6283,"_type":223,"marks":6284,"text":6285},"918e30673ec71",[1559],"A New Gaze",{"_key":6287,"_type":223,"marks":6288,"text":6289},"918e30673ec72",[],", and in 2026 has taken part in a residency programme developed by the Visual Arts Commission of Saudi Arabia’s Ministry of Culture.",[],"Emidio is an Italian interdisciplinary artist and art director. Trained in photography at ÉCAL in Lausanne, his practice examines how images, technologies, and infrastructures shape systems of power, visibility, memory, and ecological relation. ",{"alt":7,"asset":6293},{"_id":6294,"height":6295,"orientation":1129,"ratio":5168,"url":6296,"width":6297},"image-0d9abcee05ebdf6ef3a6e16df5110bec19ff4c5d-2652x3315-jpg",3315,"https://cdn.sanity.io/images/eodip22e/production/0d9abcee05ebdf6ef3a6e16df5110bec19ff4c5d-2652x3315.jpg",2652,{"filterYear":6299},[6300],{"_id":98,"title":102},[6302,6304],{"_type":1138,"label":1139,"url":6303},"https://www.emidiobattipaglia.com/",{"_type":1138,"label":1142,"url":6305},"https://www.instagram.com/emidiobattipaglia/",{"locations":6307,"other":6310},[6308],{"_id":331,"_type":308,"seo":7,"slug":6309,"title":334},{"_type":9,"current":333},[6311],{"_key":6312,"_type":219,"children":6313,"markDefs":6318,"style":232},"bcfaa2bc5d17",[6314],{"_key":6315,"_type":223,"marks":6316,"text":6317},"2a6ca935f352",[],"Based in Milan",[],[6320,101],"emidio battipaglia",{"_type":9,"current":6322},"emidio-battipaglia","Emidio Battipaglia",{"alt":6325,"asset":6326},"Ecology, Technology and Politics",{"_id":6327,"height":6328,"orientation":1474,"ratio":6329,"url":6330,"width":6331},"image-76a09509fbe40b6f19def13b17f7cda06403d2fb-1672x941-png",941,1.7768331562167907,"https://cdn.sanity.io/images/eodip22e/production/76a09509fbe40b6f19def13b17f7cda06403d2fb-1672x941.png",1672,{"filterCategory":6333,"filterLocation":6339,"filterYear":6341},[6334,6335,6336,6337,6338],{"_id":410,"title":413},{"_id":555,"title":558},{"_id":445,"title":448},{"_id":790,"title":793},{"_id":885,"title":888},[6340],{"_id":331,"title":334},[6342],{"_id":98,"title":102},[],{"locations":6345,"other":7},[6346],{"_id":331,"_type":308,"seo":7,"slug":6347,"title":334},{"_type":9,"current":333},[6349,6360],{"_type":1621,"caption":6350,"image":6358},[6351],{"_key":6352,"_type":219,"children":6353,"markDefs":6357,"style":232},"a4fd60a6c153",[6354],{"_key":6355,"_type":223,"marks":6356,"text":6325},"13b144b0a4a80",[],[],{"alt":6325,"asset":6359},{"_id":6327,"height":6328,"orientation":1474,"ratio":6329,"url":6330,"width":6331},{"_type":1625,"settings":6361,"text":6362},{"textColumnCount":1627},[6363,6371,6379,6387,6395,6403,6411],{"_key":6364,"_type":219,"children":6365,"markDefs":6370,"style":232},"3c447493eb65",[6366],{"_key":6367,"_type":223,"marks":6368,"text":6369},"5b70d5f9ed7f0",[],"To Command the Clouds Is to Own the Future is an artistic research project about control, territory, and invisible infrastructures. It investigates how contemporary power is no longer limited to the occupation of land, but extends into atmospheric, digital, algorithmic, and intimate realms.",[],{"_key":6372,"_type":219,"children":6373,"markDefs":6378,"style":232},"1d8614a9a41c",[6374],{"_key":6375,"_type":223,"marks":6376,"text":6377},"5856ad5435920",[],"The project begins from the double meaning of the cloud. The cloud is atmospheric: air, weather, climate, vapor, movement. But it is also digital: data centers, servers, networks, storage, computation. In both cases, the cloud appears immaterial and distant, yet it is deeply connected to infrastructure, extraction, energy, surveillance, and political power. To command the clouds means to control not only a physical environment, but the conditions through which life is predicted, organized, and governed.",[],{"_key":6380,"_type":219,"children":6381,"markDefs":6386,"style":232},"6ff2b382d3d9",[6382],{"_key":6383,"_type":223,"marks":6384,"text":6385},"3cd707b922600",[],"The project traces how older forms of territorial ambition are reappearing in new and less visible forms. The desire to control land is extended into the desire to control weather, airspace, satellites, data flows, algorithmic systems, and behavior. Power increasingly operates through prediction, optimization, automation, and command. It does not only draw borders on the ground; it creates invisible borders through infrastructures, protocols, permissions, and systems of access.",[],{"_key":6388,"_type":219,"children":6389,"markDefs":6394,"style":232},"1d8e4df66438",[6390],{"_key":6391,"_type":223,"marks":6392,"text":6393},"5d220fd5a1dd0",[],"Within this framework, refusal becomes a central gesture. Refusal is not understood as simple negation, but as a way of interrupting the logic of domination. To refuse is to question the assumption that everything must be measured, controlled, extracted, or made useful. It is a way to resist the transformation of shared, unstable, or intimate spaces into territories of command.",[],{"_key":6396,"_type":219,"children":6397,"markDefs":6402,"style":232},"26211df57f52",[6398],{"_key":6399,"_type":223,"marks":6400,"text":6401},"56443b0606d30",[],"The project asks what forms of resistance can emerge when control is not always visible. How can artistic practice expose systems that are hidden behind the language of neutrality, progress, security, or innovation? How can refusal create space for opacity, uncertainty, intimacy, and other ways of relating to the world?",[],{"_key":6404,"_type":219,"children":6405,"markDefs":6410,"style":232},"d32ee9a0f9c5",[6406],{"_key":6407,"_type":223,"marks":6408,"text":6409},"1785964752800",[],"To Command the Clouds Is to Own the Future proposes the cloud as a political and poetic figure of the present. It is a site where atmosphere, technology, infrastructure, and power meet. Through installation, spatial research, writing, and critical storytelling, the project examines how the future is being claimed, and how it might still be refused.",[],{"_key":6412,"_type":219,"children":6413,"markDefs":6418,"style":232},"19fc5478bb8e",[6414],{"_key":6415,"_type":223,"marks":6416,"text":6417},"0cf0645045560",[],"To Own the Air is the first chapter of To Command the Clouds Is to Own the Future. It focuses on the atmosphere as the first invisible territory of the project.",[],[6420,6430,6440,6450,6467],{"_type":1733,"question":6421},[6422],{"_key":6423,"_type":219,"children":6424,"markDefs":6429,"style":232},"3f0037e376d6",[6425],{"_key":6426,"_type":223,"marks":6427,"text":6428},"6d9e498a79770",[],"What forms of control are hidden inside the language of protection, prediction, and security?",[],{"_type":1733,"question":6431},[6432],{"_key":6433,"_type":219,"children":6434,"markDefs":6439,"style":232},"b2f77b06b89f",[6435],{"_key":6436,"_type":223,"marks":6437,"text":6438},"43e0cc5a028a0",[],"Can refusal offer a way to resist the transformation of air, weather, data, and intimacy into spaces of prediction, extraction, and ownership?",[],{"_type":1733,"question":6441},[6442],{"_key":6443,"_type":219,"children":6444,"markDefs":6449,"style":232},"7b0b5aa5cbaf",[6445],{"_key":6446,"_type":223,"marks":6447,"text":6448},"f4752c05ea700",[],"What does the cloud conceal when it appears weightless, neutral, or beyond reach?",[],{"_type":1733,"question":6451},[6452,6460],{"_key":6453,"_type":219,"children":6454,"markDefs":6459,"style":232},"736f1d165319",[6455],{"_key":6456,"_type":223,"marks":6457,"text":6458},"7d83bb632af20",[],"How can artistic practice make visible the forces that transform air, weather, and the sky into spaces of command?",[],{"_key":6461,"_type":219,"children":6462,"markDefs":6466,"style":232},"b4493561a42b",[6463],{"_key":6464,"_type":223,"marks":6465,"text":1405},"1d502fcf1d2b0",[],[],{"_type":1733,"question":6468},[6469],{"_key":6470,"_type":219,"children":6471,"markDefs":6476,"style":232},"abf717523d58",[6472],{"_key":6473,"_type":223,"marks":6474,"text":6475},"ff359bb31f550",[],"How does the atmosphere become political when it is measured, monitored, militarized, and treated as infrastructure?",[],[6478,101,6479,6480,6481,6482,6483,333,6320,6484,1783,557,6485,1786,6486],"to command the clouds is to own the future: to own the air","what forms of control are hidden inside the language of protection, prediction, and security?","can refusal offer a way to resist the transformation of air, weather, data, and intimacy into spaces of prediction, extraction, and ownership?","what does the cloud conceal when it appears weightless, neutral, or beyond reach?","how can artistic practice make visible the forces that transform air, weather, and the sky into spaces of command?\n\n","how does the atmosphere become political when it is measured, monitored, militarized, and treated as infrastructure?","to command the clouds is to own the future is an artistic research project about control, territory, and invisible infrastructures. it investigates how contemporary power is no longer limited to the occupation of land, but extends into atmospheric, digital, algorithmic, and intimate realms.\n\nthe project begins from the double meaning of the cloud. the cloud is atmospheric: air, weather, climate, vapor, movement. but it is also digital: data centers, servers, networks, storage, computation. in both cases, the cloud appears immaterial and distant, yet it is deeply connected to infrastructure, extraction, energy, surveillance, and political power. to command the clouds means to control not only a physical environment, but the conditions through which life is predicted, organized, and governed.\n\nthe project traces how older forms of territorial ambition are reappearing in new and less visible forms. the desire to control land is extended into the desire to control weather, airspace, satellites, data flows, algorithmic systems, and behavior. power increasingly operates through prediction, optimization, automation, and command. it does not only draw borders on the ground; it creates invisible borders through infrastructures, protocols, permissions, and systems of access.\n\nwithin this framework, refusal becomes a central gesture. refusal is not understood as simple negation, but as a way of interrupting the logic of domination. to refuse is to question the assumption that everything must be measured, controlled, extracted, or made useful. it is a way to resist the transformation of shared, unstable, or intimate spaces into territories of command.\n\nthe project asks what forms of resistance can emerge when control is not always visible. how can artistic practice expose systems that are hidden behind the language of neutrality, progress, security, or innovation? how can refusal create space for opacity, uncertainty, intimacy, and other ways of relating to the world?\n\nto command the clouds is to own the future proposes the cloud as a political and poetic figure of the present. it is a site where atmosphere, technology, infrastructure, and power meet. through installation, spatial research, writing, and critical storytelling, the project examines how the future is being claimed, and how it might still be refused.\n\nto own the air is the first chapter of to command the clouds is to own the future. it focuses on the atmosphere as the first invisible territory of the project.","climate knowledge","spatial forensics",{"_type":9,"current":6488},"to-command-the-clouds-is-to-own-the-future","To Command the Clouds Is to Own the Future: To Own the Air",{"_id":6491,"_type":1027,"categories":6492,"credits":6515,"featuredImage":6615,"filterables":6619,"footnotes":6632,"locations":6633,"logbook":6645,"pageBuilder":6798,"researchQuestion":7,"researchQuestions":7117,"searchables":7197,"seo":7,"slug":7205,"title":7207,"year":102},"d6c521b4-eb4a-4dea-99cd-10d5512908b6",[6493,6496,6499,6502,6505,6508,6511],{"_id":445,"_type":362,"colorPrimary":6494,"seo":7,"slug":6495,"title":448},{"label":1031,"value":6242},{"_type":9,"current":447},{"_id":410,"_type":362,"colorPrimary":6497,"seo":7,"slug":6498,"title":413},{"label":1031,"value":1036},{"_type":9,"current":412},{"_id":790,"_type":362,"colorPrimary":6500,"seo":7,"slug":6501,"title":793},{"label":1031,"value":1048},{"_type":9,"current":792},{"_id":985,"_type":362,"colorPrimary":6503,"seo":7,"slug":6504,"title":988},{"label":1031,"value":5255},{"_type":9,"current":987},{"_id":505,"_type":362,"colorPrimary":6506,"seo":7,"slug":6507,"title":508},{"label":1031,"value":5270},{"_type":9,"current":507},{"_id":555,"_type":362,"colorPrimary":6509,"seo":7,"slug":6510,"title":558},{"label":1031,"value":4977},{"_type":9,"current":557},{"_id":495,"_type":362,"colorPrimary":6512,"seo":7,"slug":6514,"title":498},{"label":1031,"value":6513},"#ff9b00",{"_type":9,"current":497},{"other":7,"profiles":6516},[6517,6558],{"_id":6518,"_type":1078,"activeYears":6519,"bio":6522,"bioShort":6529,"featuredImage":7,"filterables":6538,"links":7,"locations":6541,"searchables":6553,"seo":7,"slug":6555,"title":6557},"ba722a8a-d04e-40bf-8ecf-d0c1f0af2f64",[6520],{"_id":98,"_type":99,"seo":7,"slug":6521,"title":102},{"_type":9,"current":101},[6523,6531],{"_key":6524,"_type":219,"children":6525,"markDefs":6530,"style":232},"75a67e99adab",[6526],{"_key":6527,"_type":223,"marks":6528,"text":6529},"b8d35fbb05b40",[],"Anna is a Fine Arts students at ZHdK, Zurcher Hochschule der Kunst, born in Rome, Italy.",[],{"_key":6532,"_type":219,"children":6533,"markDefs":6537,"style":232},"b67245e4eb9f",[6534],{"_key":6535,"_type":223,"marks":6536,"text":1405},"af5f10719518",[],[],{"filterYear":6539},[6540],{"_id":98,"title":102},{"locations":6542,"other":6545},[6543],{"_id":331,"_type":308,"seo":7,"slug":6544,"title":334},{"_type":9,"current":333},[6546],{"_key":6547,"_type":219,"children":6548,"markDefs":6552,"style":232},"dc24712cba42",[6549],{"_key":6550,"_type":223,"marks":6551,"text":5350},"69a87321d1ed",[],[],[6554,101],"anna campani",{"_type":9,"current":6556},"anna-campani","Anna Campani",{"_id":6559,"_type":1078,"activeYears":6560,"bio":6575,"bioShort":6584,"featuredImage":7,"filterables":6585,"links":6594,"locations":6597,"searchables":6610,"seo":7,"slug":6612,"title":6614},"c8be7162-2392-45c5-a94b-897e73004b41",[6561,6563,6565,6567,6569,6571,6573],{"_id":135,"_type":99,"seo":7,"slug":6562,"title":138},{"_type":9,"current":137},{"_id":130,"_type":99,"seo":7,"slug":6564,"title":133},{"_type":9,"current":132},{"_id":125,"_type":99,"seo":7,"slug":6566,"title":128},{"_type":9,"current":127},{"_id":120,"_type":99,"seo":7,"slug":6568,"title":123},{"_type":9,"current":122},{"_id":115,"_type":99,"seo":7,"slug":6570,"title":118},{"_type":9,"current":117},{"_id":110,"_type":99,"seo":7,"slug":6572,"title":113},{"_type":9,"current":112},{"_id":105,"_type":99,"seo":7,"slug":6574,"title":108},{"_type":9,"current":107},[6576],{"_key":6577,"_type":219,"children":6578,"markDefs":6583,"style":232},"7ffe2a4ac168",[6579],{"_key":6580,"_type":223,"marks":6581,"text":6582},"b42fe50295920",[],"The study and research programme covers the areas of art education, design, film, fine arts, music, dance, theatre and transdisciplinary studies. It is a state university with its own legal personality and is institutionally accredited.",[],"One of the leading art universities in Europe. ",{"filterYear":6586},[6587,6588,6589,6590,6591,6592,6593],{"_id":135,"title":138},{"_id":130,"title":133},{"_id":125,"title":128},{"_id":120,"title":123},{"_id":115,"title":118},{"_id":110,"title":113},{"_id":105,"title":108},[6595],{"_type":1138,"label":1139,"url":6596},"https://www.zhdk.ch/",{"locations":6598,"other":6601},[6599],{"_id":331,"_type":308,"seo":7,"slug":6600,"title":334},{"_type":9,"current":333},[6602],{"_key":6603,"_type":219,"children":6604,"markDefs":6609,"style":232},"9368f950e09b",[6605],{"_key":6606,"_type":223,"marks":6607,"text":6608},"f4ddbc768a680",[],"Pfingstweidstrasse 96, 8005 Zürich, Switzerland",[],[6611,137,132,127,122,117,112,107],"zhdk – zürcher hochschule der künste",{"_type":9,"current":6613},"zhdk-zuercher-hochschule-der-kuenste","ZHdK – Zürcher Hochschule der 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back?",[],{"_key":6734,"_type":219,"children":6735,"markDefs":6747,"style":232},"c05db75569a9",[6736,6740,6744],{"_key":6737,"_type":223,"marks":6738,"text":6739},"6993052ba96e",[],"What does art have to do with the ",{"_key":6741,"_type":223,"marks":6742,"text":6743},"f1088f678c9a",[225],"documentation of reality",{"_key":6745,"_type":223,"marks":6746,"text":6699},"b87681a8bbd0",[],[],{"_key":6749,"_type":219,"children":6750,"markDefs":6762,"style":232},"86b5cb0b5d38",[6751,6755,6759],{"_key":6752,"_type":223,"marks":6753,"text":6754},"b9f402841a8c",[],"Could we speak of ",{"_key":6756,"_type":223,"marks":6757,"text":6758},"ed975cc33a70",[225],"artistic journalism",{"_key":6760,"_type":223,"marks":6761,"text":6699},"97959903137c",[],[],{"_key":6764,"_type":219,"children":6765,"markDefs":6774,"style":232},"9e9b3613dc9c",[6766,6770],{"_key":6767,"_type":223,"marks":6768,"text":6769},"f4c94f000879",[],"If we consider art as a form of resistance, what practices could be the ",{"_key":6771,"_type":223,"marks":6772,"text":6773},"b2491ee005b5",[225],"most effective to make a change?",[],{"_key":6776,"_type":219,"children":6777,"markDefs":6790,"style":232},"93a903cf9ebf",[6778,6782,6786],{"_key":6779,"_type":223,"marks":6780,"text":6781},"4b0b48eb4259",[],"Can ",{"_key":6783,"_type":223,"marks":6784,"text":6785},"b116f186b785",[225],"non-violent civil resistance",{"_key":6787,"_type":223,"marks":6788,"text":6789},"e519dfab00c1",[]," be the core of an art practice?",[],{"_key":6792,"_type":219,"children":6793,"markDefs":6797,"style":232},"1e939a3852fb",[6794],{"_key":6795,"_type":223,"marks":6796,"text":1405},"0be84bc40e2d",[],[],[6799,6854,6918,6975,7057],{"_type":1625,"settings":6800,"text":6801},{"textColumnCount":1627},[6802,6810,6834,6846],{"_key":6803,"_type":219,"children":6804,"markDefs":6809,"style":232},"22e166017ad5",[6805],{"_key":6806,"_type":223,"marks":6807,"text":6808},"f7c16ad1dfe40",[],"My tentative question has its basis on two main topics that have been floating inside my head for a while now, and that for this application I am finally pushing myself in spitting them out.",[],{"_key":6811,"_type":219,"children":6812,"markDefs":6833,"style":232},"39a288e120d7",[6813,6817,6821,6825,6829],{"_key":6814,"_type":223,"marks":6815,"text":6816},"9d480b31e7a80",[],"Being an art student since a young age, I have been noticing more and more how big is the lack of affordable materials that students have at their disposal in order to experiment and develop their artistic practice. This ",{"_key":6818,"_type":223,"marks":6819,"text":6820},"9d480b31e7a81",[225],"first problem",{"_key":6822,"_type":223,"marks":6823,"text":6824},"9d480b31e7a82",[]," holds them back from trying new techniques and therefore enrich their knowledge on a certain material or art topic. The second theme of interest of mine has its roots in museums – as well as art galleries and exhibition spaces in general –, and more specifically ",{"_key":6826,"_type":223,"marks":6827,"text":6828},"9d480b31e7a83",[225],"addresses the waste and its big foot-print that the displaying of art has on our environment",{"_key":6830,"_type":223,"marks":6831,"text":6832},"9d480b31e7a84",[],". In fact exhibition spaces produce a big amount of waste on a regular basis, starting from the design elements no more in use of the just ended exhibition, old wrapping materials from the archival or the outdated storage furniture. Such materials – whether caused by the lack of space, the moving in a new storage space, or the invention/discovery of a more efficient preserving material – are still in good enough condition for experimental purposes, try-out samples, or even to create mixed media sculptures, paintings, installations by art students that are eager to learn.",[],{"_key":6835,"_type":219,"children":6836,"markDefs":6845,"style":232},"21b00e01799b",[6837,6841],{"_key":6838,"_type":223,"marks":6839,"text":6840},"b65bf38958c20",[],"Therefore my question is: ",{"_key":6842,"_type":223,"marks":6843,"text":6844},"b65bf38958c21",[225],"how can I put in dialogue museums/gallery/exhibition spaces with students who seek materials to develop their artistic practice? How can I make this topic visible to both these target groups so to finally create a direct link between them, a strong cooperation against the climate crisis?",[],{"_key":6847,"_type":219,"children":6848,"markDefs":6853,"style":232},"f065f7c5240c",[6849],{"_key":6850,"_type":223,"marks":6851,"text":6852},"92538c20b5fc",[],"But let me arrive straight to the point. By creating art only with left over materials not only could this topic be brought to the ecologists rounded table, but could also crate an exchange-platform where museums can give away for free or low price their off-cut materials to students, who are going to give them a new artist life.",[],{"_type":6855,"image":6856,"settings":6871,"text":6873},"textImageBlock",{"alt":7,"asset":6857,"caption":6862},{"_id":6858,"height":6859,"orientation":1129,"ratio":2395,"url":6860,"width":6861},"image-ef5eb4d1487b0316e2801cc651f692db0155b5c4-2160x3840-jpg",3840,"https://cdn.sanity.io/images/eodip22e/production/ef5eb4d1487b0316e2801cc651f692db0155b5c4-2160x3840.jpg",2160,[6863],{"_key":6864,"_type":219,"children":6865,"markDefs":6870,"style":232},"19588442d9f6",[6866],{"_key":6867,"_type":223,"marks":6868,"text":6869},"264eae26fb23",[],"Untitled, 2025 - House & Garden Exhibition in CAPNapoliEst, Napoli, Italy",[],{"mediaPosition":6872},"right",[6874,6894,6910],{"_key":6875,"_type":219,"children":6876,"markDefs":6893,"style":232},"3f591ff721f6",[6877,6881,6885,6889],{"_key":6878,"_type":223,"marks":6879,"text":6880},"c7fd8dbcf9990",[225],"Objective",{"_key":6882,"_type":223,"marks":6883,"text":6884},"8b858ffeed18",[],"(s)\n• Show to my peer students that it ",{"_key":6886,"_type":223,"marks":6887,"text":6888},"272e4c4feb57",[225],"is possible to build an art\npractice based on high quality recycled materials",{"_key":6890,"_type":223,"marks":6891,"text":6892},"fe372d996936",[],", using my BA\nfinal art piece as a starting point;\n• Bring the academic and institutional discourse on:",[],{"_key":6895,"_type":219,"children":6896,"level":2178,"listItem":2179,"markDefs":6909,"style":232},"5d3944d14f4f",[6897,6901,6905],{"_key":6898,"_type":223,"marks":6899,"text":6900},"4c12601e45d5",[],"how we think about art conservation and weather our current\n",{"_key":6902,"_type":223,"marks":6903,"text":6904},"d4e282a34a7c",[225],"conservation methods are sustainable (or not)",{"_key":6906,"_type":223,"marks":6907,"text":6908},"248dc5f120a1",[],";",[],{"_key":6911,"_type":219,"children":6912,"level":2178,"listItem":2179,"markDefs":6917,"style":232},"a0b183782217",[6913],{"_key":6914,"_type":223,"marks":6915,"text":6916},"904a684918f8",[],"the consumer awareness, as art students, on news that we get on\ninstagram, and how ca we react to that.",[],{"_type":6855,"image":6919,"settings":6940,"text":6942},{"alt":7,"asset":6920,"caption":6923},{"_id":6921,"height":3244,"orientation":1129,"ratio":2920,"url":6922,"width":3246},"image-4f1b57d70253e5f0b841a7dd5ad7a49a3729c8a7-3024x4032-jpg","https://cdn.sanity.io/images/eodip22e/production/4f1b57d70253e5f0b841a7dd5ad7a49a3729c8a7-3024x4032.jpg",[6924],{"_key":6925,"_type":219,"children":6926,"markDefs":6939,"style":232},"5ae038603292",[6927,6931,6935],{"_key":6928,"_type":223,"marks":6929,"text":6930},"fef17fed943d",[],"Nessuno potrà dire io non sapevo ",{"_key":6932,"_type":223,"marks":6933,"text":6934},"d4139e911928",[1559],"No one could ever say I didn't know, 2025 - \"",{"_key":6936,"_type":223,"marks":6937,"text":6938},"063d251d5236",[],"I Have been Wanting To scream For a while Now\" duo exhibition at ZHdK, Zurich, Switzerland",[],{"mediaPosition":6941},"left",[6943],{"_key":6944,"_type":219,"children":6945,"markDefs":6974,"style":232},"fc465987457d",[6946,6950,6954,6958,6962,6966,6970],{"_key":6947,"_type":223,"marks":6948,"text":6949},"eec8b1afe1e1",[225],"Method",{"_key":6951,"_type":223,"marks":6952,"text":6953},"85a1ff5bef5e",[],"(s)\n• Since I have been studying in Zurich, a good 95% (in volume) of\nthe materials of my pieces had a previous life;\n• ",{"_key":6955,"_type":223,"marks":6956,"text":6957},"6e1b7ba4bdc6",[225],"Communication is the key",{"_key":6959,"_type":223,"marks":6960,"text":6961},"df5fd79ce900",[],": I bring up the topic during all the\npresentations of my pieces;\n• ",{"_key":6963,"_type":223,"marks":6964,"text":6965},"a4f8b9bd426a",[225],"Caring is sharing:",{"_key":6967,"_type":223,"marks":6968,"text":6969},"9fb3216b9613",[]," I bring useful material that I get during my\ninternships to ZHdK in the recycling-areas in the building;\n• Spending time in the exhibition space as much as possible to\nengage in conversation with the viewers;\n• ",{"_key":6971,"_type":223,"marks":6972,"text":6973},"38fe0bd49e80",[225],"Including bibliography, where the references come from in my\npieces.",[],{"_type":6855,"image":6976,"settings":6992,"text":6993},{"alt":7,"asset":6977,"caption":6983},{"_id":6978,"height":6979,"orientation":1474,"ratio":6980,"url":6981,"width":6982},"image-4e4ce364d97b5f1209e2ef93e518d3eab7d2ed26-4025x2683-jpg",2683,1.5001863585538575,"https://cdn.sanity.io/images/eodip22e/production/4e4ce364d97b5f1209e2ef93e518d3eab7d2ed26-4025x2683.jpg",4025,[6984],{"_key":6985,"_type":219,"children":6986,"markDefs":6991,"style":232},"39ed654ede78",[6987],{"_key":6988,"_type":223,"marks":6989,"text":6990},"8669b960469e",[],"sketch for my diploma project",[],{"mediaPosition":6872},[6994,7017,7033,7049],{"_key":6995,"_type":219,"children":6996,"markDefs":7016,"style":232},"a40bb8487a49",[6997,7001,7005,7009,7013],{"_key":6998,"_type":223,"marks":6999,"text":7000},"f6837906a7980",[],"In ",{"_key":7002,"_type":223,"marks":7003,"text":7004},"6c9f740ec8af",[225],"practice",{"_key":7006,"_type":223,"marks":7007,"text":7008},"a11e439e8a2b",[],"\n• I will “ask” my research question to the art public during my\ndiploma show through a ",{"_key":7010,"_type":223,"marks":7011,"text":7012},"e63bae621daf",[225],"performative action",{"_key":7014,"_type":223,"marks":7015,"text":1357},"3e79cfe0394f",[],[],{"_key":7018,"_type":219,"children":7019,"level":2178,"listItem":2179,"markDefs":7032,"style":232},"4f6df896b64a",[7020,7024,7028],{"_key":7021,"_type":223,"marks":7022,"text":7023},"5e06e9074bf7",[],"In which the ",{"_key":7025,"_type":223,"marks":7026,"text":7027},"b1da17cf7be2",[225],"waste in art production",{"_key":7029,"_type":223,"marks":7030,"text":7031},"78c1072654dc",[]," is one of the main focus;",[],{"_key":7034,"_type":219,"children":7035,"level":2178,"listItem":2179,"markDefs":7048,"style":232},"cd6b4f47964e",[7036,7040,7044],{"_key":7037,"_type":223,"marks":7038,"text":7039},"760c71d788c9",[],"While bringing the attention to disinformation on ",{"_key":7041,"_type":223,"marks":7042,"text":7043},"9693c0e6da3c",[225],"ongoing conflicts",{"_key":7045,"_type":223,"marks":7046,"text":7047},"4470eefc907a",[],"\n(f.i. Genocide in Palestine, Israeli-US relations etc...) that Instagram as\nsocial media is “offering” us;",[],{"_key":7050,"_type":219,"children":7051,"level":2178,"listItem":2179,"markDefs":7056,"style":232},"32bd2e753e28",[7052],{"_key":7053,"_type":223,"marks":7054,"text":7055},"4341561021a5",[],"For which I’m now making the installation with which I will\ninteract.",[],{"_type":6855,"image":7058,"settings":7075,"text":7076},{"alt":7,"asset":7059,"caption":7062},{"_id":7060,"height":6859,"orientation":1129,"ratio":2395,"url":7061,"width":6861},"image-13ae2ec36ec5750b26f7132d5b71ca2845f4b6cd-2160x3840-jpg","https://cdn.sanity.io/images/eodip22e/production/13ae2ec36ec5750b26f7132d5b71ca2845f4b6cd-2160x3840.jpg",[7063],{"_key":7064,"_type":219,"children":7065,"markDefs":7074,"style":232},"fc94ba74b89c",[7066,7070],{"_key":7067,"_type":223,"marks":7068,"text":7069},"c5d79fee8343",[],"TINA ",{"_key":7071,"_type":223,"marks":7072,"text":7073},"84ecf2826694",[1559],"There Is No Alternative, 2024",[],{"mediaPosition":6941},[7077],{"_key":7078,"_type":219,"children":7079,"markDefs":7116,"style":232},"afe066c94296",[7080,7084,7088,7092,7096,7100,7104,7108,7112],{"_key":7081,"_type":223,"marks":7082,"text":7083},"71dbea159331",[225],"Further plan",{"_key":7085,"_type":223,"marks":7086,"text":7087},"b9929bf49f4a",[],"(s)\n• Try to ",{"_key":7089,"_type":223,"marks":7090,"text":7091},"5079d9e625de",[225],"directly connect museums",{"_key":7093,"_type":223,"marks":7094,"text":7095},"76c1cecdadfe",[],", exhibition spaces, art\ngalleries to art academies and ",{"_key":7097,"_type":223,"marks":7098,"text":7099},"1b8d8895b87e",[225],"artists studios",{"_key":7101,"_type":223,"marks":7102,"text":7103},"6b1e3dc4bf13",[]," (through a\nRicardo/Marketplace like app) – like ReBiennale in Venice;\n• Made this the ",{"_key":7105,"_type":223,"marks":7106,"text":7107},"c2c13f4a43cf",[225],"main topic of my practice",{"_key":7109,"_type":223,"marks":7110,"text":7111},"33ca72d41aad",[]," so to give it more\nrelevance;\n• ",{"_key":7113,"_type":223,"marks":7114,"text":7115},"9401cdaebe91",[225],"Activism as a form of art.",[],[7118,7166],{"_type":1733,"question":7119},[7120],{"_key":7121,"_type":219,"children":7122,"markDefs":7165,"style":232},"24c1e277db3d",[7123,7127,7131,7134,7138,7142,7146,7150,7154,7158,7162],{"_key":7124,"_type":223,"marks":7125,"text":7126},"fbc7c5aab9b20",[],"How can I ",{"_key":7128,"_type":223,"marks":7129,"text":7130},"34792cb6d5c3",[225],"put",{"_key":7132,"_type":223,"marks":7133,"text":2264},"f9984f45c0f5",[],{"_key":7135,"_type":223,"marks":7136,"text":7137},"9df7d861f69a",[225],"museums",{"_key":7139,"_type":223,"marks":7140,"text":7141},"a7ec053f4c4d",[],"/gallery/exhibition spaces ",{"_key":7143,"_type":223,"marks":7144,"text":7145},"fa4aae8a113c",[225],"in dialogue ",{"_key":7147,"_type":223,"marks":7148,"text":7149},"0756b9672488",[],"with ",{"_key":7151,"_type":223,"marks":7152,"text":7153},"cd2c09339991",[225],"students",{"_key":7155,"_type":223,"marks":7156,"text":7157},"e2da08100f7a",[]," who seek materials ",{"_key":7159,"_type":223,"marks":7160,"text":7161},"e687e6c4f7ad",[225],"to develop their artistic practice",{"_key":7163,"_type":223,"marks":7164,"text":6699},"dbd18547dc14",[],[],{"_type":1733,"question":7167},[7168],{"_key":7169,"_type":219,"children":7170,"markDefs":7196,"style":232},"5452d4c6c68d",[7171,7175,7179,7182,7185,7189,7193],{"_key":7172,"_type":223,"marks":7173,"text":7174},"99ad5b097b30",[],"How can I make this topic visible to both these target groups so to finally create a ",{"_key":7176,"_type":223,"marks":7177,"text":7178},"ef9cca5fc2cb",[225],"direct",{"_key":7180,"_type":223,"marks":7181,"text":2264},"aa03b07c318c",[],{"_key":7183,"_type":223,"marks":7184,"text":249},"0f8eecd158c6",[225],{"_key":7186,"_type":223,"marks":7187,"text":7188},"a7e005deef8c",[]," between them, a ",{"_key":7190,"_type":223,"marks":7191,"text":7192},"bcb719f629a0",[225],"strong cooperation against the climate crisis",{"_key":7194,"_type":223,"marks":7195,"text":6699},"2308224b44dc",[],[],[7198,101,7199,7200,7201,333,7202,6554,6611,7203,6485,1783,1786,5641,5642,557,7204],"unwrapping the arts","how can i put museums/gallery/exhibition spaces in dialogue with students who seek materials to develop their artistic practice?","how can i make this topic visible to both these target groups so to finally create a direct link between them, a strong cooperation against the climate crisis?","how do we get informed through social media?\n\nwhat effect does receiving and looking at decontextualized\nimages have on our understanding of news?\n\nhow do digital images shape our idea of reality?\n\nhow could we as artists react to the saturation of non-physical images?\n\nhow can the physicality of a picture be brought back?\n\nwhat does art have to do with the documentation of reality?\n\ncould we speak of artistic journalism?\n\nif we consider art as a form of resistance, what practices could be the most effective to make a change?\n\ncan non-violent civil resistance be the core of an art practice?\n\n","zurich","my tentative question has its basis on two main topics that have been floating inside my head for a while now, and that for this application i am finally pushing myself in spitting them out.\n\nbeing an art student since a young age, i have been noticing more and more how big is the lack of affordable materials that students have at their disposal in order to experiment and develop their artistic practice. this first problem holds them back from trying new techniques and therefore enrich their knowledge on a certain material or art topic. the second theme of interest of mine has its roots in museums – as well as art galleries and exhibition spaces in general –, and more specifically addresses the waste and its big foot-print that the displaying of art has on our environment. in fact exhibition spaces produce a big amount of waste on a regular basis, starting from the design elements no more in use of the just ended exhibition, old wrapping materials from the archival or the outdated storage furniture. such materials – whether caused by the lack of space, the moving in a new storage space, or the invention/discovery of a more efficient preserving material – are still in good enough condition for experimental purposes, try-out samples, or even to create mixed media sculptures, paintings, installations by art students that are eager to learn.\n\ntherefore my question is: how can i put in dialogue museums/gallery/exhibition spaces with students who seek materials to develop their artistic practice? how can i make this topic visible to both these target groups so to finally create a direct link between them, a strong cooperation against the climate crisis?\n\nbut let me arrive straight to the point. by creating art only with left over materials not only could this topic be brought to the ecologists rounded table, but could also crate an exchange-platform where museums can give away for free or low price their off-cut materials to students, who are going to give them a new artist life.","creative climate communicating",{"_type":9,"current":7206},"unwrapping-the-arts","Unwrapping The Arts",{"_id":7209,"_type":1027,"categories":7210,"credits":7232,"featuredImage":7326,"filterables":7331,"footnotes":7343,"locations":7344,"logbook":7,"pageBuilder":7348,"researchQuestion":7,"researchQuestions":7447,"searchables":7479,"seo":7,"slug":7487,"title":7480,"year":102},"568d5083-ebc9-4405-92ce-7161bbf555db",[7211,7214,7218,7222,7225,7228],{"_id":455,"_type":362,"colorPrimary":7212,"seo":7,"slug":7213,"title":458},{"label":1031,"value":1032},{"_type":9,"current":457},{"_id":535,"_type":362,"colorPrimary":7215,"seo":7,"slug":7217,"title":538},{"label":1031,"value":7216},"#8c8c00",{"_type":9,"current":537},{"_id":975,"_type":362,"colorPrimary":7219,"seo":7,"slug":7221,"title":978},{"label":1031,"value":7220},"#b4b400",{"_type":9,"current":977},{"_id":890,"_type":362,"colorPrimary":7223,"seo":7,"slug":7224,"title":893},{"label":1031,"value":4468},{"_type":9,"current":892},{"_id":510,"_type":362,"colorPrimary":7226,"seo":7,"slug":7227,"title":513},{"label":1031,"value":1060},{"_type":9,"current":512},{"_id":520,"_type":362,"colorPrimary":7229,"seo":7,"slug":7231,"title":523},{"label":1031,"value":7230},"#b4ffb4",{"_type":9,"current":522},{"other":7,"profiles":7233},[7234,7273],{"_id":7235,"_type":1078,"activeYears":7236,"bio":7239,"bioShort":7256,"featuredImage":7257,"filterables":7262,"links":7265,"locations":7,"searchables":7268,"seo":7,"slug":7270,"title":7272},"3ea66ce3-37aa-4da5-a6ad-c3af2e1ffdf8",[7237],{"_id":98,"_type":99,"seo":7,"slug":7238,"title":102},{"_type":9,"current":101},[7240,7248],{"_key":7241,"_type":219,"children":7242,"markDefs":7247,"style":232},"1d25ea35a3ce",[7243],{"_key":7244,"_type":223,"marks":7245,"text":7246},"bd9271edd8f70",[],"\"Where to go back to? Where do they and we go back to?\"",[],{"_key":7249,"_type":219,"children":7250,"markDefs":7255,"style":232},"80ffa745cb25",[7251],{"_key":7252,"_type":223,"marks":7253,"text":7254},"79a01a1693840",[],"I wrote these last two lines in a recent poem, thinking about my home and the fate of Palestinians living under oppression. In some way, they give me a clearer image of my home, a home that has always remained in the air, both geographically—a highland strip—and ancestral roots—a group of oppressed people. Then there are other homes, spontaneous anchors that come and go, things that are no longer here, things that exist in memory; amidst them, I see a small fragment of their pain. Above all, how can my home be shared with their home? What dreams will heal the wounds, not only theirs but also those of many others?",[],"Nguyễn Phương Anh (PA)\n\nwrite poems, be in the water, grow vegetables, continue to learn walking while hugging tangled fibres, practice simple writing and self-decaying freely",{"alt":7,"asset":7258},{"_id":7259,"height":7260,"orientation":1474,"ratio":3344,"url":7261,"width":6080},"image-4446de798bbe29467f206542648714acb8577725-3648x2736-jpg",2736,"https://cdn.sanity.io/images/eodip22e/production/4446de798bbe29467f206542648714acb8577725-3648x2736.jpg",{"filterYear":7263},[7264],{"_id":98,"title":102},[7266],{"_type":1138,"label":2796,"url":7267},"https://caileubay.wordpress.com/",[7269,101],"nguyễn phương anh",{"_type":9,"current":7271},"nguyen-phuong-anh","Nguyễn Phương Anh",{"_id":7274,"_type":1078,"activeYears":7275,"bio":7278,"bioShort":7285,"featuredImage":7303,"filterables":7309,"links":7,"locations":7312,"searchables":7321,"seo":7,"slug":7323,"title":7325},"76eb9ad2-2ec4-4dfa-990c-be36fd88a2f1",[7276],{"_id":98,"_type":99,"seo":7,"slug":7277,"title":102},{"_type":9,"current":101},[7279,7287,7295],{"_key":7280,"_type":219,"children":7281,"markDefs":7286,"style":232},"2ab8af137c09",[7282],{"_key":7283,"_type":223,"marks":7284,"text":7285},"a517356db5de0",[],"Angela is an Australian-Canadian interdisciplinary artist, facilitator and steward of two acres of rural land in Ontario, Canada. Her practice-led research is centred around themes of co-regulation, interconnectedness and material biographies.",[],{"_key":7288,"_type":219,"children":7289,"markDefs":7294,"style":232},"98eace277f79",[7290],{"_key":7291,"_type":223,"marks":7292,"text":7293},"b2bfa016d4250",[],"Angela facilitates seasonally-framed art projects and residency placements on the land she and her family care for. She often works with locally sourced textiles and earth/plant pigments. In her masters degree, she led a residency placement for Canadian educators. This research assessed the impact of creative embodied practice on awareness of the self and others. ",[],{"_key":7296,"_type":219,"children":7297,"markDefs":7302,"style":232},"cdec3de4fdf3",[7298],{"_key":7299,"_type":223,"marks":7300,"text":7301},"d91e299c53db0",[],"She holds a BA in Psychology (University of Queensland, Australia), a BFA in Sculpture and Installation (OCADU, Canada) and a MA Intercultural Practices (Central Saint Martins, The University of the Arts London, UK).",[],{"alt":7304,"asset":7305},"light-skinned hand grasping forked branch with woven willow stems; greenery and willow branches, with a person's brown pants and boot in the background",{"_id":7306,"height":5711,"orientation":1129,"ratio":2920,"url":7307,"width":7308},"image-80891df5f0fe396e9434363d035cf06caef10f1e-1500x2000-jpg","https://cdn.sanity.io/images/eodip22e/production/80891df5f0fe396e9434363d035cf06caef10f1e-1500x2000.jpg",1500,{"filterYear":7310},[7311],{"_id":98,"title":102},{"locations":7313,"other":7},[7314,7316],{"_id":341,"_type":308,"seo":7,"slug":7315,"title":344},{"_type":9,"current":343},{"_id":7317,"_type":308,"seo":7,"slug":7318,"title":7320},"183e5f68-ab6d-45e6-85d1-d6428d490e2e",{"_type":9,"current":7319},"pacific","Pacific",[7322,101],"angela mcintosh",{"_type":9,"current":7324},"angela-mcintosh","Angela McIntosh",{"alt":7327,"asset":7328},"handwritten invitation in black ink on rectangular sheet of light brown Vietnamese dó paper, resting on a shrub",{"_id":7329,"height":5711,"orientation":1129,"ratio":2920,"url":7330,"width":7308},"image-286cf3a25a57d330854d0ad844e4cb07fba321b6-1500x2000-jpg","https://cdn.sanity.io/images/eodip22e/production/286cf3a25a57d330854d0ad844e4cb07fba321b6-1500x2000.jpg",{"filterCategory":7332,"filterLocation":7339,"filterYear":7341},[7333,7334,7335,7336,7337,7338],{"_id":455,"title":458},{"_id":535,"title":538},{"_id":975,"title":978},{"_id":890,"title":893},{"_id":510,"title":513},{"_id":520,"title":523},[7340],{"_id":351,"title":354},[7342],{"_id":98,"title":102},[],{"locations":7345,"other":7},[7346],{"_id":351,"_type":308,"seo":7,"slug":7347,"title":354},{"_type":9,"current":353},[7349,7407],{"_type":1625,"settings":7350,"text":7351},{"textColumnCount":1627},[7352,7364,7372,7379,7391,7399],{"_key":7353,"_type":219,"children":7354,"markDefs":7363,"style":232},"c31a0d271f71",[7355,7359],{"_key":7356,"_type":223,"marks":7357,"text":7358},"6911440a452e",[225],"‘Home’",{"_key":7360,"_type":223,"marks":7361,"text":7362},"cac857325e36",[]," is perceived differently by each person. Some leave and enter many homes. Some never feel at home. Some always have a home. Some view home as within the self. What does ‘home’ mean and what does it look like? The idea of home could be elusive, a short memory, a specific smell, a combat within one’s own body, a dominant culture, a violent scene, a warm hug, a plant, an imaginary forest, an old book, a breath, a relationship that is no longer there, a fading star. What else?",[],{"_key":7365,"_type":219,"children":7366,"markDefs":7371,"style":232},"6a4b9b4a60b4",[7367],{"_key":7368,"_type":223,"marks":7369,"text":7370},"43e3cb843cf1",[],"In the context of an increasingly complex world, one might not feel at home within one’s own home place. How can we extend our understanding of home beyond the familiar, and what can we do differently?",[],{"_key":7373,"_type":219,"children":7374,"markDefs":7378,"style":232},"b1d21b0c7cdb",[7375],{"_key":7376,"_type":223,"marks":7377,"text":1405},"41fa53ebf35a",[],[],{"_key":7380,"_type":219,"children":7381,"markDefs":7390,"style":232},"ff19ee8e3f9d",[7382,7386],{"_key":7383,"_type":223,"marks":7384,"text":7385},"b2d16e3a0f6b",[1559,225],"an",{"_key":7387,"_type":223,"marks":7388,"text":7389},"22e7017f7b7e",[225],"- collaboration",[],{"_key":7392,"_type":219,"children":7393,"markDefs":7398,"style":232},"22effab99ba8",[7394],{"_key":7395,"_type":223,"marks":7396,"text":7397},"0efe8e67eb94",[],"As a duo, we are one Vietnamese living in Switzerland, working closely with plants and words; and one Australian-Canadian, working closely with earth and plant pigments, and textiles. Together, through our different but resonant set of practices, we bring an intercultural and intergenerational sensibility, and a love of contributing to diverse communities. ",[],{"_key":7400,"_type":219,"children":7401,"markDefs":7406,"style":232},"b1907acb0958",[7402],{"_key":7403,"_type":223,"marks":7404,"text":7405},"ce0608af2f52",[],"Our topic arose from shared personal experiences of feeling uprooted as a result of settling in new lands and cultures, at different ages and stages of life. We have a common interest in learning ways to navigate complexity through care-based, collaborative practices. Mediated through creative exploration, including poetry and mapping, we seek to create intimate spaces for dialogic exchange. By collaborating with each other and extending that collaboration to those in our respective communities, both in-person and online, we hope to touch on the space of 'homeness' to unearth deeper awareness of what home may mean in different contexts and from different perspectives and positionalities.",[],{"_type":6855,"image":7408,"settings":7425,"text":7426},{"alt":7409,"asset":7410,"caption":7416},"handwritten invitation in black ink on two rectangular sheets of light brown Vietnamese dó paper, resting on a shrub",{"_id":7411,"height":7412,"orientation":1474,"ratio":7413,"url":7414,"width":7415},"image-050966df7238a99baf598364304009fa48995f87-1392x1383-jpg",1383,1.0065075921908895,"https://cdn.sanity.io/images/eodip22e/production/050966df7238a99baf598364304009fa48995f87-1392x1383.jpg",1392,[7417],{"_key":7418,"_type":219,"children":7419,"markDefs":7424,"style":232},"9cf111578c59",[7420],{"_key":7421,"_type":223,"marks":7422,"text":7423},"e5006ea2793e0",[1559],"Handwritten invitation on Vietnamese dó paper",[],{"mediaPosition":6872},[7427,7435],{"_key":7428,"_type":219,"children":7429,"markDefs":7434,"style":232},"e9925335c465",[7430],{"_key":7431,"_type":223,"marks":7432,"text":7433},"22bcd9171d000",[225],"preliminary research: e-lettering",[],{"_key":7436,"_type":219,"children":7437,"markDefs":7446,"style":232},"e17491925cc0",[7438,7442],{"_key":7439,"_type":223,"marks":7440,"text":7441},"22bcd9171d001",[1559],"\"dear you\"",{"_key":7443,"_type":223,"marks":7444,"text":7445},"949c0f2a4054",[]," was an invitation to people in our close relational network to provide intimate reflections on what home meant to them and why. Spread across continents, generations and life-experiences, we selected email (e-lettering) as the primary way to communicate. It is a simple, accessible form that allows space for reflection and a way to navigate different time zones. From this preliminary research, a number of themes are emerging, which are informing our next steps.",[],[7448,7469],{"_type":1733,"question":7449},[7450,7461],{"_key":7451,"_type":219,"children":7452,"markDefs":7460,"style":232},"aa9defd9e154",[7453,7457],{"_key":7454,"_type":223,"marks":7455,"text":7456},"f0be2be7530f0",[225],"What are some ways of perceiving the concept of ‘home’ or ’nhà’* in different circumstances?",{"_key":7458,"_type":223,"marks":7459,"text":4778},"76c4a63c6b80",[],[],{"_key":7462,"_type":219,"children":7463,"markDefs":7468,"style":232},"66d786cf473b",[7464],{"_key":7465,"_type":223,"marks":7466,"text":7467},"abca0fc92ca00",[1559],"*a note on translation: while our shared working language is English, Vietnamese is the mother tongue of one of us. Home and house both mean 'nhà' in Vietnamese: a place to come back to, and can also be understood as hometown.",[],{"_type":1733,"question":7470},[7471],{"_key":7472,"_type":219,"children":7473,"markDefs":7478,"style":232},"be69a6b31027",[7474],{"_key":7475,"_type":223,"marks":7476,"text":7477},"5c5b26d84dff0",[225],"How can we extend our understanding of home beyond the familiar? What can we do differently?",[],[7480,101,7481,7482,353,7269,7322,7483,1782,7484,7485,892,1789,7486],"a poetry of homing","what are some ways of perceiving the concept of ‘home’ or ’nhà’* in different circumstances?\n\n\n*a note on translation: while our shared working language is english, vietnamese is the mother tongue of one of us. home and house both mean 'nhà' in vietnamese: a place to come back to, and can also be understood as hometown.","how can we extend our understanding of home beyond the familiar? what can we do differently?","‘home’ is perceived differently by each person. some leave and enter many homes. some never feel at home. some always have a home. some view home as within the self. what does ‘home’ mean and what does it look like? the idea of home could be elusive, a short memory, a specific smell, a combat within one’s own body, a dominant culture, a violent scene, a warm hug, a plant, an imaginary forest, an old book, a breath, a relationship that is no longer there, a fading star. what else?\n\nin the context of an increasingly complex world, one might not feel at home within one’s own home place. how can we extend our understanding of home beyond the familiar, and what can we do differently?\n\n\n\nan- collaboration\n\nas a duo, we are one vietnamese living in switzerland, working closely with plants and words; and one australian-canadian, working closely with earth and plant pigments, and textiles. together, through our different but resonant set of practices, we bring an intercultural and intergenerational sensibility, and a love of contributing to diverse communities. \n\nour topic arose from shared personal experiences of feeling uprooted as a result of settling in new lands and cultures, at different ages and stages of life. we have a common interest in learning ways to navigate complexity through care-based, collaborative practices. mediated through creative exploration, including poetry and mapping, we seek to create intimate spaces for dialogic exchange. by collaborating with each other and extending that collaboration to those in our respective communities, both in-person and online, we hope to touch on the space of 'homeness' to unearth deeper awareness of what home may mean in different contexts and from different perspectives and positionalities.","dialogic decolonial pedagogic practice","translocal connectivity","deep hanging out",{"_type":9,"current":7488},"a-poetry-of-homing",{"_id":7490,"_type":1027,"categories":7491,"credits":7509,"featuredImage":7835,"filterables":7839,"footnotes":7850,"locations":7851,"logbook":7,"pageBuilder":7855,"researchQuestion":7,"researchQuestions":8006,"searchables":8037,"seo":7,"slug":8046,"title":8048,"year":102},"cfa8640c-6d9f-436f-85ba-34ce4b24fac7",[7492,7496,7499,7502,7506],{"_id":575,"_type":362,"colorPrimary":7493,"seo":7,"slug":7495,"title":578},{"label":1031,"value":7494},"#8cff8c",{"_type":9,"current":577},{"_id":885,"_type":362,"colorPrimary":7497,"seo":7,"slug":7498,"title":888},{"label":1031,"value":6249},{"_type":9,"current":887},{"_id":675,"_type":362,"colorPrimary":7500,"seo":7,"slug":7501,"title":678},{"label":1031,"value":4991},{"_type":9,"current":677},{"_id":760,"_type":362,"colorPrimary":7503,"seo":7,"slug":7505,"title":763},{"label":1031,"value":7504},"#ff4b00",{"_type":9,"current":762},{"_id":850,"_type":362,"colorPrimary":7507,"seo":7,"slug":7508,"title":853},{"label":1031,"value":4475},{"_type":9,"current":852},{"other":7510,"profiles":7543},[7511,7519,7531],{"_key":7512,"_type":219,"children":7513,"markDefs":7518,"style":232},"092bbc3df958",[7514],{"_key":7515,"_type":223,"marks":7516,"text":7517},"7911759cd185",[225],"ÉTÈ Institute (Eternal Terra Ear) Consultant (Internal Advisor):",[],{"_key":7520,"_type":219,"children":7521,"markDefs":7530,"style":232},"24f2e9167af7",[7522,7526],{"_key":7523,"_type":223,"marks":7524,"text":7525},"cc80340cffa50",[225],"Mónica Avella ",{"_key":7527,"_type":223,"marks":7528,"text":7529},"af96a7a956f50",[],"International lawyer, policy advisor, and strategist access to justice, women’s empowerment, and humanitarian action across Latin America, Europe, and globally. She holds a MPP from the London School of Economics (LSE), where she founded the Women & Well-Being Forum 2025 with the Colombian Society. Mónica has collaborated with leading international organizations, including UN Women, OHCHR, USAID, Chemonics International, and Sorbonne ONU. Currently, Mónica is developing her involvement with ETENS’ Women’s Entrepreneurship Accelerator.",[],{"_key":7532,"_type":219,"children":7533,"markDefs":7542,"style":232},"d766abb8767f",[7534,7538],{"_key":7535,"_type":223,"marks":7536,"text":7537},"44be2e3f3ece",[225],"Komun.aes ",{"_key":7539,"_type":223,"marks":7540,"text":7541},"964a3fea050f",[],"Security, anti-capitalism & community self-defense project.",[],[7544,7671,7723,7768],{"_id":7545,"_type":1078,"activeYears":7546,"bio":7549,"bioShort":7638,"featuredImage":7639,"filterables":7646,"links":7649,"locations":7660,"searchables":7666,"seo":7,"slug":7668,"title":7670},"89121237-4017-4e9f-8f8b-2ce6b85426c7",[7547],{"_id":98,"_type":99,"seo":7,"slug":7548,"title":102},{"_type":9,"current":101},[7550,7558,7566,7582,7590,7598,7606,7622,7630],{"_key":7551,"_type":219,"children":7552,"markDefs":7557,"style":232},"1aad022395a5",[7553],{"_key":7554,"_type":223,"marks":7555,"text":7556},"47ec83de4a180",[],"I am a systems artist, social architect, and independent writing activist dedicated to investigating how technical and cultural infrastructures can be re-imagined through collective governance. As the founder and lead of Eternal Terra Ear (ÉTÈ), I spearhead a transnational policy initiative that bridges the gap between planetary-scale data and local sovereignty.",[],{"_key":7559,"_type":219,"children":7560,"markDefs":7565,"style":232},"cf355e1e1ec8",[7561],{"_key":7562,"_type":223,"marks":7563,"text":7564},"4c40742e9fdc0",[],"My Practice",[],{"_key":7567,"_type":219,"children":7568,"markDefs":7581,"style":232},"4e9c839509a8",[7569,7573,7577],{"_key":7570,"_type":223,"marks":7571,"text":7572},"2f3737cb934d0",[],"My work focuses on the creation of a \"Trust Layer\", a systemic protocol that integrates orbital remote sensing, transnational cryptography, and sensory intelligence. I utilize tools such as satellite data, drone photogrammetry, and decentralized ledgers to transform invisible environmental signals into verifiable \"Digital Twins\". A core component of my practice is Bio-synaesthesia, where I use ecological intelligent devices like the ",{"_key":7574,"_type":223,"marks":7575,"text":7576},"2f3737cb934d7",[1559],"Visceral Sonic Oyster",{"_key":7578,"_type":223,"marks":7579,"text":7580},"2f3737cb934d8",[]," to translate complex data into spatialized acoustic and haptic experiences, allowing communities to \"feel\" the health of their ecosystems.",[],{"_key":7583,"_type":219,"children":7584,"markDefs":7589,"style":232},"c1abd25d502e",[7585],{"_key":7586,"_type":223,"marks":7587,"text":7588},"a77256a6d1f60",[],"Current Research Interests",[],{"_key":7591,"_type":219,"children":7592,"level":2178,"listItem":2179,"markDefs":7597,"style":232},"babf76c12239",[7593],{"_key":7594,"_type":223,"marks":7595,"text":7596},"6e77003985ce0",[],"Experimental Governance & Policy Co-Creation: Researching how collective policy-writing can serve as a creative practice to build inclusive, transborder infrastructures.",[],{"_key":7599,"_type":219,"children":7600,"level":2178,"listItem":2179,"markDefs":7605,"style":232},"e917a9a9bcad",[7601],{"_key":7602,"_type":223,"marks":7603,"text":7604},"8e224542b3630",[],"Sovereign Observation: Investigating ways to shift environmental monitoring from top-down surveillance to community-led verification systems.",[],{"_key":7607,"_type":219,"children":7608,"level":2178,"listItem":2179,"markDefs":7621,"style":232},"21f9ccb4d7f0",[7609,7613,7617],{"_key":7610,"_type":223,"marks":7611,"text":7612},"b8140191753e0",[],"Post-Humanitarian Infrastructure: Exploring the role of underground economies, collective mourning (",{"_key":7614,"_type":223,"marks":7615,"text":7616},"b8140191753e2",[1559],"gham",{"_key":7618,"_type":223,"marks":7619,"text":7620},"b8140191753e3",[],"), and self-reliance in the design of future planetary systems.",[],{"_key":7623,"_type":219,"children":7624,"level":2178,"listItem":2179,"markDefs":7629,"style":232},"507f52f4b2b0",[7625],{"_key":7626,"_type":223,"marks":7627,"text":7628},"fd5499f1cf900",[],"Transnational Data Ethics: Analyzing the privacy implications and \"Privacy-by-Design\" requirements of planetary-scale sensing in collaboration with institutions like CPDP Brussels and IMPAKT NL.",[],{"_key":7631,"_type":219,"children":7632,"markDefs":7637,"style":232},"1d67cafb0c65",[7633],{"_key":7634,"_type":223,"marks":7635,"text":7636},"5e46219176f50",[],"My practice currently scales through a series of 2026 fellowships, including the CultTech Lab (Vienna), School of Commons (Zurich), and the CODE Program (Brussels/Utrecht), where I continue to develop the \"International Sky Hub\" as a model for global互联 (interconnected) trust.",[],"Yidi is a systems artist and architect work through large scale infrastructure, transnational cryptography, defining the \"Critical Sovereign Cooperation\".\n",{"alt":7,"asset":7640},{"_id":7641,"height":7642,"orientation":1129,"ratio":7643,"url":7644,"width":7645},"image-fe4a6579c4c0c3c49b02788cb7525744d2796390-664x692-jpg",692,0.9595375722543352,"https://cdn.sanity.io/images/eodip22e/production/fe4a6579c4c0c3c49b02788cb7525744d2796390-664x692.jpg",664,{"filterYear":7647},[7648],{"_id":98,"title":102},[7650,7652,7655,7658],{"_type":1138,"label":1142,"url":7651},"https://www.instagram.com/yidi.lola/",{"_type":1138,"label":7653,"url":7654},"Eternal Terra Ear (ÉTÈ)","https://www.instagram.com/eternal_terra_ear/",{"_type":1138,"label":7656,"url":7657},"Personal Linktree","https://linktr.ee/yidi.lola",{"_type":1138,"label":1139,"url":7659},"https://ete.institute/",{"locations":7661,"other":7},[7662,7664],{"_id":326,"_type":308,"seo":7,"slug":7663,"title":329},{"_type":9,"current":328},{"_id":331,"_type":308,"seo":7,"slug":7665,"title":334},{"_type":9,"current":333},[7667,101],"yidi lola ",{"_type":9,"current":7669},"yidi-lola","Yidi Lola ",{"_id":7672,"_type":1078,"activeYears":7673,"bio":7676,"bioShort":7693,"featuredImage":7694,"filterables":7700,"links":7703,"locations":7706,"searchables":7719,"seo":7,"slug":7721,"title":7695},"ad3a4bd5-2451-464c-a588-07fb59ea7823",[7674],{"_id":98,"_type":99,"seo":7,"slug":7675,"title":102},{"_type":9,"current":101},[7677,7685],{"_key":7678,"_type":219,"children":7679,"markDefs":7684,"style":232},"7634d22c89b4",[7680],{"_key":7681,"_type":223,"marks":7682,"text":7683},"50d57dd24e2c0",[],"Fatemeh (she/they, b. 1992, Tehran)—also known as Afimoh—is an interdisciplinary artist and researcher whose practice spans material fabrication, fiction writing, archiving, filming, curating, organizing, and hosting. Her work engages with themes of communal grief or غم (/gham/), underground economies, kitsch Iranian visual culture, ritual, and subculture. Developed through conversation and community-oriented collaborations, her approach is deeply rooted in collective experiences.",[],{"_key":7686,"_type":219,"children":7687,"markDefs":7692,"style":232},"069b02e36b54",[7688],{"_key":7689,"_type":223,"marks":7690,"text":7691},"3ca97dfd86730",[],"Kazemi earned a BFA in Painting from the University of Tehran (2014) and an MFA in Studio Art from Syracuse University (2024). Her work moves fluidly across worlds, blending installation, lens-based media, and the poetic flow of creative writing. She has exhibited at Parallel Circuit Space (Tehran), SUB Community (Çanakkale), Ruschman Gallery (Chicago), Navel LA (Los Angeles), Smack Mellon (New York), Bayt Al Mamzar (Dubai), Cue Art Foundation(New York), ISP Whitney (New York), and Sharjah Art Foundation (Sharjah). Her experimental films have been screened at the London Short Film Festival, CulturalHub (New York), LUX Book Fair (London), Dresden Film Festival, Everson Museum of Art (Syracuse), and Foundry By Emaar (Dubai), among other venues.",[],"Fatemeh (she/they, b. 1992, Tehran)—also known as Afimoh—is an interdisciplinary artist and researcher whose practice spans material fabrication, fiction writing, archiving, filming, curating, organizing, and hosting. ",{"alt":7695,"asset":7696},"Fatemeh Kazemi فاطمه کاظمی ",{"_id":7697,"height":4004,"orientation":1129,"ratio":2920,"url":7698,"width":7699},"image-2fdb6d82f57f6e964257b2bac7c83cea3343e70a-768x1024-jpg","https://cdn.sanity.io/images/eodip22e/production/2fdb6d82f57f6e964257b2bac7c83cea3343e70a-768x1024.jpg",768,{"filterYear":7701},[7702],{"_id":98,"title":102},[7704],{"_type":1138,"label":1139,"url":7705},"https://linktr.ee/Afimoh",{"locations":7707,"other":7710},[7708],{"_id":331,"_type":308,"seo":7,"slug":7709,"title":334},{"_type":9,"current":333},[7711],{"_key":7712,"_type":219,"children":7713,"markDefs":7718,"style":232},"bb72447175b0",[7714],{"_key":7715,"_type":223,"marks":7716,"text":7717},"6eff382ebe14",[],"Between Brussel and Berlin",[],[7720,101],"fatemeh kazemi فاطمه کاظمی ",{"_type":9,"current":7722},"fatemeh-kazemi",{"_id":7724,"_type":1078,"activeYears":7725,"bio":7728,"bioShort":7737,"featuredImage":7738,"filterables":7745,"links":7748,"locations":7751,"searchables":7763,"seo":7,"slug":7765,"title":7767},"8647ab68-6bf2-4ccb-8dc9-e0289006ea29",[7726],{"_id":98,"_type":99,"seo":7,"slug":7727,"title":102},{"_type":9,"current":101},[7729],{"_key":7730,"_type":219,"children":7731,"markDefs":7736,"style":232},"6af01e9ae403",[7732],{"_key":7733,"_type":223,"marks":7734,"text":7735},"5f5c899fdfff0",[],"Joaquina Salgado (b. 1995, Argentina) is a new media artist based in Berlin whose work explores the intersections of technology, philosophy, and science. She studied Media Arts at the Universidad Nacional de La Plata (UNLP). Combining motion capture, game engines, and custom-built interfaces, she creates interactive installations and virtual environments that question how perception and identity are shaped by technological systems. Her projects have been presented at MUTEK (Buenos Aires, Montreal), Berlin Art Week, and the APAP7 Triennial in Korea, with recent support from Pro Helvetia and the British Council. She presented a solo exhibition at SOMA Berlin in December 2025 and is a member of Amplify D.A.I., a network of women artists and curators in digital arts.",[],"Joaquina (b. 1995, Argentina) is a new media artist based in Berlin whose work explores the intersections of technology, philosophy, and science. She studied Media Arts at the Universidad Nacional de La Plata (UNLP). ",{"alt":7739,"asset":7740},"inclusi(ve)space",{"_id":7741,"height":4056,"orientation":1129,"ratio":7742,"url":7743,"width":7744},"image-ba4d3e0f17045c50522b07cc63c00d826558cc14-1066x1600-jpg",0.66625,"https://cdn.sanity.io/images/eodip22e/production/ba4d3e0f17045c50522b07cc63c00d826558cc14-1066x1600.jpg",1066,{"filterYear":7746},[7747],{"_id":98,"title":102},[7749],{"_type":1138,"label":1139,"url":7750},"https://joaquinasalgado.com/",{"locations":7752,"other":7755},[7753],{"_id":331,"_type":308,"seo":7,"slug":7754,"title":334},{"_type":9,"current":333},[7756],{"_key":7757,"_type":219,"children":7758,"markDefs":7762,"style":232},"0e5e698cfe29",[7759],{"_key":7760,"_type":223,"marks":7761,"text":5697},"f37e49635cbd",[],[],[7764,101],"joaquina salgado",{"_type":9,"current":7766},"joaquina-salgado","Joaquina Salgado",{"_id":7769,"_type":1078,"activeYears":7770,"bio":7773,"bioShort":7814,"featuredImage":7815,"filterables":7820,"links":7823,"locations":7826,"searchables":7830,"seo":7,"slug":7832,"title":7834},"a6f4eb4e-6918-4621-82ae-c80a09c07d70",[7771],{"_id":98,"_type":99,"seo":7,"slug":7772,"title":102},{"_type":9,"current":101},[7774,7782,7790,7798,7806],{"_key":7775,"_type":219,"children":7776,"markDefs":7781,"style":232},"c8fc7b0ed6ac",[7777],{"_key":7778,"_type":223,"marks":7779,"text":7780},"92a7615f4ac9",[],"ÉROTÌQ is a Rome-based audiovisual project that fuses glitchy noise-pop music with symbolic and unsettling imagery. On a thematic level, it offers a total immersion in the cynicism and hypocrisy of the contemporary world, tracing the collapse of symbolic structures and the nihilistic drift of mass society.",[],{"_key":7783,"_type":219,"children":7784,"markDefs":7789,"style":232},"a51b7956e96a",[7785],{"_key":7786,"_type":223,"marks":7787,"text":7788},"e85aeb52c9050",[],"It operates as an apotropaic ritual within the landscape of hyperreality, of biotechnologies, epigenetics, algorithmic sexual selection, mass pornography, terrorism, and emerging conspiracy theories.",[],{"_key":7791,"_type":219,"children":7792,"markDefs":7797,"style":232},"016318c4b0fa",[7793],{"_key":7794,"_type":223,"marks":7795,"text":7796},"9b14682119cc0",[],"The visual material is drawn from years of research and collection of raw footage found online. YouTube videos sourced from marginal and hard-to-access channels documenting fragments of rarefied, unsettling realities often far removed from the Western imaginary. In this sense, the internet, an aseptic and mechanical tool, paradoxically becomes a means of reawakening a more primal sense of wonder: a childlike, archaic, almost spiritual curiosity toward the world, largely lost in everyday perception.",[],{"_key":7799,"_type":219,"children":7800,"markDefs":7805,"style":232},"c254ae15d90e",[7801],{"_key":7802,"_type":223,"marks":7803,"text":7804},"34a9067a690b0",[],"This visual archive is then reworked through artificial intelligence, which fragments, distorts, and expands it, mirroring the treatment of percussion and ethnic samples within the music.",[],{"_key":7807,"_type":219,"children":7808,"markDefs":7813,"style":232},"94b64c77d487",[7809],{"_key":7810,"_type":223,"marks":7811,"text":7812},"b3e458a8ecde0",[],"At this point, sound and image synchronize and respond to one another, forming a single flow of abrasive sensory saturation, echoing the overstimulating logic of social media itself. The result is a testament to the contemporary: not a judgmental representation, but a sublimation of the absurdity we are now experiencing without being able to understand.",[],"ÉROTÌQ is a Rome-based audiovisual project that fuses glitchy noise-pop music with symbolic and unsettling imagery. ",{"alt":7,"asset":7816},{"_id":7817,"height":2831,"orientation":7818,"ratio":2178,"url":7819,"width":2831},"image-2a23158775957f57ebfa6d3a79645511f5b2bc1d-1080x1080-png","square","https://cdn.sanity.io/images/eodip22e/production/2a23158775957f57ebfa6d3a79645511f5b2bc1d-1080x1080.png",{"filterYear":7821},[7822],{"_id":98,"title":102},[7824],{"_type":1138,"label":1139,"url":7825},"https://obvious-commit-994079.framer.app/",{"locations":7827,"other":7},[7828],{"_id":331,"_type":308,"seo":7,"slug":7829,"title":334},{"_type":9,"current":333},[7831,101],"érotìq",{"_type":9,"current":7833},"emiiliano-toulouze","ÉROTÌQ",{"alt":7,"asset":7836},{"_id":7837,"height":4201,"orientation":7818,"ratio":2178,"url":7838,"width":4201},"image-0a6bbe6a304723932b45cb7d9a41e35a2794620f-960x960-jpg","https://cdn.sanity.io/images/eodip22e/production/0a6bbe6a304723932b45cb7d9a41e35a2794620f-960x960.jpg",{"filterCategory":7840,"filterLocation":7846,"filterYear":7848},[7841,7842,7843,7844,7845],{"_id":575,"title":578},{"_id":885,"title":888},{"_id":675,"title":678},{"_id":760,"title":763},{"_id":850,"title":853},[7847],{"_id":351,"title":354},[7849],{"_id":98,"title":102},[],{"locations":7852,"other":7},[7853],{"_id":351,"_type":308,"seo":7,"slug":7854,"title":354},{"_type":9,"current":353},[7856,7867,7946,7961,7975,7989],{"_type":1625,"settings":7857,"text":7858},{"textColumnCount":1627},[7859],{"_key":7860,"_type":219,"children":7861,"markDefs":7866,"style":232},"56c08e6fe9e8",[7862],{"_key":7863,"_type":223,"marks":7864,"text":7865},"477f287fdc1a0",[],"ETE Institute (Eternal Terra Ear / 永土耳) is a research-led collective that architecturalizes institutional policy and stratospheric geopolitics into 3D hyperbolic geometry. By decoding the \"weaponized computational structures\" of international tech-transfers, the institute investigates the interlinkage between nuclear strategic rationality and digital surveillance regimes. Operating on the principle of \"Sovereignty by Design,\" ETE seeks to transform extractive post-humanitarian infrastructures into sovereign compositions where equilibrium—not output product—is the primary measure of systemic health.",[],{"_type":1625,"settings":7868,"text":7869},{"textColumnCount":1627},[7870,7882,7890,7898,7906,7914,7922,7930,7938],{"_key":7871,"_type":219,"children":7872,"markDefs":7881,"style":232},"63045f2e11f6",[7873,7877],{"_key":7874,"_type":223,"marks":7875,"text":7876},"ecbf3a16365a",[],"ÉTÈ Institute (Eternal Terra Ear):",{"_key":7878,"_type":223,"marks":7879,"text":7880},"9c4dff4006d50",[225],"\"Post Humanitarian Infrastructure\"",[],{"_key":7883,"_type":219,"children":7884,"markDefs":7889,"style":232},"eec8aaca3179",[7885],{"_key":7886,"_type":223,"marks":7887,"text":7888},"7e03958a85e90",[1559],"The concept of Post-Humanitarian Infrastructure marks a transition from aid as a \"gift\" to aid as an extractive \"protocol,\" where humanitarianism is increasingly architecturalized through data stacks, biometric verification, and algorithmic mapping. This infrastructure operates as a nuclear-informed density, utilizing a strategic rationality that dissolves the boundary between human and machine decision-making to govern displaced populations. Unlike traditional humanitarianism grounded in physical presence, this post-humanitarian condition is rooted in the extraction of intelligence and energy, treating refugees as displaced infrastructural redundancy within state and techno-capitalist regimes.",[],{"_key":7891,"_type":219,"children":7892,"markDefs":7897,"style":232},"0571112491e0",[7893],{"_key":7894,"_type":223,"marks":7895,"text":7896},"5220ca6cb2380",[225],"Aid-as-Interface",[],{"_key":7899,"_type":219,"children":7900,"markDefs":7905,"style":232},"e30f20f82012",[7901],{"_key":7902,"_type":223,"marks":7903,"text":7904},"67a35d8aa3580",[1559],"It transforms basic survival tools into points of capture, such as iris scanners and blockchain ledgers, which function as automated command networks mirroring bureaucratic surveillance regimes. These systems create a problem of permanence by establishing a \"Sovereign Layer\" that exists outside the laws of the host country, governed by international tech-transfers and private contractors who utilize simulation as a middle layer to connect tactics with strategies.",[],{"_key":7907,"_type":219,"children":7908,"markDefs":7913,"style":232},"1df6eee24aeb",[7909],{"_key":7910,"_type":223,"marks":7911,"text":7912},"5adb7d3ecc650",[225],"Weaponized zoning",[],{"_key":7915,"_type":219,"children":7916,"markDefs":7921,"style":232},"49267577730c",[7917],{"_key":7918,"_type":223,"marks":7919,"text":7920},"9569aad140ee0",[],"extends this logic by drawing digital enclosures through GPS geofencing and real-time monitoring, dividing territories into \"safe\" or \"quarantined\" zones to restrict movement through the use of geometry. This zoning now moves vertically along a stratospheric axis, where high-altitude platforms create \"islands of access\" and \"vertical mediations\" that define atmospheres of unbelonging through selective connectivity and data blackouts.",[],{"_key":7923,"_type":219,"children":7924,"markDefs":7929,"style":232},"2bab0e452f11",[7925],{"_key":7926,"_type":223,"marks":7927,"text":7928},"da38ff7a07fa0",[225],"From Survival to Measurable Biometric Protocols",[],{"_key":7931,"_type":219,"children":7932,"markDefs":7937,"style":232},"7bc55da7019f",[7933],{"_key":7934,"_type":223,"marks":7935,"text":7936},"62871de3f30f0",[],"Identity systems function as the most intimate layer of this infrastructure, tying human survival to biometric protocols that turn the individual into a spatial node within a weaponized system. This creates an extractive identity where the state-led algorithm knows the subject better than the subject knows the system, neutralizing digital epistemology to control displaced populations as part of broader security architectures.",[],{"_key":7939,"_type":219,"children":7940,"markDefs":7945,"style":232},"7b0c1b7e4309",[7941],{"_key":7942,"_type":223,"marks":7943,"text":7944},"ac5826e350080",[],"The ETE Institute perceives these systems as weaponized computational structures that thrive on the enforced separation of the subject from the governing code. By architecturalizing these relations into hyperbolic geometry, the research aims to reveal that systemic friction is a deliberate feature of extractive governance. Through agentic resistance and sovereignty by design, the goal is to transform weaponized zones into sovereign compositions where the geometry of identity is built on equilibrium rather than technocratic control.",[],{"_type":1621,"caption":7947,"image":7956},[7948],{"_key":7949,"_type":219,"children":7950,"markDefs":7955,"style":232},"4e296c27e8a4",[7951],{"_key":7952,"_type":223,"marks":7953,"text":7954},"68bb0b8134db",[],"cover",[],{"alt":7,"asset":7957},{"_id":7958,"height":7959,"orientation":1129,"ratio":5168,"url":7960,"width":2831},"image-b58264fb0b9f3c920229f9ae37b9dc52860387e6-1080x1350-jpg",1350,"https://cdn.sanity.io/images/eodip22e/production/b58264fb0b9f3c920229f9ae37b9dc52860387e6-1080x1350.jpg",{"_type":1621,"caption":7962,"image":7971},[7963],{"_key":7964,"_type":219,"children":7965,"markDefs":7970,"style":232},"979cab754cf0",[7966],{"_key":7967,"_type":223,"marks":7968,"text":7969},"3cef78d81bc1",[],"contents",[],{"alt":7,"asset":7972},{"_id":7973,"height":7959,"orientation":1129,"ratio":5168,"url":7974,"width":2831},"image-ec935cc3d053dc80ac4c36ca68e3df684acd0d70-1080x1350-jpg","https://cdn.sanity.io/images/eodip22e/production/ec935cc3d053dc80ac4c36ca68e3df684acd0d70-1080x1350.jpg",{"_type":1621,"caption":7976,"image":7985},[7977],{"_key":7978,"_type":219,"children":7979,"markDefs":7984,"style":232},"a2691843770c",[7980],{"_key":7981,"_type":223,"marks":7982,"text":7983},"cf818e37e531",[],"Crisis Economy Symposium: Berlin Science Week 2025",[],{"alt":7,"asset":7986},{"_id":7987,"height":2831,"orientation":7818,"ratio":2178,"url":7988,"width":2831},"image-ebf7ad10945cb496f59b7b3ec6d9f39eae1fdf1b-1080x1080-jpg","https://cdn.sanity.io/images/eodip22e/production/ebf7ad10945cb496f59b7b3ec6d9f39eae1fdf1b-1080x1080.jpg",{"_type":1621,"caption":7990,"image":7999},[7991],{"_key":7992,"_type":219,"children":7993,"markDefs":7998,"style":232},"bf36bd8e932a",[7994],{"_key":7995,"_type":223,"marks":7996,"text":7997},"9a5ab75d266d",[],"Esoteric performance by @iphone7segrey",[],{"alt":7,"asset":8000},{"_id":8001,"height":8002,"orientation":1474,"ratio":8003,"url":8004,"width":8005},"image-9b78eae794ee4c6571a850b599edfa24d7eabf88-1326x851-png",851,1.5581668625146885,"https://cdn.sanity.io/images/eodip22e/production/9b78eae794ee4c6571a850b599edfa24d7eabf88-1326x851.png",1326,[8007,8017,8027],{"_type":1733,"question":8008},[8009],{"_key":8010,"_type":219,"children":8011,"markDefs":8016,"style":232},"bd4521269e3b",[8012],{"_key":8013,"_type":223,"marks":8014,"text":8015},"70358ef4e9ac0",[],"How do decentralized governance tools enable novel cultural collaboration and mutual aid? ",[],{"_type":1733,"question":8018},[8019],{"_key":8020,"_type":219,"children":8021,"markDefs":8026,"style":232},"3289cc3db428",[8022],{"_key":8023,"_type":223,"marks":8024,"text":8025},"dd3171b4fcae",[],"How does Eternal Terra Ears focus on comparative culture promote cross-cultural dialogue and solidarity, especially among marginalized groups?",[],{"_type":1733,"question":8028},[8029],{"_key":8030,"_type":219,"children":8031,"markDefs":8036,"style":232},"029061955533",[8032],{"_key":8033,"_type":223,"marks":8034,"text":8035},"6282bc9cb18a0",[],"What's the structure of a Post-Humanitarian system?",[],[8038,101,8039,8040,8041,353,7667,7720,7764,7831,8042,8043,8044,577,6486,5229,8045,4697],"étè institute (eternal terra ear)","how do decentralized governance tools enable novel cultural collaboration and mutual aid? ","how does eternal terra ears focus on comparative culture promote cross-cultural dialogue and solidarity, especially among marginalized groups?","what's the structure of a post-humanitarian system?","étè institute (eternal terra ear) consultant (internal advisor):\n\nmónica avella international lawyer, policy advisor, and strategist access to justice, women’s empowerment, and humanitarian action across latin america, europe, and globally. she holds a mpp from the london school of economics (lse), where she founded the women & well-being forum 2025 with the colombian society. mónica has collaborated with leading international organizations, including un women, ohchr, usaid, chemonics international, and sorbonne onu. currently, mónica is developing her involvement with etens’ women’s entrepreneurship accelerator.\n\nkomun.aes security, anti-capitalism & community self-defense project.","ete institute (eternal terra ear / 永土耳) is a research-led collective that architecturalizes institutional policy and stratospheric geopolitics into 3d hyperbolic geometry. by decoding the \"weaponized computational structures\" of international tech-transfers, the institute investigates the interlinkage between nuclear strategic rationality and digital surveillance regimes. operating on the principle of \"sovereignty by design,\" ete seeks to transform extractive post-humanitarian infrastructures into sovereign compositions where equilibrium—not output product—is the primary measure of systemic health.","étè institute (eternal terra ear):\"post humanitarian infrastructure\"\n\nthe concept of post-humanitarian infrastructure marks a transition from aid as a \"gift\" to aid as an extractive \"protocol,\" where humanitarianism is increasingly architecturalized through data stacks, biometric verification, and algorithmic mapping. this infrastructure operates as a nuclear-informed density, utilizing a strategic rationality that dissolves the boundary between human and machine decision-making to govern displaced populations. unlike traditional humanitarianism grounded in physical presence, this post-humanitarian condition is rooted in the extraction of intelligence and energy, treating refugees as displaced infrastructural redundancy within state and techno-capitalist regimes.\n\naid-as-interface\n\nit transforms basic survival tools into points of capture, such as iris scanners and blockchain ledgers, which function as automated command networks mirroring bureaucratic surveillance regimes. these systems create a problem of permanence by establishing a \"sovereign layer\" that exists outside the laws of the host country, governed by international tech-transfers and private contractors who utilize simulation as a middle layer to connect tactics with strategies.\n\nweaponized zoning\n\nextends this logic by drawing digital enclosures through gps geofencing and real-time monitoring, dividing territories into \"safe\" or \"quarantined\" zones to restrict movement through the use of geometry. this zoning now moves vertically along a stratospheric axis, where high-altitude platforms create \"islands of access\" and \"vertical mediations\" that define atmospheres of unbelonging through selective connectivity and data blackouts.\n\nfrom survival to measurable biometric protocols\n\nidentity systems function as the most intimate layer of this infrastructure, tying human survival to biometric protocols that turn the individual into a spatial node within a weaponized system. this creates an extractive identity where the state-led algorithm knows the subject better than the subject knows the system, neutralizing digital epistemology to control displaced populations as part of broader security architectures.\n\nthe ete institute perceives these systems as weaponized computational structures that thrive on the enforced separation of the subject from the governing code. by architecturalizing these relations into hyperbolic geometry, the research 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is a transdisciplinary artist whose practices explore from individual to collective creation the intersection between traditional media, artisan techniques and experimental electronics along with aesthetic, environmental, social and political concerns often through methodologies inspired by collaborative art and the DIWO (do it with others) practices. She has been an artist in residence of the Colombia-France Year 2017, El Puente_lab, RESÒ 2015 and an ELAP 2012 scholarship holder. Her individual and collaborative projects have been presented in cities such as Cali, Havana, Turin, Strasbourg, Montreal and Buenos Aires. She has a Master’s degree in technology and aesthetics of electronic arts (UNTREF, Buenos Aires) and a degree in visual arts (Universidad del Valle, Cali). She is currently interested in the art-body-life relationship, being a practitioner of Iyengar Yoga and observing plants, fungi and organic materials to create holistic artistic processes.",[],{"_key":8086,"_type":219,"children":8087,"markDefs":8091,"style":232},"ca8dde512aa0",[8088],{"_key":8089,"_type":223,"marks":8090,"text":1405},"130df958de300",[],[],"Mariangela is a Colombian transdisciplinary artist whose work merges craft, electronics, and collective practices. She explores the art-body-life link through yoga and organic materials.",{"alt":7,"asset":8094},{"_id":8095,"height":4201,"orientation":1129,"ratio":8096,"url":8097,"width":8098},"image-3da75cd961ccdc7e67d405cbeb08fc3c0a9fbfef-958x960-jpg",0.9979166666666667,"https://cdn.sanity.io/images/eodip22e/production/3da75cd961ccdc7e67d405cbeb08fc3c0a9fbfef-958x960.jpg",958,{"filterYear":8100},[8101],{"_id":105,"title":108},[8103],{"_type":1138,"label":8104,"url":8104},"https://mariangelaaponte.com/",{"locations":8106,"other":8109},[8107],{"_id":346,"_type":308,"seo":7,"slug":8108,"title":349},{"_type":9,"current":348},[8110],{"_key":8111,"_type":219,"children":8112,"markDefs":8117,"style":232},"ddb114ec0722",[8113],{"_key":8114,"_type":223,"marks":8115,"text":8116},"f0a7e21c9bb0",[],"Cali, Colombia",[],[8119,107],"mariangela aponte núñez",{"_type":9,"current":8121},"mariangela-aponte-nunez","Mariangela Aponte Núñez",{"_id":8124,"_type":1078,"activeYears":8125,"bio":8128,"bioShort":8152,"featuredImage":8153,"filterables":8158,"links":8161,"locations":8165,"searchables":8178,"seo":7,"slug":8180,"title":8154},"878dc0da-0ef2-40b7-9e44-ab53bf918ae0",[8126],{"_id":105,"_type":99,"seo":7,"slug":8127,"title":108},{"_type":9,"current":107},[8129,8137,8145],{"_key":8130,"_type":219,"children":8131,"markDefs":8136,"style":232},"980778399da0",[8132],{"_key":8133,"_type":223,"marks":8134,"text":8135},"3dffec0947b50",[],"Medellin 1979. Master of Fine Arts, Utrecht School of Arts,The Netherlands. He obtained his degree in visual arts from the University of Antioquia in 2003. Winner of the Visual Arts category in the \"Referentes\" Awards for Art and culture 2018, awarded by the Medellin’s municipality. He is co-founder and member of the cultural corporation El puente_lab, cultural activation laboratory; through which he has participated in various projects and workshops with international artists in the city of Medellín; and several exhibitions in Italy, Austria, Lithuania, Turkey and at the XIII Havana Biennial. In 2004 he participated in an artistic residence UNIDEE Fondazione Pistoletto University of Ideas in Biella Italy, and has continued to cooperate with the institution in design and art projects. Vásquez's work has been developing since 2003 taking part in numerous exhibitions throughout the country, including the Regional Artists Salon, Curatorship: \"Investments + Art + Exchanges + Transactions\", Medellín and Armenia. The 42 National Artists Salon in Barranquilla and Cartagena. \"surreptitious Covert Stories\" In the Banasta Gallery. In the exhibition \"Antioquias\", Diversity and Imaginaries of Identity, Museo de Antioquia.",[],{"_key":8138,"_type":219,"children":8139,"markDefs":8144,"style":232},"1faec1595155",[8140],{"_key":8141,"_type":223,"marks":8142,"text":8143},"570b528083b30",[],"He is currently Director of the Paul Bardwell Gallery of Contemporary Art at the Centro Colombo Americano and is in charge of the Deseartepaz program of the same institution.",[],{"_key":8146,"_type":219,"children":8147,"markDefs":8151,"style":232},"7187784b91de",[8148],{"_key":8149,"_type":223,"marks":8150,"text":4778},"41d9dfe1ca400",[],[],"Medellin 1979. Master of Fine Arts, Utrecht School of Arts,The Netherlands. He is currently Director of the Paul Bardwell Gallery of Contemporary Art at the Centro Colombo Americano and is in charge of the Deseartepaz program of the same institution.",{"alt":8154,"asset":8155},"Alejandro Vasquez Salinas",{"_id":8156,"height":4201,"orientation":7818,"ratio":2178,"url":8157,"width":4201},"image-991b46c1c52a07eaa151634035eee37971a410f4-960x960-jpg","https://cdn.sanity.io/images/eodip22e/production/991b46c1c52a07eaa151634035eee37971a410f4-960x960.jpg",{"filterYear":8159},[8160],{"_id":105,"title":108},[8162],{"_type":1138,"label":8163,"url":8164},"portfolio","https://olojondro.wixsite.com/portafolio",{"locations":8166,"other":8169},[8167],{"_id":346,"_type":308,"seo":7,"slug":8168,"title":349},{"_type":9,"current":348},[8170],{"_key":8171,"_type":219,"children":8172,"markDefs":8177,"style":232},"8002123ec9bc",[8173],{"_key":8174,"_type":223,"marks":8175,"text":8176},"665b54cbe3f0",[],"Colombia",[],[8179,107],"alejandro vasquez salinas",{"_type":9,"current":8181},"alejandro-vasquez-salinas",{"_id":8183,"_type":1078,"activeYears":8184,"bio":8187,"bioShort":8212,"featuredImage":8213,"filterables":8221,"links":8224,"locations":8227,"searchables":8240,"seo":7,"slug":8242,"title":8214},"1cab2b9d-babe-4399-8323-df17ad0f24b5",[8185],{"_id":105,"_type":99,"seo":7,"slug":8186,"title":108},{"_type":9,"current":107},[8188,8196,8204],{"_key":8189,"_type":219,"children":8190,"markDefs":8195,"style":232},"f317421dbc12",[8191],{"_key":8192,"_type":223,"marks":8193,"text":8194},"1bd0e4f180e50",[],"As an Artist, he has exhibited internationally since 1994. He is co-founder of the collective El puente_lab in Medellín, Colombia, a free lance artist and teacher.",[],{"_key":8197,"_type":219,"children":8198,"markDefs":8203,"style":232},"ca2f8294acd6",[8199],{"_key":8200,"_type":223,"marks":8201,"text":8202},"92d1e9cdacb30",[],"Juan Sandoval realises contemporary art projects, produces objects and images, creates devices for collaboration and collective learning, and publications. He approaches the process of creation through the overlapping of personal experiences, the application of craft production techniques and the observation of social processes. In his research, Sandoval has developed projects in collaboration with cultural associations dealing with issues of immigration, economy and local culture.",[],{"_key":8205,"_type":219,"children":8206,"markDefs":8211,"style":232},"fbb3e1edc947",[8207],{"_key":8208,"_type":223,"marks":8209,"text":8210},"4bac8ee74b460",[],"He obtained a degree in visual arts at the National University of Colombia, Medellín. He has participated in residencies for artists at Cittadellarte- Fondazione Pistoletto in Biella, Italy; Villa Arson in Nice, France; O.K. Centrum in Linz, Austria and Four Corners in London, UK. In 2018 he received the NCTM award for art in Milan, Italy.",[],"As an Artist, he has exhibited internationally since 1994.He is co-founder of the collective El puente_lab in Medellín, Colombia, a free lance artist and teacher.",{"alt":8214,"asset":8215},"Juan Sandoval",{"_id":8216,"height":8217,"orientation":1474,"ratio":8218,"url":8219,"width":8220},"image-a4220545da85fd255da3049f95b254c260e457ff-1250x946-jpg",946,1.3213530655391121,"https://cdn.sanity.io/images/eodip22e/production/a4220545da85fd255da3049f95b254c260e457ff-1250x946.jpg",1250,{"filterYear":8222},[8223],{"_id":105,"title":108},[8225],{"_type":1138,"label":1139,"url":8226},"https://www.tropicalworld.net/",{"locations":8228,"other":8231},[8229],{"_id":331,"_type":308,"seo":7,"slug":8230,"title":334},{"_type":9,"current":333},[8232],{"_key":8233,"_type":219,"children":8234,"markDefs":8239,"style":232},"9907d7df3444",[8235],{"_key":8236,"_type":223,"marks":8237,"text":8238},"75c06bc19ef30",[],"Based in Bologna",[],[8241,107],"juan sandoval",{"_type":9,"current":8243},"Juan-Sandoval",{"_id":8245,"_type":1078,"activeYears":8246,"bio":8249,"bioShort":7,"featuredImage":8258,"filterables":8264,"links":8267,"locations":8270,"searchables":8285,"seo":7,"slug":8287,"title":8259},"9d951859-385c-4e60-89e8-d6dcc1fb9eb0",[8247],{"_id":105,"_type":99,"seo":7,"slug":8248,"title":108},{"_type":9,"current":107},[8250],{"_key":8251,"_type":219,"children":8252,"markDefs":8257,"style":232},"a498e4a60bb0",[8253],{"_key":8254,"_type":223,"marks":8255,"text":8256},"3a5fb5703f610",[],"El puente_lab is a collective shaped by Juan Esteban Sandoval and Alejandro Vásquez Salinas, It is a platform for artistic and cultural production, active in Medellín - Colombia, which aims to develop cultural projects on a local level, building bridges of communication with artists and experts through a strategy of international cooperation.The projects developed by el puente_lab meet the specific needs of the social context where they are carried out, using artistic creativity as a tool of activation of cultural projects that initiate, facilitate and / or accompany processes of education, communication and urban and social transformation.",[],{"alt":8259,"asset":8260},"El puente_lab",{"_id":8261,"height":8262,"orientation":1474,"ratio":3344,"url":8263,"width":4058},"image-48056d6d34bdbcb38bf1b57f6f651459647dcc05-1200x900-jpg",900,"https://cdn.sanity.io/images/eodip22e/production/48056d6d34bdbcb38bf1b57f6f651459647dcc05-1200x900.jpg",{"filterYear":8265},[8266],{"_id":105,"title":108},[8268],{"_type":1138,"label":8269,"url":8269},"https://www.elpuentelab.org/",{"locations":8271,"other":8276},[8272,8274],{"_id":346,"_type":308,"seo":7,"slug":8273,"title":349},{"_type":9,"current":348},{"_id":331,"_type":308,"seo":7,"slug":8275,"title":334},{"_type":9,"current":333},[8277],{"_key":8278,"_type":219,"children":8279,"markDefs":8284,"style":232},"f61627920d71",[8280],{"_key":8281,"_type":223,"marks":8282,"text":8283},"9abe7f00f8ef",[],"Medellín, Colombia",[],[8286,107],"el puente_lab",{"_type":9,"current":8288},"el-puente_lab",{"alt":8290,"asset":8291},"(d)estructura",{"_id":8292,"height":8293,"orientation":1474,"ratio":2585,"url":8294,"width":8295},"image-7a7c712062fa89c3b4eacfcca120217ac0c96150-4272x2848-jpg",2848,"https://cdn.sanity.io/images/eodip22e/production/7a7c712062fa89c3b4eacfcca120217ac0c96150-4272x2848.jpg",4272,{"filterCategory":8297,"filterLocation":8303,"filterYear":8306},[8298,8299,8300,8301,8302],{"_id":990,"title":993},{"_id":795,"title":798},{"_id":770,"title":773},{"_id":375,"title":378},{"_id":510,"title":513},[8304,8305],{"_id":346,"title":349},{"_id":331,"title":334},[8307],{"_id":105,"title":108},[],{"locations":8310,"other":8315},[8311,8313],{"_id":346,"_type":308,"seo":7,"slug":8312,"title":349},{"_type":9,"current":348},{"_id":331,"_type":308,"seo":7,"slug":8314,"title":334},{"_type":9,"current":333},[8316],{"_key":8317,"_type":219,"children":8318,"markDefs":8323,"style":232},"6deecd80a524",[8319],{"_key":8320,"_type":223,"marks":8321,"text":8322},"04590a5e4667",[],"Cali, Medellín, Colombia\nCuba\nBuenos Aires, Argentina \nSantiago de Chile\nBiella, Italy",[],[8325,8328],{"_type":8326,"caption":7,"embedCode":8327},"embedBlock","\u003Ciframe title=\"vimeo-player\" src=\"https://player.vimeo.com/video/828877276?h=337db4a570\" width=\"640\" height=\"360\" frameborder=\"0\"    allowfullscreen>\u003C/iframe>",{"_type":1625,"settings":8329,"text":8330},{"textColumnCount":1627},[8331,8339,8346,8354,8361,8369,8376],{"_key":8332,"_type":219,"children":8333,"markDefs":8338,"style":232},"66c09b922809",[8334],{"_key":8335,"_type":223,"marks":8336,"text":8337},"ab351f6e0d30",[],"(d)estructura is a project focused on collaborative, participatory, and process-oriented creation that invites groups to engage in dialogue about fundamental values of life through playfulness. Situated at the intersection of art, play, and social research, the project embodies the principles of Social Cartography as a game that encourages horizontal forms of social interaction on a micro scale. The aim of (d)estructura is to deconstruct Abraham Maslow's pyramidal theory of human needs developed in 1943 and to reconstruct new collective structures that reflect the voices of the individuals involved, grounded in their personal experiences. This game is played in various contexts, showcasing how human needs evolve based on geographical, social, political, and economic factors, as well as different life stages. ",[],{"_key":8340,"_type":219,"children":8341,"markDefs":8345,"style":232},"0d13166853c3",[8342],{"_key":8343,"_type":223,"marks":8344,"text":1405},"b4e2a0ab9097",[],[],{"_key":8347,"_type":219,"children":8348,"markDefs":8353,"style":232},"f22f1e86fe99",[8349],{"_key":8350,"_type":223,"marks":8351,"text":8352},"4d82962ed9ad",[],"The game involves collectively building a structure using colored pieces, each assigned a value linked to the goals and objectives that represent, at an imaginary level, an optimal state of life. Engaging in (d)estructura reveals how individual decisions impact the collective, and conversely, how collective dynamics affect individual choices; the structure can grow or shrink, pieces may change, and tension builds over time. Participants must negotiate collectively about what to include or remove; chance plays a role, but ultimately, the group decides. Since its creation in 2016, (d)estructura has served as an insightful tool for observing and mapping the evolution of changing territories. Its mission is to create new cultural and social cartographies that reflect the diverse array of actors at play. ",[],{"_key":8355,"_type":219,"children":8356,"markDefs":8360,"style":232},"de89fe3210c4",[8357],{"_key":8358,"_type":223,"marks":8359,"text":1405},"be77d02eaa2a",[],[],{"_key":8362,"_type":219,"children":8363,"markDefs":8368,"style":232},"38ea33a59266",[8364],{"_key":8365,"_type":223,"marks":8366,"text":8367},"65c0dd04efe7",[],"Over the years, the game has been applied in various contexts, leading to the emergence of new organizational structures grounded in shared values and visions for possible futures. The versatility of (d)estructura allows it to adapt to different environments, ranging from intimate gatherings in private homes, where it exists as a thoughtful board game, to expansive public spaces, where it can manifest as communal sculptures that invite interaction and engagement. This scalability makes it possible to apply methodologies inspired by Do-It-With-Others (DIWO), extending the game’s reach to other communities and contexts. ",[],{"_key":8370,"_type":219,"children":8371,"markDefs":8375,"style":232},"31fcb3e9272a",[8372],{"_key":8373,"_type":223,"marks":8374,"text":1405},"3bc2bcf78906",[],[],{"_key":8377,"_type":219,"children":8378,"markDefs":8383,"style":232},"d32db101381a",[8379],{"_key":8380,"_type":223,"marks":8381,"text":8382},"7f1837af3402",[],"Currently, we are contemplating the expansion of participation through the creation of cooperative platforms. These platforms will serve as dynamic spaces for exploration, using the game as a springboard to develop the necessary narratives for a world in flux.",[],[8385,8395,8405,8415],{"_type":1733,"question":8386},[8387],{"_key":8388,"_type":219,"children":8389,"markDefs":8394,"style":232},"eaecd7d79085",[8390],{"_key":8391,"_type":223,"marks":8392,"text":8393},"9a7b49477c1e0",[],"In what ways to expand the possibilities of participation, collaboration, cooperation and co-creation of the current state of the (d)estructura game?",[],{"_type":1733,"question":8396},[8397],{"_key":8398,"_type":219,"children":8399,"markDefs":8404,"style":232},"0b3ee96595a0",[8400],{"_key":8401,"_type":223,"marks":8402,"text":8403},"b59e41ce5e87",[],"How to collect the information that emerges during games and how to create sensitive analysis and visualization to understand that information?",[],{"_type":1733,"question":8406},[8407],{"_key":8408,"_type":219,"children":8409,"markDefs":8414,"style":232},"fb84e8f36cba",[8410],{"_key":8411,"_type":223,"marks":8412,"text":8413},"3419085261de",[],"How might the creation of virtual and physical platforms enhance the exploration and narratives for (d)estructura?",[],{"_type":1733,"question":8416},[8417],{"_key":8418,"_type":219,"children":8419,"markDefs":8424,"style":232},"3c1a3e68dc50",[8420],{"_key":8421,"_type":223,"marks":8422,"text":8423},"4db6e829c990",[],"What potential challenges could arise when attempting to expand the range of participation in the project?",[],[8290,107,8426,8427,8428,8429,8430,333,8431,8119,8179,8241,8286,8432,992,797,8433,378,1789],"in what ways to expand the possibilities of participation, collaboration, cooperation and co-creation of the current state of the (d)estructura game?","how to collect the information that emerges during games and how to create sensitive analysis and visualization to understand that information?","how might the creation of virtual and physical platforms enhance the exploration and narratives for (d)estructura?","what potential challenges could arise when attempting to expand the range of participation in the project?","south america","cali, medellín, colombia\ncuba\nbuenos aires, argentina \nsantiago de chile\nbiella, italy","(d)estructura is a project focused on collaborative, participatory, and process-oriented creation that invites groups to engage in dialogue about fundamental values of life through playfulness. situated at the intersection of art, play, and social research, the project embodies the principles of social cartography as a game that encourages horizontal forms of social interaction on a micro scale. the aim of (d)estructura is to deconstruct abraham maslow's pyramidal theory of human needs developed in 1943 and to reconstruct new collective structures that reflect the voices of the individuals involved, grounded in their personal experiences. this game is played in various contexts, showcasing how human needs evolve based on geographical, social, political, and economic factors, as well as different life stages. \n\n\n\nthe game involves collectively building a structure using colored pieces, each assigned a value linked to the goals and objectives that represent, at an imaginary level, an optimal state of life. engaging in (d)estructura reveals how individual decisions impact the collective, and conversely, how collective dynamics affect individual choices; the structure can grow or shrink, pieces may change, and tension builds over time. participants must negotiate collectively about what to include or remove; chance plays a role, but ultimately, the group decides. since its creation in 2016, (d)estructura has served as an insightful tool for observing and mapping the evolution of changing territories. its mission is to create new cultural and social cartographies that reflect the diverse array of actors at play. \n\n\n\nover the years, the game has been applied in various contexts, leading to the emergence of new organizational structures grounded in shared values and visions for possible futures. the versatility of (d)estructura allows it to adapt to different environments, ranging from intimate gatherings in private homes, where it exists as a thoughtful board game, to expansive public spaces, where it can manifest as communal sculptures that invite interaction and engagement. this scalability makes it possible to apply methodologies inspired by do-it-with-others (diwo), extending the game’s reach to other communities and contexts. \n\n\n\ncurrently, we are contemplating the expansion of participation through the creation of cooperative platforms. these platforms will serve as dynamic spaces for exploration, using the game as a springboard to develop the necessary narratives for a world in flux.","open up",{"_type":9,"current":8435},"d-estructura",{"_id":8437,"_type":1027,"categories":8438,"credits":8462,"featuredImage":8599,"filterables":8606,"footnotes":8619,"locations":8620,"logbook":8624,"pageBuilder":8641,"researchQuestion":7,"researchQuestions":8736,"searchables":8777,"seo":7,"slug":8785,"title":8786,"year":108},"fd3517c9-8eac-43c7-9720-53d7f384da60",[8439,8442,8445,8448,8452,8455,8458],{"_id":650,"_type":362,"colorPrimary":8440,"seo":7,"slug":8441,"title":653},{"label":1031,"value":3966},{"_type":9,"current":652},{"_id":455,"_type":362,"colorPrimary":8443,"seo":7,"slug":8444,"title":458},{"label":1031,"value":1032},{"_type":9,"current":457},{"_id":410,"_type":362,"colorPrimary":8446,"seo":7,"slug":8447,"title":413},{"label":1031,"value":1036},{"_type":9,"current":412},{"_id":490,"_type":362,"colorPrimary":8449,"seo":7,"slug":8451,"title":493},{"label":1031,"value":8450},"#fff078",{"_type":9,"current":492},{"_id":405,"_type":362,"colorPrimary":8453,"seo":7,"slug":8454,"title":408},{"label":1031,"value":5263},{"_type":9,"current":407},{"_id":890,"_type":362,"colorPrimary":8456,"seo":7,"slug":8457,"title":893},{"label":1031,"value":4468},{"_type":9,"current":892},{"_id":875,"_type":362,"colorPrimary":8459,"seo":7,"slug":8461,"title":878},{"label":1031,"value":8460},"#b400b4",{"_type":9,"current":877},{"other":7,"profiles":8463},[8464,8509,8556],{"_id":8465,"_type":1078,"activeYears":8466,"bio":8469,"bioShort":8478,"featuredImage":8479,"filterables":8483,"links":8486,"locations":8491,"searchables":8504,"seo":7,"slug":8506,"title":8508},"3ac5cc55-3d4f-405b-a87e-65f2c22c3796",[8467],{"_id":105,"_type":99,"seo":7,"slug":8468,"title":108},{"_type":9,"current":107},[8470],{"_key":8471,"_type":219,"children":8472,"markDefs":8477,"style":232},"8c138affb434",[8473],{"_key":8474,"_type":223,"marks":8475,"text":8476},"663857a919770",[],"Oleksandra is a multimedia artist born in Kyiv, Ukraine, and currently residing in Zürich, Switzerland, following the onset of the full-scale invasion. Her academic journey includes studying Graphic Design at the Kyiv Academy of Media Arts in 2020, followed by enrollment at the School of Visual Communication in 2021. She earned her Bachelor’s degree in Fine Arts at Zürich University of the Arts in 2025 and is currently pursuing a Master's degree in Design: Trends & Identity.",[],"Oleksandra is a multimedia artist of Ukrainian origins working with the topics of feminism, queerness and politics from the perspective of a displaced individual. 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Emerging after three years of independent research and publishing through the publication series BROUDOU, Broudou School explores the future of food from a decolonial, ecological, queer, and feminist perspective. Working alongside researchers, farmers, and artists, the collective will organize and host workshops, field trips, as well as experimental residencies and food experiences in collaboration with the artist residency and project space Mouhit in Tunis.",[],{"_key":8824,"_type":219,"children":8825,"markDefs":8829,"style":232},"50f7fc5d1c17",[8826],{"_key":8827,"_type":223,"marks":8828,"text":1405},"919925757e470",[],[],{"_key":8831,"_type":219,"children":8832,"markDefs":8837,"style":232},"43f5dee19fe8",[8833],{"_key":8834,"_type":223,"marks":8835,"text":8836},"514215cf879a0",[],"The learning platform will act as a meeting point bridging theory, creative practice, and embodied learning, where members can share their research and learn from people around the world facing similar challenges in the pursuit of social justice and food sovereignty.",[],{"_key":8839,"_type":219,"children":8840,"markDefs":8844,"style":232},"1813d0111610",[8841],{"_key":8842,"_type":223,"marks":8843,"text":1405},"fdad8472bede",[],[],{"_key":8846,"_type":219,"children":8847,"markDefs":8852,"style":232},"41992046e699",[8848],{"_key":8849,"_type":223,"marks":8850,"text":8851},"cde96d34c68d0",[225],"Broudou School Collective Members: ",[],{"_key":8854,"_type":219,"children":8855,"markDefs":8860,"style":232},"dca13437cb61",[8856],{"_key":8857,"_type":223,"marks":8858,"text":8859},"5424828cb3960",[225],"Sara Bouzgarrou",[],{"_key":8862,"_type":219,"children":8863,"markDefs":8868,"style":232},"e120f078213e",[8864],{"_key":8865,"_type":223,"marks":8866,"text":8867},"7d376b0ee4190",[225],"Cyrine Ghrissi ",[],{"_key":8870,"_type":219,"children":8871,"markDefs":8876,"style":232},"3bcb21b75093",[8872],{"_key":8873,"_type":223,"marks":8874,"text":8875},"4faa28d1bd15",[225],"Aziza Gorgi ",[],{"_key":8878,"_type":219,"children":8879,"markDefs":8884,"style":232},"1cd57550d387",[8880],{"_key":8881,"_type":223,"marks":8882,"text":8883},"0f52071021a80",[225],"Mary Sarsam",[],{"_key":8886,"_type":219,"children":8887,"markDefs":8892,"style":232},"25ee599d2908",[8888],{"_key":8889,"_type":223,"marks":8890,"text":8891},"4c78a667d8e50",[225],"Emily Sarsam",[],"A collective and multidisciplinary learning environment devoted to artistic research on ecology, agriculture, and food. ",{"alt":8895,"asset":8896},"Broudou School",{"_id":8897,"height":8898,"orientation":1474,"ratio":8899,"url":8900,"width":8901},"image-ebeb96a66589ef0cd8a10e2b851cf1ac4c36ebbf-360x336-png",336,1.0714285714285714,"https://cdn.sanity.io/images/eodip22e/production/ebeb96a66589ef0cd8a10e2b851cf1ac4c36ebbf-360x336.png",360,{"filterYear":8903},[8904],{"_id":105,"title":108},[8906],{"_type":1138,"label":1142,"url":8907},"https://www.instagram.com/broudou.school/",{"locations":8909,"other":8912},[8910],{"_id":311,"_type":308,"seo":7,"slug":8911,"title":314},{"_type":9,"current":313},[8913],{"_key":8914,"_type":219,"children":8915,"markDefs":8920,"style":232},"0b86377752d1",[8916],{"_key":8917,"_type":223,"marks":8918,"text":8919},"2df152922a06",[],"Tunis",[],[8922,107],"broudou school",{"_type":9,"current":8924},"broudou-school",{"_id":8926,"_type":1078,"activeYears":8927,"bio":8930,"bioShort":8954,"featuredImage":7,"filterables":8955,"links":8958,"locations":8961,"searchables":8965,"seo":7,"slug":8967,"title":8859},"4c9d4df1-4228-454f-ae1c-8beac46cf5d3",[8928],{"_id":105,"_type":99,"seo":7,"slug":8929,"title":108},{"_type":9,"current":107},[8931,8939,8946],{"_key":8932,"_type":219,"children":8933,"markDefs":8938,"style":232},"0f1455c0c0c6",[8934],{"_key":8935,"_type":223,"marks":8936,"text":8937},"e3c3b6f7640a0",[],"Sara is a Tunisian publisher/printmaker, researcher and cultural consultant. 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Her curatorial endeavors focus on integrating various multidisciplinary disciplines in collaboration with local communities to explore and address environmental challenges. Through her dedicated research, she delves into the intricate relationship between humans and nature, shedding light on the distinct position of women within these narratives.",[],{"_key":8984,"_type":219,"children":8985,"markDefs":8989,"style":232},"33744654b799",[8986],{"_key":8987,"_type":223,"marks":8988,"text":1405},"a480a2c842f5",[],[],{"_key":8991,"_type":219,"children":8992,"markDefs":8996,"style":232},"754f497c1831",[8993],{"_key":8994,"_type":223,"marks":8995,"text":8952},"472e5d96bf200",[],[],"Cyrine is an emerging art curator.",{"filterYear":8999},[9000],{"_id":105,"title":108},[9002],{"_type":1138,"label":1142,"url":8907},{"locations":9004,"other":9007},[9005],{"_id":311,"_type":308,"seo":7,"slug":9006,"title":314},{"_type":9,"current":313},[9008],{"_key":9009,"_type":219,"children":9010,"markDefs":9015,"style":232},"5347491ec3c1",[9011],{"_key":9012,"_type":223,"marks":9013,"text":9014},"646eb54f1afa",[],"Based in Tunis, Tunisia",[],[9017,107],"cyrine ghrissi",{"_type":9,"current":9019},"cyrine-ghrissi","Cyrine Ghrissi",{"_id":9022,"_type":1078,"activeYears":9023,"bio":9026,"bioShort":9049,"featuredImage":7,"filterables":9050,"links":9053,"locations":9055,"searchables":9059,"seo":7,"slug":9061,"title":9063},"95690075-c5b3-4306-81df-6c4cd1baee58",[9024],{"_id":105,"_type":99,"seo":7,"slug":9025,"title":108},{"_type":9,"current":107},[9027,9035,9042],{"_key":9028,"_type":219,"children":9029,"markDefs":9034,"style":232},"13c4237cfa94",[9030],{"_key":9031,"_type":223,"marks":9032,"text":9033},"613ca05acd560",[],"Aziza is a Tunisian artist and designer who works with multiple mediums such as painting, photography and ceramics. 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This \"food lab\" could be a space where participants experiment with alternative food ways, share knowledge, co-create resources for commoning, and exchange about ecological systemic injustices. The mobile commons would allow for trans-local exchange, bringing together diverse voices and experiences while physically embodying the principles of \"Radical Sharing\", reciprocating local communities’ radical hospitality, and \"Commons-based methods\". This playful & experimental space could act as a living lab for reactivating ancestral knowledge & a bond with mother nature, and reimagining food systems as part of the broader effort to address climate change and ecological justice.",[],{"_type":1625,"settings":9203,"text":9204},{"textColumnCount":1627},[9205,9213,9221],{"_key":9206,"_type":219,"children":9207,"markDefs":9212,"style":232},"0a32275671e2",[9208],{"_key":9209,"_type":223,"marks":9210,"text":9211},"947aae593cf10",[],"Exploring \"Deep Hanging Out\" and \"Dialogic Decolonial Pedagogic Practice\" to build immersive, dialogic environments that link storytelling, sensory activities, and collective rituals like gardening and cooking. These practices will examine how food connects histories, bodies, and environments.",[],{"_key":9214,"_type":219,"children":9215,"markDefs":9220,"style":232},"bdc9f7723682",[9216],{"_key":9217,"_type":223,"marks":9218,"text":9219},"f0c52e58f5300",[],"A key component will be \"Field Work\", reframed as an artistic and communal act, involving visits to farms, markets, or gardens to co-create knowledge with communities addressing postcolonial and ecological challenges. Reflective practices using \"Constellations Toward Radical Ecologies of Care\" will deepen engagement with resilience, autonomy, and environmental justice themes.",[],{"_key":9222,"_type":219,"children":9223,"markDefs":9228,"style":232},"22733a9d34c9",[9224],{"_key":9225,"_type":223,"marks":9226,"text":9227},"133a34fb31c90",[],"Through this, we hope to nurture a pedagogy that bridges ecological awareness and creative collaboration, fostering old and new forms of care and resistance.",[],[9230,9240],{"_type":1733,"question":9231},[9232],{"_key":9233,"_type":219,"children":9234,"markDefs":9239,"style":232},"58667ed19596",[9235],{"_key":9236,"_type":223,"marks":9237,"text":9238},"46237107e4c20",[],"How can food sovereignty be redefined through community-driven practices that challenge colonial histories and neoliberal exploitation?",[],{"_type":1733,"question":9241},[9242],{"_key":9243,"_type":219,"children":9244,"markDefs":9249,"style":232},"50761c282fec",[9245],{"_key":9246,"_type":223,"marks":9247,"text":9248},"24e38211d8cb0",[],"How can decolonial education and creative research in the food sector catalyze broader conversations about resilience, justice, and ecological sustainability in the context of Tunisia’s environmental challenges?",[],[8922,107,9251,9252,313,9253,8922,8966,9017,9060,9103,9145,9254,9255,9256,4695,7484,1788,9257],"how can food sovereignty be redefined through community-driven practices that challenge colonial histories and neoliberal exploitation?","how can decolonial education and creative research in the food sector catalyze broader conversations about resilience, justice, and ecological sustainability in the context of tunisia’s environmental challenges?","tunis","we wish to create a \"mobile food commons\" as part of soc’s learning environment, a traveling pop-up space, online and offline gatherings that move between different communities to engage in workshops on harvesting, gardening, food preservation, and collective meals. this \"food lab\" could be a space where participants experiment with alternative food ways, share knowledge, co-create resources for commoning, and exchange about ecological systemic injustices. the mobile commons would allow for trans-local exchange, bringing together diverse voices and experiences while physically embodying the principles of \"radical sharing\", reciprocating local communities’ radical hospitality, and \"commons-based methods\". this playful & experimental space could act as a living lab for reactivating ancestral knowledge & a bond with mother nature, and reimagining food systems as part of the broader effort to address climate change and ecological justice.","exploring \"deep hanging out\" and \"dialogic decolonial pedagogic practice\" to build immersive, dialogic environments that link storytelling, sensory activities, and collective rituals like gardening and cooking. these practices will examine how food connects histories, bodies, and environments.\n\na key component will be \"field work\", reframed as an artistic and communal act, involving visits to farms, markets, or gardens to co-create knowledge with communities addressing postcolonial and ecological challenges. reflective practices using \"constellations toward radical ecologies of care\" will deepen engagement with resilience, autonomy, and environmental justice themes.\n\nthrough this, we hope to nurture a pedagogy that bridges ecological awareness and creative collaboration, fostering old and new forms of care and resistance.","radical sharing","constellations toward radical ecologies of care",{"_type":9,"current":8924},{"_id":9260,"_type":1027,"categories":9261,"credits":9287,"featuredImage":9567,"filterables":9574,"footnotes":9587,"locations":9588,"logbook":7,"pageBuilder":9600,"researchQuestion":7,"researchQuestions":9710,"searchables":9741,"seo":7,"slug":9750,"title":9751,"year":108},"39081475-3a15-418b-ad02-d478877579b2",[9262,9266,9269,9272,9275,9279,9283],{"_id":390,"_type":362,"colorPrimary":9263,"seo":7,"slug":9265,"title":393},{"label":1031,"value":9264},"#6464ff",{"_type":9,"current":392},{"_id":705,"_type":362,"colorPrimary":9267,"seo":7,"slug":9268,"title":708},{"label":1031,"value":4457},{"_type":9,"current":707},{"_id":890,"_type":362,"colorPrimary":9270,"seo":7,"slug":9271,"title":893},{"label":1031,"value":4468},{"_type":9,"current":892},{"_id":1009,"_type":362,"colorPrimary":9273,"seo":7,"slug":9274,"title":1012},{"label":1031,"value":2658},{"_type":9,"current":1011},{"_id":620,"_type":362,"colorPrimary":9276,"seo":7,"slug":9278,"title":623},{"label":1031,"value":9277},"#9b0000",{"_type":9,"current":622},{"_id":435,"_type":362,"colorPrimary":9280,"seo":7,"slug":9282,"title":438},{"label":1031,"value":9281},"#ffdcdc",{"_type":9,"current":437},{"_id":745,"_type":362,"colorPrimary":9284,"seo":7,"slug":9286,"title":748},{"label":1031,"value":9285},"#006900",{"_type":9,"current":747},{"other":7,"profiles":9288},[9289,9420],{"_id":9290,"_type":1078,"activeYears":9291,"bio":9294,"bioShort":9380,"featuredImage":9381,"filterables":9389,"links":9392,"locations":9400,"searchables":9415,"seo":7,"slug":9417,"title":9419},"63628f04-17c8-498b-8c98-4a1aadd45e2e",[9292],{"_id":105,"_type":99,"seo":7,"slug":9293,"title":108},{"_type":9,"current":107},[9295,9303,9311,9319],{"_key":9296,"_type":219,"children":9297,"markDefs":9302,"style":232},"dcdc5d1e13cb",[9298],{"_key":9299,"_type":223,"marks":9300,"text":9301},"9f875c2f19ea",[],"Lou Croff Blake (they/them) is a transgender artist, writer, and performer based in Berlin, Germany. Their work integrates queer theory with ecology and folklore, guided by a collage of regenerative methodologies. Across transmedial projects, they dissolve the barriers between creative play and critical analysis, alchemizing scholarship into transmissible expression. They interweave artistic research, upcycling and costuming, storytelling, and somatic workshops, crafting new narratives on ‘queering’ as a process that extends far beyond gender. ",[],{"_key":9304,"_type":219,"children":9305,"markDefs":9310,"style":232},"88296202dd95",[9306],{"_key":9307,"_type":223,"marks":9308,"text":9309},"e30e3659f3bc",[],"Their work integrates queer theory with ecology and community-building, driven by radical curiosity in regenerative ways of working. In their multidisciplinary body of work, they dissolve the barriers between creative play and critical analysis. Transmedial projects interweave artistic research, upcycling and costuming, storytelling, and somatic workshops, generating collectivist narratives on ‘queering’ as a process that extends far beyond gender. As an advocate for intersectional environmentalism, they focus on connecting dots between ecosystemic thought, social justice and decolonialism, gender diversity, and accessibility.",[],{"_key":9312,"_type":219,"children":9313,"markDefs":9318,"style":232},"8cc41d6d283f",[9314],{"_key":9315,"_type":223,"marks":9316,"text":9317},"445ee90f63bd",[],"Reaching towards allies, they speak and teach on topics of regenerative sustainability and gender inclusivity in fashion and the arts.",[],{"_key":9320,"_type":219,"children":9321,"markDefs":9369,"style":232},"df5f1768aa49",[9322,9326,9331,9335,9340,9344,9349,9353,9357,9361,9366],{"_key":9323,"_type":223,"marks":9324,"text":9325},"24c24733f4940",[],"As “Chimera,” a duo with collaborator ",{"_key":9327,"_type":223,"marks":9328,"text":9330},"24c24733f4941",[9329],"a01c204ca930","Madelyn Byrd",{"_key":9332,"_type":223,"marks":9333,"text":9334},"24c24733f4942",[],", they embark on projects that push the boundaries around what it means to be a citizen of Earth, merging artistic embodied experiments with science and fantasy. 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Fostering a deeply collaborative spirit, Madelyn engages with socially engaged art, sound, somatics, and digital media to re-construct the perceptual realm and voice emergent patterns of interconnection. Their research-intensive approach to practice balances playful, unbound creativity with scholarship, positioning them at the fringes of DIY communities and academia.\n",[],{"_key":9435,"_type":219,"children":9436,"markDefs":9480,"style":232},"80552b241d17",[9437,9441,9446,9450,9455,9459,9464,9468,9473,9476],{"_key":9438,"_type":223,"marks":9439,"text":9440},"34361fae29d2",[],"Madelyn holds a Masters in Neuroaesthetics from Goldsmiths, University of London, where they researched the impact of collaborative imagination on measures of connection and hope in social praxis art. They teach ",{"_key":9442,"_type":223,"marks":9443,"text":9445},"c8e66557c6c0",[9444],"99e3a0bab4ca","sonic worldbuilding",{"_key":9447,"_type":223,"marks":9448,"text":9449},"848598b9dd49",[]," theory + music production courses, recently online with ",{"_key":9451,"_type":223,"marks":9452,"text":9454},"56a01a116826",[9453],"b24e0ec8a7ae","Soundial ",{"_key":9456,"_type":223,"marks":9457,"text":9458},"eab72966285a",[],"and in-person at Kwia in Berlin. They produce, perform, and DJ under the genre-defying music moniker, ",{"_key":9460,"_type":223,"marks":9461,"text":9463},"a2110b2e1cbd",[9462],"2ea4289588ac","Slowfoam",{"_key":9465,"_type":223,"marks":9466,"text":9467},"b617839b7d3e",[],", amalgamates material sources - electroacoustics, found drones, spoken word, field recording, and sound design - into speculative relics from the aqueous deep. Madelyn is the co-founder of ",{"_key":9469,"_type":223,"marks":9470,"text":9472},"98f0380e9dd6",[1559,9471],"f18bb65ed548","Gravity Pleasure",{"_key":9474,"_type":223,"marks":9475,"text":1923},"5b208e548d47",[1559],{"_key":9477,"_type":223,"marks":9478,"text":9479},"def9352f640e",[]," a record label and event series that highlights the intersection of hydrofeminism and queer ecology with music and workshops by women, trans, and non-binary artists. ",[9481,9483,9485,9487],{"_key":9462,"_type":249,"href":9482},"https://soundcloud.com/slowfoam",{"_key":9444,"_type":249,"href":9484},"https://sonicworld.space/",{"_key":9453,"_type":249,"href":9486},"https://soundial.org/",{"_key":9471,"_type":249,"href":9488},"https://www.instagram.com/gravitypleasure/",{"_key":9490,"_type":219,"children":9491,"markDefs":9495,"style":232},"00014eb3204a",[9492],{"_key":9493,"_type":223,"marks":9494,"text":1405},"793ee5d4c5b2",[],[],{"_key":9497,"_type":219,"children":9498,"markDefs":9526,"style":232},"707b572500f9",[9499,9502,9506,9509,9513,9517,9522],{"_key":9500,"_type":223,"marks":9501,"text":9325},"f554a592b47b",[],{"_key":9503,"_type":223,"marks":9504,"text":9419},"e848c90ffd2a",[9505],"d18df88caaa8",{"_key":9507,"_type":223,"marks":9508,"text":9334},"bf3a1589dc02",[],{"_key":9510,"_type":223,"marks":9511,"text":9339},"71146960830e",[9512],"33103c3d25b0",{"_key":9514,"_type":223,"marks":9515,"text":9516},"11632f8f4fde",[],"'s Cruce program (funded by ",{"_key":9518,"_type":223,"marks":9519,"text":9521},"92ee2d8f86a9",[9520],"4309149a05ba","The Goethe Institute’s Culture Moves Europe",{"_key":9523,"_type":223,"marks":9524,"text":9525},"bba62461c8d2",[]," grant) and School of Commons’ peer learning program (located at Zürich University of the Arts).",[9527,9528,9530],{"_key":9505,"_type":249,"href":9394},{"_key":9520,"_type":249,"href":9529},"https://www.goethe.de/de/index.html",{"_key":9512,"_type":249,"href":9531},"https://aadk.es/","Madelyn (they/them, b. 1992, USA) is a musician, interdisciplinary artist, and educator investigating connection, home, biophilia, and the adjascent possible. They collaborate with Lou Croff Blake as the creative duo Chimera.",{"alt":9534,"asset":9535},"Madelyn Byrd_SoC Profile",{"_id":9536,"height":7699,"orientation":1474,"ratio":3344,"url":9537,"width":4004},"image-e547c05bd3352361beeb6990dd18de13664b445f-1024x768-jpg","https://cdn.sanity.io/images/eodip22e/production/e547c05bd3352361beeb6990dd18de13664b445f-1024x768.jpg",{"filterYear":9539},[9540],{"_id":105,"title":108},[9542,9543,9545],{"_type":1138,"label":1139,"url":9371},{"_type":1138,"label":1142,"url":9544},"https://www.instagram.com/slowfoam/",{"_type":1138,"label":9546,"url":9547},"Bandcamp","https://slowfoam.bandcamp.com/music",{"locations":9549,"other":9554},[9550,9552],{"_id":331,"_type":308,"seo":7,"slug":9551,"title":334},{"_type":9,"current":333},{"_id":356,"_type":308,"seo":7,"slug":9553,"title":359},{"_type":9,"current":358},[9555],{"_key":9556,"_type":219,"children":9557,"markDefs":9562,"style":232},"59002ea6ca22",[9558],{"_key":9559,"_type":223,"marks":9560,"text":9561},"f39f5ac32d41",[],"Based in Berlin, DE",[],[9564,107],"madelyn byrd",{"_type":9,"current":9566},"madelyn-byrd",{"alt":9568,"asset":9569},"Lou Croff Blake & Madelyn Byrd in costume that connects their heads with a 'tube hood,' part of A Tuned Body, 2024.",{"_id":9570,"height":9571,"orientation":1474,"ratio":9572,"url":9573,"width":1128},"image-537e4b83b5277e2c6f9650500d65a804f5ac74f5-800x532-png",532,1.5037593984962405,"https://cdn.sanity.io/images/eodip22e/production/537e4b83b5277e2c6f9650500d65a804f5ac74f5-800x532.png",{"filterCategory":9575,"filterLocation":9583,"filterYear":9585},[9576,9577,9578,9579,9580,9581,9582],{"_id":390,"title":393},{"_id":705,"title":708},{"_id":890,"title":893},{"_id":1009,"title":1012},{"_id":620,"title":623},{"_id":435,"title":438},{"_id":745,"title":748},[9584],{"_id":331,"title":334},[9586],{"_id":105,"title":108},[],{"locations":9589,"other":9592},[9590],{"_id":331,"_type":308,"seo":7,"slug":9591,"title":334},{"_type":9,"current":333},[9593],{"_key":9594,"_type":219,"children":9595,"markDefs":9599,"style":232},"f1a96d01bd08",[9596],{"_key":9597,"_type":223,"marks":9598,"text":5697},"e1e564e22d65",[],[],[9601,9620,9631],{"_type":1625,"settings":9602,"text":9603},{"textColumnCount":1627},[9604,9612],{"_key":9605,"_type":219,"children":9606,"markDefs":9611,"style":232},"1bf54517c720",[9607],{"_key":9608,"_type":223,"marks":9609,"text":9610},"c6e96ff65cf70",[],"CHIMERA is an artistic research project and play-based practice that expands notions of body, identity, and other(ness). Rooted in queer ecology, we reappropriate the genre ‘science fantasy’ to co-create on myths of the more-than-human, forging pararealities through speculation and prefiguration. As a collective worldbuilding experiment, we invite our peers into processes of chimerization, challenging the boundaries around the self and repatterning relational intimacies.",[],{"_key":9613,"_type":219,"children":9614,"markDefs":9619,"style":232},"b0dab75a8d9a",[9615],{"_key":9616,"_type":223,"marks":9617,"text":9618},"41d349bec414",[],"Our methodology includes somatic exercises, speculative costuming,  avataring/worlding, and more.",[],{"_type":1621,"caption":9621,"image":9629},[9622],{"_key":9623,"_type":219,"children":9624,"markDefs":9628,"style":232},"2248ee33c36a",[9625],{"_key":9626,"_type":223,"marks":9627,"text":9568},"1d1bdd4d7c720",[],[],{"alt":9568,"asset":9630},{"_id":9570,"height":9571,"orientation":1474,"ratio":9572,"url":9573,"width":1128},{"_type":1625,"settings":9632,"text":9633},{"textColumnCount":1627},[9634,9642,9650,9658,9680,9696,9703],{"_key":9635,"_type":219,"children":9636,"markDefs":9641,"style":232},"69e43a2a673d",[9637],{"_key":9638,"_type":223,"marks":9639,"text":9640},"76d3fc395c930",[],"The Chimera originates in Greek mythology, a fire-breathing beast with the mixed anatomy of lion, goat, and snake; she (yes, female, according to the stories) was divine, descended from the great non-human gods who inhabited the world alongside the Titans. The legend, as told in Homer’s Iliad1, states that the hero Bellapheron, mounted on Pegasus, is ordered by the king of Lycia to slay the Chimera, who has been feeding off local cattle. Her death brought glory to Bellapheron, and Lycia was rid of a predator.",[],{"_key":9643,"_type":219,"children":9644,"markDefs":9649,"style":232},"12cc45348821",[9645],{"_key":9646,"_type":223,"marks":9647,"text":9648},"f0995d4e2a890",[],"As Le Guin would put it, this, like many popular Greek myths, is a Killer Story2: it is about the spear thrust, and death is its climax. If we reposition the Chimera as protagonist (not hero, but main character), what would Le Guin’s alternative Life Story be? We have a shining mascot of pluralism, subjected to a colonising king’s attempt to tame the wilderness into which his cows wandered. We have yet another story of a non-conforming creature punished for existing.",[],{"_key":9651,"_type":219,"children":9652,"markDefs":9657,"style":232},"0b832725ab8a",[9653],{"_key":9654,"_type":223,"marks":9655,"text":9656},"dd0ae6921c480",[],"To become a chimera is not only to acknowledge the pluralities and complexities we contain, it challenges us to change contemporary narratives on queer monstrosity. ‘Queering’ is, perhaps, not only for LGBTQIA2+ people; liberation from learned identity doesn’t always result in a change of pronouns, gayness, or hormone therapy.",[],{"_key":9659,"_type":219,"children":9660,"markDefs":9678,"style":232},"f2efe4660c7a",[9661,9665,9669,9673],{"_key":9662,"_type":223,"marks":9663,"text":9664},"b187a792be9a0",[],"1. Homer, ",{"_key":9666,"_type":223,"marks":9667,"text":9668},"b187a792be9a1",[1559],"The Iliad with an English Translation by A.T. Murray, Ph.D. in two volumes",{"_key":9670,"_type":223,"marks":9671,"text":9672},"b187a792be9a2",[],". Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1924. ",{"_key":9674,"_type":223,"marks":9675,"text":9677},"b187a792be9a3",[9676],"c791015c3bdb","https://www.perseus.tufts.edu/hopper/text?doc=urn:cts:greekLit:tlg0012.tlg001.perseus-eng1:6.156-6.190",[9679],{"_key":9676,"_type":249,"href":9677},{"_key":9681,"_type":219,"children":9682,"markDefs":9695,"style":232},"2dd9b12a8943",[9683,9687,9691],{"_key":9684,"_type":223,"marks":9685,"text":9686},"331d5e235da70",[],"2. Ursula K. Le Guin and Bul Lee, ",{"_key":9688,"_type":223,"marks":9689,"text":9690},"331d5e235da71",[1559],"The Carrier Bag Theory of Fiction",{"_key":9692,"_type":223,"marks":9693,"text":9694},"331d5e235da72",[],", Revised single edition. ([Gardena, California?]: Cosmogenesis, 2024).",[],{"_key":9697,"_type":219,"children":9698,"markDefs":9702,"style":232},"04b95e98e591",[9699],{"_key":9700,"_type":223,"marks":9701,"text":4778},"2ab9c3c12fb10",[],[],{"_key":9704,"_type":219,"children":9705,"markDefs":9709,"style":232},"1fa06c343dcc",[9706],{"_key":9707,"_type":223,"marks":9708,"text":1405},"e2222ad84cd2",[],[],[9711,9721,9731],{"_type":1733,"question":9712},[9713],{"_key":9714,"_type":219,"children":9715,"markDefs":9720,"style":232},"b91a8090c122",[9716],{"_key":9717,"_type":223,"marks":9718,"text":9719},"03736184d81d0",[],"How might we use a ‘queering’ tool kit to chimerize our senses of self, embody multiplicity, and become cooperative parts in a larger whole?",[],{"_type":1733,"question":9722},[9723],{"_key":9724,"_type":219,"children":9725,"markDefs":9730,"style":232},"6b86ba7a0297",[9726],{"_key":9727,"_type":223,"marks":9728,"text":9729},"f3ae9092bd280",[],"Could marginalized, embodied knowledges of transformation expand our collective potential to relate, empathize, and collaborate within a pluriverse – a world-sized chimera?",[],{"_type":1733,"question":9732},[9733],{"_key":9734,"_type":219,"children":9735,"markDefs":9740,"style":232},"15d424b4f36d",[9736],{"_key":9737,"_type":223,"marks":9738,"text":9739},"358135ba33930",[],"What new mythologies emerge when we center more-than-human voices?",[],[9742,107,9743,9744,9745,333,5747,9416,9564,9746,9747,9748,4696,892,1011,9749,437,747],"chimera","how might we use a ‘queering’ tool kit to chimerize our senses of self, embody multiplicity, and become cooperative parts in a larger whole?","could marginalized, embodied knowledges of transformation expand our collective potential to relate, empathize, and collaborate within a pluriverse – a world-sized chimera?","what new mythologies emerge when we center more-than-human voices?","chimera is an artistic research project and play-based practice that expands notions of body, identity, and other(ness). rooted in queer ecology, we reappropriate the genre ‘science fantasy’ to co-create on myths of the more-than-human, forging pararealities through speculation and prefiguration. as a collective worldbuilding experiment, we invite our peers into processes of chimerization, challenging the boundaries around the self and repatterning relational intimacies.\n\nour methodology includes somatic exercises, speculative costuming,  avataring/worlding, and more.","the chimera originates in greek mythology, a fire-breathing beast with the mixed anatomy of lion, goat, and snake; she (yes, female, according to the stories) was divine, descended from the great non-human gods who inhabited the world alongside the titans. the legend, as told in homer’s iliad1, states that the hero bellapheron, mounted on pegasus, is ordered by the king of lycia to slay the chimera, who has been feeding off local cattle. her death brought glory to bellapheron, and lycia was rid of a predator.\n\nas le guin would put it, this, like many popular greek myths, is a killer story2: it is about the spear thrust, and death is its climax. if we reposition the chimera as protagonist (not hero, but main character), what would le guin’s alternative life story be? we have a shining mascot of pluralism, subjected to a colonising king’s attempt to tame the wilderness into which his cows wandered. we have yet another story of a non-conforming creature punished for existing.\n\nto become a chimera is not only to acknowledge the pluralities and complexities we contain, it challenges us to change contemporary narratives on queer monstrosity. ‘queering’ is, perhaps, not only for lgbtqia2+ people; liberation from learned identity doesn’t always result in a change of pronouns, gayness, or hormone therapy.\n\n1. homer, the iliad with an english translation by a.t. murray, ph.d. in two volumes. cambridge, ma., harvard university press; london, william heinemann, ltd. 1924. https://www.perseus.tufts.edu/hopper/text?doc=urn:cts:greeklit:tlg0012.tlg001.perseus-eng1:6.156-6.190\n\n2. ursula k. le guin and bul lee, the carrier bag theory of fiction, revised single edition. ([gardena, california?]: cosmogenesis, 2024).\n\n\n\n\n","against purity","geographies of self",{"_type":9,"current":9742},"CHIMERA",{"_id":9753,"_type":1027,"categories":9754,"credits":9765,"featuredImage":9814,"filterables":9822,"footnotes":9831,"locations":9832,"logbook":7,"pageBuilder":9845,"researchQuestion":7,"researchQuestions":9897,"searchables":9918,"seo":7,"slug":9924,"title":9926,"year":108},"699999c9-ca9b-4bcf-ad4b-0e6a61df9e10",[9755,9758,9761],{"_id":410,"_type":362,"colorPrimary":9756,"seo":7,"slug":9757,"title":413},{"label":1031,"value":1036},{"_type":9,"current":412},{"_id":445,"_type":362,"colorPrimary":9759,"seo":7,"slug":9760,"title":448},{"label":1031,"value":6242},{"_type":9,"current":447},{"_id":530,"_type":362,"colorPrimary":9762,"seo":7,"slug":9764,"title":533},{"label":1031,"value":9763},"#00ff91",{"_type":9,"current":532},{"other":7,"profiles":9766},[9767],{"_id":9768,"_type":1078,"activeYears":9769,"bio":9772,"bioShort":9781,"featuredImage":9782,"filterables":9788,"links":9791,"locations":9797,"searchables":9810,"seo":7,"slug":9812,"title":9783},"29cf27e2-a5c2-491d-9c7c-d7c800943fdd",[9770],{"_id":105,"_type":99,"seo":7,"slug":9771,"title":108},{"_type":9,"current":107},[9773],{"_key":9774,"_type":219,"children":9775,"markDefs":9780,"style":232},"150f0ebb0c4c",[9776],{"_key":9777,"_type":223,"marks":9778,"text":9779},"f6a003fd2bac0",[],"I hold a BA in Fine Arts, a BS in Chemistry, and is currently completing my MFA at Zurich University of the Arts. I have received multiple grants during and after my studies and have participated in international residencies in Austria and China. my work has been exhibited widely across Switzerland, Germany, and China.\nMy artistic practice spans writing, performance, multimedia installations, Chinese ink painting, and calligraphy. This plurality of mediums in artistic practice is essential to how I integrate being a woman and reflecting on ecological issues—just as in real experience, where complexity arises from the entanglement of many forces.\nWriting enables me to articulate the visible gender bias embedded in languages structured by gender binary, as well as to expose the more subtle, often invisible asymmetries within the Chinese language. Calligraphy, unlike alphabetic writing that unfolds linear time perception, intimately incorporates the observation of nature into each stroke—embodying a philosophy of life in which every form, whether organic or inorganic, holds vitality. Similarly, in my Chinese ink paintings, I depict collapsing glaciers, withering lotus leaves, and mountains dissolving into rain, as a response to the vulnerability and ongoing shifts of ecological systems.\nIn performance, I explore the struggling of a woman navigating landscapes shaped by patriarchy, capitalism, and social media. My multimedia installations create immersive spaces in which I investigate one of the core philosophical questions of my work: how differing conceptions of time and space in Eastern and Western traditions inform our relationship with the environment. These conceptual “cracks” offer a moment of clarity—an opening to reimagine how ancient Eastern philosophies might guide new ecological ethics and actions.\nI explore art and science collaboration with a focus on sustainability, foregrounding overlooked women's experiences. My collaboration with ETH Zurich’s Grassland Science Group has been acclaimed in both the arts and sciences, receiving art grants for funding the research as well as bordering the outcome. and the project was selected for presentation at the eLTER Science Conference 2025.",[],"I am a visual artist and artistic researcher committed to equitable knowledge production.",{"alt":9783,"asset":9784},"Yue Wu",{"_id":9785,"height":5711,"orientation":1129,"ratio":2395,"url":9786,"width":9787},"image-c7ceb3e1c738166901c1c7f10e6f5ec245164d44-1125x2000-jpg","https://cdn.sanity.io/images/eodip22e/production/c7ceb3e1c738166901c1c7f10e6f5ec245164d44-1125x2000.jpg",1125,{"filterYear":9789},[9790],{"_id":105,"title":108},[9792,9795],{"_type":1138,"label":9793,"url":9794},"Homepage","https://www.yuewu.website/",{"_type":1138,"label":258,"url":9796},"https://www.instagram.com/yuew_u?igsh=ODdrMTMwZWtwM2lw",{"locations":9798,"other":9801},[9799],{"_id":331,"_type":308,"seo":7,"slug":9800,"title":334},{"_type":9,"current":333},[9802],{"_key":9803,"_type":219,"children":9804,"markDefs":9809,"style":232},"85630b069961",[9805],{"_key":9806,"_type":223,"marks":9807,"text":9808},"d0e67aac09960",[],"At the moment, I am exploring visa and residency options in various European countries, as well as citizenship policies in China’s first-tier cities. Both systems are highly complex and often unfriendly to non-EU citizens and to Chinese nationals alike. For instance, in Switzerland, non-EU graduates are granted only a six-month job-seeking visa, and each year, only 500 work permits are allocated to non-EU citizens—rarely for positions in the arts or cultural fields.\nGermany’s artist visa, while offering a one-year residency, has become less viable than in the past. With recent cuts to cultural funding—especially in Berlin—and a worsening economic climate, sustaining an artistic career there has grown increasingly precarious.\nI have started considering a return to China, where, as an international graduate, I may be eligible for Shanghai residency if I secure a job and pay social insurance for at least one year. However, China’s household registration (hukou) system is designed to regulate population flow into resource-rich cities due to limited access to education and healthcare. As a result, for many Chinese citizens, transferring official residency from one’s hometown to a major city is nearly impossible without property ownership or long-term employment.",[],[9811,107],"yue wu",{"_type":9,"current":9813},"yue-wu",{"alt":9815,"asset":9816},"Daily CO₂ exchange, rainfall, air dryness, and air temperature in 2022 at the Lägeren site (CH-Lae), a mixed deciduous forest at 686 m a.s.l. in Switzerland.",{"_id":9817,"height":9818,"orientation":1474,"ratio":9819,"url":9820,"width":9821},"image-a7931e08236bb2c03efb94b3da7ca61e558d0b11-1240x874-png",874,1.4187643020594967,"https://cdn.sanity.io/images/eodip22e/production/a7931e08236bb2c03efb94b3da7ca61e558d0b11-1240x874.png",1240,{"filterCategory":9823,"filterLocation":9827,"filterYear":9829},[9824,9825,9826],{"_id":410,"title":413},{"_id":445,"title":448},{"_id":530,"title":533},[9828],{"_id":331,"title":334},[9830],{"_id":105,"title":108},[],{"locations":9833,"other":9836},[9834],{"_id":331,"_type":308,"seo":7,"slug":9835,"title":334},{"_type":9,"current":333},[9837],{"_key":9838,"_type":219,"children":9839,"markDefs":9844,"style":232},"42e77145ffa8",[9840],{"_key":9841,"_type":223,"marks":9842,"text":9843},"bfbb3b9deb740",[],"Site Description\nManaged mixed deciduous mountain forest located on the steep Lägeren mountain (NW of Zurich, Swiss Plateau), 800 m asl. The forest is highly diverse, dominated by beech and fir. The site is part of the international CarboEurope IP network and the NABEL (Swiss air quality network) and a long-term forest ecosystem research site (LWF) of the WSL (Institut f.Wald Schnee & Landschaft). Eddy covariance flux measurements were started in April 2004 (tower coordinates: 47°28’42.0″ N and 8°21’51.8″ E; at 689 m asl).",[],[9846],{"_type":1625,"settings":9847,"text":9848},{"textColumnCount":1627},[9849,9857,9865,9873,9881,9889],{"_key":9850,"_type":219,"children":9851,"markDefs":9856,"style":232},"87ad1e75ec4c",[9852],{"_key":9853,"_type":223,"marks":9854,"text":9855},"27ed143abc9c0",[],"With ongoing climate change, effective science communication has become increasingly important. According to scientists, Anthropogenic climate change, driven by excessive greenhouse gas emissions ‒- primarily CO₂ ‒- requires innovative solutions for mitigation. Among those, nature-based solutions have gained significant attention to offset some of the anthropogenic CO₂ emissions. Scientists study how much CO₂ ecosystems take in and release using a method called eddy covariance (EC). This technique measures CO₂ in the air above the land continuously, giving detailed information about the “breathing” of ecosystems over time. While such data are extensively used in scientific research, for instance to evaluate the impacts of climate change and land management on ecosystems, effective communication of these findings to the general public remains a challenge.",[],{"_key":9858,"_type":219,"children":9859,"markDefs":9864,"style":232},"40cbf43d84a7",[9860],{"_key":9861,"_type":223,"marks":9862,"text":9863},"0b48d81ee2da0",[],"According to scientists, in Switzerland, the Swiss FluxNet measures CO₂ in different ecosystems—forests, grasslands, and croplands—over many years. Since 1997, it has collected a total of 129 years of CO₂ data from six long-term sites, with more being added every year. While this information is very valuable for research, sharing it in a way that is easy for the public to understand remains a challenge. Therefore we initiated an interdisciplinary collaboration between science and visual art. The goal was to create a visually engaging and meaningful representation of the flux data, using accessible and intuitive colours and an attractive design, thus simplifying scientific data without compromising content. The collaboration resulted in a figure that showcases annual CO₂ budgets across multiple sites with a uniform colour scale, highlighting year-to-year differences in ecosystem performance as well as typical characteristics of the respective ecosystem.",[],{"_key":9866,"_type":219,"children":9867,"markDefs":9872,"style":232},"0cf2a198d1fc",[9868],{"_key":9869,"_type":223,"marks":9870,"text":9871},"6fb877ab1db20",[],"The artist explores the historical, artistic, and cultural significance of colors, while also considering accessibility for color-blind individuals.",[],{"_key":9874,"_type":219,"children":9875,"markDefs":9880,"style":232},"e8035f7f828f",[9876],{"_key":9877,"_type":223,"marks":9878,"text":9879},"fbd26a6db4bd0",[],"For example, the scientists and artist chose a combination of green and violet hues to represent carbon release and uptake, which, after careful research, is accessible even to color-blind viewers. In this 10-color scale, each color is carefully selected from Japanese fabric colors. A review of art history shows that this color combination has been used in various ways: to represent the atmosphere of urban gardens, where violet often depicts the shadow of women’s silk garments or reflections on water, and green represents trees and plants; to depict the peaceful death of a female figure; and in cartoons, it is sometimes used to represent the evil witch, as in Sleeping Beauty.",[],{"_key":9882,"_type":219,"children":9883,"markDefs":9888,"style":232},"942cedfc36c2",[9884],{"_key":9885,"_type":223,"marks":9886,"text":9887},"64acb0c63e700",[],"The associations of serenity, the ambiguous representation of women’s deaths, and the implied evilness of powerful women in art and animation have been reinforced across multiple generations, becoming part of a shared cultural memory. Therefore, the choice of this color combination both recalls collective memories and evokes subtle emotions, which we believe help people understand the impact of excessive greenhouse gas emissions.",[],{"_key":9890,"_type":219,"children":9891,"markDefs":9896,"style":232},"8fbcede04888",[9892],{"_key":9893,"_type":223,"marks":9894,"text":9895},"c22849d6d7c50",[],"On the other hand, it is well known that women and children in marginalized regions suffer disproportionately from climate change. In my research on the use of color combination of green and violet in art history, I therefore chose to reference representations of women as serene, observed subjects, the ambiguous portrayal of female death, and the implied evilness of powerful women. By evoking these collective cultural memories, such figures serve as reflections on disempowered women, subtly linking women’s fate with that of the environment and drawing greater attention to both.",[],[9898,9908],{"_type":1733,"question":9899},[9900],{"_key":9901,"_type":219,"children":9902,"markDefs":9907,"style":232},"461d7b7e69d4",[9903],{"_key":9904,"_type":223,"marks":9905,"text":9906},"429a0771f7ba0",[],"How can climate data be presented in ways that are accessible and understandable to the general public?",[],{"_type":1733,"question":9909},[9910],{"_key":9911,"_type":219,"children":9912,"markDefs":9917,"style":232},"42b0f0b6e1bc",[9913],{"_key":9914,"_type":223,"marks":9915,"text":9916},"36343b981f870",[],"What strategies can foster accessible and inclusive climate education for marginalized groups?",[],[9919,107,9920,9921,333,9922,9811,9923,1783,6485,532],"chromatics for change: an inclusive visual language for climate communication","how can climate data be presented in ways that are accessible and understandable to the general public?","what strategies can foster accessible and inclusive climate education for marginalized groups?","site description\nmanaged mixed deciduous mountain forest located on the steep lägeren mountain (nw of zurich, swiss plateau), 800 m asl. the forest is highly diverse, dominated by beech and fir. the site is part of the international carboeurope ip network and the nabel (swiss air quality network) and a long-term forest ecosystem research site (lwf) of the wsl (institut f.wald schnee & landschaft). eddy covariance flux measurements were started in april 2004 (tower coordinates: 47°28’42.0″ n and 8°21’51.8″ e; at 689 m asl).","with ongoing climate change, effective science communication has become increasingly important. according to scientists, anthropogenic climate change, driven by excessive greenhouse gas emissions ‒- primarily co₂ ‒- requires innovative solutions for mitigation. among those, nature-based solutions have gained significant attention to offset some of the anthropogenic co₂ emissions. scientists study how much co₂ ecosystems take in and release using a method called eddy covariance (ec). this technique measures co₂ in the air above the land continuously, giving detailed information about the “breathing” of ecosystems over time. while such data are extensively used in scientific research, for instance to evaluate the impacts of climate change and land management on ecosystems, effective communication of these findings to the general public remains a challenge.\n\naccording to scientists, in switzerland, the swiss fluxnet measures co₂ in different ecosystems—forests, grasslands, and croplands—over many years. since 1997, it has collected a total of 129 years of co₂ data from six long-term sites, with more being added every year. while this information is very valuable for research, sharing it in a way that is easy for the public to understand remains a challenge. therefore we initiated an interdisciplinary collaboration between science and visual art. the goal was to create a visually engaging and meaningful representation of the flux data, using accessible and intuitive colours and an attractive design, thus simplifying scientific data without compromising content. the collaboration resulted in a figure that showcases annual co₂ budgets across multiple sites with a uniform colour scale, highlighting year-to-year differences in ecosystem performance as well as typical characteristics of the respective ecosystem.\n\nthe artist explores the historical, artistic, and cultural significance of colors, while also considering accessibility for color-blind individuals.\n\nfor example, the scientists and artist chose a combination of green and violet hues to represent carbon release and uptake, which, after careful research, is accessible even to color-blind viewers. in this 10-color scale, each color is carefully selected from japanese fabric colors. a review of art history shows that this color combination has been used in various ways: to represent the atmosphere of urban gardens, where violet often depicts the shadow of women’s silk garments or reflections on water, and green represents trees and plants; to depict the peaceful death of a female figure; and in cartoons, it is sometimes used to represent the evil witch, as in sleeping beauty.\n\nthe associations of serenity, the ambiguous representation of women’s deaths, and the implied evilness of powerful women in art and animation have been reinforced across multiple generations, becoming part of a shared cultural memory. therefore, the choice of this color combination both recalls collective memories and evokes subtle emotions, which we believe help people understand the impact of excessive greenhouse gas emissions.\n\non the other hand, it is well known that women and children in marginalized regions suffer disproportionately from climate change. in my research on the use of color combination of green and violet in art history, i therefore chose to reference representations of women as serene, observed subjects, the ambiguous portrayal of female death, and the implied evilness of powerful women. by evoking these collective cultural memories, such figures serve as reflections on disempowered women, subtly linking women’s fate with that of the environment and drawing greater attention to both.",{"_type":9,"current":9925},"chromatics-for-change-an-inclusive-visual-language-for-climate-communication","Chromatics for change: an inclusive visual language for climate communication",{"_id":9928,"_type":1027,"categories":9929,"credits":9949,"featuredImage":10159,"filterables":10166,"footnotes":10179,"locations":10180,"logbook":10186,"pageBuilder":10194,"researchQuestion":7,"researchQuestions":10316,"searchables":10337,"seo":7,"slug":10344,"title":10346,"year":108},"1ae542e7-c01e-46b0-b973-e649cd34fede",[9930,9934,9937,9940,9943,9946],{"_id":750,"_type":362,"colorPrimary":9931,"seo":7,"slug":9933,"title":753},{"label":1031,"value":9932},"#ffdcf0",{"_type":9,"current":752},{"_id":735,"_type":362,"colorPrimary":9935,"seo":7,"slug":9936,"title":738},{"label":1031,"value":2648},{"_type":9,"current":737},{"_id":495,"_type":362,"colorPrimary":9938,"seo":7,"slug":9939,"title":498},{"label":1031,"value":6513},{"_type":9,"current":497},{"_id":410,"_type":362,"colorPrimary":9941,"seo":7,"slug":9942,"title":413},{"label":1031,"value":1036},{"_type":9,"current":412},{"_id":405,"_type":362,"colorPrimary":9944,"seo":7,"slug":9945,"title":408},{"label":1031,"value":5263},{"_type":9,"current":407},{"_id":885,"_type":362,"colorPrimary":9947,"seo":7,"slug":9948,"title":888},{"label":1031,"value":6249},{"_type":9,"current":887},{"other":7,"profiles":9950},[9951,10008,10035,10099],{"_id":9952,"_type":1078,"activeYears":9953,"bio":9958,"bioShort":9967,"featuredImage":9968,"filterables":9973,"links":9977,"locations":9980,"searchables":10002,"seo":10004,"slug":10007,"title":10005},"45a85a6c-4543-428c-99b8-985b8c465a3a",[9954,9956],{"_id":110,"_type":99,"seo":7,"slug":9955,"title":113},{"_type":9,"current":112},{"_id":105,"_type":99,"seo":7,"slug":9957,"title":108},{"_type":9,"current":107},[9959],{"_key":9960,"_type":219,"children":9961,"markDefs":9966,"style":232},"86864939d877",[9962],{"_key":9963,"_type":223,"marks":9964,"text":9965},"2e528f4907ee0",[],"AWOL (as in Absent Without Leave) is an artistic collective committed to democratizing climate knowledge and research. AWOL engages in collaborative practices that challenge imperial frameworks and reimagine relationships with the environment as part of a shared struggle for liberation. Through interdisciplinary projects, ranging from lecture performances to on-site research and performative actions, the collective merges memory, archives, and history with data and spatial analysis, crafting new narratives that bridge personal displacement with ecological crisis. Composed originally by Belén Arellano Cañizares, Yaman To'meh, Stefan Ralevic, Eduardo Gonzaga, Santiago Méndez and Giuliana Marmo.",[],"Interdisciplinary collective for artistic research on political imaginaries towards climate futures",{"alt":9969,"asset":9970},"Logo of AWOL, depicting a silhouette with reverberance waves",{"_id":9971,"height":5708,"orientation":7818,"ratio":2178,"url":9972,"width":5708},"image-044241679d684ebc6b081f12b5636afac8f40d91-1274x1274-jpg","https://cdn.sanity.io/images/eodip22e/production/044241679d684ebc6b081f12b5636afac8f40d91-1274x1274.jpg",{"filterYear":9974},[9975,9976],{"_id":110,"title":113},{"_id":105,"title":108},[9978],{"_type":1138,"label":1142,"url":9979},"https://www.instagram.com/absent.withoutleave/",{"locations":9981,"other":9993},[9982,9984,9986,9991],{"_id":331,"_type":308,"seo":7,"slug":9983,"title":334},{"_type":9,"current":333},{"_id":346,"_type":308,"seo":7,"slug":9985,"title":349},{"_type":9,"current":348},{"_id":9987,"_type":308,"seo":7,"slug":9988,"title":9990},"c3bd4ea7-610a-446f-9362-aa58504513e0",{"_type":9,"current":9989},"online","Online",{"_id":356,"_type":308,"seo":7,"slug":9992,"title":359},{"_type":9,"current":358},[9994],{"_key":9995,"_type":219,"children":9996,"markDefs":10001,"style":232},"aafea43111ef",[9997],{"_key":9998,"_type":223,"marks":9999,"text":10000},"0bc7cf7df284",[],"International collective, based in Germany",[],[10003,112,107],"awol",{"metaDescription":10005,"metaTitle":10006,"shareImage":7},"AWOL","AWOL ",{"_type":9,"current":10003},{"_id":10009,"_type":1078,"activeYears":7,"bio":10010,"bioShort":10019,"featuredImage":10020,"filterables":10025,"links":7,"locations":10026,"searchables":10030,"seo":7,"slug":10032,"title":10034},"b90a591a-c51a-4699-bdfd-5dd179667dbf",[10011],{"_key":10012,"_type":219,"children":10013,"markDefs":10018,"style":232},"0b2d258ae61d",[10014],{"_key":10015,"_type":223,"marks":10016,"text":10017},"4b2f1cb9b6130",[],"He engages with topics of affective research, site specificity and merging localities of human and more than human interactions, always trying to weave through multiple layers of histories and anecdotes common to a Place, in order to shift spaces of production into Places of meaning. Centered around a photographic practice combined with other mediums such as installation, the case for an emerging ecology of images is being made, one where there is more attention for interstices, transience, instability and failure, followed by future-abilities encased in speculative methodologies. He has exhibited in Belgrade, Weimar, Berlin, Leipzig and Antwerp.",[],"Art worker, part of AWOL",{"alt":7,"asset":10021},{"_id":10022,"height":10023,"orientation":7818,"ratio":2178,"url":10024,"width":10023},"image-c606eaa9b9d22017b7db93b6ac83d601f4a26263-589x589-jpg",589,"https://cdn.sanity.io/images/eodip22e/production/c606eaa9b9d22017b7db93b6ac83d601f4a26263-589x589.jpg",{"filterYear":7},{"locations":10027,"other":7},[10028],{"_id":331,"_type":308,"seo":7,"slug":10029,"title":334},{"_type":9,"current":333},[10031],"stefan ralevic",{"_type":9,"current":10033},"stefan-ralevic","Stefan Ralevic",{"_id":10036,"_type":1078,"activeYears":7,"bio":10037,"bioShort":10019,"featuredImage":10070,"filterables":10077,"links":10078,"locations":10081,"searchables":10094,"seo":7,"slug":10096,"title":10098},"3bcf4144-b43c-48fd-bbcc-cab2cfd97fa3",[10038],{"_key":10039,"_type":219,"children":10040,"markDefs":10069,"style":232},"4686b1cfc95e",[10041,10045,10049,10053,10057,10061,10065],{"_key":10042,"_type":223,"marks":10043,"text":10044},"a94d005011b30",[],"She explores intimacy, care, and conversation through wearable and domestic objects that activate subtle rituals and interpersonal dynamics. Belén completed her MA in “Public Art and New Artistic Strategies” at the Bauhaus University Weimar in 2024. The program ",{"_key":10046,"_type":223,"marks":10047,"text":10048},"a94d005011b31",[1559],"Made for Europe",{"_key":10050,"_type":223,"marks":10051,"text":10052},"a94d005011b32",[]," invited her to the European Academy of Art in Berlin in 2021. Her work has been presented at the Bauhaus Museum Weimar, Kunstsammlungen Chemnitz, the Thuringian Parliament in Erfurt, the Museo de Málaga (",{"_key":10054,"_type":223,"marks":10055,"text":10056},"a94d005011b33",[1559],"Tiempo Muerto",{"_key":10058,"_type":223,"marks":10059,"text":10060},"a94d005011b34",[],", Iniciarte) and La Caja Blanca in Málaga. She participated with the collective project ",{"_key":10062,"_type":223,"marks":10063,"text":10064},"a94d005011b35",[1559],"Trashquestra",{"_key":10066,"_type":223,"marks":10067,"text":10068},"a94d005011b36",[]," in the Kunstfest Weimar 2021. Since 2020 she is a member of Oficina Co2, a countercultural curatorial collective. Since 2019 she works as a graphic designer.",[],{"alt":10071,"asset":10072},"Portrait of Belén",{"_id":10073,"height":10074,"orientation":1474,"ratio":10075,"url":10076,"width":5711},"image-4525843a630ad98265319a490312eb75d166d6af-2000x1353-jpg",1353,1.4781966001478197,"https://cdn.sanity.io/images/eodip22e/production/4525843a630ad98265319a490312eb75d166d6af-2000x1353.jpg",{"filterYear":7},[10079],{"_type":1138,"label":1142,"url":10080},"https://www.instagram.com/arellobelen/",{"locations":10082,"other":10085},[10083],{"_id":331,"_type":308,"seo":7,"slug":10084,"title":334},{"_type":9,"current":333},[10086],{"_key":10087,"_type":219,"children":10088,"markDefs":10093,"style":232},"21bb8272891b",[10089],{"_key":10090,"_type":223,"marks":10091,"text":10092},"55d9b96a463c",[],"Based in Córdoba (Spain) with one foot in Germany",[],[10095],"belén arellano cañizares",{"_type":9,"current":10097},"belen-arellano-canizares","Belén Arellano Cañizares",{"_id":10100,"_type":1078,"activeYears":7,"bio":10101,"bioShort":10019,"featuredImage":10126,"filterables":10132,"links":10133,"locations":10139,"searchables":10154,"seo":7,"slug":10156,"title":10158},"79ab41a1-9566-48dd-94cd-f47f44080f26",[10102,10110,10118],{"_key":10103,"_type":219,"children":10104,"markDefs":10109,"style":232},"4487dd087d7c",[10105],{"_key":10106,"_type":223,"marks":10107,"text":10108},"0963beacc7e60",[],"Giuliana Marmo (1999) positions her practice at an intersection between public art, curatorial practices, education and activism, carefully reshaping her role according to situational conditions.",[],{"_key":10111,"_type":219,"children":10112,"markDefs":10117,"style":232},"2162ee422560",[10113],{"_key":10114,"_type":223,"marks":10115,"text":10116},"7b57cfde5b210",[],"In her projects, she crafts collaborative and participative executions that experiment with collectivity and the reactivation of public spaces as sites of production and fostering of the general intellect. Her convictions become methodologies to engage the public into enacting political imaginaries, poetic forensics, and human and non-human assemblies; to bottom-up activism, radical empathy, and care practices. She develops context-based mediums that shape site-specific interventions, performative gestures and installations in constant dialogue between the public and the institutional.",[],{"_key":10119,"_type":219,"children":10120,"markDefs":10125,"style":232},"719296aee464",[10121],{"_key":10122,"_type":223,"marks":10123,"text":10124},"7b87d4e5b8dc",[],"As an ideological positioning, she is pursuing a teaching career and has been developing an academic and pedagogical approach to art education that is fundamentally tied to her artistic practice.\nShe is currently part of the Public Art and New Artistic Strategies MFA program from the Bauhaus University in Weimar, Germany. BA Graduate at the Multimedia Arts faculty of Venice’s IUAV University. Formerly a student of Communication Studies at the UCAB and Art History at the UCV, in Caracas, both uncompleted due to her decision to emigrate to Italy.",[],{"alt":10127,"asset":10128},"Portrait of Giuliana",{"_id":10129,"height":10130,"orientation":7818,"ratio":2178,"url":10131,"width":10130},"image-badd72ebfd7173d95641524f7cd578ba1d5c0c04-600x600-jpg",600,"https://cdn.sanity.io/images/eodip22e/production/badd72ebfd7173d95641524f7cd578ba1d5c0c04-600x600.jpg",{"filterYear":7},[10134,10137],{"_type":1138,"label":10135,"url":10136},"Webpage","https://giulianamarmo.com/",{"_type":1138,"label":1142,"url":10138},"https://www.instagram.com/giu.mp/",{"locations":10140,"other":10145},[10141,10143],{"_id":346,"_type":308,"seo":7,"slug":10142,"title":349},{"_type":9,"current":348},{"_id":331,"_type":308,"seo":7,"slug":10144,"title":334},{"_type":9,"current":333},[10146],{"_key":10147,"_type":219,"children":10148,"markDefs":10153,"style":232},"33342460dd50",[10149],{"_key":10150,"_type":223,"marks":10151,"text":10152},"242c5e2f8511",[],"Venezuelan art worker based between Venice, Italy and Weimar, Germany.",[],[10155],"giuliana marmo",{"_type":9,"current":10157},"giuliana-marmo","Giuliana Marmo",{"alt":7,"asset":10160},{"_id":10161,"height":10162,"orientation":1474,"ratio":10163,"url":10164,"width":10165},"image-ae62917b8ff80c89bf98e945bad6f0b4958d1def-500x350-gif",350,1.4285714285714286,"https://cdn.sanity.io/images/eodip22e/production/ae62917b8ff80c89bf98e945bad6f0b4958d1def-500x350.gif",500,{"filterCategory":10167,"filterLocation":10174,"filterYear":10177},[10168,10169,10170,10171,10172,10173],{"_id":750,"title":753},{"_id":735,"title":738},{"_id":495,"title":498},{"_id":410,"title":413},{"_id":405,"title":408},{"_id":885,"title":888},[10175,10176],{"_id":331,"title":334},{"_id":356,"title":359},[10178],{"_id":105,"title":108},[],{"locations":10181,"other":7},[10182,10184],{"_id":331,"_type":308,"seo":7,"slug":10183,"title":334},{"_type":9,"current":333},{"_id":356,"_type":308,"seo":7,"slug":10185,"title":359},{"_type":9,"current":358},[10187],{"_key":10188,"_type":219,"children":10189,"markDefs":10193,"style":232},"f4d0f23fd336",[10190],{"_key":10191,"_type":223,"marks":10192,"text":2264},"3be7ce5ce7c5",[],[],[10195,10201,10257,10305],{"_type":1621,"caption":7,"image":10196},{"alt":7,"asset":10197},{"_id":10198,"height":4629,"orientation":1474,"ratio":10199,"url":10200,"width":5711},"image-9579070a4f5a90a338c56fd2340936d134f32ef0-2000x750-jpg",2.6666666666666665,"https://cdn.sanity.io/images/eodip22e/production/9579070a4f5a90a338c56fd2340936d134f32ef0-2000x750.jpg",{"_type":1625,"settings":10202,"text":10203},{"textColumnCount":1627},[10204,10212,10219,10227,10234,10242,10249],{"_key":10205,"_type":219,"children":10206,"markDefs":10211,"style":232},"0b27804a5bcd",[10207],{"_key":10208,"_type":223,"marks":10209,"text":10210},"7654f20213350",[],"When a glacier disappears not only the geological archive of a place is lost, but also the tales and the future imaginary surrounding it dilute as well.",[],{"_key":10213,"_type":219,"children":10214,"markDefs":10218,"style":232},"df35b1282e5a",[10215],{"_key":10216,"_type":223,"marks":10217,"text":1405},"4baf80d4bbcb0",[],[],{"_key":10220,"_type":219,"children":10221,"markDefs":10226,"style":232},"7dc2c087c04e",[10222],{"_key":10223,"_type":223,"marks":10224,"text":10225},"70d262263dcd0",[],"Approaching mourning as a learning methodology, we aim to create imaginative fictions that envision possible political realities. We project our own experiences in this melting body that includes all these layers of loss: memories, archives, ghosts, and grieving for something much bigger than us. Dealing with absence as an overwhelming presence, that takes up space and different shapes; but that can also push forward radical change as it modifies the landscape and thus notions of national borders or urbanity.",[],{"_key":10228,"_type":219,"children":10229,"markDefs":10233,"style":232},"5382b3502860",[10230],{"_key":10231,"_type":223,"marks":10232,"text":1405},"e6d73782d9180",[],[],{"_key":10235,"_type":219,"children":10236,"markDefs":10241,"style":232},"b89c40faed93",[10237],{"_key":10238,"_type":223,"marks":10239,"text":10240},"580747f0d4f30",[],"Ultimately, our goal is to imagine together scenarios for a post-glacial future, based on the production of a collective body of knowledge surrounding the glaciers, that can be instrumentalized towards giving political agency to the disappearing body itself.",[],{"_key":10243,"_type":219,"children":10244,"markDefs":10248,"style":232},"31da76646a30",[10245],{"_key":10246,"_type":223,"marks":10247,"text":1405},"180e2efdc5980",[],[],{"_key":10250,"_type":219,"children":10251,"markDefs":10256,"style":232},"f791f0a413f7",[10252],{"_key":10253,"_type":223,"marks":10254,"text":10255},"a54de0e1a9a60",[],"We would like to unlearn the overwhelming feeling we have when dealing with scientific data, which limits us from collaborating with other disciplines and bridging the distance from the concept of the glacier itself. We would like to understand it, not as a remote or static entity, but as a dynamic agent of political, cultural, and ecological change in order to find methods that can create a more inclusive understanding of subjects that pertain to the commons, like the environment.",[],{"_type":2894,"slides":10258},[10259,10267,10275,10283,10290,10297],{"_type":1621,"caption":7,"image":10260},{"alt":7,"asset":10261},{"_id":10262,"height":10263,"orientation":1474,"ratio":10264,"url":10265,"width":10266},"image-e32e3f1710f54076c088ce05efd5c101fb4b5fc1-2460x1698-jpg",1698,1.4487632508833923,"https://cdn.sanity.io/images/eodip22e/production/e32e3f1710f54076c088ce05efd5c101fb4b5fc1-2460x1698.jpg",2460,{"_type":1621,"caption":7,"image":10268},{"alt":7,"asset":10269},{"_id":10270,"height":10271,"orientation":1474,"ratio":10272,"url":10273,"width":10274},"image-81e5f16c4c90b68290aff661e173997dd8fad6ff-2452x1717-jpg",1717,1.4280722189866046,"https://cdn.sanity.io/images/eodip22e/production/81e5f16c4c90b68290aff661e173997dd8fad6ff-2452x1717.jpg",2452,{"_type":1621,"caption":7,"image":10276},{"alt":7,"asset":10277},{"_id":10278,"height":10279,"orientation":1474,"ratio":10280,"url":10281,"width":10282},"image-241ba726358a24c13784ced4a493bb95c383a6b5-2428x1700-jpg",1700,1.428235294117647,"https://cdn.sanity.io/images/eodip22e/production/241ba726358a24c13784ced4a493bb95c383a6b5-2428x1700.jpg",2428,{"_type":1621,"caption":7,"image":10284},{"alt":7,"asset":10285},{"_id":10286,"height":10271,"orientation":1474,"ratio":10287,"url":10288,"width":10289},"image-6fbf45d2d715a42075cd8a20d476ad12b4cd5b3e-2475x1717-jpg",1.4414676761793825,"https://cdn.sanity.io/images/eodip22e/production/6fbf45d2d715a42075cd8a20d476ad12b4cd5b3e-2475x1717.jpg",2475,{"_type":1621,"caption":7,"image":10291},{"alt":7,"asset":10292},{"_id":10293,"height":1513,"orientation":1474,"ratio":10294,"url":10295,"width":10296},"image-00644dd7bcca54d41b98bd36f8f44ade3dec5695-2464x1711-jpg",1.440093512565751,"https://cdn.sanity.io/images/eodip22e/production/00644dd7bcca54d41b98bd36f8f44ade3dec5695-2464x1711.jpg",2464,{"_type":1621,"caption":7,"image":10298},{"alt":7,"asset":10299},{"_id":10300,"height":10301,"orientation":1474,"ratio":10302,"url":10303,"width":10304},"image-5818387f1194ec6e367ba17bd90f5dd3c2f2fc37-2461x1690-jpg",1690,1.4562130177514794,"https://cdn.sanity.io/images/eodip22e/production/5818387f1194ec6e367ba17bd90f5dd3c2f2fc37-2461x1690.jpg",2461,{"_type":1625,"settings":10306,"text":10307},{"textColumnCount":1627},[10308],{"_key":10309,"_type":219,"children":10310,"markDefs":10315,"style":232},"f1a8785e30c8",[10311],{"_key":10312,"_type":223,"marks":10313,"text":10314},"1459e4d3306c0",[],"If only we could expand this radical empathy we feel for the apparent unstoppable loss of something, towards forming alliances to imagine a future in which this absence is not a void but a place for human and non-human resistance, maybe we could accomplish more, and collaborate with natural bodies like a glacier in an ecological revolution from the bottom up.",[],[10317,10327],{"_type":1733,"question":10318},[10319],{"_key":10320,"_type":219,"children":10321,"markDefs":10326,"style":232},"bdee34076f38",[10322],{"_key":10323,"_type":223,"marks":10324,"text":10325},"2ebf4c5f52ab0",[],"How can we learn from something that is disappearing?",[],{"_type":1733,"question":10328},[10329],{"_key":10330,"_type":219,"children":10331,"markDefs":10336,"style":232},"e68d39de1729",[10332],{"_key":10333,"_type":223,"marks":10334,"text":10335},"961d4fe683860",[],"How can we instrumentalize the post-glacial landscape as a tool for fostering collective knowledge?",[],[10338,107,10339,10340,2264,333,358,10003,10031,10095,10155,10341,10342,10343,3947,7204,1783,407,6486],"glacier rapport","how can we learn from something that is disappearing?","how can we instrumentalize the post-glacial landscape as a tool for fostering collective knowledge?","when a glacier disappears not only the geological archive of a place is lost, but also the tales and the future imaginary surrounding it dilute as well.\n\n\n\napproaching mourning as a learning methodology, we aim to create imaginative fictions that envision possible political realities. we project our own experiences in this melting body that includes all these layers of loss: memories, archives, ghosts, and grieving for something much bigger than us. dealing with absence as an overwhelming presence, that takes up space and different shapes; but that can also push forward radical change as it modifies the landscape and thus notions of national borders or urbanity.\n\n\n\nultimately, our goal is to imagine together scenarios for a post-glacial future, based on the production of a collective body of knowledge surrounding the glaciers, that can be instrumentalized towards giving political agency to the disappearing body itself.\n\n\n\nwe would like to unlearn the overwhelming feeling we have when dealing with scientific data, which limits us from collaborating with other disciplines and bridging the distance from the concept of the glacier itself. we would like to understand it, not as a remote or static entity, but as a dynamic agent of political, cultural, and ecological change in order to find methods that can create a more inclusive understanding of subjects that pertain to the commons, like the environment.","if only we could expand this radical empathy we feel for the apparent unstoppable loss of something, towards forming alliances to imagine a future in which this absence is not a void but a place for human and non-human resistance, maybe we could accomplish more, and collaborate with natural bodies like a glacier in an ecological revolution from the bottom up.","mourning a glacier",{"_type":9,"current":10345},"glacier-rapport","Glacier Rapport",{"_id":10348,"_type":1027,"categories":10349,"credits":10365,"featuredImage":10437,"filterables":10444,"footnotes":10454,"locations":10455,"logbook":10468,"pageBuilder":10604,"researchQuestion":7,"researchQuestions":10665,"searchables":10683,"seo":7,"slug":10691,"title":10693,"year":108},"b326bc1a-d5c1-47d0-8e3d-02d718d105e0",[10350,10354,10357,10361],{"_id":980,"_type":362,"colorPrimary":10351,"seo":7,"slug":10353,"title":983},{"label":1031,"value":10352},"#00a0a0",{"_type":9,"current":982},{"_id":510,"_type":362,"colorPrimary":10355,"seo":7,"slug":10356,"title":513},{"label":1031,"value":1060},{"_type":9,"current":512},{"_id":710,"_type":362,"colorPrimary":10358,"seo":7,"slug":10360,"title":713},{"label":1031,"value":10359},"#00b4b4",{"_type":9,"current":712},{"_id":645,"_type":362,"colorPrimary":10362,"seo":7,"slug":10364,"title":648},{"label":1031,"value":10363},"#a5ff00",{"_type":9,"current":647},{"other":7,"profiles":10366},[10367],{"_id":10368,"_type":1078,"activeYears":10369,"bio":10372,"bioShort":10404,"featuredImage":10405,"filterables":10412,"links":10415,"locations":10419,"searchables":10432,"seo":7,"slug":10434,"title":10436},"f6916f1f-f08f-4df9-b506-337ece4ee6fe",[10370],{"_id":105,"_type":99,"seo":7,"slug":10371,"title":108},{"_type":9,"current":107},[10373,10381,10389,10396],{"_key":10374,"_type":219,"children":10375,"markDefs":10380,"style":232},"4c1c1d9b6d36",[10376],{"_key":10377,"_type":223,"marks":10378,"text":10379},"9abddb09d9ab",[],"A daydreamer and a talker who likes to listen and wait for things to happen.",[],{"_key":10382,"_type":219,"children":10383,"markDefs":10388,"style":232},"c35e4cb0f4d0",[10384],{"_key":10385,"_type":223,"marks":10386,"text":10387},"186d8d563425",[],"Klara is a versatile researcher, writer, and performer, based between Berlin and Stockholm, with a BA from Design Academy Eindhoven. By experimenting with collective imaginations and exploring co-action, communication, and improvisation, through dialogues, translation, and audiovisual processes, they are incessantly deepening their understanding of and addiction to a tension between a radical irreverence for, and a delicate and honest approach to the English language.",[],{"_key":10390,"_type":219,"children":10391,"markDefs":10395,"style":232},"202e8c9d194c",[10392],{"_key":10393,"_type":223,"marks":10394,"text":1405},"41fb78dfdf550",[],[],{"_key":10397,"_type":219,"children":10398,"markDefs":10403,"style":232},"c9f9c3036d34",[10399],{"_key":10400,"_type":223,"marks":10401,"text":10402},"dd78eddc20860",[],"Klara Branting Paulsell lives in Berlin and Stockholm, and has a degree from Design Academy Eindhoven. They like writing and talking to people. They love and hate English at the same time.",[],"A daydreamer and a talker who likes to listen and wait for things to happen. \n",{"alt":10406,"asset":10407},"a self portrait",{"_id":10408,"height":5711,"orientation":1129,"ratio":10409,"url":10410,"width":10411},"image-e1c50a1556c6a74b783c055c1d3103fb18991c29-1736x2000-jpg",0.868,"https://cdn.sanity.io/images/eodip22e/production/e1c50a1556c6a74b783c055c1d3103fb18991c29-1736x2000.jpg",1736,{"filterYear":10413},[10414],{"_id":105,"title":108},[10416],{"_type":1138,"label":10417,"url":10418},"Pocket the Newsletter","https://pocketthenewsletter.substack.com",{"locations":10420,"other":10423},[10421],{"_id":331,"_type":308,"seo":7,"slug":10422,"title":334},{"_type":9,"current":333},[10424],{"_key":10425,"_type":219,"children":10426,"markDefs":10431,"style":232},"e3cf5e1457f9",[10427],{"_key":10428,"_type":223,"marks":10429,"text":10430},"a4e6276f04840",[],"Berlin and Stockholm",[],[10433,107],"klara branting paulsell",{"_type":9,"current":10435},"klara-branting-paulsell","Klara Branting Paulsell",{"alt":10438,"asset":10439},"Hitching a ride to enough english. (asking someone to take you with them on a journey to get to a comfortable level of the most spoken language in the world.",{"_id":10440,"height":10441,"orientation":1474,"ratio":10442,"url":10443,"width":5711},"image-c16823cba72052e54e81fb73806a37a45cd0a1f0-2000x1318-jpg",1318,1.5174506828528074,"https://cdn.sanity.io/images/eodip22e/production/c16823cba72052e54e81fb73806a37a45cd0a1f0-2000x1318.jpg",{"filterCategory":10445,"filterLocation":10450,"filterYear":10452},[10446,10447,10448,10449],{"_id":980,"title":983},{"_id":510,"title":513},{"_id":710,"title":713},{"_id":645,"title":648},[10451],{"_id":331,"title":334},[10453],{"_id":105,"title":108},[],{"locations":10456,"other":10459},[10457],{"_id":331,"_type":308,"seo":7,"slug":10458,"title":334},{"_type":9,"current":333},[10460],{"_key":10461,"_type":219,"children":10462,"markDefs":10467,"style":232},"66ece39ebae5",[10463],{"_key":10464,"_type":223,"marks":10465,"text":10466},"2cd54cc1259d",[],"Based in Berlin and online.",[],[10469,10477,10485,10493,10501,10509,10517,10525,10533,10541,10549,10557,10565,10573,10581,10589,10596],{"_key":10470,"_type":219,"children":10471,"markDefs":10476,"style":232},"550d9fb1e6c6",[10472],{"_key":10473,"_type":223,"marks":10474,"text":10475},"7a4a00c343fa",[],"Step 1:",[],{"_key":10478,"_type":219,"children":10479,"markDefs":10484,"style":232},"0202c021acfa",[10480],{"_key":10481,"_type":223,"marks":10482,"text":10483},"222960e61f6a",[],"Some questions. ",[],{"_key":10486,"_type":219,"children":10487,"markDefs":10492,"style":232},"4f945d31093b",[10488],{"_key":10489,"_type":223,"marks":10490,"text":10491},"582d1059ab7d",[],"Should I become a translator that knows how to write everything in A2?",[],{"_key":10494,"_type":219,"children":10495,"markDefs":10500,"style":232},"2f09d3904ece",[10496],{"_key":10497,"_type":223,"marks":10498,"text":10499},"271d2abf60c5",[],"Or could we see what happens if everyone gives it a go on their own to write their own A2 versions?",[],{"_key":10502,"_type":219,"children":10503,"markDefs":10508,"style":232},"db5d6ac8ded2",[10504],{"_key":10505,"_type":223,"marks":10506,"text":10507},"12fb8117d5a1",[],"Would it be interesting to hold workshops with fun methods to aid us all in re-phrasing into A2?",[],{"_key":10510,"_type":219,"children":10511,"markDefs":10516,"style":232},"26ddea159ab2",[10512],{"_key":10513,"_type":223,"marks":10514,"text":10515},"576b60619ce6",[],"How to incorporate this into the website? Maybe eventually there can be a full A2 version of the site, but before then, would it be better to just create an A2 Ways&Working and tag every page which has an A2 version so far?",[],{"_key":10518,"_type":219,"children":10519,"markDefs":10524,"style":232},"433063f2e4ac",[10520],{"_key":10521,"_type":223,"marks":10522,"text":10523},"77608fb2ddbe",[],"And some advice from my mom.",[],{"_key":10526,"_type":219,"children":10527,"markDefs":10532,"style":232},"c7f389ed44c9",[10528],{"_key":10529,"_type":223,"marks":10530,"text":10531},"4ba85e919b01",[],"She said I should call some journalists who produce simple language news stories on a daily basis and just ask them how they do it. ",[],{"_key":10534,"_type":219,"children":10535,"markDefs":10540,"style":232},"ec25598fd5b3",[10536],{"_key":10537,"_type":223,"marks":10538,"text":10539},"d4bb4d0fc43e",[],"Step 1 (A2 version):",[],{"_key":10542,"_type":219,"children":10543,"markDefs":10548,"style":232},"5e0e67dd21f3",[10544],{"_key":10545,"_type":223,"marks":10546,"text":10547},"b0206135e5d3",[],"Some questions.",[],{"_key":10550,"_type":219,"children":10551,"markDefs":10556,"style":232},"89ed18a1d550",[10552],{"_key":10553,"_type":223,"marks":10554,"text":10555},"8c5f4759797d",[],"Should I learn how to write anything in A2? Should that be my job?",[],{"_key":10558,"_type":219,"children":10559,"markDefs":10564,"style":232},"5c59393ba43e",[10560],{"_key":10561,"_type":223,"marks":10562,"text":10563},"86f9d16794bc",[],"Should everyone at the School of Commons have to write their own texts in A2?",[],{"_key":10566,"_type":219,"children":10567,"markDefs":10572,"style":232},"0f0bb324306f",[10568],{"_key":10569,"_type":223,"marks":10570,"text":10571},"24954f1a3343",[],"Maybe we can work together to find out how to do it?",[],{"_key":10574,"_type":219,"children":10575,"markDefs":10580,"style":232},"e6a2122d2038",[10576],{"_key":10577,"_type":223,"marks":10578,"text":10579},"c88ecc08491b",[],"How can the website have an A2 version? ",[],{"_key":10582,"_type":219,"children":10583,"markDefs":10588,"style":232},"58d6cc05c37a",[10584],{"_key":10585,"_type":223,"marks":10586,"text":10587},"29a26b96dae7",[],"Maybe having an A2 tag could be a good starting point?",[],{"_key":10590,"_type":219,"children":10591,"markDefs":10595,"style":232},"a1a4b8ea6ef7",[10592],{"_key":10593,"_type":223,"marks":10594,"text":10523},"9c33c58f69fc",[],[],{"_key":10597,"_type":219,"children":10598,"markDefs":10603,"style":232},"cfd891abe61a",[10599],{"_key":10600,"_type":223,"marks":10601,"text":10602},"df1e94308879",[],"She told me about a simple language news show, and told me to call the people working there. She told me to just ask them how they do it.",[],[10605,10609],{"_type":1621,"caption":7,"image":10606},{"alt":10607,"asset":10608},"Hitching a ride to enough english - Klara Branting Paulsell",{"_id":10440,"height":10441,"orientation":1474,"ratio":10442,"url":10443,"width":5711},{"_type":1625,"settings":10610,"text":10611},{"textColumnCount":1627},[10612,10620,10627,10635,10642,10650,10657],{"_key":10613,"_type":219,"children":10614,"markDefs":10619,"style":232},"537cab1fdcd7",[10615],{"_key":10616,"_type":223,"marks":10617,"text":10618},"d9fefc0957e70",[],"This is a project that is going to teach us how to say what we want to say, but in simple English. It’s a way to make the things written for or by the School of Commons more understandable to more people.",[],{"_key":10621,"_type":219,"children":10622,"markDefs":10626,"style":232},"473e85d3f6b9",[10623],{"_key":10624,"_type":223,"marks":10625,"text":1405},"635e395a0d630",[],[],{"_key":10628,"_type":219,"children":10629,"markDefs":10634,"style":232},"6cf3981883d7",[10630],{"_key":10631,"_type":223,"marks":10632,"text":10633},"e2fac3615d8c0",[],"The School of Commons is not only about words. But we use them to tell people about things. We like words. We use a lot of different ones!",[],{"_key":10636,"_type":219,"children":10637,"markDefs":10641,"style":232},"2fde38db28d1",[10638],{"_key":10639,"_type":223,"marks":10640,"text":1405},"f723a941dd5f0",[],[],{"_key":10643,"_type":219,"children":10644,"markDefs":10649,"style":232},"e06f8349a00d",[10645],{"_key":10646,"_type":223,"marks":10647,"text":10648},"0c0d41f90f500",[],"English is the most spoken language in the world. Some people speak it really well, and some only speak it a little. People who speak English really well can use easier words so that more people can understand.",[],{"_key":10651,"_type":219,"children":10652,"markDefs":10656,"style":232},"37a02ddcccdd",[10653],{"_key":10654,"_type":223,"marks":10655,"text":1405},"0f7630ae2a43",[],[],{"_key":10658,"_type":219,"children":10659,"markDefs":10664,"style":232},"18efa2d8480e",[10660],{"_key":10661,"_type":223,"marks":10662,"text":10663},"cf0f0f6b35d70",[],"A2 English means beginner-to-intermediate English. It is also sometimes called Very Low Proficiency English. In this project we will learn how to write in A2 English, and hopefully we will publish it.",[],[10666],{"_type":1733,"question":10667},[10668,10676],{"_key":10669,"_type":219,"children":10670,"markDefs":10675,"style":232},"6a2054001bbd",[10671],{"_key":10672,"_type":223,"marks":10673,"text":10674},"1db2096dfb2f0",[],"How can we say the same things but in A2 English?",[],{"_key":10677,"_type":219,"children":10678,"markDefs":10682,"style":232},"b1f9f1c26562",[10679],{"_key":10680,"_type":223,"marks":10681,"text":4778},"b1141534e58b0",[],[],[10684,107,10685,10686,333,10687,10433,10688,982,1789,10689,10690],"hitching a ride to enough english","how can we say the same things but in a2 english?\n\n\n","step 1:\n\nsome questions. \n\nshould i become a translator that knows how to write everything in a2?\n\nor could we see what happens if everyone gives it a go on their own to write their own a2 versions?\n\nwould it be interesting to hold workshops with fun methods to aid us all in re-phrasing into a2?\n\nhow to incorporate this into the website? maybe eventually there can be a full a2 version of the site, but before then, would it be better to just create an a2 ways&working and tag every page which has an a2 version so far?\n\nand some advice from my mom.\n\nshe said i should call some journalists who produce simple language news stories on a daily basis and just ask them how they do it. \n\nstep 1 (a2 version):\n\nsome questions.\n\nshould i learn how to write anything in a2? should that be my job?\n\nshould everyone at the school of commons have to write their own texts in a2?\n\nmaybe we can work together to find out how to do it?\n\nhow can the website have an a2 version? \n\nmaybe having an a2 tag could be a good starting point?\n\nand some advice from my mom.\n\nshe told me about a simple language news show, and told me to call the people working there. she told me to just ask them how they do it.","based in berlin and online.","this is a project that is going to teach us how to say what we want to say, but in simple english. it’s a way to make the things written for or by the school of commons more understandable to more people.\n\n\n\nthe school of commons is not only about words. but we use them to tell people about things. we like words. we use a lot of different ones!\n\n\n\nenglish is the most spoken language in the world. some people speak it really well, and some only speak it a little. people who speak english really well can use easier words so that more people can understand.\n\n\n\na2 english means beginner-to-intermediate english. it is also sometimes called very low proficiency english. in this project we will learn how to write in a2 english, and hopefully we will publish it.","low theory","hitching a ride",{"_type":9,"current":10692},"hitching-a-ride-to-enough-english","Hitching a Ride to Enough English",{"_id":10695,"_type":1027,"categories":10696,"credits":10707,"featuredImage":7,"filterables":10765,"footnotes":10775,"locations":10776,"logbook":10782,"pageBuilder":10791,"researchQuestion":7,"researchQuestions":10916,"searchables":10947,"seo":7,"slug":10956,"title":10958,"year":108},"0747cc92-b391-4337-a62a-981c4bc77cd4",[10697,10700,10703],{"_id":570,"_type":362,"colorPrimary":10698,"seo":7,"slug":10699,"title":573},{"label":1031,"value":5283},{"_type":9,"current":572},{"_id":780,"_type":362,"colorPrimary":10701,"seo":7,"slug":10702,"title":783},{"label":1031,"value":4713},{"_type":9,"current":782},{"_id":775,"_type":362,"colorPrimary":10704,"seo":7,"slug":10706,"title":778},{"label":1031,"value":10705},"#eb0000",{"_type":9,"current":777},{"other":7,"profiles":10708},[10709],{"_id":10710,"_type":1078,"activeYears":10711,"bio":10714,"bioShort":10730,"featuredImage":10731,"filterables":10739,"links":10742,"locations":10745,"searchables":10760,"seo":7,"slug":10762,"title":10764},"56e1763a-8194-4fb8-8d01-62bc77a1d128",[10712],{"_id":105,"_type":99,"seo":7,"slug":10713,"title":108},{"_type":9,"current":107},[10715,10723],{"_key":10716,"_type":219,"children":10717,"markDefs":10722,"style":232},"1f0b90321f74",[10718],{"_key":10719,"_type":223,"marks":10720,"text":10721},"05b0efa23d600",[],"Jere is a Lagos/Berlin-based artist working with performance, and immersive art to examine infrastructure, hyper-identity, marginalized histories, memory and the socio-political landscapes of cities, notably Lagos and Berlin, through installations that recontextualize public and personal archives. A practice with participatory performances, audiovisual elements, XR creating layered, interactive narratives highlighting informal resilience and individual stories. Jere’s artworks blur the line between physical and digital, the past, present, and future, creating a non-linear blend that presents a critical exploration of existing archives and a reimagination of public spaces (physical and digital).\n\nJere is a Magnum Foundation Fellow, a Digital Earth Fellow as well as a World Press Photo grantee and has been selected for the Lagos-Berlin Artist/Curator residency 2021, the Dekoloniale Berlin Residency 2023 as well as 2025 Artist and Scientist in Residence at Ligetizentrum Hamburg. Jere’s work has been shown at the Uferstudios by Tanzfabrik Berlin, Douglas Hyde Gallery, Dublin, 5th Odessa Biennale of Contemporary Art, International Symposium on Electronic Art (ISEA), Durban, the 11th Bienal do Mercosul, Porto Alegre, Savvy contemporary, Berlin, Hong-Gah Museum, Taiwan, ZKU Berlin, 2nd Lagos Biennale and Museum Rietberg, Zurich amongst others.\n\nJere is a member of the curatorial collective Tantdile Xperimenta Lab with work that advocates for intersectional visibility, challenging conventional histories through community-driven storytelling and immersive experiences.",[],{"_key":10724,"_type":219,"children":10725,"markDefs":10729,"style":232},"1fae51d15884",[10726],{"_key":10727,"_type":223,"marks":10728,"text":4778},"5a945b20d5700",[],[],"Jere is a Lagos/Berlin-based artist working with performance, and immersive art to examine infrastructure, hyper-identity, marginalized histories, memory and the socio-political landscapes of cities, notably Lagos and Berlin, through installations that recontextualize public and personal archives. ",{"alt":10732,"asset":10733},"Jere Portrait at Ligetizentrum_foto - Carsten Rabe",{"_id":10734,"height":10735,"orientation":1129,"ratio":10736,"url":10737,"width":10738},"image-020f965f6fda7e12ed3d8548b0ae86b17919dbd3-754x1150-png",1150,0.6556521739130434,"https://cdn.sanity.io/images/eodip22e/production/020f965f6fda7e12ed3d8548b0ae86b17919dbd3-754x1150.png",754,{"filterYear":10740},[10741],{"_id":105,"title":108},[10743],{"_type":1138,"label":1139,"url":10744},"https://jereikongio.com/",{"locations":10746,"other":10751},[10747,10749],{"_id":331,"_type":308,"seo":7,"slug":10748,"title":334},{"_type":9,"current":333},{"_id":311,"_type":308,"seo":7,"slug":10750,"title":314},{"_type":9,"current":313},[10752],{"_key":10753,"_type":219,"children":10754,"markDefs":10759,"style":232},"17001e391de2",[10755],{"_key":10756,"_type":223,"marks":10757,"text":10758},"e07cf95b35ce",[],"Based between Lagos and Berlin",[],[10761,107],"jere ikongio",{"_type":9,"current":10763},"jere-ikongio","Jere Ikongio",{"filterCategory":10766,"filterLocation":10770,"filterYear":10773},[10767,10768,10769],{"_id":570,"title":573},{"_id":780,"title":783},{"_id":775,"title":778},[10771,10772],{"_id":331,"title":334},{"_id":311,"title":314},[10774],{"_id":105,"title":108},[],{"locations":10777,"other":7},[10778,10780],{"_id":331,"_type":308,"seo":7,"slug":10779,"title":334},{"_type":9,"current":333},{"_id":311,"_type":308,"seo":7,"slug":10781,"title":314},{"_type":9,"current":313},[10783],{"_key":10784,"_type":219,"children":10785,"markDefs":10790,"style":232},"39e6e3d6e5c8",[10786],{"_key":10787,"_type":223,"marks":10788,"text":10789},"f9d7b2c570d40",[1559],"digital/physical interactive art, 2025",[],[10792,10809,10836,10853,10872,10889,10900],{"_type":1621,"caption":10793,"image":10802},[10794],{"_key":10795,"_type":219,"children":10796,"markDefs":10801,"style":232},"e9143c7b97b7",[10797],{"_key":10798,"_type":223,"marks":10799,"text":10800},"c51f661266ac0",[],"Screenshot of MAXMSP Patch for project",[],{"alt":10800,"asset":10803},{"_id":10804,"height":10805,"orientation":1474,"ratio":10806,"url":10807,"width":10808},"image-0bd96918be2270f04e0d0a3a95d337279221f14b-1910x1000-png",1000,1.91,"https://cdn.sanity.io/images/eodip22e/production/0bd96918be2270f04e0d0a3a95d337279221f14b-1910x1000.png",1910,{"_type":1625,"settings":10810,"text":10811},{"textColumnCount":1627},[10812,10820,10828],{"_key":10813,"_type":219,"children":10814,"markDefs":10819,"style":232},"811a6fb3cc73",[10815],{"_key":10816,"_type":223,"marks":10817,"text":10818},"b0399d262b770",[],"A sonic intervention based on decolonial theory, and african-centered & indigenous epistemologies. We explore the idea of ephemeral memorials with sonic interventions using living archives.",[],{"_key":10821,"_type":219,"children":10822,"markDefs":10827,"style":232},"868cb29506ea",[10823],{"_key":10824,"_type":223,"marks":10825,"text":10826},"010ca116acc50",[],"The experience allows participants to contribute to an open-source sound environment, proposed as a knowledge garden, where memory is planted, echoed, and continuously reshaped. The project uses an interactive MaxMSP patch with spoken word poetry and sound art elements.",[],{"_key":10829,"_type":219,"children":10830,"markDefs":10835,"style":232},"15d8b0efb225",[10831],{"_key":10832,"_type":223,"marks":10833,"text":10834},"b18b6eca969b0",[],"Participants are invited to add their own recordings, contributing to a living library that continues as a sound installation. The project reimagines this archive as a living, collaborative practice by guiding participants to reflect on their personal and collective memories through their interests and storytelling.",[],{"_type":1621,"caption":10837,"image":10846},[10838],{"_key":10839,"_type":219,"children":10840,"markDefs":10845,"style":232},"824b25d1ec1d",[10841],{"_key":10842,"_type":223,"marks":10843,"text":10844},"14e447c3a4cf0",[],"Detail, setting for intervention",[],{"alt":10844,"asset":10847},{"_id":10848,"height":10849,"orientation":1129,"ratio":10850,"url":10851,"width":10852},"image-86d97437d0f806f0d26009423db00ec0e906c88a-914x1220-png",1220,0.7491803278688525,"https://cdn.sanity.io/images/eodip22e/production/86d97437d0f806f0d26009423db00ec0e906c88a-914x1220.png",914,{"_type":1625,"settings":10854,"text":10855},{"textColumnCount":1627},[10856,10864],{"_key":10857,"_type":219,"children":10858,"markDefs":10863,"style":232},"5638734da11b",[10859],{"_key":10860,"_type":223,"marks":10861,"text":10862},"1c11b7f4eb34",[],"Drawing from the work of thinkers such as Achille Mbembe and Chimurenga, the project explores colonial temporalities and knowledge hierarchies by transforming the ephemeral and oral into a shared, audible commons.",[],{"_key":10865,"_type":219,"children":10866,"markDefs":10871,"style":232},"4c481b2b571e",[10867],{"_key":10868,"_type":223,"marks":10869,"text":10870},"2425d397b7a0",[],"The project has been developed and presented as part of Artist and Scientist in residence 2025 programme at the Ligeti Zentrum, a joint project founded by the Hamburg University of Music and Theatre, the Technical University of Hamburg, the Hamburg University of Applied Sciences and the University Medical Center Hamburg-Eppendorf.",[],{"_type":1621,"caption":10873,"image":10882},[10874],{"_key":10875,"_type":219,"children":10876,"markDefs":10881,"style":232},"fa0020f21d2c",[10877],{"_key":10878,"_type":223,"marks":10879,"text":10880},"72eba6e5c01b0",[],"public intervention, residency program, Ligetizentrum_foto - Carsten Rabe.jpg.jpg",[],{"alt":10880,"asset":10883},{"_id":10884,"height":10885,"orientation":1474,"ratio":10886,"url":10887,"width":10888},"image-e8d517fff1606265216ac8eee14a69afb575b964-1414x936-png",936,1.5106837606837606,"https://cdn.sanity.io/images/eodip22e/production/e8d517fff1606265216ac8eee14a69afb575b964-1414x936.png",1414,{"_type":1625,"settings":10890,"text":10891},{"textColumnCount":1627},[10892],{"_key":10893,"_type":219,"children":10894,"markDefs":10899,"style":232},"1bb2ee1c66da",[10895],{"_key":10896,"_type":223,"marks":10897,"text":10898},"87635b628de4",[],"At the moment there is ongoing research as part of the 2025 cohort of the prestigious School of Commons programme. An intervention is scheduled for the Reeperbahn festival 2026, Hamburg.",[],{"_type":1621,"caption":10901,"image":10910},[10902],{"_key":10903,"_type":219,"children":10904,"markDefs":10909,"style":232},"c63f720b448a",[10905],{"_key":10906,"_type":223,"marks":10907,"text":10908},"3bbe2876223b0",[],"Intervention, Ligetizentrum_foto - Carsten Rabe",[],{"alt":10908,"asset":10911},{"_id":10912,"height":10913,"orientation":1129,"ratio":10914,"url":10915,"width":9154},"image-120e4c8a87c616ba70cac1ec335efca2fe05bf06-1126x1688-png",1688,0.6670616113744076,"https://cdn.sanity.io/images/eodip22e/production/120e4c8a87c616ba70cac1ec335efca2fe05bf06-1126x1688.png",[10917,10927,10937],{"_type":1733,"question":10918},[10919],{"_key":10920,"_type":219,"children":10921,"markDefs":10926,"style":232},"f1f6a426b613",[10922],{"_key":10923,"_type":223,"marks":10924,"text":10925},"432001f3a3600",[],"How can the notion of “the archive” be reimagined beyond Western epistemologies to include knowledge systems rooted in oral traditions, ephemeral art, and embodied experience?",[],{"_type":1733,"question":10928},[10929],{"_key":10930,"_type":219,"children":10931,"markDefs":10936,"style":232},"f240f7920079",[10932],{"_key":10933,"_type":223,"marks":10934,"text":10935},"f0564a3af813",[],"How can decolonial frameworks, like those articulated by Mbembe in his reflections on the “postcolony,” inform the development of a multi-modal, collaborative knowledge platform?",[],{"_type":1733,"question":10938},[10939],{"_key":10940,"_type":219,"children":10941,"markDefs":10946,"style":232},"1b93730fbaf0",[10942],{"_key":10943,"_type":223,"marks":10944,"text":10945},"9da96ec74755",[],"What role do public spaces and the digital/physical environment play in reshaping historical narratives through participatory art and collective memory?",[],[10948,107,10949,10950,10951,10789,333,313,10761,10952,10953,10954,5643,4968,10955],"likon'yor - decolonising knowledge production through the unseen","how can the notion of “the archive” be reimagined beyond western epistemologies to include knowledge systems rooted in oral traditions, ephemeral art, and embodied experience?","how can decolonial frameworks, like those articulated by mbembe in his reflections on the “postcolony,” inform the development of a multi-modal, collaborative knowledge platform?","what role do public spaces and the digital/physical environment play in reshaping historical narratives through participatory art and collective memory?","a sonic intervention based on decolonial theory, and african-centered & indigenous epistemologies. we explore the idea of ephemeral memorials with sonic interventions using living archives.\n\nthe experience allows participants to contribute to an open-source sound environment, proposed as a knowledge garden, where memory is planted, echoed, and continuously reshaped. the project uses an interactive maxmsp patch with spoken word poetry and sound art elements.\n\nparticipants are invited to add their own recordings, contributing to a living library that continues as a sound installation. the project reimagines this archive as a living, collaborative practice by guiding participants to reflect on their personal and collective memories through their interests and storytelling.","drawing from the work of thinkers such as achille mbembe and chimurenga, the project explores colonial temporalities and knowledge hierarchies by transforming the ephemeral and oral into a shared, audible commons.\n\nthe project has been developed and presented as part of artist and scientist in residence 2025 programme at the ligeti zentrum, a joint project founded by the hamburg university of music and theatre, the technical university of hamburg, the hamburg university of applied sciences and the university medical center hamburg-eppendorf.","at the moment there is ongoing research as part of the 2025 cohort of the prestigious school of commons programme. an intervention is scheduled for the reeperbahn festival 2026, hamburg.","oral historicity",{"_type":9,"current":10957},"likon-yor-decolonising-knowledge-production-through-the-unseen","Likon'yor - decolonising knowledge production through the unseen",{"_id":10960,"_type":1027,"categories":10961,"credits":10966,"featuredImage":7,"filterables":11017,"footnotes":11022,"locations":7,"logbook":7,"pageBuilder":11023,"researchQuestion":7,"researchQuestions":11357,"searchables":11418,"seo":7,"slug":11429,"title":11037,"year":108},"b21680a7-ee51-4c54-b59b-5d7310f34284",[10962],{"_id":845,"_type":362,"colorPrimary":10963,"seo":7,"slug":10965,"title":848},{"label":1031,"value":10964},"#a0ffa0",{"_type":9,"current":847},{"other":7,"profiles":10967},[10968],{"_id":10969,"_type":1078,"activeYears":10970,"bio":10973,"bioShort":10990,"featuredImage":7,"filterables":10991,"links":10994,"locations":10999,"searchables":11012,"seo":7,"slug":11014,"title":11016},"723390f4-8117-4db0-9616-9d44bfcb7b2e",[10971],{"_id":105,"_type":99,"seo":7,"slug":10972,"title":108},{"_type":9,"current":107},[10974,10982],{"_key":10975,"_type":219,"children":10976,"markDefs":10981,"style":232},"a26edd99e234",[10977],{"_key":10978,"_type":223,"marks":10979,"text":10980},"9bd9993c076a0",[],"Nora reacts to specific social situations through object-design processes, creating object-encompassing constellations that invite exploration of social interactions which may initially feel familiar. In doing so, Nora is interested in making aspects of social interaction that tend to remain implicit momentarily explicit, opening them up for collective discussion and negotiation. ",[],{"_key":10983,"_type":219,"children":10984,"markDefs":10989,"style":232},"fc088cd3b096",[10985],{"_key":10986,"_type":223,"marks":10987,"text":10988},"7e99392dcbea",[],"Nora is a founding member of the music performance collective [sic]nals, which creates performances within installative settings and through the examination of early and newly composed music. She is currently pursuing a Master’s degree in Transdisciplinary Studies at the Zurich University of the Arts.",[],"Nora reacts to specific social situations through object-design processes that invite exploration of social interactions which may initially feel familiar. ",{"filterYear":10992},[10993],{"_id":105,"title":108},[10995,10997],{"_type":1138,"label":1142,"url":10996},"https://www.instagram.com/nora_sobbe/",{"_type":1138,"label":1139,"url":10998},"https://norasobbe.com",{"locations":11000,"other":11003},[11001],{"_id":331,"_type":308,"seo":7,"slug":11002,"title":334},{"_type":9,"current":333},[11004],{"_key":11005,"_type":219,"children":11006,"markDefs":11011,"style":232},"8dc556d02dc3",[11007],{"_key":11008,"_type":223,"marks":11009,"text":11010},"49b1a2cb0fc7",[],"based in Zurich ",[],[11013,107],"nora sobbe",{"_type":9,"current":11015},"nora-sobbe","Nora Sobbe",{"filterCategory":11018,"filterLocation":7,"filterYear":11020},[11019],{"_id":845,"title":848},[11021],{"_id":105,"title":108},[],[11024,11075,11106,11125,11334],{"_type":1625,"settings":11025,"text":11026},{"textColumnCount":1627},[11027,11043,11051,11059,11067],{"_key":11028,"_type":219,"children":11029,"markDefs":11042,"style":232},"19fcbfb2ea9b",[11030,11034,11038],{"_key":11031,"_type":223,"marks":11032,"text":11033},"a9d570308d2c0",[],"The project ",{"_key":11035,"_type":223,"marks":11036,"text":11037},"a9d570308d2c1",[1559],"Mentoring as Practice",{"_key":11039,"_type":223,"marks":11040,"text":11041},"a9d570308d2c6",[]," introduces a note-spitting machine (a machine, which spits out small pieces of paper with short text inputs) to people currently engaged as mentees or mentors, as well as to those interested in starting a mentoring relationship. Mentoring is a vessel for learning/teaching, often part of everyday study life at art universities. Students are accompanied by a mentor in developing their projects, with the mentor responding to the topics or projects the mentee brings to each session. The exact way of working is usually left to the individuals involved, making mentoring a format that raises the question of how and in what constellations we want to learn together.",[],{"_key":11044,"_type":219,"children":11045,"markDefs":11050,"style":232},"483fa3db7f64",[11046],{"_key":11047,"_type":223,"marks":11048,"text":11049},"43a0f3fb80920",[],"As a mentee, I often was not fully aware that, with each mentoring session, I was actually involved in shaping how mentoring could unfold; instead, I found myself questioning certain interactions in terms of how well they aligned with my preconceived notions of what mentoring is meant to be. I realized that unspoken and undiscussed assumptions about the mentee/mentor relationship may limit how we experiment with different ways of learning as mentees/mentors.",[],{"_key":11052,"_type":219,"children":11053,"markDefs":11058,"style":232},"237288f1de14",[11054],{"_key":11055,"_type":223,"marks":11056,"text":11057},"9019e4f872170",[],"This finding motivated the development of a note-spitting machine that initiates an exchange between various mentee/mentor constellations by circulating statements, questions, gestures, and methods. The machine accompanies mentoring sessions, spitting out notes randomly toward mentee or mentor and prompting both to reflect on and discuss their preconceptions of mentoring. A feeding station invites mentee and mentor to feed the mechanism with findings from their own exchange, which will inform upcoming mentoring sessions.",[],{"_key":11060,"_type":219,"children":11061,"markDefs":11066,"style":232},"37449a9f2ae5",[11062],{"_key":11063,"_type":223,"marks":11064,"text":11065},"98e819b0a8d40",[1559],"The project questions whether a structuralization of mentoring sessions might help to hold the openness of mentoring as a learning format and invite mentees and mentors to shape/enact mentoring as a practice.\n",[],{"_key":11068,"_type":219,"children":11069,"markDefs":11074,"style":232},"5c955ef1f380",[11070],{"_key":11071,"_type":223,"marks":11072,"text":11073},"e7f075fa67a00",[1559],"Kann eine punktuelle Formalisierung von Mentoring-Sessions Gestaltungsspielraum öffnen?",[],{"_type":1621,"caption":11076,"image":11100},[11077,11085,11093],{"_key":11078,"_type":219,"children":11079,"markDefs":11084,"style":232},"54f40067d422",[11080],{"_key":11081,"_type":223,"marks":11082,"text":11083},"f19fe9e08f07",[],"note-spitting mechanism ",[],{"_key":11086,"_type":219,"children":11087,"markDefs":11092,"style":232},"6ae9f13990af",[11088],{"_key":11089,"_type":223,"marks":11090,"text":11091},"f978dcab1488",[],"concept object: Nora Sobbe\nrealization object: Johannes Reck, Marcel Rickli\nphoto: ©Marcel Rickli",[],{"_key":11094,"_type":219,"children":11095,"markDefs":11099,"style":232},"d1db48abf8a7",[11096],{"_key":11097,"_type":223,"marks":11098,"text":1405},"df02a4d0ea3f",[],[],{"alt":7,"asset":11101},{"_id":11102,"height":11103,"orientation":1474,"ratio":3344,"url":11104,"width":11105},"image-4a3d6a0debfddd7dcf8e9ee3c8ba28bf31b27a48-2500x1875-jpg",1875,"https://cdn.sanity.io/images/eodip22e/production/4a3d6a0debfddd7dcf8e9ee3c8ba28bf31b27a48-2500x1875.jpg",2500,{"_type":1625,"settings":11107,"text":11108},{"textColumnCount":1627},[11109,11117],{"_key":11110,"_type":219,"children":11111,"markDefs":11116,"style":232},"06d0c04bf13a",[11112],{"_key":11113,"_type":223,"marks":11114,"text":11115},"5f277cdfe1fb0",[],"HOW THE NOTE-SPITTING-MACHINE WORKS: ",[],{"_key":11118,"_type":219,"children":11119,"markDefs":11124,"style":232},"9cebc4587382",[11120],{"_key":11121,"_type":223,"marks":11122,"text":11123},"9e86eeb07997",[],"The object is positioned during mentoring sessions between mentee (A) and mentor (B) and spits out notes at defined time intervals (within a random range) in the direction of A/B. The notes contain utterances/questions/gestures/methods. A or B is invited to read the note aloud to their counterpart in several ways: as an offer for interaction; by distancing themselves from it and thereby updating the mentoring setting as it exists; modifying it in contrast to the slip of paper; and so on. A feeding station is crucial for the setting, where the pool of statements and questions from which the object randomly selects is generated. Mentees and mentors are invited to type on a keyboard utterances/questions they would have liked to say/ask in a mentoring session to note actions waiting to be realized within a mentoring session (“I actually wish I had recorded the conversation.”) or to note actions/gestures that could become a method (“I brought strawberries from my neighbor’s garden, just take some!”). The notes are digitally saved and can be assigned to either A or B, or they are saved under the category “A/B”: here the object randomly decides whether the statement/question will be spat in the direction of A or B during upcoming mentoring sessions. The note-spitting machine draws on the digital storage that is generated by mentees and mentors at the feeding station.",[],{"_type":1625,"settings":11126,"text":11127},{"textColumnCount":1627},[11128,11136,11151,11159,11167,11175,11182,11190,11198,11206,11214,11222,11230,11238,11246,11254,11262,11270,11278,11286,11294,11302,11310,11326],{"_key":11129,"_type":219,"children":11130,"markDefs":11135,"style":232},"c0d712080dad",[11131],{"_key":11132,"_type":223,"marks":11133,"text":11134},"ac698c7cc70f0",[],"WORKSHOP WITH THE PEERS OF THE 25/26 SCHOOL OF COMMONS COHORT: ",[],{"_key":11137,"_type":219,"children":11138,"markDefs":11150,"style":232},"05fa31814427",[11139,11143,11146],{"_key":11140,"_type":223,"marks":11141,"text":11142},"cd1d51e23f20",[],"During the ",{"_key":11144,"_type":223,"marks":11145,"text":226},"ac698c7cc70f1",[1559],{"_key":11147,"_type":223,"marks":11148,"text":11149},"ac698c7cc70f6",[]," Gathering from July 4–6, I collected slips of paper with the peersof the 25/26 cohort for the note-spitting-machine. It was one of the first opportunities to generate notes for the spitting mechanism. In a roughly 50-minute workshop, we simulated mentoring sessions in which the note-spitting object was involved in an adapted form.",[],{"_key":11152,"_type":219,"children":11153,"markDefs":11158,"style":232},"0f8825e1edce",[11154],{"_key":11155,"_type":223,"marks":11156,"text":11157},"036d28e1535d0",[],"I asked the workshop participants to form groups of three. Each group member briefly introduced a topic or project they were currently working on and would like to explore further through discussion. In the next step, each group selected one of these topics or projects. The person who had proposed the chosen topic became the mentee, while the other two negotiated who would take on the role of note-taker during the conversation and who would act as the mentor. For approximately 30 minutes, participants were then invited to discuss the mentee’s topic, or, in the case of the note-taker, to document the conversation. The mentee could express in advance any preferences regarding what the notes should focus on.",[],{"_key":11160,"_type":219,"children":11161,"markDefs":11166,"style":232},"5be1fb2abdd7",[11162],{"_key":11163,"_type":223,"marks":11164,"text":11165},"27e978170e490",[],"To involve the note-spitting-machine in this setting with several mentoring sessions of three-person groups, it was necessary to adapt the way the object functioned, since it existed and currently exists only in a single version and cannot participate in multiple mentoring sessions simultaneously. I therefore positioned myself next to the spit mechanism, and every time the mechanism would have stuck out its tongue and spat out a slip, I projected a note labeled “Mentee:” / “Mentor.” Additionally, a small auditory signal was needed to draw the mentee’s and mentor’s attention to the “spat-out” slip. The mentee and mentor could then decide whether to integrate the statement/question/method/gesture written on the slip into their conversation or to distance themselves from it.",[],{"_key":11168,"_type":219,"children":11169,"markDefs":11174,"style":232},"0fd61bb2b221",[11170],{"_key":11171,"_type":223,"marks":11172,"text":11173},"a853b6835fee0",[],"At the end of the workshop, the groups were asked to use the final ten minutes to write down statements, questions, methods, or gestures that could inform future mentoring sessions:",[],{"_key":11176,"_type":219,"children":11177,"markDefs":11181,"style":232},"ee5c1427a5d5",[11178],{"_key":11179,"_type":223,"marks":11180,"text":1405},"c794d371b177",[],[],{"_key":11183,"_type":219,"children":11184,"markDefs":11189,"style":232},"17b238ab7bd3",[11185],{"_key":11186,"_type":223,"marks":11187,"text":11188},"50a7d9eea2c60",[],"Mentor: How does it show up/display in your context/culture?",[],{"_key":11191,"_type":219,"children":11192,"markDefs":11197,"style":232},"9bea667006e0",[11193],{"_key":11194,"_type":223,"marks":11195,"text":11196},"a6cd9173c7670",[],"Mentee/Mentor: Why is it not possible?",[],{"_key":11199,"_type":219,"children":11200,"markDefs":11205,"style":232},"76decda34a6a",[11201],{"_key":11202,"_type":223,"marks":11203,"text":11204},"0b1cdaad48510",[],"Mentee: How to work collectively? How to equally share responsibility in collective work?",[],{"_key":11207,"_type":219,"children":11208,"markDefs":11213,"style":232},"5b1770737109",[11209],{"_key":11210,"_type":223,"marks":11211,"text":11212},"60aca93a85f10",[],"Mentor: What are the challenges the Mentee faces from their own experience? Situated Knowledge",[],{"_key":11215,"_type":219,"children":11216,"markDefs":11221,"style":232},"8657e47a769d",[11217],{"_key":11218,"_type":223,"marks":11219,"text":11220},"05ca8819dfe80",[],"Mentor: Is a leader important? Is it leading or is it care work?",[],{"_key":11223,"_type":219,"children":11224,"markDefs":11229,"style":232},"b3f2ce64d545",[11225],{"_key":11226,"_type":223,"marks":11227,"text":11228},"03559e97b3f50",[],"Mentor: How did you first come up with the idea?",[],{"_key":11231,"_type":219,"children":11232,"markDefs":11237,"style":232},"8329eb9ac3dd",[11233],{"_key":11234,"_type":223,"marks":11235,"text":11236},"84911603e22a0",[],"Mentee: What made you ask this question?",[],{"_key":11239,"_type":219,"children":11240,"markDefs":11245,"style":232},"01a8a1148f7f",[11241],{"_key":11242,"_type":223,"marks":11243,"text":11244},"97cb9629dd9c0",[],"Mentor: Was what I just said helpful?",[],{"_key":11247,"_type":219,"children":11248,"markDefs":11253,"style":232},"f3db7719c5bd",[11249],{"_key":11250,"_type":223,"marks":11251,"text":11252},"c1b1745fd8170",[],"Mentor: Turn back to yourself!",[],{"_key":11255,"_type":219,"children":11256,"markDefs":11261,"style":232},"c9e46641e781",[11257],{"_key":11258,"_type":223,"marks":11259,"text":11260},"9006ed1b7c340",[],"Mentor: Let’s bring ChatGPT into conversation.",[],{"_key":11263,"_type":219,"children":11264,"markDefs":11269,"style":232},"cf7eb5833dfa",[11265],{"_key":11266,"_type":223,"marks":11267,"text":11268},"a56a8064c1db0",[],"Mentee: You could form a silly research/mutual aid group.",[],{"_key":11271,"_type":219,"children":11272,"markDefs":11277,"style":232},"4ae92f5648e3",[11273],{"_key":11274,"_type":223,"marks":11275,"text":11276},"80e9fb5110520",[],"Mentee/Mentor: How do you practice what you teach?",[],{"_key":11279,"_type":219,"children":11280,"markDefs":11285,"style":232},"5b9cc2c2c66c",[11281],{"_key":11282,"_type":223,"marks":11283,"text":11284},"669ae847e33b0",[],"Mentor: How can we be more silly + playful together?",[],{"_key":11287,"_type":219,"children":11288,"markDefs":11293,"style":232},"ea84a3e1cca5",[11289],{"_key":11290,"_type":223,"marks":11291,"text":11292},"b599614e68f60",[],"Mentee/Mentor: Both share personal experiences about the subject!",[],{"_key":11295,"_type":219,"children":11296,"markDefs":11301,"style":232},"77f0cb909376",[11297],{"_key":11298,"_type":223,"marks":11299,"text":11300},"3f3aeaec358d0",[],"Mentee/Mentor: Can you think about a starting point/initial state or instructions to start the book/practice?",[],{"_key":11303,"_type":219,"children":11304,"markDefs":11309,"style":232},"6d9c28c90c03",[11305],{"_key":11306,"_type":223,"marks":11307,"text":11308},"e9857d515d030",[],"Mentee/Mentor: When is it a good moment to receive feedback?",[],{"_key":11311,"_type":219,"children":11312,"markDefs":11325,"style":232},"839fb01664f9",[11313,11317,11321],{"_key":11314,"_type":223,"marks":11315,"text":11316},"37ed0a597fe50",[],"Mentee/Mentor: To use ",{"_key":11318,"_type":223,"marks":11319,"text":11320},"37ed0a597fe51",[1559],"DAS Theatre",{"_key":11322,"_type":223,"marks":11323,"text":11324},"37ed0a597fe54",[]," methods when a Mentor (What kind of feedback would you like).",[],{"_key":11327,"_type":219,"children":11328,"markDefs":11333,"style":232},"3f211f336037",[11329],{"_key":11330,"_type":223,"marks":11331,"text":11332},"a464dd958db30",[],"Mentor: What is another project/interest you have (for more perspective)?",[],{"_type":1621,"caption":11335,"image":11351},[11336,11344],{"_key":11337,"_type":219,"children":11338,"markDefs":11343,"style":232},"23432acf2f2e",[11339],{"_key":11340,"_type":223,"marks":11341,"text":11342},"de2164e212f00",[],"notes collected within the SoC Cohort 2025/2026",[],{"_key":11345,"_type":219,"children":11346,"markDefs":11350,"style":232},"285f6ec63d8c",[11347],{"_key":11348,"_type":223,"marks":11349,"text":3412},"7dc17c2220de0",[],[],{"alt":7,"asset":11352},{"_id":11353,"height":11354,"orientation":1474,"ratio":2585,"url":11355,"width":11356},"image-081b89d08f766d02aa6358c8a26fea71523d9a13-2280x1520-jpg",1520,"https://cdn.sanity.io/images/eodip22e/production/081b89d08f766d02aa6358c8a26fea71523d9a13-2280x1520.jpg",2280,[11358,11368,11378,11388,11398,11408],{"_type":1733,"question":11359},[11360],{"_key":11361,"_type":219,"children":11362,"markDefs":11367,"style":232},"77227da3d17b",[11363],{"_key":11364,"_type":223,"marks":11365,"text":11366},"c047776ba6210",[],"What resources are needed in order to enter into mentoring relationships?",[],{"_type":1733,"question":11369},[11370],{"_key":11371,"_type":219,"children":11372,"markDefs":11377,"style":232},"2ff6b23deb9e",[11373],{"_key":11374,"_type":223,"marks":11375,"text":11376},"48c66898e6ab",[],"How are mentoring relationships initiated?",[],{"_type":1733,"question":11379},[11380],{"_key":11381,"_type":219,"children":11382,"markDefs":11387,"style":232},"b70a89784986",[11383],{"_key":11384,"_type":223,"marks":11385,"text":11386},"b677e57b4567",[],"What role do differences in experience play in this form of relationship – or can they be understood as peer-to-peer encounters?",[],{"_type":1733,"question":11389},[11390],{"_key":11391,"_type":219,"children":11392,"markDefs":11397,"style":232},"dc4e5ace61e7",[11393],{"_key":11394,"_type":223,"marks":11395,"text":11396},"0ac40de0911e",[],"How does group mentoring differ from one-on-one mentoring situations?",[],{"_type":1733,"question":11399},[11400],{"_key":11401,"_type":219,"children":11402,"markDefs":11407,"style":232},"b4630a3b601f",[11403],{"_key":11404,"_type":223,"marks":11405,"text":11406},"d69a0b4864db",[],"How do mentoring relationships relate to other social forms such as friendship, partnership, or (chosen) family? Could mentoring perhaps be understood as a conversational mode that friendships, partnerships, and other relationships may temporarily adopt? Or does mentoring extend beyond the moment of speaking?",[],{"_type":1733,"question":11409},[11410],{"_key":11411,"_type":219,"children":11412,"markDefs":11417,"style":232},"6e748c2e93c3",[11413],{"_key":11414,"_type":223,"marks":11415,"text":11416},"737a58f0a3f1",[],"Do mentoring relationships serve a broader purpose that exceeds the one-on-one encounter?",[],[11419,107,11420,11421,11422,11423,11424,11425,11013,11426,11427,11428,847],"mentoring as practice","what resources are needed in order to enter into mentoring relationships?","how are mentoring relationships initiated?","what role do differences in experience play in this form of relationship – or can they be understood as peer-to-peer encounters?","how does group mentoring differ from one-on-one mentoring situations?","how do mentoring relationships relate to other social forms such as friendship, partnership, or (chosen) family? could mentoring perhaps be understood as a conversational mode that friendships, partnerships, and other relationships may temporarily adopt? or does mentoring extend beyond the moment of speaking?","do mentoring relationships serve a broader purpose that exceeds the one-on-one encounter?","the project mentoring as practice introduces a note-spitting machine (a machine, which spits out small pieces of paper with short text inputs) to people currently engaged as mentees or mentors, as well as to those interested in starting a mentoring relationship. mentoring is a vessel for learning/teaching, often part of everyday study life at art universities. students are accompanied by a mentor in developing their projects, with the mentor responding to the topics or projects the mentee brings to each session. the exact way of working is usually left to the individuals involved, making mentoring a format that raises the question of how and in what constellations we want to learn together.\n\nas a mentee, i often was not fully aware that, with each mentoring session, i was actually involved in shaping how mentoring could unfold; instead, i found myself questioning certain interactions in terms of how well they aligned with my preconceived notions of what mentoring is meant to be. i realized that unspoken and undiscussed assumptions about the mentee/mentor relationship may limit how we experiment with different ways of learning as mentees/mentors.\n\nthis finding motivated the development of a note-spitting machine that initiates an exchange between various mentee/mentor constellations by circulating statements, questions, gestures, and methods. the machine accompanies mentoring sessions, spitting out notes randomly toward mentee or mentor and prompting both to reflect on and discuss their preconceptions of mentoring. a feeding station invites mentee and mentor to feed the mechanism with findings from their own exchange, which will inform upcoming mentoring sessions.\n\nthe project questions whether a structuralization of mentoring sessions might help to hold the openness of mentoring as a learning format and invite mentees and mentors to shape/enact mentoring as a practice.\n\n\nkann eine punktuelle formalisierung von mentoring-sessions gestaltungsspielraum öffnen?","how the note-spitting-machine works: \n\nthe object is positioned during mentoring sessions between mentee (a) and mentor (b) and spits out notes at defined time intervals (within a random range) in the direction of a/b. the notes contain utterances/questions/gestures/methods. a or b is invited to read the note aloud to their counterpart in several ways: as an offer for interaction; by distancing themselves from it and thereby updating the mentoring setting as it exists; modifying it in contrast to the slip of paper; and so on. a feeding station is crucial for the setting, where the pool of statements and questions from which the object randomly selects is generated. mentees and mentors are invited to type on a keyboard utterances/questions they would have liked to say/ask in a mentoring session to note actions waiting to be realized within a mentoring session (“i actually wish i had recorded the conversation.”) or to note actions/gestures that could become a method (“i brought strawberries from my neighbor’s garden, just take some!”). the notes are digitally saved and can be assigned to either a or b, or they are saved under the category “a/b”: here the object randomly decides whether the statement/question will be spat in the direction of a or b during upcoming mentoring sessions. the note-spitting machine draws on the digital storage that is generated by mentees and mentors at the feeding station.","workshop with the peers of the 25/26 school of commons cohort: \n\nduring the school of commons gathering from july 4–6, i collected slips of paper with the peersof the 25/26 cohort for the note-spitting-machine. it was one of the first opportunities to generate notes for the spitting mechanism. in a roughly 50-minute workshop, we simulated mentoring sessions in which the note-spitting object was involved in an adapted form.\n\ni asked the workshop participants to form groups of three. each group member briefly introduced a topic or project they were currently working on and would like to explore further through discussion. in the next step, each group selected one of these topics or projects. the person who had proposed the chosen topic became the mentee, while the other two negotiated who would take on the role of note-taker during the conversation and who would act as the mentor. for approximately 30 minutes, participants were then invited to discuss the mentee’s topic, or, in the case of the note-taker, to document the conversation. the mentee could express in advance any preferences regarding what the notes should focus on.\n\nto involve the note-spitting-machine in this setting with several mentoring sessions of three-person groups, it was necessary to adapt the way the object functioned, since it existed and currently exists only in a single version and cannot participate in multiple mentoring sessions simultaneously. i therefore positioned myself next to the spit mechanism, and every time the mechanism would have stuck out its tongue and spat out a slip, i projected a note labeled “mentee:” / “mentor.” additionally, a small auditory signal was needed to draw the mentee’s and mentor’s attention to the “spat-out” slip. the mentee and mentor could then decide whether to integrate the statement/question/method/gesture written on the slip into their conversation or to distance themselves from it.\n\nat the end of the workshop, the groups were asked to use the final ten minutes to write down statements, questions, methods, or gestures that could inform future mentoring sessions:\n\n\n\nmentor: how does it show up/display in your context/culture?\n\nmentee/mentor: why is it not possible?\n\nmentee: how to work collectively? how to equally share responsibility in collective work?\n\nmentor: what are the challenges the mentee faces from their own experience? situated knowledge\n\nmentor: is a leader important? is it leading or is it care work?\n\nmentor: how did you first come up with the idea?\n\nmentee: what made you ask this question?\n\nmentor: was what i just said helpful?\n\nmentor: turn back to yourself!\n\nmentor: let’s bring chatgpt into conversation.\n\nmentee: you could form a silly research/mutual aid group.\n\nmentee/mentor: how do you practice what you teach?\n\nmentor: how can we be more silly + playful together?\n\nmentee/mentor: both share personal experiences about the subject!\n\nmentee/mentor: can you think about a starting point/initial state or instructions to start the book/practice?\n\nmentee/mentor: when is it a good moment to receive feedback?\n\nmentee/mentor: to use das theatre methods when a mentor (what kind of feedback would you like).\n\nmentor: what is another project/interest you have (for more perspective)?",{"_type":9,"current":11430},"mentoring-as-practice",{"_id":11432,"_type":1027,"categories":11433,"credits":11437,"featuredImage":11504,"filterables":11507,"footnotes":11514,"locations":11515,"logbook":7,"pageBuilder":11519,"researchQuestion":7,"researchQuestions":7,"searchables":11561,"seo":7,"slug":11564,"title":11505,"year":108},"d3d1357f-6f4b-4816-a632-f531f6afb8ca",[11434],{"_id":815,"_type":362,"colorPrimary":11435,"seo":7,"slug":11436,"title":818},{"label":1031,"value":1052},{"_type":9,"current":817},{"other":7,"profiles":11438},[11439],{"_id":11440,"_type":1078,"activeYears":11441,"bio":11444,"bioShort":11469,"featuredImage":11470,"filterables":11478,"links":11481,"locations":11485,"searchables":11498,"seo":11500,"slug":11502,"title":11471},"3ba8f84e-f64a-4788-bd7f-4ee213cd575b",[11442],{"_id":105,"_type":99,"seo":7,"slug":11443,"title":108},{"_type":9,"current":107},[11445],{"_key":11446,"_type":219,"children":11447,"markDefs":11468,"style":232},"cb7ea8630e1d",[11448,11452,11456,11460,11464],{"_key":11449,"_type":223,"marks":11450,"text":11451},"4b70dd217a4a0",[],"Shortwave Collective is an international feminist artist group using the radio spectrum as artistic material. We spend time together remotely and in hybrid forms, making, testing, and sharing. Through this collective practice, we have created a new design for a homemade, ecological, and open radio receiver that connects the listener to a fusion of natural radio emissions and many human-generated transmissions. A year after our founding, we published this design in MAKE magazine (2021) and have since delivered workshops nationally and internationally, developing new models through a participatory practice. During our public art project ",{"_key":11453,"_type":223,"marks":11454,"text":11455},"4b70dd217a4a1",[1559],"Living Radio Lab ",{"_key":11457,"_type":223,"marks":11458,"text":11459},"4b70dd217a4a2",[],"as part of Struer Tracks Biennial for Sound and Listening (2023), we invited festival-goers and local residents to develop simple amplifiers in oyster shells with us. We recently published reflections on our methodology for radio-listening as a plural, situated, and embodied endeavour in ",{"_key":11461,"_type":223,"marks":11462,"text":11463},"4b70dd217a4a3",[1559],"Bodies of Sound: Becoming a Feminist Ear ",{"_key":11465,"_type":223,"marks":11466,"text":11467},"4b70dd217a4a4",[],"(eds. Revell & Shin, 2024). We also shared our collective listening practice in a 22-hour radio broadcast for Radio Art Zone (2022), a 24-hour transmission for PAM Common Art Collective (2025), and a piece for BBC Short Cuts (2025).",[],"Shortwave Collective is an international feminist group using the electromagetic spectrum as artistic material. Active members: Alyssa Moxley, Brigitte Hart, Georgia Leigh-Münster, Hannah Kemp-Welch, Maria Papadomanolaki.",{"alt":11471,"asset":11472},"Shortwave Collective",{"_id":11473,"height":11474,"orientation":1474,"ratio":11475,"url":11476,"width":11477},"image-0021fb6a0cbb93893ddcc7085fb4204a6f4840ee-964x636-png",636,1.5157232704402517,"https://cdn.sanity.io/images/eodip22e/production/0021fb6a0cbb93893ddcc7085fb4204a6f4840ee-964x636.png",964,{"filterYear":11479},[11480],{"_id":105,"title":108},[11482],{"_type":1138,"label":11483,"url":11484},"shortwavecollective.net","http://www.shortwavecollective.net",{"locations":11486,"other":11489},[11487],{"_id":356,"_type":308,"seo":7,"slug":11488,"title":359},{"_type":9,"current":358},[11490],{"_key":11491,"_type":219,"children":11492,"markDefs":11497,"style":232},"8ef597b7adfe",[11493],{"_key":11494,"_type":223,"marks":11495,"text":11496},"43b8898fd2d2",[],"International",[],[11499,107],"shortwave collective",{"metaDescription":11501,"metaTitle":11471,"shareImage":7},"A biography of Shortwave Collective as part of the School of Commons project.",{"_type":9,"current":11503},"shortwave-collective",{"alt":11505,"asset":11506},"Radio-dreaming into the Electromagnetic Commons",{"_id":11473,"height":11474,"orientation":1474,"ratio":11475,"url":11476,"width":11477},{"filterCategory":11508,"filterLocation":11510,"filterYear":11512},[11509],{"_id":815,"title":818},[11511],{"_id":356,"title":359},[11513],{"_id":105,"title":108},[],{"locations":11516,"other":7},[11517],{"_id":356,"_type":308,"seo":7,"slug":11518,"title":359},{"_type":9,"current":358},[11520],{"_type":1625,"settings":11521,"text":11522},{"textColumnCount":1627},[11523,11531,11538,11546,11553],{"_key":11524,"_type":219,"children":11525,"markDefs":11530,"style":232},"9d5ee04b60b3",[11526],{"_key":11527,"_type":223,"marks":11528,"text":11529},"34e17066bc510",[],"Over the past five years, our work has focused on broad frequency radio reception: designing radio receivers, antennas and other devices that allow us to transduce the electromagnetic waves around us into sound. We’ve considered ‘plural’ ways of listening and developed a collective practice around radio-making. We’d now like to tune our research to consider what we hear—and what we don’t.",[],{"_key":11532,"_type":219,"children":11533,"markDefs":11537,"style":232},"7002ca3e8172",[11534],{"_key":11535,"_type":223,"marks":11536,"text":1405},"d4dc8aa04a780",[],[],{"_key":11539,"_type":219,"children":11540,"markDefs":11545,"style":232},"ec27c183654a",[11541],{"_key":11542,"_type":223,"marks":11543,"text":11544},"64b032d05e350",[],"The radio spectrum is partitioned into ‘bands’ of frequencies by international coordination and national regulation. Bands are allocated for different purposes, such as broadcasting, aviation, mobile networks, satellites and amateur communications. Though radio waves are infinite, the range of their frequencies is finite, making the spectrum a valuable resource. Corporations that rely on radio waves for their technological products (mobile networks, satellite firms, etc) lobby governments to prioritise their use. As such, control over frequency allocation is both a technical and a political issue.",[],{"_key":11547,"_type":219,"children":11548,"markDefs":11552,"style":232},"3012c8e58a72",[11549],{"_key":11550,"_type":223,"marks":11551,"text":1405},"20a09ac187f20",[],[],{"_key":11554,"_type":219,"children":11555,"markDefs":11560,"style":232},"7bbe255277b9",[11556],{"_key":11557,"_type":223,"marks":11558,"text":11559},"c1bca5fdf9500",[],"We stand with those communities who argue that radio waves, as a natural resource, are a global commons. Access to and use of the spectrum should be fair, transparent and equitable. Learning from the proposals for ‘electromagnetic commons’ by Soph Dyer (2017) as well as the advocacy of Celeste Oram (2024), our project aims to spark collective conversations on this topic and (re)imagine how spectrum could be shared. In so doing, we will think through methodologies for collective resource sharing, drawing from feminist theory and beyond.",[],[11562,107,358,11499,11563,817],"radio-dreaming into the electromagnetic commons","over the past five years, our work has focused on broad frequency radio reception: designing radio receivers, antennas and other devices that allow us to transduce the electromagnetic waves around us into sound. we’ve considered ‘plural’ ways of listening and developed a collective practice around radio-making. we’d now like to tune our research to consider what we hear—and what we don’t.\n\n\n\nthe radio spectrum is partitioned into ‘bands’ of frequencies by international coordination and national regulation. bands are allocated for different purposes, such as broadcasting, aviation, mobile networks, satellites and amateur communications. though radio waves are infinite, the range of their frequencies is finite, making the spectrum a valuable resource. corporations that rely on radio waves for their technological products (mobile networks, satellite firms, etc) lobby governments to prioritise their use. as such, control over frequency allocation is both a technical and a political issue.\n\n\n\nwe stand with those communities who argue that radio waves, as a natural resource, are a global commons. access to and use of the spectrum should be fair, transparent and equitable. learning from the proposals for ‘electromagnetic commons’ by soph dyer (2017) as well as the advocacy of celeste oram (2024), our project aims to spark collective conversations on this topic and (re)imagine how spectrum could be shared. in so doing, we will think through methodologies for collective resource sharing, drawing from feminist theory and beyond.",{"_type":9,"current":11565},"radio-dreaming",{"_id":11567,"_type":1027,"categories":11568,"credits":11582,"featuredImage":11750,"filterables":11757,"footnotes":11767,"locations":11768,"logbook":7,"pageBuilder":11781,"researchQuestion":7,"researchQuestions":11812,"searchables":11846,"seo":7,"slug":11855,"title":11857,"year":108},"f37789e7-a992-4aa3-b378-638c7f61779e",[11569,11572,11576,11579],{"_id":905,"_type":362,"colorPrimary":11570,"seo":7,"slug":11571,"title":908},{"label":1031,"value":4475},{"_type":9,"current":907},{"_id":870,"_type":362,"colorPrimary":11573,"seo":7,"slug":11575,"title":873},{"label":1031,"value":11574},"#7f40ff",{"_type":9,"current":872},{"_id":900,"_type":362,"colorPrimary":11577,"seo":7,"slug":11578,"title":903},{"label":1031,"value":4987},{"_type":9,"current":902},{"_id":450,"_type":362,"colorPrimary":11580,"seo":7,"slug":11581,"title":453},{"label":1031,"value":8450},{"_type":9,"current":452},{"other":7,"profiles":11583},[11584,11675],{"_id":11585,"_type":1078,"activeYears":11586,"bio":11589,"bioShort":11644,"featuredImage":11645,"filterables":11651,"links":11654,"locations":11657,"searchables":11670,"seo":7,"slug":11672,"title":11674},"e31cc970-b716-4cab-91dc-b1b671a1f410",[11587],{"_id":105,"_type":99,"seo":7,"slug":11588,"title":108},{"_type":9,"current":107},[11590,11614,11621,11629,11636],{"_key":11591,"_type":219,"children":11592,"markDefs":11613,"style":232},"abe9b60deeab",[11593,11597,11601,11605,11609],{"_key":11594,"_type":223,"marks":11595,"text":11596},"d89ab7fac7fb0",[],"Her work focuses on the materiality of information circulation (archival, linguistic, and biological) and exploits the narrative opportunities presented at critical junctures in the transcription, translation, and dissemination of information. Her research-intensive and collaborative practice focuses on hyperlocal and diasporic histories. Her writing has appeared in ",{"_key":11598,"_type":223,"marks":11599,"text":11600},"d89ab7fac7fb1",[1559],"Art in America, Artforum, Frieze, PIN-UP, Resident Advisor, ",{"_key":11602,"_type":223,"marks":11603,"text":11604},"d89ab7fac7fb2",[],"and",{"_key":11606,"_type":223,"marks":11607,"text":11608},"d89ab7fac7fb3",[1559]," Cultured, ",{"_key":11610,"_type":223,"marks":11611,"text":11612},"d89ab7fac7fb4",[],"among other publications.",[],{"_key":11615,"_type":219,"children":11616,"markDefs":11620,"style":232},"23165a49b0f8",[11617],{"_key":11618,"_type":223,"marks":11619,"text":1405},"e7a0391fb2590",[],[],{"_key":11622,"_type":219,"children":11623,"markDefs":11628,"style":232},"2e6575545f92",[11624],{"_key":11625,"_type":223,"marks":11626,"text":11627},"cce76ee1b3d70",[],"She manages the photographic collection at Archivo El Insulto, an archive dedicated to conserving materials related to dissident sexualities that circulated in Mexico during the 20th century. As an archivist, she focuses on foregrounding circulation over provenance, developing haptic relationships with records, and resituating the place of microorganisms and other beings within the archival environment.",[],{"_key":11630,"_type":219,"children":11631,"markDefs":11635,"style":232},"a29a17059b81",[11632],{"_key":11633,"_type":223,"marks":11634,"text":1405},"1fafab2731a60",[],[],{"_key":11637,"_type":219,"children":11638,"markDefs":11643,"style":232},"2e97107851b2",[11639],{"_key":11640,"_type":223,"marks":11641,"text":11642},"8aebdd1274940",[],"As a host and facilitator of Sala de Té, she works alongside multimedia artists to create situated installations and narratives, considering the act of serving and sharing tea as providing not just hospitality but vectors for critical pedagogies.",[],"Layla (New York, 1993) is a writer, archivist, translator, and independent researcher living in Mexico City. ",{"alt":7,"asset":11646},{"_id":11647,"height":11648,"orientation":1474,"ratio":11649,"url":11650,"width":7308},"image-88aee35f95bdbcd85aafa731243ace99a51e3a1c-1500x1324-jpg",1324,1.1329305135951662,"https://cdn.sanity.io/images/eodip22e/production/88aee35f95bdbcd85aafa731243ace99a51e3a1c-1500x1324.jpg",{"filterYear":11652},[11653],{"_id":105,"title":108},[11655],{"_type":1138,"label":1142,"url":11656},"https://www.instagram.com/laylaajoon/",{"locations":11658,"other":11661},[11659],{"_id":341,"_type":308,"seo":7,"slug":11660,"title":344},{"_type":9,"current":343},[11662],{"_key":11663,"_type":219,"children":11664,"markDefs":11669,"style":232},"b2e48a9ef009",[11665],{"_key":11666,"_type":223,"marks":11667,"text":11668},"b819d8bb9b260",[],"Based in Mexico City",[],[11671,107],"layla fassa",{"_type":9,"current":11673},"layla-fassa","Layla Fassa",{"_id":11676,"_type":1078,"activeYears":7,"bio":11677,"bioShort":11726,"featuredImage":11727,"filterables":11734,"links":11735,"locations":11739,"searchables":11745,"seo":7,"slug":11747,"title":11749},"7d0e825f-8867-4f86-8793-8c0aa5d41a88",[11678,11686,11710],{"_key":11679,"_type":219,"children":11680,"markDefs":11685,"style":232},"ca8340873421",[11681],{"_key":11682,"_type":223,"marks":11683,"text":11684},"ced891151b3b0",[],"Guillermo Martinez de Velasco (Mexico City, 1988) is a multidisciplinary artist and researcher working at the intersections of sound, speculative world-building, and political ecology. His work engages sound, oral storytelling, and speculative world-building as tools for investigating ecological transformation, collective memory, and low-tech futurisms. With a background in cultural studies and urban research, their practice moves fluidly between installation, composition, pedagogy, and collaboration.",[],{"_key":11687,"_type":219,"children":11688,"markDefs":11709,"style":232},"5b1075d46260",[11689,11693,11697,11701,11705],{"_key":11690,"_type":223,"marks":11691,"text":11692},"4bc215497bfb0",[],"They have presented work at Museo Tamayo, Materia Art Fair, SET Woolwich, and other independent and institutional spaces. Their ongoing project ",{"_key":11694,"_type":223,"marks":11695,"text":11696},"4bc215497bfb1",[1559],"Sound Ecology",{"_key":11698,"_type":223,"marks":11699,"text":11700},"4bc215497bfb2",[]," (2021–2025), hosted by Internet Public Radio, explores sonic entanglements across environmental and political contexts. They are currently a resident in ",{"_key":11702,"_type":223,"marks":11703,"text":11704},"4bc215497bfb3",[1559],"Organismo Year One",{"_key":11706,"_type":223,"marks":11707,"text":11708},"4bc215497bfb4",[],", a collaborative program with TBA-21 and the Thyssen-Bornemisza Museum in Madrid where his team is developing a long duration land-intervention piece in collaboration with  Laure Prouvost.",[],{"_key":11711,"_type":219,"children":11712,"markDefs":11725,"style":232},"585dd6e81cc4",[11713,11717,11721],{"_key":11714,"_type":223,"marks":11715,"text":11716},"c21cd047c85b0",[],"As a host and facilitator of ",{"_key":11718,"_type":223,"marks":11719,"text":11720},"c21cd047c85b1",[1559],"Sala de Té",{"_key":11722,"_type":223,"marks":11723,"text":11724},"c21cd047c85b2",[],", they create itinerant environments for deep listening, narrative experimentation, and communal reflection, considering the act of sharing tea as a soft infrastructure for learning and co-imagining possible worlds.",[],"Guillermo Martinez de Velasco (Mexico City, 1988) is an artist, musician and political ecologist from Mexico City. \n",{"alt":7,"asset":11728},{"_id":11729,"height":11730,"orientation":1129,"ratio":11731,"url":11732,"width":11733},"image-cee7117060c7e4dce8f90ccae06e747b3e77f216-1408x1877-jpg",1877,0.7501331912626532,"https://cdn.sanity.io/images/eodip22e/production/cee7117060c7e4dce8f90ccae06e747b3e77f216-1408x1877.jpg",1408,{"filterYear":7},[11736],{"_type":1138,"label":11737,"url":11738},"Socials","https://www.instagram.com/1climatecollapse",{"locations":11740,"other":7},[11741,11743],{"_id":331,"_type":308,"seo":7,"slug":11742,"title":334},{"_type":9,"current":333},{"_id":356,"_type":308,"seo":7,"slug":11744,"title":359},{"_type":9,"current":358},[11746],"guillermo martínez de velasco",{"_type":9,"current":11748},"guillermo-martinez-de-velasco","Guillermo Martínez de Velasco",{"alt":11751,"asset":11752},"serving tea",{"_id":11753,"height":11754,"orientation":1474,"ratio":11755,"url":11756,"width":7308},"image-143222a14998a22d1fb2d1757b204424377a14e9-1500x957-jpg",957,1.567398119122257,"https://cdn.sanity.io/images/eodip22e/production/143222a14998a22d1fb2d1757b204424377a14e9-1500x957.jpg",{"filterCategory":11758,"filterLocation":11763,"filterYear":11765},[11759,11760,11761,11762],{"_id":905,"title":908},{"_id":870,"title":873},{"_id":900,"title":903},{"_id":450,"title":453},[11764],{"_id":341,"title":344},[11766],{"_id":105,"title":108},[],{"locations":11769,"other":11772},[11770],{"_id":341,"_type":308,"seo":7,"slug":11771,"title":344},{"_type":9,"current":343},[11773],{"_key":11774,"_type":219,"children":11775,"markDefs":11780,"style":232},"479c07b31a84",[11776],{"_key":11777,"_type":223,"marks":11778,"text":11779},"d49c9c2bfc25",[],"Founded in Mexico City, enacted worldwide.",[],[11782,11785],{"_type":1621,"caption":7,"image":11783},{"alt":7,"asset":11784},{"_id":11753,"height":11754,"orientation":1474,"ratio":11755,"url":11756,"width":7308},{"_type":1625,"settings":11786,"text":11787},{"textColumnCount":1627},[11788,11796,11804],{"_key":11789,"_type":219,"children":11790,"markDefs":11795,"style":232},"eab52b4924e8",[11791],{"_key":11792,"_type":223,"marks":11793,"text":11794},"1c255ef7e5ad0",[],"Sala de Té is an itinerant tea room that creates a temporary space for knowledge exchange and deep listening practices. Founded in Mexico City in 2022, this collaborative practice utilizes a samovar tea set and a spread of mats, rugs, and cushions to create independent yet permeable architectures in public spaces. Participants co-create situated installations and narratives, proposing that serving and sharing tea is both an act of hospitality and a vector for critical pedagogies.",[],{"_key":11797,"_type":219,"children":11798,"markDefs":11803,"style":232},"611086eee5dd",[11799],{"_key":11800,"_type":223,"marks":11801,"text":11802},"2f5d077385090",[],"For the duration of School of Commons, we proposed a tea room series to explore [an itinerant, unwalled Paradise for cultivating climate futures] through speculative archeology and architecture. How can we prepare for uncertain futures by establishing the framework for efficient self-organising? Our principal project in this series, Tensile Paradise, is a mobile participatory intervention informed by traditional Iranian tea rooms and the vernacular architecture of Mexican protest movements. It is a hands-on research project that aims to explore structures of organizing by organizing a structure. As part of its guiding line, our collective examines the structure of different types of human organisations throughout history that have managed to operate effectively despite limited resources and personnel. Examples include nomadic herding communities, partisan movements during WW2, independent workers' unions, online fan clubs, climate activists, pirate gangs, etc. By analyzing their structure, a web of connection points between their differing structures can be drawn up and recreated using tensile architecture. During our activations, we encourage participants to take on self-assigned roles to collaborate on constructing a self-standing structure held together only by its tensile strength. There are no blueprints. However, in negotiating the tension of the connecting cords between each node, participants explore both the structure of organizations and also how their organizing results in a structure, both physical and social.",[],{"_key":11805,"_type":219,"children":11806,"markDefs":11811,"style":232},"5fc8fb679a3d",[11807],{"_key":11808,"_type":223,"marks":11809,"text":11810},"33b429f66cd60",[],"The completed structure transforms into a tearoom. Within it, the collective drinks tea together, made and served from an Iranian samovar. Hospitality and conviviality turn structure-building into place-making. During this time, a guided reflection on the experience of organizing is discussed using the newly built structure as a parallel metaphor. Where did communication break down, and what are the structural weak points? How are these weak points compensated for with structural connections elsewhere?",[],[11813],{"_type":1733,"question":11814},[11815,11823,11831,11839],{"_key":11816,"_type":219,"children":11817,"markDefs":11822,"style":232},"4eae392129e4",[11818],{"_key":11819,"_type":223,"marks":11820,"text":11821},"4ceb6680b5520",[],"What strategies and tools can we collectively compile to create an accessible and deployable toolkit for communities and ecosystems facing climate instability and precarity?",[],{"_key":11824,"_type":219,"children":11825,"markDefs":11830,"style":232},"a1f924b943a5",[11826],{"_key":11827,"_type":223,"marks":11828,"text":11829},"8b8d2aef54100",[],"How can we learn and adapt technologies and strategies from cultures that have already devised collective solutions to collective problems?",[],{"_key":11832,"_type":219,"children":11833,"markDefs":11838,"style":232},"2fc57294ffdc",[11834],{"_key":11835,"_type":223,"marks":11836,"text":11837},"c0c50c7584c20",[],"How can we encourage the commoning of knowledge exchange by building temporary and permeable spaces-within-spaces?",[],{"_key":11840,"_type":219,"children":11841,"markDefs":11845,"style":232},"9baecddd6b0c",[11842],{"_key":11843,"_type":223,"marks":11844,"text":4778},"9e7546e553120",[],[],[11847,107,11848,11849,11850,11671,11746,11851,11852,11853,5228,11854],"sala de té [an itinerant, unwalled paradise for cultivating climate futures]","what strategies and tools can we collectively compile to create an accessible and deployable toolkit for communities and ecosystems facing climate instability and precarity?\n\nhow can we learn and adapt technologies and strategies from cultures that have already devised collective solutions to collective problems?\n\nhow can we encourage the commoning of knowledge exchange by building temporary and permeable spaces-within-spaces?\n\n\n","north america","founded in mexico city, enacted worldwide.","sala de té is an itinerant tea room that creates a temporary space for knowledge exchange and deep listening practices. founded in mexico city in 2022, this collaborative practice utilizes a samovar tea set and a spread of mats, rugs, and cushions to create independent yet permeable architectures in public spaces. participants co-create situated installations and narratives, proposing that serving and sharing tea is both an act of hospitality and a vector for critical pedagogies.\n\nfor the duration of school of commons, we proposed a tea room series to explore [an itinerant, unwalled paradise for cultivating climate futures] through speculative archeology and architecture. how can we prepare for uncertain futures by establishing the framework for efficient self-organising? our principal project in this series, tensile paradise, is a mobile participatory intervention informed by traditional iranian tea rooms and the vernacular architecture of mexican protest movements. it is a hands-on research project that aims to explore structures of organizing by organizing a structure. as part of its guiding line, our collective examines the structure of different types of human organisations throughout history that have managed to operate effectively despite limited resources and personnel. examples include nomadic herding communities, partisan movements during ww2, independent workers' unions, online fan clubs, climate activists, pirate gangs, etc. by analyzing their structure, a web of connection points between their differing structures can be drawn up and recreated using tensile architecture. during our activations, we encourage participants to take on self-assigned roles to collaborate on constructing a self-standing structure held together only by its tensile strength. there are no blueprints. however, in negotiating the tension of the connecting cords between each node, participants explore both the structure of organizations and also how their organizing results in a structure, both physical and social.\n\nthe completed structure transforms into a tearoom. within it, the collective drinks tea together, made and served from an iranian samovar. hospitality and conviviality turn structure-building into place-making. during this time, a guided reflection on the experience of organizing is discussed using the newly built structure as a parallel metaphor. where did communication break down, and what are the structural weak points? how are these weak points compensated for with structural connections elsewhere?","tensile paradise","sobremesa / after dinner","collation as crisis management",{"_type":9,"current":11856},"sala-de-te","Sala de té [an itinerant, unwalled Paradise for cultivating climate futures]",{"_id":11859,"_type":1027,"categories":11860,"credits":11864,"featuredImage":7,"filterables":12079,"footnotes":12086,"locations":12087,"logbook":7,"pageBuilder":7,"researchQuestion":7,"researchQuestions":7,"searchables":12091,"seo":7,"slug":12093,"title":12095,"year":108},"152fcaf6-5436-436c-b776-a792395a748a",[11861],{"_id":680,"_type":362,"colorPrimary":11862,"seo":7,"slug":11863,"title":683},{"label":1031,"value":1068},{"_type":9,"current":682},{"other":7,"profiles":11865},[11866],{"_id":11867,"_type":1078,"activeYears":11868,"bio":11871,"bioShort":12057,"featuredImage":12058,"filterables":12063,"links":12066,"locations":12071,"searchables":12075,"seo":7,"slug":12077,"title":11893},"4f340be1-a754-4938-a25b-46217cef3913",[11869],{"_id":105,"_type":99,"seo":7,"slug":11870,"title":108},{"_type":9,"current":107},[11872,11884,11920,11943,11971,11994,12025],{"_key":11873,"_type":219,"children":11874,"markDefs":11883,"style":232},"c75b5311bea9",[11875,11879],{"_key":11876,"_type":223,"marks":11877,"text":11878},"33aefc079cd60",[225],"Li",{"_key":11880,"_type":223,"marks":11881,"text":11882},"33aefc079cd61",[]," (理) - in Cantonese and classical Chinese cosmology—refers to the underlying pattern, principle, or texture of things: the intrinsic order through which life unfolds. It is not a fixed law, but a structure for living relational — the grain of reality, the flow of coherence that weaves beings, materials, and phenomena together.",[],{"_key":11885,"_type":219,"children":11886,"markDefs":11919,"style":232},"5893cc2f63d2",[11887,11890,11894,11897,11900,11904,11908,11912,11915],{"_key":11888,"_type":223,"marks":11889,"text":7000},"8e9a00d84fb70",[],{"_key":11891,"_type":223,"marks":11892,"text":11893},"8e9a00d84fb71",[225],"LIOS Labs",{"_key":11895,"_type":223,"marks":11896,"text":2704},"8e9a00d84fb72",[],{"_key":11898,"_type":223,"marks":11899,"text":11878},"8e9a00d84fb73",[1559],{"_key":11901,"_type":223,"marks":11902,"text":11903},"8e9a00d84fb74",[]," becomes both a ",{"_key":11905,"_type":223,"marks":11906,"text":11907},"8e9a00d84fb75",[225],"spatial and temporal system",{"_key":11909,"_type":223,"marks":11910,"text":11911},"8e9a00d84fb76",[],"—a way of perceiving and operating within the world that follows the inner pattern of ecosystems rather than imposing form upon them. ",{"_key":11913,"_type":223,"marks":11914,"text":11878},"8e9a00d84fb77",[1559],{"_key":11916,"_type":223,"marks":11917,"text":11918},"8e9a00d84fb78",[]," guides how we inhabit time and space: through attunement, reciprocity, and co-creation with the elements.",[],{"_key":11921,"_type":219,"children":11922,"markDefs":11942,"style":232},"9547b7e0f3eb",[11923,11927,11931,11935,11938],{"_key":11924,"_type":223,"marks":11925,"text":11926},"d17ef9aeeca20",[],"Thus, ",{"_key":11928,"_type":223,"marks":11929,"text":11930},"d17ef9aeeca21",[225],"LIOS",{"_key":11932,"_type":223,"marks":11933,"text":11934},"d17ef9aeeca22",[]," can be read as a laboratory of ",{"_key":11936,"_type":223,"marks":11937,"text":11878},"d17ef9aeeca23",[1559],{"_key":11939,"_type":223,"marks":11940,"text":11941},"d17ef9aeeca24",[],"—a field for sensing and enacting the deep structures of interbeing, where artistic, ecological, and social processes align with the subtle order of life itself.",[],{"_key":11944,"_type":219,"children":11945,"markDefs":11970,"style":232},"d79e84f70ef3",[11946,11950,11954,11958,11962,11966],{"_key":11947,"_type":223,"marks":11948,"text":11949},"60e5041dd0a30",[225],"LIOS Labs is a community, and, formally, an association, of artists, activists, and researchers from around the world. ",{"_key":11951,"_type":223,"marks":11952,"text":11953},"60e5041dd0a31",[],"We came together in Berlin in 2019, inspired by the Błędowska Desert in Poland - a place that became both our starting point and the heart of our work. As a community, LIOS operates like an ",{"_key":11955,"_type":223,"marks":11956,"text":11957},"60e5041dd0a32",[225],"ecosystem",{"_key":11959,"_type":223,"marks":11960,"text":11961},"60e5041dd0a33",[],": self-organizing, interdependent, and porous. Its members collaborate across geographies and disciplines, guided by a sense of planetary kinship and responsibility. 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Our focus is on shaping ways of learning ",{"_key":11979,"_type":223,"marks":11980,"text":11981},"38fbf5c419a41",[1559],"with",{"_key":11983,"_type":223,"marks":11984,"text":11985},"38fbf5c419a42",[]," and creating ",{"_key":11987,"_type":223,"marks":11988,"text":11981},"38fbf5c419a43",[1559],{"_key":11990,"_type":223,"marks":11991,"text":11992},"38fbf5c419a44",[]," ecosystems that have been affected by desertification and ecocide. We believe that art and ecology can weave new worlds—worlds where regenerative ways of living become possible.",[],{"_key":11995,"_type":219,"children":11996,"markDefs":12024,"style":232},"d34cb435f78f",[11997,12001,12005,12009,12012,12016,12020],{"_key":11998,"_type":223,"marks":11999,"text":12000},"26977d3bbe110",[],"A ",{"_key":12002,"_type":223,"marks":12003,"text":12004},"26977d3bbe111",[225],"methodology of co-creation",{"_key":12006,"_type":223,"marks":12007,"text":12008},"26977d3bbe112",[]," rooted in ecological awareness and relational practice. 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",{"_id":12097,"_type":1027,"categories":12098,"credits":12120,"featuredImage":12173,"filterables":12180,"footnotes":12192,"locations":12193,"logbook":7,"pageBuilder":12197,"researchQuestion":7,"researchQuestions":7,"searchables":12360,"seo":7,"slug":12367,"title":12200,"year":108},"37a61af4-0ac1-470a-8bf6-ffcd03b0793c",[12099,12102,12105,12109,12112,12116],{"_id":410,"_type":362,"colorPrimary":12100,"seo":7,"slug":12101,"title":413},{"label":1031,"value":1036},{"_type":9,"current":412},{"_id":620,"_type":362,"colorPrimary":12103,"seo":7,"slug":12104,"title":623},{"label":1031,"value":9277},{"_type":9,"current":622},{"_id":820,"_type":362,"colorPrimary":12106,"seo":7,"slug":12108,"title":823},{"label":1031,"value":12107},"#8c008c",{"_type":9,"current":822},{"_id":440,"_type":362,"colorPrimary":12110,"seo":7,"slug":12111,"title":443},{"label":1031,"value":1048},{"_type":9,"current":442},{"_id":755,"_type":362,"colorPrimary":12113,"seo":7,"slug":12115,"title":758},{"label":1031,"value":12114},"#3c3cff",{"_type":9,"current":757},{"_id":895,"_type":362,"colorPrimary":12117,"seo":7,"slug":12119,"title":898},{"label":1031,"value":12118},"#a000a0",{"_type":9,"current":897},{"other":7,"profiles":12121},[12122],{"_id":12123,"_type":1078,"activeYears":12124,"bio":12127,"bioShort":12134,"featuredImage":12136,"filterables":12144,"links":7,"locations":12147,"searchables":12168,"seo":7,"slug":12170,"title":12172},"0c6d2464-00bf-4a47-bf63-bbbd0e4e1146",[12125],{"_id":105,"_type":99,"seo":7,"slug":12126,"title":108},{"_type":9,"current":107},[12128],{"_key":12129,"_type":219,"children":12130,"markDefs":12135,"style":232},"343091b7e1f5",[12131],{"_key":12132,"_type":223,"marks":12133,"text":12134},"13a2f6b2139a0",[],"Ula (she/her) is a transdisciplinary artist who works in dance, choreography, and contemporary performance, engaging with the fields of ecofeminism, queer theory, and environmental studies.",[],{"alt":12137,"asset":12138},"Ula Liagaitė, foto by skulskyte",{"_id":12139,"height":12140,"orientation":1129,"ratio":12141,"url":12142,"width":12143},"image-4e5984900236429934aa105e91e3e76e5a0d4119-213x320-jpg",320,0.665625,"https://cdn.sanity.io/images/eodip22e/production/4e5984900236429934aa105e91e3e76e5a0d4119-213x320.jpg",213,{"filterYear":12145},[12146],{"_id":105,"title":108},{"locations":12148,"other":12151},[12149],{"_id":331,"_type":308,"seo":7,"slug":12150,"title":334},{"_type":9,"current":333},[12152,12160],{"_key":12153,"_type":219,"children":12154,"markDefs":12159,"style":232},"0ae1001b2b51",[12155],{"_key":12156,"_type":223,"marks":12157,"text":12158},"909fdf9ee9f5",[],"Between Lithuania, Switzerland and Germany ",[],{"_key":12161,"_type":219,"children":12162,"markDefs":12167,"style":232},"4246c76ed255",[12163],{"_key":12164,"_type":223,"marks":12165,"text":12166},"a16919246f5d",[],"Based in Zurich",[],[12169,107],"ula liagaitė",{"_type":9,"current":12171},"ula-liagait","Ula Liagaitė",{"alt":7,"asset":12174},{"_id":12175,"height":12176,"orientation":1474,"ratio":12177,"url":12178,"width":12179},"image-a5394368feffaf4714a96ab7df2cbe65af4dbbb3-1278x668-png",668,1.9131736526946108,"https://cdn.sanity.io/images/eodip22e/production/a5394368feffaf4714a96ab7df2cbe65af4dbbb3-1278x668.png",1278,{"filterCategory":12181,"filterLocation":12188,"filterYear":12190},[12182,12183,12184,12185,12186,12187],{"_id":410,"title":413},{"_id":620,"title":623},{"_id":820,"title":823},{"_id":440,"title":443},{"_id":755,"title":758},{"_id":895,"title":898},[12189],{"_id":331,"title":334},[12191],{"_id":105,"title":108},[],{"locations":12194,"other":7},[12195],{"_id":331,"_type":308,"seo":7,"slug":12196,"title":334},{"_type":9,"current":333},[12198,12206,12229,12236,12251,12254,12276,12325],{"_type":1621,"caption":7,"image":12199},{"alt":12200,"asset":12201},"Sick Practice: Stretching Exercises to Feel Climate Change",{"_id":12202,"height":12203,"orientation":1474,"ratio":12204,"url":12205,"width":5708},"image-60009b4abcf76b3e262fa2fe6918cbc7304d1c98-1274x660-png",660,1.9303030303030304,"https://cdn.sanity.io/images/eodip22e/production/60009b4abcf76b3e262fa2fe6918cbc7304d1c98-1274x660.png",{"_type":1625,"settings":12207,"text":12208},{"textColumnCount":1627},[12209,12221],{"_key":12210,"_type":219,"children":12211,"markDefs":12220,"style":232},"56e60d9fa1e3",[12212,12216],{"_key":12213,"_type":223,"marks":12214,"text":12215},"ceae62ec7a4e0",[1559],"Stretching Exercises to Feel Climate Change ",{"_key":12217,"_type":223,"marks":12218,"text":12219},"ceae62ec7a4e1",[],"is an ongoing, practice based research on what it feels like to live in times of global (environmental) crisis. It looks for visceral, body based, more-than-human, collective forms of knowledge and calls for resistance.",[],{"_key":12222,"_type":219,"children":12223,"markDefs":12228,"style":232},"86e3ddf922a8",[12224],{"_key":12225,"_type":223,"marks":12226,"text":12227},"8f08c1a2ce5b0",[],"I have been busy thinking of climate change and how we could re-imagine the future, embracing the unstoppable and the irreversible and talking about strategies of survival. I want to queer futures, scenarios and imaginaries, to move away from the doomsday versions, drawn by those who seem to want to enable any form of resistance.",[],{"_type":1621,"caption":7,"image":12230},{"alt":12200,"asset":12231},{"_id":12232,"height":7645,"orientation":1474,"ratio":12233,"url":12234,"width":12235},"image-eea6985e77c257d74d251749f7073f30fa3fb216-1272x664-png",1.9156626506024097,"https://cdn.sanity.io/images/eodip22e/production/eea6985e77c257d74d251749f7073f30fa3fb216-1272x664.png",1272,{"_type":1625,"settings":12237,"text":12238},{"textColumnCount":1627},[12239],{"_key":12240,"_type":219,"children":12241,"markDefs":12250,"style":232},"c93d51ba0850",[12242,12246],{"_key":12243,"_type":223,"marks":12244,"text":12245},"dcf769d15a310",[225],"How",{"_key":12247,"_type":223,"marks":12248,"text":12249},"36ffeb7ab92c",[],"\n\nThe project explores strategies for cultivating sustainability, togetherness and collaboration, in a context of a global crisis. How can embodied practice, focused on learning with more- than- human entities, make us feel and move with the emotional and ecological impacts of climate change? This research draws from the writings of Anna Tsing, Astrida Neimanis and Brigite Schneider and investigates how movement, sensory perception, and dance can foster a sense of interconnection with the environment and transform climate-related despair, paralysis and helplessness into collective resilience. The study aims to develop tools that move climate awareness from intellectual understanding to embodied action (from head to the heart), offering pathways for navigating the complexities of ecological crises.",[],{"_type":1621,"caption":7,"image":12252},{"alt":12200,"asset":12253},{"_id":12175,"height":12176,"orientation":1474,"ratio":12177,"url":12178,"width":12179},{"_type":1625,"settings":12255,"text":12256},{"textColumnCount":1627},[12257],{"_key":12258,"_type":219,"children":12259,"markDefs":12275,"style":232},"114d6aaa637d",[12260,12264,12267,12271],{"_key":12261,"_type":223,"marks":12262,"text":12263},"328731b400c70",[225],"What is seen",{"_key":12265,"_type":223,"marks":12266,"text":3412},"2717e474c3ad",[],{"_key":12268,"_type":223,"marks":12269,"text":12270},"24a1954d6920",[1559],"First exercise: An Attempt on Weathering the Waterfall, an audiovisual installation + performance as part of the Annual Diploma Show of the MA in Transdisciplinary Studies at ZHDK (May 2025).",{"_key":12272,"_type":223,"marks":12273,"text":12274},"943991fc6da5",[],"\n\nThe work explores embodied and collective modes of sensing environmental crisis and engages with the temporal and emotional dimensions of climate change. The performance takes place within the audiovisual installation created during a research trip to Oaxaca, Mexico in early 2025, together with a Anto Logy.\n\nIn the video, next to the waterfall, a human figure is seen, dressed in a way that camouflages and merges with the rocks. The video is edited in loops of multiple lengths, breaking the movement of the figure, as it tries to find its way on the rock.\n\n\u003C...> climb up, try to get close, look for a way to be close, get humbled by its magnitude and solid performance, troubled, lay down, press the (queer eastern european) cheek on its rough, dusty and still a little wet surface, smell the sour and the sulfur, listen, surrender, submit..\n\nnot allowed to be here, trespassing the signs that say ‘no entrance’, not allowed to be here, yet made the way and laid down and thanks to grandmother's magical knitting, camouflage, ask questions and hopefully have it answer, have a non verbal dialogue with the non verbal more-than-human ancient monster, a transformer, that lurks, reminding that the western human way of counting time can f*** right off, ask for a weather report ? \u003C...> (by Ula Liagaitė).\n\nThe video material works as a visual exploration of the concept of “thick time” and sets the tone and climate of the performance.\n\n\u003C...> the temporal frame of “thick time”—a transcorporeal stretching between present, future, and past—in order to reimagine our bodies as archives of climate and as making future climates possible. \u003C...> (the term coined by scholars Astrida Neimanis and Rachel Loewen Walker).\n\n\u003C...> gradually, like a lego being constructed piece by piece, from micro plastics and space debris, smog and oil spillages hovering over the (hyper) sea - here you are, a magnificent monster. You are so hot. The weather is perfect. The sun blasts through that ever-thinning layer of invisible co2, which once protected us from burning. It's getting so hot here. Come towards me, I open all the doors and windows, take a few pills of vitamin D in summer, put spf 1500 hell knows how many UVA and UVA and UVB filters on my face. Just the face, because the skin on hands is a lost cause anyway \u003C...> ( by Ula Liagaitė)",[],{"_type":1625,"settings":12277,"text":12278},{"textColumnCount":1627},[12279],{"_key":12280,"_type":219,"children":12281,"markDefs":12320,"style":232},"cda286a3ca6d",[12282,12286,12290,12294,12298,12302,12307,12311,12315],{"_key":12283,"_type":223,"marks":12284,"text":12285},"03c28e1f2efd",[1559],"Second exercise: A Manual On Stretching (coming soon)",{"_key":12287,"_type":223,"marks":12288,"text":12289},"fc9853e15508",[],"\n\nA text work, contributing to ISSUES - an annual, peer-led digital publication which serves as the milestone collective public offering for each School of Commons (SoC) program cycle. ISSUES collates and contextualises the processes, practices and methodologies of each participating project within SoC. For this publication a mixed media work is being developed (drawing, writing, collage, sketch, map) as some sort of a manual on what kind of exercises can be practiced in order to feel the crisis and the change and how to move this knowledge from ‘head to heart’. It is a conceptual, yet practical way of landing the thoughts on paper, that will take shape as a physical publication, as well as an open access online publication.\n\n",{"_key":12291,"_type":223,"marks":12292,"text":12293},"b091907c9b4f",[1559],"Third exercise: Alone Together Somewhere Hot (public showing in December 2025, location tbc). ",{"_key":12295,"_type":223,"marks":12296,"text":12297},"2297e1ed37c6",[],"\n\nFrom October 2025, Ula will hold weekly, regular, group movement practice in her dance studio in Zürich. It will softly transform into a rehearsal period towards the end of November and into the show(s) mid December 2025. We will present a transdisciplinary dance-theater work, in the form of an open rehearsal or an exercise.\n\n\u003C...> Precarity is a state of acknowledgment of our vulnerability to others. In order to survive, we need help, and help is always the service of another, with or without intent. When I sprain my ankle, a stout stick may help me walk, and I enlist its assistance. I am now an encounter in motion, a woman-and-stick. It is hard for me to think of any challenge I might face without soliciting the assistance of others, human and not human. It is an unselfconscious privilege that allows us to fantasise—counterfactually—that we each survive alone \u003C...> (The Mushroom at the End of the World by Anna Tsing).\n\n",{"_key":12299,"_type":223,"marks":12300,"text":12301},"a3d70d86ec54",[225],"If you need to move and would like to participate in the regular, guided movement practice in Zürich, write a letter to ",{"_key":12303,"_type":223,"marks":12304,"text":12306},"dfdae786869c",[225,12305],"7a1d435c8c18","ula.juroj@gmail.com",{"_key":12308,"_type":223,"marks":12309,"text":12310},"b5462d6d47ef",[225],". ",{"_key":12312,"_type":223,"marks":12313,"text":12314},"a5c80d2daa81",[],"\n\nTo view the installation video, visit ",{"_key":12316,"_type":223,"marks":12317,"text":12319},"627a6470af00",[12318],"dae05da3adcf","www.ulaliagaite.com",[12321,12323],{"_key":12305,"_type":249,"href":12322},"mailto:ula.juroj@gmail.com",{"_key":12318,"_type":249,"href":12324},"https://eur03.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.ulaliagaite.com%2F&data=05%7C02%7Cchantelle.lueelton%40zhdk.ch%7C0f6461d9a77449e84cd208ddefac8cb6%7Ceff1ebf773e54e3dbefd52d69e759214%7C1%7C0%7C638930246591524001%7CUnknown%7CTWFpbGZsb3d8eyJFbXB0eU1hcGkiOnRydWUsIlYiOiIwLjAuMDAwMCIsIlAiOiJXaW4zMiIsIkFOIjoiTWFpbCIsIldUIjoyfQ%3D%3D%7C0%7C%7C%7C&sdata=1e1GqHp9Vg1cDvg9NRCuVQHb7lfwtD22ojoT1ievahM%3D&reserved=0",{"_type":2894,"slides":12326},[12327,12344,12350,12355],{"_type":1621,"caption":12328,"image":12337},[12329],{"_key":12330,"_type":219,"children":12331,"markDefs":12336,"style":232},"12722a1c28a7",[12332],{"_key":12333,"_type":223,"marks":12334,"text":12335},"91cce5ed8359",[],"'An Attempt on Weathering the Waterfall, an audiovisual installation + performance' by Ula Liagaitė, as part of the Annual Diploma Show of the MA in Transdisciplinary Studies at ZHDK (May 2025).",[],{"alt":12335,"asset":12338},{"_id":12339,"height":12340,"orientation":1474,"ratio":12341,"url":12342,"width":12343},"image-7084adf9344361807bebce67f48e2e9b0b107162-1002x752-jpg",752,1.3324468085106382,"https://cdn.sanity.io/images/eodip22e/production/7084adf9344361807bebce67f48e2e9b0b107162-1002x752.jpg",1002,{"_type":1621,"caption":7,"image":12345},{"alt":12346,"asset":12347},"An Attempt on Weathering the Waterfall, an audiovisual installation + performance as part of the Annual Diploma Show of the MA in Transdisciplinary Studies at ZHDK (May 2025).",{"_id":12348,"height":7699,"orientation":1474,"ratio":3344,"url":12349,"width":4004},"image-965eff5c9f99077567aa5e089eb7e38b19963be5-1024x768-jpg","https://cdn.sanity.io/images/eodip22e/production/965eff5c9f99077567aa5e089eb7e38b19963be5-1024x768.jpg",{"_type":1621,"caption":7,"image":12351},{"alt":12346,"asset":12352},{"_id":12353,"height":7699,"orientation":1474,"ratio":3344,"url":12354,"width":4004},"image-690db1a366bdb8473d628749a2b02d0f47b42f13-1024x768-jpg","https://cdn.sanity.io/images/eodip22e/production/690db1a366bdb8473d628749a2b02d0f47b42f13-1024x768.jpg",{"_type":1621,"caption":7,"image":12356},{"alt":7,"asset":12357},{"_id":12358,"height":1128,"orientation":1129,"ratio":2920,"url":12359,"width":10130},"image-8abe9d06b0409302dcec862cd2e2046a3ba5256f-600x800-jpg","https://cdn.sanity.io/images/eodip22e/production/8abe9d06b0409302dcec862cd2e2046a3ba5256f-600x800.jpg",[12361,107,333,12169,12362,12363,12364,12365,1783,9749,822,442,12366,897],"sick practice: stretching exercises to feel climate change","stretching exercises to feel climate change is an ongoing, practice based research on what it feels like to live in times of global (environmental) crisis. it looks for visceral, body based, more-than-human, collective forms of knowledge and calls for resistance.\n\ni have been busy thinking of climate change and how we could re-imagine the future, embracing the unstoppable and the irreversible and talking about strategies of survival. i want to queer futures, scenarios and imaginaries, to move away from the doomsday versions, drawn by those who seem to want to enable any form of resistance.","how\n\nthe project explores strategies for cultivating sustainability, togetherness and collaboration, in a context of a global crisis. how can embodied practice, focused on learning with more- than- human entities, make us feel and move with the emotional and ecological impacts of climate change? this research draws from the writings of anna tsing, astrida neimanis and brigite schneider and investigates how movement, sensory perception, and dance can foster a sense of interconnection with the environment and transform climate-related despair, paralysis and helplessness into collective resilience. the study aims to develop tools that move climate awareness from intellectual understanding to embodied action (from head to the heart), offering pathways for navigating the complexities of ecological crises.","what is seen\n\nfirst exercise: an attempt on weathering the waterfall, an audiovisual installation + performance as part of the annual diploma show of the ma in transdisciplinary studies at zhdk (may 2025).\n\nthe work explores embodied and collective modes of sensing environmental crisis and engages with the temporal and emotional dimensions of climate change. the performance takes place within the audiovisual installation created during a research trip to oaxaca, mexico in early 2025, together with a anto logy.\n\nin the video, next to the waterfall, a human figure is seen, dressed in a way that camouflages and merges with the rocks. the video is edited in loops of multiple lengths, breaking the movement of the figure, as it tries to find its way on the rock.\n\n\u003C...> climb up, try to get close, look for a way to be close, get humbled by its magnitude and solid performance, troubled, lay down, press the (queer eastern european) cheek on its rough, dusty and still a little wet surface, smell the sour and the sulfur, listen, surrender, submit..\n\nnot allowed to be here, trespassing the signs that say ‘no entrance’, not allowed to be here, yet made the way and laid down and thanks to grandmother's magical knitting, camouflage, ask questions and hopefully have it answer, have a non verbal dialogue with the non verbal more-than-human ancient monster, a transformer, that lurks, reminding that the western human way of counting time can f*** right off, ask for a weather report ? \u003C...> (by ula liagaitė).\n\nthe video material works as a visual exploration of the concept of “thick time” and sets the tone and climate of the performance.\n\n\u003C...> the temporal frame of “thick time”—a transcorporeal stretching between present, future, and past—in order to reimagine our bodies as archives of climate and as making future climates possible. \u003C...> (the term coined by scholars astrida neimanis and rachel loewen walker).\n\n\u003C...> gradually, like a lego being constructed piece by piece, from micro plastics and space debris, smog and oil spillages hovering over the (hyper) sea - here you are, a magnificent monster. you are so hot. the weather is perfect. the sun blasts through that ever-thinning layer of invisible co2, which once protected us from burning. it's getting so hot here. come towards me, i open all the doors and windows, take a few pills of vitamin d in summer, put spf 1500 hell knows how many uva and uva and uvb filters on my face. just the face, because the skin on hands is a lost cause anyway \u003C...> ( by ula liagaitė)","second exercise: a manual on stretching (coming soon)\n\na text work, contributing to issues - an annual, peer-led digital publication which serves as the milestone collective public offering for each school of commons (soc) program cycle. issues collates and contextualises the processes, practices and methodologies of each participating project within soc. for this publication a mixed media work is being developed (drawing, writing, collage, sketch, map) as some sort of a manual on what kind of exercises can be practiced in order to feel the crisis and the change and how to move this knowledge from ‘head to heart’. it is a conceptual, yet practical way of landing the thoughts on paper, that will take shape as a physical publication, as well as an open access online publication.\n\nthird exercise: alone together somewhere hot (public showing in december 2025, location tbc). \n\nfrom october 2025, ula will hold weekly, regular, group movement practice in her dance studio in zürich. it will softly transform into a rehearsal period towards the end of november and into the show(s) mid december 2025. we will present a transdisciplinary dance-theater work, in the form of an open rehearsal or an exercise.\n\n\u003C...> precarity is a state of acknowledgment of our vulnerability to others. in order to survive, we need help, and help is always the service of another, with or without intent. when i sprain my ankle, a stout stick may help me walk, and i enlist its assistance. i am now an encounter in motion, a woman-and-stick. it is hard for me to think of any challenge i might face without soliciting the assistance of others, human and not human. it is an unselfconscious privilege that allows us to fantasise—counterfactually—that we each survive alone \u003C...> (the mushroom at the end of the world by anna tsing).\n\nif you need to move and would like to participate in the regular, guided movement practice in zürich, write a letter to ula.juroj@gmail.com. \n\nto view the installation video, visit www.ulaliagaite.com","movement research ",{"_type":9,"current":12368},"sick-practice-stretching-exercises-to-feel-climate-change",{"_id":12370,"_type":1027,"categories":7,"credits":12371,"featuredImage":7,"filterables":12417,"footnotes":12420,"locations":7,"logbook":7,"pageBuilder":7,"researchQuestion":7,"researchQuestions":7,"searchables":12421,"seo":7,"slug":12423,"title":12425,"year":108},"f363eaef-3a58-4d69-9116-b756dbc261bf",{"other":7,"profiles":12372},[12373],{"_id":12374,"_type":1078,"activeYears":12375,"bio":12382,"bioShort":12391,"featuredImage":7,"filterables":12392,"links":12397,"locations":12400,"searchables":12412,"seo":7,"slug":12414,"title":12416},"56955704-6355-45ea-8a24-0fcbf7a87940",[12376,12378,12380],{"_id":120,"_type":99,"seo":7,"slug":12377,"title":123},{"_type":9,"current":122},{"_id":115,"_type":99,"seo":7,"slug":12379,"title":118},{"_type":9,"current":117},{"_id":110,"_type":99,"seo":7,"slug":12381,"title":113},{"_type":9,"current":112},[12383],{"_key":12384,"_type":219,"children":12385,"markDefs":12390,"style":232},"5e2198e03d77",[12386],{"_key":12387,"_type":223,"marks":12388,"text":12389},"da7107e1da0b0",[],"During his carrier, he focused on the topics of gentrification, urban ecology, urban memory, and sustainable urban development. Yusuf places urban issues in the center of his artistic practices. He currently studies MA in Fine Arts at ZHdK.",[],"Yusuf is an urban planner and a contemporary artist from Turkey. He studied urban planning at Mimar Sinan Fine Arts University and at the Technical University of Vienna. ",{"filterYear":12393},[12394,12395,12396],{"_id":120,"title":123},{"_id":115,"title":118},{"_id":110,"title":113},[12398],{"_type":1138,"label":1142,"url":12399},"https://www.instagram.com/yusufrhan/",{"locations":12401,"other":12404},[12402],{"_id":331,"_type":308,"seo":7,"slug":12403,"title":334},{"_type":9,"current":333},[12405],{"_key":12406,"_type":219,"children":12407,"markDefs":12411,"style":232},"36a5f4eb7aba",[12408],{"_key":12409,"_type":223,"marks":12410,"text":12166},"396a9f93e4c0",[],[],[12413,122,117,112],"yusuf orhan",{"_type":9,"current":12415},"yusuf-orhan","Yusuf Orhan",{"filterCategory":7,"filterLocation":7,"filterYear":12418},[12419],{"_id":105,"title":108},[],[12422,107,12413],"urban rhymths",{"_type":9,"current":12424},"urban-rhymths","Urban Rhymths",{"_id":12427,"_type":1027,"categories":12428,"credits":12433,"featuredImage":12507,"filterables":12512,"footnotes":12519,"locations":12520,"logbook":7,"pageBuilder":12524,"researchQuestion":7,"researchQuestions":12604,"searchables":12615,"seo":7,"slug":12621,"title":12616,"year":108},"aa9e1ab4-154a-4d06-8d73-97d96eaa509f",[12429],{"_id":370,"_type":362,"colorPrimary":12430,"seo":7,"slug":12432,"title":373},{"label":1031,"value":12431},"#00b900",{"_type":9,"current":372},{"other":7,"profiles":12434},[12435],{"_id":12436,"_type":1078,"activeYears":12437,"bio":12440,"bioShort":12447,"featuredImage":12480,"filterables":12487,"links":7,"locations":12490,"searchables":12503,"seo":7,"slug":12505,"title":12504},"176ac6d1-f92d-465f-8f31-fb00af7edf06",[12438],{"_id":105,"_type":99,"seo":7,"slug":12439,"title":108},{"_type":9,"current":107},[12441,12449,12457,12465,12472],{"_key":12442,"_type":219,"children":12443,"markDefs":12448,"style":232},"b8f8d48f25c5",[12444],{"_key":12445,"_type":223,"marks":12446,"text":12447},"27cb066ab5a0",[],"Research-based theatre and multi-media arts.",[],{"_key":12450,"_type":219,"children":12451,"markDefs":12456,"style":232},"88e857a2c2d0",[12452],{"_key":12453,"_type":223,"marks":12454,"text":12455},"7120e1a9b9ce",[],"In their work caro looks at social and political conditions under which we live, work, practice, act and become to be “someone”. They are interested in how things are being normalized as part of *Western civilization history* or *global capitalism* or *German democratic history*, looking at how forms of violence materialize and are represented in architectures and aesthetics of the city as well as in institutions and structures of the nation state through which they forms our bodies and minds.",[],{"_key":12458,"_type":219,"children":12459,"markDefs":12464,"style":232},"f9412ed31eae",[12460],{"_key":12461,"_type":223,"marks":12462,"text":12463},"b55d3e72c426",[],"In their research-based work, processes of scrutinization, experimenting, reflecting and embodying happen simultaneously and find into multimedia-based spacial arrangements involving both, bodies of performers and audience. They have realized theatre plays/performances as well as site-specific installations including sound, video and text.",[],{"_key":12466,"_type":219,"children":12467,"markDefs":12471,"style":232},"d5d947078a88",[12468],{"_key":12469,"_type":223,"marks":12470,"text":1405},"1228450a282e",[],[],{"_key":12473,"_type":219,"children":12474,"markDefs":12479,"style":232},"c3dd07679f3f",[12475],{"_key":12476,"_type":223,"marks":12477,"text":12478},"8f23375c5f1f",[],"Currently researching on family as an institution and a practice, caro looks at their own family background and heritage scrutinizing how silences within politics of remembrance foundational to the German national state cohere with the ones within their own family constellation.",[],{"alt":7,"asset":12481},{"_id":12482,"height":12483,"orientation":1474,"ratio":12484,"url":12485,"width":12486},"image-c5ed562865733110c68d23f6bebedc49d273e290-804x604-png",604,1.3311258278145695,"https://cdn.sanity.io/images/eodip22e/production/c5ed562865733110c68d23f6bebedc49d273e290-804x604.png",804,{"filterYear":12488},[12489],{"_id":105,"title":108},{"locations":12491,"other":12494},[12492],{"_id":331,"_type":308,"seo":7,"slug":12493,"title":334},{"_type":9,"current":333},[12495],{"_key":12496,"_type":219,"children":12497,"markDefs":12502,"style":232},"0b3590c17dbd",[12498],{"_key":12499,"_type":223,"marks":12500,"text":12501},"d93b44b9e2740",[],"berlin, cologne",[],[12504,107],"caro bodensteiner",{"_type":9,"current":12506},"caro-bodensteiner",{"alt":12508,"asset":12509},"by caro bodensteiner",{"_id":12510,"height":7308,"orientation":1474,"ratio":3344,"url":12511,"width":5711},"image-0edacdc07b08c44417ce04e35b57ea4129f6a6bf-2000x1500-jpg","https://cdn.sanity.io/images/eodip22e/production/0edacdc07b08c44417ce04e35b57ea4129f6a6bf-2000x1500.jpg",{"filterCategory":12513,"filterLocation":12515,"filterYear":12517},[12514],{"_id":370,"title":373},[12516],{"_id":331,"title":334},[12518],{"_id":105,"title":108},[],{"locations":12521,"other":7},[12522],{"_id":331,"_type":308,"seo":7,"slug":12523,"title":334},{"_type":9,"current":333},[12525,12538,12565,12592],{"_type":1625,"settings":12526,"text":12527},{"textColumnCount":1627},[12528],{"_key":12529,"_type":219,"children":12530,"markDefs":12537,"style":232},"7b316250d088",[12531,12535],{"_key":12532,"_type":223,"marks":12533,"text":12534},"8275d807b78a0",[1559],"'reformulating responsibility as collective effort and form of care within family structures and beyond as social practice that doesn’t maintain status quo again and again but cares for continuous and sustainable (re)production of sociality and solidarity'",{"_key":12532,"_type":223,"marks":12536,"text":1405},[],[],{"_type":1625,"settings":12539,"text":12540},{"textColumnCount":1627},[12541,12557],{"_key":12542,"_type":219,"children":12543,"markDefs":12556,"style":232},"a626d3a44229",[12544,12548,12552],{"_key":12545,"_type":223,"marks":12546,"text":12547},"4878660463ed0",[],"Is located around family as fundamental relation most of us share in context-specific and individual forms. Going beyond idealized notions of *perfect families* and the idea of one generative family – often a patriarchal and heteronormative institution, built to reproduce and maintain the status quo – leaving the atomic family of “western” contexts behind, individualized in privatized isolation, ",{"_key":12549,"_type":223,"marks":12550,"text":12551},"4878660463ed1",[1559],"Practicing family",{"_key":12553,"_type":223,"marks":12554,"text":12555},"4878660463ed2",[]," wants to understand family as first place where we learn about the world and thus a collection of knowledges coming from histories, individual and collective experiences, cultural practices ... how can this knowledge become a more conscious part of living life in the present? How can it become something else than avoiding problematic parts of one’s history leading to passiveness, called “neutrality”? But activating for mutual accountability, a practice, conscious about historical heritage?",[],{"_key":12558,"_type":219,"children":12559,"markDefs":12564,"style":232},"4c468739fed9",[12560],{"_key":12561,"_type":223,"marks":12562,"text":12563},"c112e7990fa10",[],"The project wants to look at family practice as transformative, ongoing process, as a counter practice against the nation state, through which logics of whiteness as lifestyle in which the ones who produce tons of waste are not the ones to take care of that waste (and that work is being outsourced along the separation lines of race, class and gender), are being legitimized and naturalized.",[],{"_type":1625,"settings":12566,"text":12567},{"textColumnCount":1627},[12568,12576,12584],{"_key":12569,"_type":219,"children":12570,"markDefs":12575,"style":232},"191b1b3076b3",[12571],{"_key":12572,"_type":223,"marks":12573,"text":12574},"d44ca6e88299",[225],"What is family?",[],{"_key":12577,"_type":219,"children":12578,"markDefs":12583,"style":232},"9fb4ca3cff27",[12579],{"_key":12580,"_type":223,"marks":12581,"text":12582},"032ccbe863de",[1559],"(incomplete list)",[],{"_key":12585,"_type":219,"children":12586,"markDefs":12591,"style":232},"72a2d2ba1c90",[12587],{"_key":12588,"_type":223,"marks":12589,"text":12590},"601751c268f2",[],"A group of people\nA social norm\nBlood\nChosen\nBelonging, love, care, safety, unconditionality, …\nAvoidance, pain, trauma, guilt, violence, …\nTo be continued, promising a permanence\nA (legal) institution reproducing the status quo – patriarchal, heteronormative, atomic individualized, isolated in private households, “non-political”\nCommunity, collectivity,\nThere is no generative family\nTo be abolished?\nKnowledge, practice, basic relationship amongst individuals or people or\nbodies, social relation\nA counter practice against the nation-state_ an ongoing transformative process\nA space for each other, held by each other\nOpenness, honesty, solidarity\nKinship, sharing, critique, growing, questioning, exploring",[],{"_type":1621,"caption":12593,"image":12602},[12594],{"_key":12595,"_type":219,"children":12596,"markDefs":12601,"style":232},"b0193360622e",[12597],{"_key":12598,"_type":223,"marks":12599,"text":12600},"5ed135654e4f",[],"'family portrait' by caro bodensteiner (SoC Gathering, Zurich 2025)",[],{"alt":7,"asset":12603},{"_id":12510,"height":7308,"orientation":1474,"ratio":3344,"url":12511,"width":5711},[12605],{"_type":1733,"question":12606},[12607],{"_key":12608,"_type":219,"children":12609,"markDefs":12614,"style":232},"e4bf7abde9d7",[12610],{"_key":12611,"_type":223,"marks":12612,"text":12613},"a0f6591483520",[],"How can it become something other than the avoidance of problematic parts of one’s history—an avoidance that leads to passivity, often called ‘neutrality’? How can it instead be activated as a practice of mutual accountability, one that remains conscious of historical heritage?",[],[12616,107,12617,333,12504,12534,12618,12619,12620],"practicing family","how can it become something other than the avoidance of problematic parts of one’s history—an avoidance that leads to passivity, often called ‘neutrality’? how can it instead be activated as a practice of mutual accountability, one that remains conscious of historical heritage?","is located around family as fundamental relation most of us share in context-specific and individual forms. going beyond idealized notions of *perfect families* and the idea of one generative family – often a patriarchal and heteronormative institution, built to reproduce and maintain the status quo – leaving the atomic family of “western” contexts behind, individualized in privatized isolation, practicing family wants to understand family as first place where we learn about the world and thus a collection of knowledges coming from histories, individual and collective experiences, cultural practices ... how can this knowledge become a more conscious part of living life in the present? how can it become something else than avoiding problematic parts of one’s history leading to passiveness, called “neutrality”? but activating for mutual accountability, a practice, conscious about historical heritage?\n\nthe project wants to look at family practice as transformative, ongoing process, as a counter practice against the nation state, through which logics of whiteness as lifestyle in which the ones who produce tons of waste are not the ones to take care of that waste (and that work is being outsourced along the separation lines of race, class and gender), are being legitimized and naturalized.","what is family?\n\n(incomplete list)\n\na group of people\na social norm\nblood\nchosen\nbelonging, love, care, safety, unconditionality, …\navoidance, pain, trauma, guilt, violence, …\nto be continued, promising a permanence\na (legal) institution reproducing the status quo – patriarchal, heteronormative, atomic individualized, isolated in private households, “non-political”\ncommunity, collectivity,\nthere is no generative family\nto be abolished?\nknowledge, practice, basic relationship amongst individuals or people or\nbodies, social relation\na counter practice against the nation-state_ an ongoing transformative process\na space for each other, held by each other\nopenness, honesty, solidarity\nkinship, sharing, critique, growing, questioning, exploring","\"family\"",{"_type":9,"current":12622},"practicing-family",{"_id":12624,"_type":1027,"categories":12625,"credits":12633,"featuredImage":12726,"filterables":12731,"footnotes":12739,"locations":12740,"logbook":7,"pageBuilder":12744,"researchQuestion":12797,"researchQuestions":12814,"searchables":12834,"seo":7,"slug":12840,"title":12842,"year":113},"6a7b6b4e-94a4-4d4c-81cf-6bb184693bcd",[12626,12630],{"_id":595,"_type":362,"colorPrimary":12627,"seo":7,"slug":12629,"title":598},{"label":1031,"value":12628},"#fff0dc",{"_type":9,"current":597},{"_id":810,"_type":362,"colorPrimary":12631,"seo":7,"slug":12632,"title":813},{"label":1031,"value":8792},{"_type":9,"current":812},{"other":7,"profiles":12634},[12635,12682],{"_id":12636,"_type":1078,"activeYears":12637,"bio":12640,"bioShort":12649,"featuredImage":12650,"filterables":12658,"links":12661,"locations":12666,"searchables":12678,"seo":7,"slug":12680,"title":12651},"5dbcd905-2a9c-4698-a428-8c8d10382dde",[12638],{"_id":110,"_type":99,"seo":7,"slug":12639,"title":113},{"_type":9,"current":112},[12641],{"_key":12642,"_type":219,"children":12643,"markDefs":12648,"style":232},"44d1b2ffa7f8",[12644],{"_key":12645,"_type":223,"marks":12646,"text":12647},"688f643a1a7f0",[],"-",[],"Artist and compulsive collaborator, eternally preoccupied with questions of how to be together.",{"alt":12651,"asset":12652},"Dylan Spencer-Davidson",{"_id":12653,"height":12654,"orientation":1129,"ratio":12655,"url":12656,"width":12657},"image-0a9b0f8306f26f7138b12b0c9517f344962eb734-1707x2560-jpg",2560,0.666796875,"https://cdn.sanity.io/images/eodip22e/production/0a9b0f8306f26f7138b12b0c9517f344962eb734-1707x2560.jpg",1707,{"filterYear":12659},[12660],{"_id":110,"title":113},[12662,12664],{"_type":1138,"label":1139,"url":12663},"https://www.dylanspencerdavidson.com/",{"_type":1138,"label":1142,"url":12665},"https://www.instagram.com/dylanspencerdavidson/",{"locations":12667,"other":12670},[12668],{"_id":331,"_type":308,"seo":7,"slug":12669,"title":334},{"_type":9,"current":333},[12671],{"_key":12672,"_type":219,"children":12673,"markDefs":12677,"style":232},"cf473c7a0db0",[12674],{"_key":12675,"_type":223,"marks":12676,"text":5697},"29435eedcbe8",[],[],[12679,112],"dylan spencer-davidson",{"_type":9,"current":12681},"dylan-spencer-davidson",{"_id":12683,"_type":1078,"activeYears":12684,"bio":12687,"bioShort":12695,"featuredImage":12696,"filterables":12703,"links":12706,"locations":12709,"searchables":12722,"seo":7,"slug":12724,"title":12697},"ae64bf62-ff42-4737-87ff-58f43ea6367e",[12685],{"_id":110,"_type":99,"seo":7,"slug":12686,"title":113},{"_type":9,"current":112},[12688],{"_key":12689,"_type":219,"children":12690,"markDefs":12694,"style":232},"409b050349c7",[12691],{"_key":12692,"_type":223,"marks":12693,"text":12647},"660c8c569bc40",[],[],"Iggy is a psychodynamic therapist, a facilitator of social dreaming and other queer conversations, and lately, a writer. ",{"alt":12697,"asset":12698},"Iggy Robinson",{"_id":12699,"height":12343,"orientation":1129,"ratio":12700,"url":12701,"width":12702},"image-5455e0364ddfb8969ae8bace572a2b0584afc321-896x1002-png",0.8942115768463074,"https://cdn.sanity.io/images/eodip22e/production/5455e0364ddfb8969ae8bace572a2b0584afc321-896x1002.png",896,{"filterYear":12704},[12705],{"_id":110,"title":113},[12707],{"_type":1138,"label":1139,"url":12708},"https://www.iggyrobinson.co.uk/",{"locations":12710,"other":12713},[12711],{"_id":331,"_type":308,"seo":7,"slug":12712,"title":334},{"_type":9,"current":333},[12714],{"_key":12715,"_type":219,"children":12716,"markDefs":12721,"style":232},"a204bf7454d4",[12717],{"_key":12718,"_type":223,"marks":12719,"text":12720},"a994de4da127",[],"Based in London",[],[12723,112],"iggy robinson",{"_type":9,"current":12725},"iggy-robinson",{"alt":12727,"asset":12728},"School of Commons - Business as usual: Listening to the unconscious of collaborative practice",{"_id":12729,"height":12654,"orientation":7818,"ratio":2178,"url":12730,"width":12654},"image-fb3c7eeaa3756a4127ee6fd9945869c9415f46dc-2560x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/fb3c7eeaa3756a4127ee6fd9945869c9415f46dc-2560x2560.jpg",{"filterCategory":12732,"filterLocation":12735,"filterYear":12737},[12733,12734],{"_id":595,"title":598},{"_id":810,"title":813},[12736],{"_id":331,"title":334},[12738],{"_id":110,"title":113},[],{"locations":12741,"other":7},[12742],{"_id":331,"_type":308,"seo":7,"slug":12743,"title":334},{"_type":9,"current":333},[12745,12763],{"_type":1625,"settings":7,"text":12746},[12747],{"_key":12748,"_type":219,"children":12749,"markDefs":12762,"style":232},"c8be5e4fa949",[12750,12754,12758],{"_key":12751,"_type":223,"marks":12752,"text":12753},"6b93756fd8b50",[],"“",{"_key":12755,"_type":223,"marks":12756,"text":12757},"6b93756fd8b51",[1559],"The power of the commons is to point to a way to view what’s broken in sociality, the difficulty of convening a world conjointly, although it is inconvenient and hard",{"_key":12759,"_type":223,"marks":12760,"text":12761},"6b93756fd8b52",[],"” — Lauren Berlant",[],{"_type":1625,"settings":7,"text":12764},[12765,12773,12789],{"_key":12766,"_type":219,"children":12767,"markDefs":12772,"style":232},"248a3061846a",[12768],{"_key":12769,"_type":223,"marks":12770,"text":12771},"b4e657837f620",[],"Our research seeks to direct attention towards the inconveniences, the frictions and the unspoken of collective practice. How can these be brought to light in a way that is generative and transformative? What are the conditions that enable group dynamics to be made conscious and how can the associated labour be fairly distributed? We are particularly interested in the subconscious desires for consensus, harmony, positivity, politeness and smoothness that attempt to hide the “messed up yet shared and ongoing infrastructures of experience” (Berlant).",[],{"_key":12774,"_type":219,"children":12775,"markDefs":12788,"style":232},"bc3c44adcf72",[12776,12780,12784],{"_key":12777,"_type":223,"marks":12778,"text":12779},"50d3c2a81cec0",[],"During our ten months at School of Commons, we hosted study and reading group sessions. We started by exploring ",{"_key":12781,"_type":223,"marks":12782,"text":12783},"4345b008a6301",[225],"anger",{"_key":12785,"_type":223,"marks":12786,"text":12787},"4345b008a6302",[]," in groups and collaborations: the ways it is made use of, suppressed, distributed, experienced, and transformed.",[],{"_key":12790,"_type":219,"children":12791,"markDefs":12796,"style":232},"c17cd010fc49",[12792],{"_key":12793,"_type":223,"marks":12794,"text":12795},"ca5486e7abd90",[],"Session 1: August 16 2024 at Soft Power, Berlin\nSession 2: September 11, online\n",[],[12798,12806],{"_key":12799,"_type":219,"children":12800,"markDefs":12805,"style":232},"590e36a84b65",[12801],{"_key":12802,"_type":223,"marks":12803,"text":12804},"dd9b8011f738",[],"How can these *the inconveniences, the frictions and the unspoken of collective practice* be brought to light in a way that is generative and transformative? ",[],{"_key":12807,"_type":219,"children":12808,"markDefs":12813,"style":232},"2d90f212ab61",[12809],{"_key":12810,"_type":223,"marks":12811,"text":12812},"35836108562d",[],"What are the conditions that enable group dynamics to be made conscious and how can the associated labour be fairly distributed?",[],[12815,12825],{"_type":1733,"question":12816},[12817],{"_key":12818,"_type":219,"children":12819,"markDefs":12824,"style":232},"915e477c4340",[12820],{"_key":12821,"_type":223,"marks":12822,"text":12823},"49c83492e129",[],"How can these *the inconveniences, the frictions and the unspoken of collective practice* be brought to light in a way that is generative and transformative?",[],{"_type":1733,"question":12826},[12827],{"_key":12828,"_type":219,"children":12829,"markDefs":12833,"style":232},"26f12953d3a6",[12830],{"_key":12831,"_type":223,"marks":12832,"text":12812},"b0968ad256e3",[],[],[12835,112,12836,12837,333,12679,12723,12838,12839,597,9256],"business as usual: listening to the unconscious of collaborative practice","how can these *the inconveniences, the frictions and the unspoken of collective practice* be brought to light in a way that is generative and transformative?","what are the conditions that enable group dynamics to be made conscious and how can the associated labour be fairly distributed?","“the power of the commons is to point to a way to view what’s broken in sociality, the difficulty of convening a world conjointly, although it is inconvenient and hard” — lauren berlant","our research seeks to direct attention towards the inconveniences, the frictions and the unspoken of collective practice. how can these be brought to light in a way that is generative and transformative? what are the conditions that enable group dynamics to be made conscious and how can the associated labour be fairly distributed? we are particularly interested in the subconscious desires for consensus, harmony, positivity, politeness and smoothness that attempt to hide the “messed up yet shared and ongoing infrastructures of experience” (berlant).\n\nduring our ten months at school of commons, we hosted study and reading group sessions. we started by exploring anger in groups and collaborations: the ways it is made use of, suppressed, distributed, experienced, and transformed.\n\nsession 1: august 16 2024 at soft power, berlin\nsession 2: september 11, online\n",{"_type":9,"current":12841},"business-as-usual","Business as usual: Listening to the unconscious of collaborative practice",{"_id":12844,"_type":1027,"categories":12845,"credits":12871,"featuredImage":13009,"filterables":13012,"footnotes":13026,"locations":13027,"logbook":7,"pageBuilder":13031,"researchQuestion":7,"researchQuestions":7,"searchables":13154,"seo":7,"slug":13158,"title":13160,"year":113},"05a01297-94de-4fe5-85eb-1d3f92305ce0",[12846,12849,12852,12855,12858,12861,12864,12867],{"_id":810,"_type":362,"colorPrimary":12847,"seo":7,"slug":12848,"title":813},{"label":1031,"value":8792},{"_type":9,"current":812},{"_id":700,"_type":362,"colorPrimary":12850,"seo":7,"slug":12851,"title":703},{"label":1031,"value":1040},{"_type":9,"current":702},{"_id":1000,"_type":362,"colorPrimary":12853,"seo":7,"slug":12854,"title":1002},{"label":1031,"value":4709},{"_type":9,"current":89},{"_id":850,"_type":362,"colorPrimary":12856,"seo":7,"slug":12857,"title":853},{"label":1031,"value":4475},{"_type":9,"current":852},{"_id":735,"_type":362,"colorPrimary":12859,"seo":7,"slug":12860,"title":738},{"label":1031,"value":2648},{"_type":9,"current":737},{"_id":470,"_type":362,"colorPrimary":12862,"seo":7,"slug":12863,"title":473},{"label":1031,"value":4453},{"_type":9,"current":472},{"_id":535,"_type":362,"colorPrimary":12865,"seo":7,"slug":12866,"title":538},{"label":1031,"value":7216},{"_type":9,"current":537},{"_id":695,"_type":362,"colorPrimary":12868,"seo":7,"slug":12870,"title":698},{"label":1031,"value":12869},"#b4b4b4",{"_type":9,"current":697},{"other":7,"profiles":12872},[12873,12922,12967],{"_id":12874,"_type":1078,"activeYears":12875,"bio":12878,"bioShort":12895,"featuredImage":12896,"filterables":12900,"links":12903,"locations":12906,"searchables":12918,"seo":7,"slug":12920,"title":12889},"69d6d9ed-54d2-400f-a4cf-1b8329bcdcfa",[12876],{"_id":110,"_type":99,"seo":7,"slug":12877,"title":113},{"_type":9,"current":112},[12879],{"_key":12880,"_type":219,"children":12881,"markDefs":12894,"style":232},"3508c1328bdb",[12882,12886,12890],{"_key":12883,"_type":223,"marks":12884,"text":12885},"534830492e120",[],"The project offers a space for exhibitions, discussions, and hybrid events and operates across multiple segments, including making, collaborating, hosting, and linking. ",{"_key":12887,"_type":223,"marks":12888,"text":12889},"534830492e124",[1559],"Co-Making Matters",{"_key":12891,"_type":223,"marks":12892,"text":12893},"534830492e125",[]," provides a supportive environment for site-specific projects and temporary interventions, with the goal of creating long-lasting partnerships. The platform is designed to promote cross-disciplinary thinking and encourages open communication, exchange, and learning.",[],"A multidisciplinary platform located at Haus der Statistik that aims to foster collaborations and partnerships among practitioners from different fields. ",{"alt":12889,"asset":12897},{"_id":12898,"height":6861,"orientation":7818,"ratio":2178,"url":12899,"width":6861},"image-37ac2bffe42e1005e92f784a5b9b3d48fdc8e497-2160x2160-jpg","https://cdn.sanity.io/images/eodip22e/production/37ac2bffe42e1005e92f784a5b9b3d48fdc8e497-2160x2160.jpg",{"filterYear":12901},[12902],{"_id":110,"title":113},[12904],{"_type":1138,"label":1139,"url":12905},"https://comakingmatters.com/",{"locations":12907,"other":12910},[12908],{"_id":331,"_type":308,"seo":7,"slug":12909,"title":334},{"_type":9,"current":333},[12911],{"_key":12912,"_type":219,"children":12913,"markDefs":12917,"style":232},"27284943a763",[12914],{"_key":12915,"_type":223,"marks":12916,"text":5697},"b7820fff1e0e",[],[],[12919,112],"co-making matters",{"_type":9,"current":12921},"co-making-matters",{"_id":12923,"_type":1078,"activeYears":12924,"bio":12927,"bioShort":12936,"featuredImage":12937,"filterables":12943,"links":12946,"locations":12950,"searchables":12962,"seo":7,"slug":12964,"title":12966},"691074cf-fd91-4449-bdce-7905ac472ebd",[12925],{"_id":110,"_type":99,"seo":7,"slug":12926,"title":113},{"_type":9,"current":112},[12928],{"_key":12929,"_type":219,"children":12930,"markDefs":12935,"style":232},"84ddbb776b71",[12931],{"_key":12932,"_type":223,"marks":12933,"text":12934},"408fee825ea10",[],"Her work centers on educational methods within curatorial and artistic practices. Viviane is also a ceramicist and teaches regularly in ceramic studios. In her artistic practice, she merges the contact with clay to explore and contextualize different environments. She co-founded and co-directed the art space Casa Aberta in São Paulo (2018-2022), where she organized transdisciplinary projects that integrated music, dance, visual arts, and other forms of expression. She has been a member of the collective Cruising Curators since 2020. She has worked for institutions such as Documenta, Berlin Biennale, Pinacoteca de São Paulo, Sesc Pompeia, Fundação Bienal de São Paulo, and others, and has collaborated with projects and spaces such as Buro Stedelijk, SSW, HKW (Haus der Kulturen der Welt), Floating University, Brücke Museum, Arts of the Working Class, Hopscotch Reading Room, OSTEN Festival, Grassi Museum, and Pilotenkueche Art Residency. She has founded and directs the project space Co-Making Matters.",[],"Viviane is a Brazilian curator, art mediator and artist. ",{"alt":7,"asset":12938},{"_id":12939,"height":12940,"orientation":1474,"ratio":12941,"url":12942,"width":4056},"image-be846ff24ebee96c978aff5847a44bd088728fe6-1600x1227-jpg",1227,1.3039934800325998,"https://cdn.sanity.io/images/eodip22e/production/be846ff24ebee96c978aff5847a44bd088728fe6-1600x1227.jpg",{"filterYear":12944},[12945],{"_id":110,"title":113},[12947,12949],{"_type":1138,"label":1142,"url":12948},"https://www.instagram.com/vivianetabach/",{"_type":1138,"label":12889,"url":12905},{"locations":12951,"other":12954},[12952],{"_id":331,"_type":308,"seo":7,"slug":12953,"title":334},{"_type":9,"current":333},[12955],{"_key":12956,"_type":219,"children":12957,"markDefs":12961,"style":232},"18012abe394c",[12958],{"_key":12959,"_type":223,"marks":12960,"text":5697},"c5ecb3157ab6",[],[],[12963,112],"viviane tabach",{"_type":9,"current":12965},"viviane-tabach","Viviane Tabach",{"_id":12968,"_type":1078,"activeYears":12969,"bio":12972,"bioShort":12981,"featuredImage":12982,"filterables":12988,"links":12991,"locations":12993,"searchables":13005,"seo":7,"slug":13007,"title":12983},"20752c79-517b-4c1f-b06d-0d3889f71c59",[12970],{"_id":110,"_type":99,"seo":7,"slug":12971,"title":113},{"_type":9,"current":112},[12973],{"_key":12974,"_type":219,"children":12975,"markDefs":12980,"style":232},"f555879b30fc",[12976],{"_key":12977,"_type":223,"marks":12978,"text":12979},"c5d21b6434130",[],"Her practice develops through writing and photography and her research is based on the topics of home, objects, and relationships. Focused on curatorial practices and cultural management, Nicole was one of the founders of Casaplanta, a creative studio based in Sao Paulo focused on the development of artistic projects. Over the past ten years, as an exhibition producer, Nicole has collaborated with artists from different backgrounds and coordinated several projects in institutions like CCBB, SESCs, etc. As a member of Co-Making Matters, Nicole contributes to projects both as a producer and creative collaborator.",[],"Nicole is a Brazilian interdisciplinary artist and researcher. ",{"alt":12983,"asset":12984},"Nicole Candian",{"_id":12985,"height":4056,"orientation":1129,"ratio":12986,"url":12987,"width":12235},"image-b291910b2aa9a144b9f9b48254a9e05ebf7adb9d-1272x1600-jpg",0.795,"https://cdn.sanity.io/images/eodip22e/production/b291910b2aa9a144b9f9b48254a9e05ebf7adb9d-1272x1600.jpg",{"filterYear":12989},[12990],{"_id":110,"title":113},[12992],{"_type":1138,"label":12889,"url":12905},{"locations":12994,"other":12997},[12995],{"_id":331,"_type":308,"seo":7,"slug":12996,"title":334},{"_type":9,"current":333},[12998],{"_key":12999,"_type":219,"children":13000,"markDefs":13004,"style":232},"1ccda134ad8b",[13001],{"_key":13002,"_type":223,"marks":13003,"text":5697},"9687e74f22db",[],[],[13006,112],"nicole candian",{"_type":9,"current":13008},"nicole-candian",{"alt":13010,"asset":13011},"School of Commons - Co-Making Matters: Cross-Disciplinary Collaboration and Commons-Based Learning in Urban Environments",{"_id":12898,"height":6861,"orientation":7818,"ratio":2178,"url":12899,"width":6861},{"filterCategory":13013,"filterLocation":13022,"filterYear":13024},[13014,13015,13016,13017,13018,13019,13020,13021],{"_id":810,"title":813},{"_id":700,"title":703},{"_id":1000,"title":1002},{"_id":850,"title":853},{"_id":735,"title":738},{"_id":470,"title":473},{"_id":535,"title":538},{"_id":695,"title":698},[13023],{"_id":331,"title":334},[13025],{"_id":110,"title":113},[],{"locations":13028,"other":7},[13029],{"_id":331,"_type":308,"seo":7,"slug":13030,"title":334},{"_type":9,"current":333},[13032,13077,13096,13142],{"_type":1625,"settings":7,"text":13033},[13034,13057],{"_key":13035,"_type":219,"children":13036,"markDefs":13056,"style":232},"c976d772b572",[13037,13041,13045,13049,13053],{"_key":13038,"_type":223,"marks":13039,"text":13040},"d720d3543974",[],"Co-Making Matters is a multidisciplinary platform at Haus der Statistik, Berlin, that aims to foster collaborations and partnerships among practitioners from different fields. The project offers a space for exhibitions, discussions, and hybrid events and operates across multiple segments, including ",{"_key":13042,"_type":223,"marks":13043,"text":13044},"395efc23b27e",[225],"making, collaborating, hosting, and linking",{"_key":13046,"_type":223,"marks":13047,"text":13048},"5a1db27631e4",[],". Co-Making Matters provides a supportive environment for site-specific projects and temporary interventions, with the goal of creating long-lasting partnerships. The platform is designed to promote cross-disciplinary thinking and encourages ",{"_key":13050,"_type":223,"marks":13051,"text":13052},"fcc08cba170a",[225],"open communication, exchange, and learning",{"_key":13054,"_type":223,"marks":13055,"text":1097},"3c1fad36934f",[],[],{"_key":13058,"_type":219,"children":13059,"markDefs":13076,"style":232},"1f390d51d078",[13060,13064,13068,13072],{"_key":13061,"_type":223,"marks":13062,"text":13063},"391c73e9cb89",[225],"Together with the School of Commons and the Cohort 2024",{"_key":13065,"_type":223,"marks":13066,"text":13067},"1d0fdb9c45e5",[],", Co-Making Matters aims to investigate ",{"_key":13069,"_type":223,"marks":13070,"text":13071},"e630aec5934b",[225],"how commons-based learning principles and methodologies",{"_key":13073,"_type":223,"marks":13074,"text":13075},"8b0f73f4e662",[]," can enhance cross-disciplinary cooperation in urban environments, fostering creativity and shared knowledge. Through collaborations, Co-Making Matters intends to explore how temporary interventions and site-specific projects can create a sense of community and facilitate knowledge-sharing in diverse urban landscapes, with a focus on inclusivity.",[],{"_type":2894,"slides":13078},[13079,13085,13091],{"_type":1621,"caption":7,"image":13080},{"alt":7,"asset":13081},{"_id":13082,"height":12657,"orientation":1474,"ratio":13083,"url":13084,"width":12654},"image-0c8d4b62033a71650650284bb5ac2ca9bc5fe257-2560x1707-jpg",1.4997070884592854,"https://cdn.sanity.io/images/eodip22e/production/0c8d4b62033a71650650284bb5ac2ca9bc5fe257-2560x1707.jpg",{"_type":1621,"caption":7,"image":13086},{"alt":7,"asset":13087},{"_id":13088,"height":7744,"orientation":1474,"ratio":13089,"url":13090,"width":4056},"image-3e1f7d54169d8d34bdebf118b470121f7208f366-1600x1066-jpg",1.5009380863039399,"https://cdn.sanity.io/images/eodip22e/production/3e1f7d54169d8d34bdebf118b470121f7208f366-1600x1066.jpg",{"_type":1621,"caption":7,"image":13092},{"alt":7,"asset":13093},{"_id":13094,"height":7699,"orientation":1474,"ratio":3344,"url":13095,"width":4004},"image-4264756a33831dc9d995cb6276ea0311e82d4f1f-1024x768-jpg","https://cdn.sanity.io/images/eodip22e/production/4264756a33831dc9d995cb6276ea0311e82d4f1f-1024x768.jpg",{"_type":1625,"settings":7,"text":13097},[13098,13106,13118,13130],{"_key":13099,"_type":219,"children":13100,"markDefs":13105,"style":232},"207530d7db06",[13101],{"_key":13102,"_type":223,"marks":13103,"text":13104},"f3d8b2fec186",[225],"Initially we plan:",[],{"_key":13107,"_type":219,"children":13108,"markDefs":13117,"style":232},"491c6a1157fc",[13109,13113],{"_key":13110,"_type":223,"marks":13111,"text":13112},"dc22f77281c2",[225],"Collaborative Workshops:",{"_key":13114,"_type":223,"marks":13115,"text":13116},"d13b454cf1e7",[]," Conduct hands-on, collaborative workshops that engage participants in cross-disciplinary activities. These sessions will provide practical insights into the implementation of commons-based learning principles in urban settings.",[],{"_key":13119,"_type":219,"children":13120,"markDefs":13129,"style":232},"1576f8a05316",[13121,13125],{"_key":13122,"_type":223,"marks":13123,"text":13124},"24ac1192b1c8",[225],"Participatory Mapping:",{"_key":13126,"_type":223,"marks":13127,"text":13128},"07fa092ed9ee",[]," Utilize participatory mapping techniques to document urban spaces and collaborative initiatives. This method aims to identify patterns and opportunities for knowledge-sharing, emphasizing the unique characteristics of different urban landscapes.",[],{"_key":13131,"_type":219,"children":13132,"markDefs":13141,"style":232},"aa9290c25797",[13133,13137],{"_key":13134,"_type":223,"marks":13135,"text":13136},"7b414ab9168a",[225],"Distributing the existing knowledge in different platforms:",{"_key":13138,"_type":223,"marks":13139,"text":13140},"cc9e8a8c44f7",[]," Implement online tools to facilitate global participation and collaboration. By overcoming geographical constraints, virtual platforms will enhance the accessibility of our initiatives, fostering a diverse and inclusive community.",[],{"_type":2894,"slides":13143},[13144,13149],{"_type":1621,"caption":7,"image":13145},{"alt":7,"asset":13146},{"_id":13147,"height":12654,"orientation":1129,"ratio":2920,"url":13148,"width":2834},"image-5d84f368fd15e4dd47926bb53677d80507cf184c-1920x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/5d84f368fd15e4dd47926bb53677d80507cf184c-1920x2560.jpg",{"_type":1621,"caption":7,"image":13150},{"alt":7,"asset":13151},{"_id":13152,"height":4004,"orientation":1129,"ratio":2920,"url":13153,"width":7699},"image-25bba53da20779649b895696e18232653fcf6706-768x1024-jpg","https://cdn.sanity.io/images/eodip22e/production/25bba53da20779649b895696e18232653fcf6706-768x1024.jpg",[13155,112,333,12919,12963,13006,13156,13157,9256,1784,4967,4697,3947,4695,7484,697],"co-making matters: cross-disciplinary collaboration and commons-based learning in urban environments","co-making matters is a multidisciplinary platform at haus der statistik, berlin, that aims to foster collaborations and partnerships among practitioners from different fields. the project offers a space for exhibitions, discussions, and hybrid events and operates across multiple segments, including making, collaborating, hosting, and linking. co-making matters provides a supportive environment for site-specific projects and temporary interventions, with the goal of creating long-lasting partnerships. the platform is designed to promote cross-disciplinary thinking and encourages open communication, exchange, and learning.\n\ntogether with the school of commons and the cohort 2024, co-making matters aims to investigate how commons-based learning principles and methodologies can enhance cross-disciplinary cooperation in urban environments, fostering creativity and shared knowledge. through collaborations, co-making matters intends to explore how temporary interventions and site-specific projects can create a sense of community and facilitate knowledge-sharing in diverse urban landscapes, with a focus on inclusivity.","initially we plan:\n\ncollaborative workshops: conduct hands-on, collaborative workshops that engage participants in cross-disciplinary activities. these sessions will provide practical insights into the implementation of commons-based learning principles in urban settings.\n\nparticipatory mapping: utilize participatory mapping techniques to document urban spaces and collaborative initiatives. this method aims to identify patterns and opportunities for knowledge-sharing, emphasizing the unique characteristics of different urban landscapes.\n\ndistributing the existing knowledge in different platforms: implement online tools to facilitate global participation and collaboration. by overcoming geographical constraints, virtual platforms will enhance the accessibility of our initiatives, fostering a diverse and inclusive community.",{"_type":9,"current":13159},"co-making-matters-cross-disciplinary-collaboration-and-commons-based-learning-in-urban-environments","Co-Making Matters: Cross-Disciplinary Collaboration and Commons-Based Learning in Urban Environments",{"_id":13162,"_type":1027,"categories":13163,"credits":13170,"featuredImage":13233,"filterables":13238,"footnotes":13246,"locations":13247,"logbook":7,"pageBuilder":13251,"researchQuestion":13271,"researchQuestions":7,"searchables":13280,"seo":7,"slug":13283,"title":13194,"year":113},"8e16b1b6-4e96-42bd-9f61-80ddaf09db2f",[13164,13167],{"_id":465,"_type":362,"colorPrimary":13165,"seo":7,"slug":13166,"title":468},{"label":1031,"value":4479},{"_type":9,"current":467},{"_id":470,"_type":362,"colorPrimary":13168,"seo":7,"slug":13169,"title":473},{"label":1031,"value":4453},{"_type":9,"current":472},{"other":7,"profiles":13171},[13172,13201],{"_id":13173,"_type":1078,"activeYears":13174,"bio":13177,"bioShort":13186,"featuredImage":7,"filterables":13187,"links":13190,"locations":7,"searchables":13196,"seo":7,"slug":13198,"title":13200},"86c3be81-544d-4c0e-95e1-0b4f69781fd3",[13175],{"_id":110,"_type":99,"seo":7,"slug":13176,"title":113},{"_type":9,"current":112},[13178],{"_key":13179,"_type":219,"children":13180,"markDefs":13185,"style":232},"ec66c5d447c9",[13181],{"_key":13182,"_type":223,"marks":13183,"text":13184},"ed6de66fd32d0",[],"Dan studied fine arts at the School of the Arts Institute of Chicago in the early 1990s, later moving to Germany (1995-2000), France (2000-2003) and then the UK (2003-2015), where he received his MA in Performance in Cultural Location from the Dartington College of Arts in 2007. Dan is currently based in Berlin, Germany, since 2015. Dan’s works incorporate a wide range of media, including fine art, new media and interactive technology, live presence and somatic practice. The central themes touch on issues of consciousness and embodiment, connection to place and presence, addressing social and environmental conflict, and an increasing focus on a post-anthropocentric perspective and a deep connection with nature. These draw on his extensive background and experience in meditation, awareness and embodiment practices, digital practices and a wide range of alternative living approaches. His work includes collaborations with world renowned dance companies and choreographers, has been acclaimed at international festivals including special selection at FIPA, screened on major television networks, such as ABC or Channel4, and presented at the London Olympics, the Shanghai Expo and the Kassel Documenta.",[],"Co-founding member of Common Views, Dan Farberoff (Born: Barranquilla, Colombia) is a multinational, interdisciplinary artist and filmmaker. ",{"filterYear":13188},[13189],{"_id":110,"title":113},[13191,13193],{"_type":1138,"label":1142,"url":13192},"https://www.instagram.com/iccigucci/",{"_type":1138,"label":13194,"url":13195},"Common Views","https://commonviews.art/",[13197,112],"dan farberoff",{"_type":9,"current":13199},"dan-farberoff","Dan Farberoff",{"_id":13202,"_type":1078,"activeYears":13203,"bio":13206,"bioShort":13215,"featuredImage":7,"filterables":13216,"links":13219,"locations":13224,"searchables":13228,"seo":7,"slug":13230,"title":13232},"4e105cfd-98df-4c28-9703-22ffb24e4507",[13204],{"_id":110,"_type":99,"seo":7,"slug":13205,"title":113},{"_type":9,"current":112},[13207],{"_key":13208,"_type":219,"children":13209,"markDefs":13214,"style":232},"3ea3c15c15c8",[13210],{"_key":13211,"_type":223,"marks":13212,"text":13213},"6c7a1a095fc20",[],"His work examines the interplay between art and action, as well as the concepts of “place” and “public space”, with references to cultural, social, historical and environmental contexts. David lives and works in Tuscany where he founded the Studio Alter’azioni – Commoning Arte e Cultura, Florence, which focuses on collective and commoning actions. Beginning in 2008, David has been working in a participatory manner with communities within diverse cultural contexts. Since 2012 David has been reflecting on the context of the Israeli-Palestine reality, through art projects and academic research, founding the MUNDI_Lab (Urban Design Interventions Lab) in 2016, where he researched the issues of Surveillance, Gentrification and Urban Memory in the shared public space of the city of Haifa. His work has been presented internationally and he has created site-specific projects in the UK, Greece, Poland, Israel, France, Italy (including the 53rd Venice Biennale), Brazil, and Germany.",[],"Co-founding member of Common Views, Dr. David Behar-Perahia (Born: Lyon, France) works on the seam between sculpture and architecture, in a site-specific manner, using a diversity of creative languages, such as sculpture, installation, performance, sound and video.",{"filterYear":13217},[13218],{"_id":110,"title":113},[13220,13223],{"_type":1138,"label":13221,"url":13222}," @commonviews.art","https://www.instagram.com/commonviews.art/",{"_type":1138,"label":1139,"url":13195},{"locations":13225,"other":7},[13226],{"_id":331,"_type":308,"seo":7,"slug":13227,"title":334},{"_type":9,"current":333},[13229,112],"david behar perahia",{"_type":9,"current":13231},"david-behar-perahia","David Behar Perahia",{"alt":13234,"asset":13235},"Common Views Collective",{"_id":13236,"height":4099,"orientation":1474,"ratio":3344,"url":13237,"width":2834},"image-3f2470586669980e3e8028076d0ff63bc5199ab8-1920x1440-jpg","https://cdn.sanity.io/images/eodip22e/production/3f2470586669980e3e8028076d0ff63bc5199ab8-1920x1440.jpg",{"filterCategory":13239,"filterLocation":13242,"filterYear":13244},[13240,13241],{"_id":465,"title":468},{"_id":470,"title":473},[13243],{"_id":331,"title":334},[13245],{"_id":110,"title":113},[],{"locations":13248,"other":7},[13249],{"_id":331,"_type":308,"seo":7,"slug":13250,"title":334},{"_type":9,"current":333},[13252],{"_type":1625,"settings":13253,"text":13254},{"textColumnCount":1627},[13255,13263],{"_key":13256,"_type":219,"children":13257,"markDefs":13262,"style":232},"5daabcec2ca9",[13258],{"_key":13259,"_type":223,"marks":13260,"text":13261},"f0b26de000140",[],"The Common Views collective addresses social-ecological concerns at sites-in-conflict. Our methodology of Environmental Reconciliation, which we have been evolving over the course of our work, in a range of sites and with various communities internationally, applies a post-anthropocentric Commoning perspective and a social-ecological re-framing in the context of arts engagement, as a way of working towards understanding, unpacking and redressing contested issues. We employ participatory strategies and aim for horizontality at all levels of a project, an approach that goes beyond project process and structure, forming a basic understanding that questions entrenched hierarchical attitudes of human vs human and human over nature. Our methodology engenders co-learning and calls for an alternative approach to curation, one that is centred on public engagement, mediation and process. ",[],{"_key":13264,"_type":219,"children":13265,"markDefs":13270,"style":232},"f6351408f487",[13266],{"_key":13267,"_type":223,"marks":13268,"text":13269},"fb12870a8908",[],"Our research at the SoC explores Commoning within engaged arts practice, asking how we can expand our collective's shared knowledge- and skills-space and broaden our collaborative learning, exploration, decision-making, creation and reflection, to increase shared-ownership of the creative process and its outcomes with project participants. Specifically, we set out to compile a toolkit of strategies, methods and practices that will facilitate our work as catalysts of a Commoning process, through labbing and reflection, applying the practice of Commoning to the process of examining our own modes of working and interacting as a collective, by engaging in a reciprocal and convivial exchange.",[],[13272],{"_key":13273,"_type":219,"children":13274,"markDefs":13279,"style":232},"43897cfdcc6f",[13275],{"_key":13276,"_type":223,"marks":13277,"text":13278},"c2f0b48797e6",[],"How we can expand our collective's shared knowledge-and skills-space and broaden our collaborative learning, exploration, decision-making, creation and reflection, to increase shared-ownership of the creative process and its outcomes with project participants?",[],[13281,112,333,13197,13229,13282,467,4695],"common views","the common views collective addresses social-ecological concerns at sites-in-conflict. our methodology of environmental reconciliation, which we have been evolving over the course of our work, in a range of sites and with various communities internationally, applies a post-anthropocentric commoning perspective and a social-ecological re-framing in the context of arts engagement, as a way of working towards understanding, unpacking and redressing contested issues. we employ participatory strategies and aim for horizontality at all levels of a project, an approach that goes beyond project process and structure, forming a basic understanding that questions entrenched hierarchical attitudes of human vs human and human over nature. our methodology engenders co-learning and calls for an alternative approach to curation, one that is centred on public engagement, mediation and process. \n\nour research at the soc explores commoning within engaged arts practice, asking how we can expand our collective's shared knowledge- and skills-space and broaden our collaborative learning, exploration, decision-making, creation and reflection, to increase shared-ownership of the creative process and its outcomes with project participants. specifically, we set out to compile a toolkit of strategies, methods and practices that will facilitate our work as catalysts of a commoning process, through labbing and reflection, applying the practice of commoning to the process of examining our own modes of working and interacting as a collective, by engaging in a reciprocal and convivial exchange.",{"_type":9,"current":13284},"common-views",{"_id":13286,"_type":1027,"categories":13287,"credits":13295,"featuredImage":13452,"filterables":13459,"footnotes":13467,"locations":13468,"logbook":13472,"pageBuilder":13502,"researchQuestion":13536,"researchQuestions":7,"searchables":13545,"seo":7,"slug":13550,"title":13552,"year":113},"2cffae95-d849-4531-b16d-de209ec72a26",[13288,13292],{"_id":800,"_type":362,"colorPrimary":13289,"seo":7,"slug":13291,"title":803},{"label":1031,"value":13290},"#646400",{"_type":9,"current":802},{"_id":470,"_type":362,"colorPrimary":13293,"seo":7,"slug":13294,"title":473},{"label":1031,"value":4453},{"_type":9,"current":472},{"other":7,"profiles":13296},[13297,13339,13378,13410],{"_id":13298,"_type":1078,"activeYears":13299,"bio":13302,"bioShort":13311,"featuredImage":7,"filterables":13312,"links":13315,"locations":13321,"searchables":13334,"seo":7,"slug":13336,"title":13338},"1dcdff70-6791-4839-ada3-19b656710e76",[13300],{"_id":110,"_type":99,"seo":7,"slug":13301,"title":113},{"_type":9,"current":112},[13303],{"_key":13304,"_type":219,"children":13305,"markDefs":13310,"style":232},"33b42f701c72",[13306],{"_key":13307,"_type":223,"marks":13308,"text":13309},"80f6ee341e660",[],"Her primary interests lie in strategies and methods that advance political, spatial, and social transformation processes during times of polycrisis. She has collaborated with ARCH+ and Brandlhuber+ on topics such as land policy, Smart Cities, and neoliberal urban development. Since 2019, she is Co-Editor-in-Chief of Kontextur. Since 2021, she has been teaching at ETH Zurich. Since 2024, she has been serving as a research associate focusing on construction policy at the Bundestag.",[],"Angelika (she/her) engages in diverse roles and formats within the field of architecture. ",{"filterYear":13313},[13314],{"_id":110,"title":113},[13316,13318],{"_type":1138,"label":1139,"url":13317},"https://www.ahinterbrandner.com/",{"_type":1138,"label":13319,"url":13320},"Spaceforfuture.org","https://spaceforfuture.org/",{"locations":13322,"other":13325},[13323],{"_id":331,"_type":308,"seo":7,"slug":13324,"title":334},{"_type":9,"current":333},[13326],{"_key":13327,"_type":219,"children":13328,"markDefs":13333,"style":232},"7477178c725c",[13329],{"_key":13330,"_type":223,"marks":13331,"text":13332},"84f47f2ffac90",[],"Between Berlin and Zurich",[],[13335,112],"angelika hinterbrandner",{"_type":9,"current":13337},"angelika-hinterbrandner","Angelika Hinterbrandner",{"_id":13340,"_type":1078,"activeYears":13341,"bio":13344,"bioShort":13353,"featuredImage":7,"filterables":13354,"links":13357,"locations":13361,"searchables":13373,"seo":7,"slug":13375,"title":13377},"5c7805dc-4cc0-4cb5-8615-6696c83bf75c",[13342],{"_id":110,"_type":99,"seo":7,"slug":13343,"title":113},{"_type":9,"current":112},[13345],{"_key":13346,"_type":219,"children":13347,"markDefs":13352,"style":232},"e22c33212bc3",[13348],{"_key":13349,"_type":223,"marks":13350,"text":13351},"51b5887bbe7f0",[],"Laura understands spatial planning as a political practice. She is part of the 'Deutsche Wohnen & Co. enteignen' initiative and serves on an advisory board focused on developing fair property policies for Berlin's land use. Laura works in various formats and collaborations on the topics around housing crisis, Bauwende and feminist spatial planning. She is currently researching at TU Berlin and has been working for Kontextur since 2024.",[],"Laura (she/her) studied architecture in Dusseldorf and Milan. She is currently deepening her interest in democratic (planning) processes in the postgraduate Master's program Urban Studies at Bauhaus University Weimar.",{"filterYear":13355},[13356],{"_id":110,"title":113},[13358,13360],{"_type":1138,"label":1139,"url":13359},"http://lauramargaretebertelt.de/",{"_type":1138,"label":13319,"url":13320},{"locations":13362,"other":13365},[13363],{"_id":331,"_type":308,"seo":7,"slug":13364,"title":334},{"_type":9,"current":333},[13366],{"_key":13367,"_type":219,"children":13368,"markDefs":13372,"style":232},"2768e9c0323c",[13369],{"_key":13370,"_type":223,"marks":13371,"text":5697},"e17d29ade703",[],[],[13374,112],"laura margarete bertelt",{"_type":9,"current":13376},"laura-margarete-bertelt","Laura Margarete Bertelt",{"_id":13379,"_type":1078,"activeYears":13380,"bio":13383,"bioShort":13392,"featuredImage":7,"filterables":13393,"links":13396,"locations":13401,"searchables":13405,"seo":7,"slug":13407,"title":13409},"8cd39a3c-006c-4684-9853-712c0a1b0676",[13381],{"_id":110,"_type":99,"seo":7,"slug":13382,"title":113},{"_type":9,"current":112},[13384],{"_key":13385,"_type":219,"children":13386,"markDefs":13391,"style":232},"ad9f766d6671",[13387],{"_key":13388,"_type":223,"marks":13389,"text":13390},"61f5dd1e7f9b",[],"This project is a collaboration with the spaceforfuture network.",[],"Ulrich, (he/him) is an architect who is currently working on the transformation of existing buildings with the focus on housing.",{"filterYear":13394},[13395],{"_id":110,"title":113},[13397,13400],{"_type":1138,"label":13398,"url":13399},"LinkedIn","https://www.linkedin.com/in/ulrich-kneisl-292a60130/?originalSubdomain=de",{"_type":1138,"label":13319,"url":13320},{"locations":13402,"other":7},[13403],{"_id":331,"_type":308,"seo":7,"slug":13404,"title":334},{"_type":9,"current":333},[13406,112],"ulrich kneisl",{"_type":9,"current":13408},"ulrich-kneisl","Ulrich Kneisl",{"_id":13411,"_type":1078,"activeYears":13412,"bio":13415,"bioShort":13432,"featuredImage":13433,"filterables":13439,"links":13442,"locations":13446,"searchables":13450,"seo":7,"slug":13451,"title":13434},"805076cc-8306-4f59-9814-e7483dfc90c2",[13413],{"_id":110,"_type":99,"seo":7,"slug":13414,"title":113},{"_type":9,"current":112},[13416,13424],{"_key":13417,"_type":219,"children":13418,"markDefs":13423,"style":232},"688d8f8804b9",[13419],{"_key":13420,"_type":223,"marks":13421,"text":13422},"757359011b5c0",[],"The project is rooted in the housing debate and stands for more affordable, sustainable and just access to space for the 99%. Civil society as well as policy-makers lack detail and substance on policy considerations in the field of housing – spaceforfuture.org specialises in communicating the nuances. ",[],{"_key":13425,"_type":219,"children":13426,"markDefs":13431,"style":232},"dd39323c4d2e",[13427],{"_key":13428,"_type":223,"marks":13429,"text":13430},"e366df4c353f0",[],"\nSpaceforfuture.org is a framework for exchanging knowledge and negotiating the spatial discourse all over Europe and beyond. What is your context? House’ it going for you?",[],"Spaceforfuture.org is researching, communicating, and connecting people on topics considering the built environment and spatial policy. ",{"alt":13434,"asset":13435},"spaceforfuture",{"_id":13436,"height":13437,"orientation":7818,"ratio":2178,"url":13438,"width":13437},"image-12b8c1e31875867a37d3c1fbb2612adda66dc623-200x200-webp",200,"https://cdn.sanity.io/images/eodip22e/production/12b8c1e31875867a37d3c1fbb2612adda66dc623-200x200.webp",{"filterYear":13440},[13441],{"_id":110,"title":113},[13443,13444],{"_type":1138,"label":13319,"url":13320},{"_type":1138,"label":1142,"url":13445},"https://www.instagram.com/spaceforfuture_org",{"locations":13447,"other":7},[13448],{"_id":331,"_type":308,"seo":7,"slug":13449,"title":334},{"_type":9,"current":333},[13434,112],{"_type":9,"current":13434},{"alt":13453,"asset":13454},"School of Commons - House' it going?",{"_id":13455,"height":13456,"orientation":1474,"ratio":13457,"url":13458,"width":12654},"image-defa1a900852d8f64c9781bcc923b3e8d82ded56-2560x1685-jpg",1685,1.5192878338278932,"https://cdn.sanity.io/images/eodip22e/production/defa1a900852d8f64c9781bcc923b3e8d82ded56-2560x1685.jpg",{"filterCategory":13460,"filterLocation":13463,"filterYear":13465},[13461,13462],{"_id":800,"title":803},{"_id":470,"title":473},[13464],{"_id":331,"title":334},[13466],{"_id":110,"title":113},[],{"locations":13469,"other":7},[13470],{"_id":331,"_type":308,"seo":7,"slug":13471,"title":334},{"_type":9,"current":333},[13473],{"_key":13474,"_type":219,"children":13475,"markDefs":13497,"style":232},"5d7c4e4f6119",[13476,13480,13484,13488,13493],{"_key":13477,"_type":223,"marks":13478,"text":13479},"1f970f0197a5",[],"Our theme is “working through a crisis together.” So if you want to share any information on Zurich`s housing crisis – no matter if it’s an inspiring research, actor, initiative or political decision – please contact us via ",{"_key":13481,"_type":223,"marks":13482,"text":1142},"dce89cfb20f3",[13483],"1f2ec0293a6e",{"_key":13485,"_type":223,"marks":13486,"text":13487},"04b57fb3be75",[]," or ",{"_key":13489,"_type":223,"marks":13490,"text":13492},"e1fef8175516",[13491],"3f3fdf310da0","E-Mail",{"_key":13494,"_type":223,"marks":13495,"text":13496},"6ca89d2e7d00",[],". We are planning a workshop in Zurich in September. Write us, if you want to join. Looking forward!",[13498,13500],{"_key":13483,"_type":249,"href":13499},"https://www.instagram.com/ahinterbrandner/",{"_key":13491,"_type":249,"href":13501},"mailto:laura@ahinterbrandner.com?cc=angelika@ahinterbrandner.com",[13503],{"_type":1625,"settings":7,"text":13504},[13505,13513,13521],{"_key":13506,"_type":219,"children":13507,"markDefs":13512,"style":232},"48aa3048c2f7",[13508],{"_key":13509,"_type":223,"marks":13510,"text":13511},"bfd9072b67230",[],"Access to housing is a fundamental aspect of our lives, shaping our living conditions and connection to the city we inhabit. The right to housing is not only a matter of social justice but also takes on new urgency in the face of the climate crisis, which exacerbates the pressing global housing crisis. This crisis is intricately linked to the environmental impact of housing and construction, including skyrocketing land prices, the financialization of the real estate market, migration patterns, and rising construction costs. However, in this era of climate crises, we must question the sustainability of our construction practices, given that the construction industry is responsible for about 40 percent of total raw material consumption and generates a staggering 88 million tons of CO2 emissions annually in Germany alone.",[],{"_key":13514,"_type":219,"children":13515,"markDefs":13520,"style":232},"92cb98222d0f",[13516],{"_key":13517,"_type":223,"marks":13518,"text":13519},"cc42c6b8ad580",[],"We aim to explore contemporary housing production and its profound impact on society, especially within the context of the climate crisis. We seek to redefine housing as an essential and communal good. Housing is a central societal issue that not only leads to individual crises but also weakens social cohesion on local and global scales. To understand this issue comprehensively, we will conduct international and interdisciplinary research into political and financial power dynamics, examining their influence on regional, national, and international contexts. The housing crisis, exacerbated by climate change, is one of the most pressing global challenges requiring our collective attention.",[],{"_key":13522,"_type":219,"children":13523,"markDefs":13535,"style":232},"0fb45d4017c6",[13524,13528,13531],{"_key":13525,"_type":223,"marks":13526,"text":13527},"a27930bf9feb0",[],"We will use ",{"_key":13529,"_type":223,"marks":13530,"text":5350},"a27930bf9feb1",[225],{"_key":13532,"_type":223,"marks":13533,"text":13534},"a27930bf9feb2",[]," as a case study, examining specific legal and political frameworks and involving various stakeholders through Participatory Action Research (PAR), Mapping and Visualization Tools, as well as openly sharing formats. We intend to merge localized and global perspectives, drawing lessons from worldwide experiences to develop effective strategies for addressing the housing crisis in Zurich and other similarly affected cities. Our research aims to identify actionable steps to address the housing crisis within our community. We will connect with individuals and organizations across society, politics, and practice already engaged in this issue. Recognizing the extensive nature of the housing crisis, our approach involves transparent knowledge sharing to make complex data more accessible, empowering communities to take informed action independently.",[],[13537],{"_key":13538,"_type":219,"children":13539,"markDefs":13544,"style":232},"d020016d5645",[13540],{"_key":13541,"_type":223,"marks":13542,"text":13543},"e1d0b14cabea",[],"Our research aims to identify actionable steps to address the housing crisis within our community. We will connect with individuals and organizations across society, politics, and practice already engaged in this issue. ",[],[13546,112,13547,333,13335,13374,13406,13434,13548,13549,4695],"house' it going?","our theme is “working through a crisis together.” so if you want to share any information on zurich`s housing crisis – no matter if it’s an inspiring research, actor, initiative or political decision – please contact us via instagram or e-mail. we are planning a workshop in zurich in september. write us, if you want to join. looking forward!","access to housing is a fundamental aspect of our lives, shaping our living conditions and connection to the city we inhabit. the right to housing is not only a matter of social justice but also takes on new urgency in the face of the climate crisis, which exacerbates the pressing global housing crisis. this crisis is intricately linked to the environmental impact of housing and construction, including skyrocketing land prices, the financialization of the real estate market, migration patterns, and rising construction costs. however, in this era of climate crises, we must question the sustainability of our construction practices, given that the construction industry is responsible for about 40 percent of total raw material consumption and generates a staggering 88 million tons of co2 emissions annually in germany alone.\n\nwe aim to explore contemporary housing production and its profound impact on society, especially within the context of the climate crisis. we seek to redefine housing as an essential and communal good. housing is a central societal issue that not only leads to individual crises but also weakens social cohesion on local and global scales. to understand this issue comprehensively, we will conduct international and interdisciplinary research into political and financial power dynamics, examining their influence on regional, national, and international contexts. the housing crisis, exacerbated by climate change, is one of the most pressing global challenges requiring our collective attention.\n\nwe will use zurich as a case study, examining specific legal and political frameworks and involving various stakeholders through participatory action research (par), mapping and visualization tools, as well as openly sharing formats. we intend to merge localized and global perspectives, drawing lessons from worldwide experiences to develop effective strategies for addressing the housing crisis in zurich and other similarly affected cities. our research aims to identify actionable steps to address the housing crisis within our community. we will connect with individuals and organizations across society, politics, and practice already engaged in this issue. recognizing the extensive nature of the housing crisis, our approach involves transparent knowledge sharing to make complex data more accessible, empowering communities to take informed action independently.","publishing as praxis",{"_type":9,"current":13551},"house-it-going","House' it going?",{"_id":13554,"_type":1027,"categories":13555,"credits":13559,"featuredImage":13596,"filterables":13603,"footnotes":13610,"locations":13611,"logbook":7,"pageBuilder":13615,"researchQuestion":13634,"researchQuestions":7,"searchables":13643,"seo":7,"slug":13646,"title":13648,"year":113},"aadc27af-05dc-48db-9f52-002aa5c7a37e",[13556],{"_id":470,"_type":362,"colorPrimary":13557,"seo":7,"slug":13558,"title":473},{"label":1031,"value":4453},{"_type":9,"current":472},{"other":7,"profiles":13560},[13561],{"_id":13562,"_type":1078,"activeYears":13563,"bio":13566,"bioShort":13575,"featuredImage":13576,"filterables":13582,"links":13585,"locations":13588,"searchables":13592,"seo":7,"slug":13594,"title":13577},"775351b8-2fc7-4f17-8e29-978fa0671333",[13564],{"_id":110,"_type":99,"seo":7,"slug":13565,"title":113},{"_type":9,"current":112},[13567],{"_key":13568,"_type":219,"children":13569,"markDefs":13574,"style":232},"33e7be429ad4",[13570],{"_key":13571,"_type":223,"marks":13572,"text":13573},"daad2b81b31b0",[],"She investigates evolving digital learning cultures and participative methods for education design as part of the School of Commons (SoC) by the ZHdK. In her SoC lab, she is exploring intuition as a dimension of embodied cognition through somatic practices inspired by the Social Presencing Theater. Prior to that, she worked with international partners on a research project focusing on potential applications of virtual reality in education. Based on her research with immersive media, she has been a lecturer at the Berlin University of the Arts, Northwestern University and Virginia Commonwealth University.",[],"Mariam is an interdisciplinary designer and practice-based researcher in emergent media.",{"alt":13577,"asset":13578},"Mariam Rafehi",{"_id":13579,"height":13580,"orientation":7818,"ratio":2178,"url":13581,"width":13580},"image-4b7b787b4a39ef96ea0d105623c55ad8022aedc6-631x631-png",631,"https://cdn.sanity.io/images/eodip22e/production/4b7b787b4a39ef96ea0d105623c55ad8022aedc6-631x631.png",{"filterYear":13583},[13584],{"_id":110,"title":113},[13586],{"_type":1138,"label":1139,"url":13587},"https://www.mrafehi.com/",{"locations":13589,"other":7},[13590],{"_id":331,"_type":308,"seo":7,"slug":13591,"title":334},{"_type":9,"current":333},[13593,112],"mariam rafehi",{"_type":9,"current":13595},"mariam-rafehi",{"alt":13597,"asset":13598},"School of Commons - Lost in Conversation: Inviting Tacit Knowledge into Interdisciplinary Collaboration",{"_id":13599,"height":13600,"orientation":1474,"ratio":13601,"url":13602,"width":12654},"image-91dfb4b2cec18a2591200237d98b49327675f0eb-2560x1441-jpg",1441,1.7765440666204024,"https://cdn.sanity.io/images/eodip22e/production/91dfb4b2cec18a2591200237d98b49327675f0eb-2560x1441.jpg",{"filterCategory":13604,"filterLocation":13606,"filterYear":13608},[13605],{"_id":470,"title":473},[13607],{"_id":331,"title":334},[13609],{"_id":110,"title":113},[],{"locations":13612,"other":7},[13613],{"_id":331,"_type":308,"seo":7,"slug":13614,"title":334},{"_type":9,"current":333},[13616],{"_type":1625,"settings":7,"text":13617},[13618,13626],{"_key":13619,"_type":219,"children":13620,"markDefs":13625,"style":232},"b331a6253bb6",[13621],{"_key":13622,"_type":223,"marks":13623,"text":13624},"629bebe37de8",[],"In the face of complex, real-world problems, interdisciplinarity has become increasingly important in fostering innovation. Collaborating across disciplines opens up the potential for new ways of understanding and knowing while negotiating differences. However, these productive tensions and collaborative processes are predominantly facilitated by methods that aim to develop a common language and favor words and diagrams over expressions of tacit or embodied knowledge. At the same time, the arts – through engaging with material, space, and body, are disciplines that advocate for the development and expression of tacit knowledge. To invite these forms of artistic knowing into the transformative conversation of the interdisciplinary process, there need to be practices for creating openings to tacit knowledge. The question driving this lab is: How can expressions of tacit knowledge gained from the arts become part of the transformative dialogues and methodological practices in interdisciplinary collaboration?",[],{"_key":13627,"_type":219,"children":13628,"markDefs":13633,"style":232},"8fa4210a5d36",[13629],{"_key":13630,"_type":223,"marks":13631,"text":13632},"880d675418e2",[],"In exploring this, I wish to experiment with playful approaches and propose practices that create opportunities for incorporating the implicitly known into a dialogue not just based on words, but movements, artifacts, and sounds. During this process engaging with artists and the SoC Community through exchange, observation, role-playing, journaling, and co-reflection will be invaluable in understanding various interpretations of tacit knowledge and experimenting with playful strategies/methods/tools. For example, I would like to explore an adaptation of the game charades to playfully express embodied knowledge in a group context. The outcomes of this process will be documented as a collection of practices for inviting openings for tacit knowledge integration within interdisciplinary collaboration.",[],[13635],{"_key":13636,"_type":219,"children":13637,"markDefs":13642,"style":232},"27e65f9345db",[13638],{"_key":13639,"_type":223,"marks":13640,"text":13641},"1f9062e18166",[],"How can expressions of tacit knowledge gained from the arts become part of the transformative dialogues and methodological practices in interdisciplinary collaboration?",[],[13644,112,333,13593,13645,4695],"lost in conversation: inviting tacit knowledge into interdisciplinary collaboration","in the face of complex, real-world problems, interdisciplinarity has become increasingly important in fostering innovation. collaborating across disciplines opens up the potential for new ways of understanding and knowing while negotiating differences. however, these productive tensions and collaborative processes are predominantly facilitated by methods that aim to develop a common language and favor words and diagrams over expressions of tacit or embodied knowledge. at the same time, the arts – through engaging with material, space, and body, are disciplines that advocate for the development and expression of tacit knowledge. to invite these forms of artistic knowing into the transformative conversation of the interdisciplinary process, there need to be practices for creating openings to tacit knowledge. the question driving this lab is: how can expressions of tacit knowledge gained from the arts become part of the transformative dialogues and methodological practices in interdisciplinary collaboration?\n\nin exploring this, i wish to experiment with playful approaches and propose practices that create opportunities for incorporating the implicitly known into a dialogue not just based on words, but movements, artifacts, and sounds. during this process engaging with artists and the soc community through exchange, observation, role-playing, journaling, and co-reflection will be invaluable in understanding various interpretations of tacit knowledge and experimenting with playful strategies/methods/tools. for example, i would like to explore an adaptation of the game charades to playfully express embodied knowledge in a group context. the outcomes of this process will be documented as a collection of practices for inviting openings for tacit knowledge integration within interdisciplinary collaboration.",{"_type":9,"current":13647},"lost-in-conversation-inviting-tacit-knowledge-into-interdisciplinary-collaboration","Lost in Conversation: Inviting Tacit Knowledge into Interdisciplinary Collaboration",{"_id":13650,"_type":1027,"categories":13651,"credits":13662,"featuredImage":13699,"filterables":13706,"footnotes":13715,"locations":13716,"logbook":7,"pageBuilder":13720,"researchQuestion":13783,"researchQuestions":7,"searchables":13792,"seo":7,"slug":13796,"title":13798,"year":113},"f3789981-10c6-46d6-a5dd-08aae1528042",[13652,13655,13659],{"_id":405,"_type":362,"colorPrimary":13653,"seo":7,"slug":13654,"title":408},{"label":1031,"value":5263},{"_type":9,"current":407},{"_id":720,"_type":362,"colorPrimary":13656,"seo":7,"slug":13658,"title":723},{"label":1031,"value":13657},"#f0f0f0",{"_type":9,"current":722},{"_id":510,"_type":362,"colorPrimary":13660,"seo":7,"slug":13661,"title":513},{"label":1031,"value":1060},{"_type":9,"current":512},{"other":7,"profiles":13663},[13664],{"_id":13665,"_type":1078,"activeYears":13666,"bio":13669,"bioShort":13678,"featuredImage":13679,"filterables":13685,"links":13688,"locations":13691,"searchables":13695,"seo":7,"slug":13697,"title":13680},"0aa786ea-9ab9-42a4-9391-a097963724ec",[13667],{"_id":110,"_type":99,"seo":7,"slug":13668,"title":113},{"_type":9,"current":112},[13670],{"_key":13671,"_type":219,"children":13672,"markDefs":13677,"style":232},"eacef42805ff",[13673],{"_key":13674,"_type":223,"marks":13675,"text":13676},"753ccea401700",[],"Positioned at the intersections of social justice and design, we focus on community driven innovation, technology, design and data practices, creative literacy and advocacy, equitable design innovation and more. ​ While we use feminist frameworks to inform and guide design processes, we also harness design and creativity as powerful tools for feminist advocacy.",[],"An intersectional feminist organization and community for research, creativity, education, joy, and justice. ",{"alt":13680,"asset":13681},"Feminist Design",{"_id":13682,"height":13683,"orientation":7818,"ratio":2178,"url":13684,"width":13683},"image-7956dd09cb5b834700c7a3efa831b3336abfd54d-2250x2250-png",2250,"https://cdn.sanity.io/images/eodip22e/production/7956dd09cb5b834700c7a3efa831b3336abfd54d-2250x2250.png",{"filterYear":13686},[13687],{"_id":110,"title":113},[13689],{"_type":1138,"label":1139,"url":13690},"https://www.feministdesign.co",{"locations":13692,"other":7},[13693],{"_id":331,"_type":308,"seo":7,"slug":13694,"title":334},{"_type":9,"current":333},[13696,112],"feminist design",{"_type":9,"current":13698},"feminist-design",{"alt":13700,"asset":13701},"School of Commons - Meme-tivism for Critical Data Literacy",{"_id":13702,"height":13703,"orientation":1474,"ratio":13704,"url":13705,"width":12654},"image-83cb4fcdb45d170ebaf489f73cf31df1febacfd0-2560x1810-jpg",1810,1.4143646408839778,"https://cdn.sanity.io/images/eodip22e/production/83cb4fcdb45d170ebaf489f73cf31df1febacfd0-2560x1810.jpg",{"filterCategory":13707,"filterLocation":13711,"filterYear":13713},[13708,13709,13710],{"_id":405,"title":408},{"_id":720,"title":723},{"_id":510,"title":513},[13712],{"_id":331,"title":334},[13714],{"_id":110,"title":113},[],{"locations":13717,"other":7},[13718],{"_id":331,"_type":308,"seo":7,"slug":13719,"title":334},{"_type":9,"current":333},[13721,13731,13765],{"_type":1625,"settings":7,"text":13722},[13723],{"_key":13724,"_type":219,"children":13725,"markDefs":13730,"style":232},"fdac67b9a4ad",[13726],{"_key":13727,"_type":223,"marks":13728,"text":13729},"d5a1cfe06cb6",[],"Meme-tivism for Critical Data Literacy is an exploration on the potential of memes as a critical, informative, and transformative tool for feminist data literacy.",[],{"_type":2894,"slides":13732},[13733,13740,13746,13752,13759],{"_type":1621,"caption":7,"image":13734},{"alt":7,"asset":13735},{"_id":13736,"height":13737,"orientation":1129,"ratio":13738,"url":13739,"width":10165},"image-e787970f5d041ea7d31df48698f3a9a3d7bef44f-500x615-jpg",615,0.8130081300813008,"https://cdn.sanity.io/images/eodip22e/production/e787970f5d041ea7d31df48698f3a9a3d7bef44f-500x615.jpg",{"_type":1621,"caption":7,"image":13741},{"alt":7,"asset":13742},{"_id":13743,"height":2420,"orientation":1129,"ratio":13744,"url":13745,"width":10165},"image-17bf0628e036f1513075e2e069762b0172e6f1a5-500x602-jpg",0.8305647840531561,"https://cdn.sanity.io/images/eodip22e/production/17bf0628e036f1513075e2e069762b0172e6f1a5-500x602.jpg",{"_type":1621,"caption":7,"image":13747},{"alt":7,"asset":13748},{"_id":13749,"height":13750,"orientation":1474,"ratio":2832,"url":13751,"width":1128},"image-f389dbc00c5f46ed71e2900c0ab4615973df35e6-800x450-jpg",450,"https://cdn.sanity.io/images/eodip22e/production/f389dbc00c5f46ed71e2900c0ab4615973df35e6-800x450.jpg",{"_type":1621,"caption":7,"image":13753},{"alt":7,"asset":13754},{"_id":13755,"height":10165,"orientation":1474,"ratio":13756,"url":13757,"width":13758},"image-1eb6ad6068fa6e0656062f1b627daaed06321602-556x500-jpg",1.112,"https://cdn.sanity.io/images/eodip22e/production/1eb6ad6068fa6e0656062f1b627daaed06321602-556x500.jpg",556,{"_type":1621,"caption":7,"image":13760},{"alt":7,"asset":13761},{"_id":13762,"height":13763,"orientation":7818,"ratio":2178,"url":13764,"width":13763},"image-9da12ad73171ffde503d076dad6f67970390426a-1214x1214-png",1214,"https://cdn.sanity.io/images/eodip22e/production/9da12ad73171ffde503d076dad6f67970390426a-1214x1214.png",{"_type":1625,"settings":7,"text":13766},[13767,13775],{"_key":13768,"_type":219,"children":13769,"markDefs":13774,"style":232},"c2d30ba8455d",[13770],{"_key":13771,"_type":223,"marks":13772,"text":13773},"fc6234ee9176",[],"Memes, often characterized by their humorous and viral nature, have become a ubiquitous form of online expression, shaping the way we engage with and understand contemporary issues. By harnessing the visual, participatory nature and vernacular creativity of internet meme culture, can we communicate the uneven distribution of power, control, and knowledge over data and algorithmic systems and seek for feminist data futures through critical and creative literacy methods, mediums, tools, and tactics?",[],{"_key":13776,"_type":219,"children":13777,"markDefs":13782,"style":232},"b3a2af600c2f",[13778],{"_key":13779,"_type":223,"marks":13780,"text":13781},"8dabab6b69ef",[],"Through a series of community co-design workshops and a co-creation toolkit, Meme-tivism creates and curates a collective archive of memes for critical data literacy as a digital common.",[],[13784],{"_key":13785,"_type":219,"children":13786,"markDefs":13791,"style":232},"8966d32483f4",[13787],{"_key":13788,"_type":223,"marks":13789,"text":13790},"25371c74dece0",[],"By harnessing the visual, participatory nature and vernacular creativity of internet meme culture, can we communicate the uneven distribution of power, control, and knowledge over data and algorithmic systems and seek for feminist data futures through critical and creative literacy methods, mediums, tools, and tactics?",[],[13793,112,333,13696,13794,13795,407,722,1789],"meme-tivism for critical data literacy","meme-tivism for critical data literacy is an exploration on the potential of memes as a critical, informative, and transformative tool for feminist data literacy.","memes, often characterized by their humorous and viral nature, have become a ubiquitous form of online expression, shaping the way we engage with and understand contemporary issues. by harnessing the visual, participatory nature and vernacular creativity of internet meme culture, can we communicate the uneven distribution of power, control, and knowledge over data and algorithmic systems and seek for feminist data futures through critical and creative literacy methods, mediums, tools, and tactics?\n\nthrough a series of community co-design workshops and a co-creation toolkit, meme-tivism creates and curates a collective archive of memes for critical data literacy as a digital common.",{"_type":9,"current":13797},"meme-tivism-for-critical-data-literacy","Meme-tivism for Critical Data Literacy",{"_id":13800,"_type":1027,"categories":13801,"credits":13809,"featuredImage":13849,"filterables":13855,"footnotes":13863,"locations":13864,"logbook":7,"pageBuilder":13868,"researchQuestion":13879,"researchQuestions":7,"searchables":13896,"seo":7,"slug":13900,"title":13902,"year":113},"166703bf-2e7a-4aed-8a81-aa82bc8aee9e",[13802,13806],{"_id":805,"_type":362,"colorPrimary":13803,"seo":7,"slug":13805,"title":808},{"label":1031,"value":13804},"#646464",{"_type":9,"current":807},{"_id":700,"_type":362,"colorPrimary":13807,"seo":7,"slug":13808,"title":703},{"label":1031,"value":1040},{"_type":9,"current":702},{"other":7,"profiles":13810},[13811],{"_id":13812,"_type":1078,"activeYears":13813,"bio":13816,"bioShort":7,"featuredImage":7,"filterables":13825,"links":13828,"locations":13831,"searchables":13844,"seo":7,"slug":13846,"title":13848},"022e1514-1a14-4fa4-8e0f-baf6d7d96827",[13814],{"_id":110,"_type":99,"seo":7,"slug":13815,"title":113},{"_type":9,"current":112},[13817],{"_key":13818,"_type":219,"children":13819,"markDefs":13824,"style":232},"6df63ad333bf",[13820],{"_key":13821,"_type":223,"marks":13822,"text":13823},"e59246e8e51d0",[],"Her interdisciplinary practice is occupied with ideas of fiction, history and agency, which are explored through the concepts of archaeology and archive.",[],{"filterYear":13826},[13827],{"_id":110,"title":113},[13829],{"_type":1138,"label":1142,"url":13830},"https://www.instagram.com/moza.samosa/",{"locations":13832,"other":13835},[13833],{"_id":336,"_type":308,"seo":7,"slug":13834,"title":339},{"_type":9,"current":338},[13836],{"_key":13837,"_type":219,"children":13838,"markDefs":13843,"style":232},"181f15bfbe5c",[13839],{"_key":13840,"_type":223,"marks":13841,"text":13842},"fd26d11ec0fb0",[],"Dubai, United Arab Emirates",[],[13845,112],"moza almazrouei",{"_type":9,"current":13847},"moza-almazrouei","Moza Almazrouei",{"alt":7,"asset":13850},{"_id":13851,"height":13852,"orientation":1474,"ratio":13853,"url":13854,"width":4056},"image-2f2669e60a833a781d2c931ef5ad85b527e2e031-1600x1143-webp",1143,1.3998250218722659,"https://cdn.sanity.io/images/eodip22e/production/2f2669e60a833a781d2c931ef5ad85b527e2e031-1600x1143.webp",{"filterCategory":13856,"filterLocation":13859,"filterYear":13861},[13857,13858],{"_id":805,"title":808},{"_id":700,"title":703},[13860],{"_id":336,"title":339},[13862],{"_id":110,"title":113},[],{"locations":13865,"other":7},[13866],{"_id":336,"_type":308,"seo":7,"slug":13867,"title":339},{"_type":9,"current":338},[13869],{"_type":1625,"settings":7,"text":13870},[13871],{"_key":13872,"_type":219,"children":13873,"markDefs":13878,"style":232},"aebf8b55eb23",[13874],{"_key":13875,"_type":223,"marks":13876,"text":13877},"ffe8225292a3",[],"My topic of interest is Mineral Politics and its historical and contemporary agency. The project focuses on following red oxide pigment through different geographical coordinates from Buckingham to Abu Musa to Forrest of Dean to Mars, revealing the conditions that arise through the pigment. In 1908, the monarchy decided to make the pavements red to give the effect of a red carpet around the Palace. The red oxide used for the pavements comes from the contested island of Abu Musa between the UAE and Iran. Their aesthetic choice of red comes from a 70-year-long history of extraction on the island. This period of extraction produced the contestation of the island yet red oxide's role in historical geo-politics disappears. In 2021, the UAE space agency used red oxide in their 'martian ink' passport stamps to promote their probe going to mars, red oxide yet again is entangled with national land claim that extends to extra-terrestrial territories. The project continues as a mapping project with the focus on mars mission and to hold the tension between the scale of the mineral to the scale of planets. The project hopes to understand how a martian mission that's perceived as an ambition elsewhere have material effects in our contemporary like Abu Musa. The skills I'd like to develop further are mapping through formal ways like ArcGIS and learn expansive forms of mapping that enable a total image of the martian mission which I think could be developed through guided walks and performances. Therefore I see the work situated within the \"MAPP\" (Methods Affect and Practical Pedagogy) praxis that would allow me to adopt feminist geography thinking within the work.",[],[13880,13888],{"_key":13881,"_type":219,"children":13882,"markDefs":13887,"style":232},"561e18635a3f",[13883],{"_key":13884,"_type":223,"marks":13885,"text":13886},"3184d4e3806d",[],"In what ways can colonial extractions be useful in understanding a Neo-liberal mission of territorializing mars? ",[],{"_key":13889,"_type":219,"children":13890,"markDefs":13895,"style":232},"6e0337aa90eb",[13891],{"_key":13892,"_type":223,"marks":13893,"text":13894},"8e2f02f3ebe2",[],"How can we use the contemporary of state power, privatized investments and it's consequential disenfranchisement of peoples as a blueprint to imagine a martian mission?",[],[13897,112,13898,13845,13899,807,1784],"mining rust the pigment that made the state","middle east","my topic of interest is mineral politics and its historical and contemporary agency. the project focuses on following red oxide pigment through different geographical coordinates from buckingham to abu musa to forrest of dean to mars, revealing the conditions that arise through the pigment. in 1908, the monarchy decided to make the pavements red to give the effect of a red carpet around the palace. the red oxide used for the pavements comes from the contested island of abu musa between the uae and iran. their aesthetic choice of red comes from a 70-year-long history of extraction on the island. this period of extraction produced the contestation of the island yet red oxide's role in historical geo-politics disappears. in 2021, the uae space agency used red oxide in their 'martian ink' passport stamps to promote their probe going to mars, red oxide yet again is entangled with national land claim that extends to extra-terrestrial territories. the project continues as a mapping project with the focus on mars mission and to hold the tension between the scale of the mineral to the scale of planets. the project hopes to understand how a martian mission that's perceived as an ambition elsewhere have material effects in our contemporary like abu musa. the skills i'd like to develop further are mapping through formal ways like arcgis and learn expansive forms of mapping that enable a total image of the martian mission which i think could be developed through guided walks and performances. therefore i see the work situated within the \"mapp\" (methods affect and practical pedagogy) praxis that would allow me to adopt feminist geography thinking within the work.",{"_type":9,"current":13901},"mining-rust-the-pigment-that-made-the-state","Mining Rust the pigment that made the state",{"_id":13904,"_type":1027,"categories":13905,"credits":13918,"featuredImage":13949,"filterables":13957,"footnotes":13967,"locations":13968,"logbook":7,"pageBuilder":13972,"researchQuestion":14002,"researchQuestions":7,"searchables":14011,"seo":7,"slug":14014,"title":14016,"year":113},"10338a5a-6bfa-4fad-9ce6-548c23988c51",[13906,13909,13912,13915],{"_id":465,"_type":362,"colorPrimary":13907,"seo":7,"slug":13908,"title":468},{"label":1031,"value":4479},{"_type":9,"current":467},{"_id":735,"_type":362,"colorPrimary":13910,"seo":7,"slug":13911,"title":738},{"label":1031,"value":2648},{"_type":9,"current":737},{"_id":470,"_type":362,"colorPrimary":13913,"seo":7,"slug":13914,"title":473},{"label":1031,"value":4453},{"_type":9,"current":472},{"_id":510,"_type":362,"colorPrimary":13916,"seo":7,"slug":13917,"title":513},{"label":1031,"value":1060},{"_type":9,"current":512},{"other":7,"profiles":13919},[13920],{"_id":13921,"_type":1078,"activeYears":13922,"bio":13925,"bioShort":13933,"featuredImage":7,"filterables":13934,"links":13937,"locations":13940,"searchables":13944,"seo":7,"slug":13946,"title":13948},"ab856faf-0414-4e94-9385-a40b686db9f7",[13923],{"_id":110,"_type":99,"seo":7,"slug":13924,"title":113},{"_type":9,"current":112},[13926],{"_key":13927,"_type":219,"children":13928,"markDefs":13932,"style":232},"e83c90e0dfc4",[13929],{"_key":13930,"_type":223,"marks":13931,"text":12647},"16b9f0b5bee5",[],[],"A cook and food activist living in MidWales, gathering nettles, growing Rainbow Chard, cooking, experimenting, learning and teaching.",{"filterYear":13935},[13936],{"_id":110,"title":113},[13938],{"_type":1138,"label":1142,"url":13939},"https://www.instagram.com/patterngreens/",{"locations":13941,"other":7},[13942],{"_id":331,"_type":308,"seo":7,"slug":13943,"title":334},{"_type":9,"current":333},[13945,112],"annie levy",{"_type":9,"current":13947},"annie-levy","Annie Levy",{"alt":13950,"asset":13951},"School of Commons - Pattern Greens",{"_id":13952,"height":13953,"orientation":1129,"ratio":13954,"url":13955,"width":13956},"image-de4bf3d01cfa4f1dd1b1a8e6248a825351103888-1320x1518-jpg",1518,0.8695652173913043,"https://cdn.sanity.io/images/eodip22e/production/de4bf3d01cfa4f1dd1b1a8e6248a825351103888-1320x1518.jpg",1320,{"filterCategory":13958,"filterLocation":13963,"filterYear":13965},[13959,13960,13961,13962],{"_id":465,"title":468},{"_id":735,"title":738},{"_id":470,"title":473},{"_id":510,"title":513},[13964],{"_id":356,"title":359},[13966],{"_id":110,"title":113},[],{"locations":13969,"other":7},[13970],{"_id":356,"_type":308,"seo":7,"slug":13971,"title":359},{"_type":9,"current":358},[13973,13999],{"_type":1625,"settings":7,"text":13974},[13975,13983,13991],{"_key":13976,"_type":219,"children":13977,"markDefs":13982,"style":232},"7115aba60029",[13978],{"_key":13979,"_type":223,"marks":13980,"text":13981},"ca2051f22b42",[],"PATTERN GREENS explores the ways that people around the world cook with leafy green vegetables, in categories of dishes conceived as “patterns,” soups, for instance, or egg dishes, or stews. In the vast sweep of human cooking, these categories are understood as fluid and overlapping, intercultural and generative. One aim of Pattern Greens is to begin to document the global treasure-trove of approaches, and to facilitate this happening in many voices, and in different media, across written, digital, and live, co-created event platforms.",[],{"_key":13984,"_type":219,"children":13985,"markDefs":13990,"style":232},"264cd02767f9",[13986],{"_key":13987,"_type":223,"marks":13988,"text":13989},"b17cb5fa9a7d",[],"Since prehistoric times, through all eras and places, greens are part of our common history and human legacy, our “Food Commons,” a potent and expansive idea. Food Commons can conceptually contain the right to food, our relationships with plants, regional styles and cuisine , as well as contemporary social change activism that seeks to decommodify food and relocalise growing, marketing, sharing and eating. Greens and the ways they are cooked and eaten belong to all of us, as our heritage, culturally, cross-culturally, and collectively. ",[],{"_key":13992,"_type":219,"children":13993,"markDefs":13998,"style":232},"d74b1510a188",[13994],{"_key":13995,"_type":223,"marks":13996,"text":13997},"384451983de9",[],"Wild as “weeds”, perennially as vegetables, tree leaves, and seaweeds, seasonally in commercial horticulture and community gardening, greens are also sustainable and nutritious foods, available to us in a world in which food security is increasingly jeopardised by climate instability and precarious economies. Understanding our relationship to leafy vegetables, and all the possibilities, sharing our cultures and the embodied emotional values of taste, imagining delicious creative eating, together, in community–this is the vision of Pattern Greens as offering sustainable, resilient, future-oriented foodways. Ours is a mix and match approach.",[],{"_type":1621,"caption":7,"image":14000},{"alt":13950,"asset":14001},{"_id":13952,"height":13953,"orientation":1129,"ratio":13954,"url":13955,"width":13956},[14003],{"_key":14004,"_type":219,"children":14005,"markDefs":14010,"style":232},"eafd4a968b1b",[14006],{"_key":14007,"_type":223,"marks":14008,"text":14009},"eaca975ced6b0",[],"“Eat your Greens.” Would not most of our elders have urged this?",[],[14012,112,358,13945,14013,467,3947,4695,1789],"pattern greens","pattern greens explores the ways that people around the world cook with leafy green vegetables, in categories of dishes conceived as “patterns,” soups, for instance, or egg dishes, or stews. in the vast sweep of human cooking, these categories are understood as fluid and overlapping, intercultural and generative. one aim of pattern greens is to begin to document the global treasure-trove of approaches, and to facilitate this happening in many voices, and in different media, across written, digital, and live, co-created event platforms.\n\nsince prehistoric times, through all eras and places, greens are part of our common history and human legacy, our “food commons,” a potent and expansive idea. food commons can conceptually contain the right to food, our relationships with plants, regional styles and cuisine , as well as contemporary social change activism that seeks to decommodify food and relocalise growing, marketing, sharing and eating. greens and the ways they are cooked and eaten belong to all of us, as our heritage, culturally, cross-culturally, and collectively. \n\nwild as “weeds”, perennially as vegetables, tree leaves, and seaweeds, seasonally in commercial horticulture and community gardening, greens are also sustainable and nutritious foods, available to us in a world in which food security is increasingly jeopardised by climate instability and precarious economies. understanding our relationship to leafy vegetables, and all the possibilities, sharing our cultures and the embodied emotional values of taste, imagining delicious creative eating, together, in community–this is the vision of pattern greens as offering sustainable, resilient, future-oriented foodways. ours is a mix and match approach.",{"_type":9,"current":14015},"pattern-greens","Pattern Greens",{"_id":14018,"_type":1027,"categories":14019,"credits":14037,"featuredImage":14066,"filterables":14071,"footnotes":14082,"locations":14083,"logbook":7,"pageBuilder":14087,"researchQuestion":14114,"researchQuestions":7,"searchables":14131,"seo":7,"slug":14135,"title":14137,"year":113},"132845db-7b65-4565-86b4-8dc78df6bd0c",[14020,14024,14028,14031,14034],{"_id":500,"_type":362,"colorPrimary":14021,"seo":7,"slug":14023,"title":503},{"label":1031,"value":14022},"#5500ff",{"_type":9,"current":502},{"_id":660,"_type":362,"colorPrimary":14025,"seo":7,"slug":14027,"title":663},{"label":1031,"value":14026},"#00c8c8",{"_type":9,"current":662},{"_id":555,"_type":362,"colorPrimary":14029,"seo":7,"slug":14030,"title":558},{"label":1031,"value":4977},{"_type":9,"current":557},{"_id":410,"_type":362,"colorPrimary":14032,"seo":7,"slug":14033,"title":413},{"label":1031,"value":1036},{"_type":9,"current":412},{"_id":520,"_type":362,"colorPrimary":14035,"seo":7,"slug":14036,"title":523},{"label":1031,"value":7230},{"_type":9,"current":522},{"other":7,"profiles":14038},[14039],{"_id":14040,"_type":1078,"activeYears":14041,"bio":14044,"bioShort":14053,"featuredImage":7,"filterables":14054,"links":7,"locations":14057,"searchables":14061,"seo":7,"slug":14063,"title":14065},"e3d208cb-21ba-4691-8d95-353210c3ee60",[14042],{"_id":110,"_type":99,"seo":7,"slug":14043,"title":113},{"_type":9,"current":112},[14045],{"_key":14046,"_type":219,"children":14047,"markDefs":14052,"style":232},"e70bf36cec39",[14048],{"_key":14049,"_type":223,"marks":14050,"text":14051},"a3a233cbc1940",[],"Her work centers how those at the margins heal and resist in the context of structural violence, exploring themes of interiority, interconnected solidarities, and affective becoming in everyday life.",[],"Loren, (she/?) is a writer, researcher, and PhD Candidate based at the University of Chicago. ",{"filterYear":14055},[14056],{"_id":110,"title":113},{"locations":14058,"other":7},[14059],{"_id":341,"_type":308,"seo":7,"slug":14060,"title":344},{"_type":9,"current":343},[14062,112],"loren beard",{"_type":9,"current":14064},"loren-beard","Loren Beard",{"alt":14067,"asset":14068},"School of Commons - Pharma waters, pharma selves",{"_id":14069,"height":12654,"orientation":7818,"ratio":2178,"url":14070,"width":12654},"image-0400b6289450efd87268f32b0f2eb75d1f5466c4-2560x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/0400b6289450efd87268f32b0f2eb75d1f5466c4-2560x2560.jpg",{"filterCategory":14072,"filterLocation":14078,"filterYear":14080},[14073,14074,14075,14076,14077],{"_id":500,"title":503},{"_id":660,"title":663},{"_id":555,"title":558},{"_id":410,"title":413},{"_id":520,"title":523},[14079],{"_id":341,"title":344},[14081],{"_id":110,"title":113},[],{"locations":14084,"other":7},[14085],{"_id":341,"_type":308,"seo":7,"slug":14086,"title":344},{"_type":9,"current":343},[14088],{"_type":1625,"settings":7,"text":14089},[14090,14098,14106],{"_key":14091,"_type":219,"children":14092,"markDefs":14097,"style":232},"97ac81f8faf8",[14093],{"_key":14094,"_type":223,"marks":14095,"text":14096},"92ed66438072",[],"The oceans are a global commons – belonging to everyone, and no one, at the same time. In an era of biomedical dominance, pharmaceuticals are also increasingly traversing the global commons – contributing to the broad formation of human pharmaceutical selves and entering into the bodies of aquatic life along the way. Gulf stream researchers, for instance, have identified nearly 60 medications within the bodies of fish in Florida waters, the primary fieldsite for this project. This discovery makes real the expansion of pharmaceutical selves beyond the human and into the aquatic, upending marine mating, migration patterns, and shoaling behaviors.",[],{"_key":14099,"_type":219,"children":14100,"markDefs":14105,"style":232},"48dcfe26e71e",[14101],{"_key":14102,"_type":223,"marks":14103,"text":14104},"7addb5debbe0",[],"Given such anthropogenic infringements, feminist, decolonial, and critical thinkers call for a restructuring of human-non-human relations. Poststructuralists like Guattari offer an “ecosophical” approach to relationally address three ecological registers: human subjectivity, social relations, and the environment. Taking heed of these registers, we ask: How are human and non-human subjectivities entangled in an era of pharmaceuticalization? With drugs acting as a contemporary human-non-human bridge, how can we re-imagine human-non-human healing across ecologies?",[],{"_key":14107,"_type":219,"children":14108,"markDefs":14113,"style":232},"38ff12de0fdf",[14109],{"_key":14110,"_type":223,"marks":14111,"text":14112},"a8b0d5d1bd6b",[],"This project coordinates social scientific and artistic methods to engage with these questions. It also moves to cultivate a shoaling-centered praxis, where shoaling occurs when fish relate in both independent and interdependent ways – akin to dolphin pods and flocks of birds. To do so, this project will pursue various routes of exploration, including “deep hanging out” with professional and citizen scientists, letter-writing to the aquatic, and the incorporation of plastic ephemera, fish sounds, and poetic reflections. Mimicking citizen science maps of microplastic water samples, it will culminate in a digital eco-archive, mapping relations across these materials. In doing so, it aspires towards a multi-sensorial, multi-perspectival piece that will form the Gulf Stream phase of this project.",[],[14115,14123],{"_key":14116,"_type":219,"children":14117,"markDefs":14122,"style":232},"8c355b22b70a",[14118],{"_key":14119,"_type":223,"marks":14120,"text":14121},"0df453c3b4e80",[],"How are human and non-human subjectivities entangled in an era of pharmaceuticalization? ",[],{"_key":14124,"_type":219,"children":14125,"markDefs":14130,"style":232},"4d8a1e460143",[14126],{"_key":14127,"_type":223,"marks":14128,"text":14129},"b4324b8d0dba",[],"With drugs acting as a contemporary human-non-human bridge, how can we re-imagine human-non-human healing across ecologies? ",[],[14132,112,11849,14062,14133,14134,662,557,1783,7486],"pharma waters, pharma selves","the oceans are a global commons – belonging to everyone, and no one, at the same time. in an era of biomedical dominance, pharmaceuticals are also increasingly traversing the global commons – contributing to the broad formation of human pharmaceutical selves and entering into the bodies of aquatic life along the way. gulf stream researchers, for instance, have identified nearly 60 medications within the bodies of fish in florida waters, the primary fieldsite for this project. this discovery makes real the expansion of pharmaceutical selves beyond the human and into the aquatic, upending marine mating, migration patterns, and shoaling behaviors.\n\ngiven such anthropogenic infringements, feminist, decolonial, and critical thinkers call for a restructuring of human-non-human relations. poststructuralists like guattari offer an “ecosophical” approach to relationally address three ecological registers: human subjectivity, social relations, and the environment. taking heed of these registers, we ask: how are human and non-human subjectivities entangled in an era of pharmaceuticalization? with drugs acting as a contemporary human-non-human bridge, how can we re-imagine human-non-human healing across ecologies?\n\nthis project coordinates social scientific and artistic methods to engage with these questions. it also moves to cultivate a shoaling-centered praxis, where shoaling occurs when fish relate in both independent and interdependent ways – akin to dolphin pods and flocks of birds. to do so, this project will pursue various routes of exploration, including “deep hanging out” with professional and citizen scientists, letter-writing to the aquatic, and the incorporation of plastic ephemera, fish sounds, and poetic reflections. mimicking citizen science maps of microplastic water samples, it will culminate in a digital eco-archive, mapping relations across these materials. in doing so, it aspires towards a multi-sensorial, multi-perspectival piece that will form the gulf stream phase of this project.","critical healing",{"_type":9,"current":14136},"pharma-waters-pharma-selves","Pharma waters, pharma selves",{"_id":14139,"_type":1027,"categories":14140,"credits":14144,"featuredImage":14275,"filterables":14280,"footnotes":14287,"locations":14288,"logbook":7,"pageBuilder":14292,"researchQuestion":7,"researchQuestions":7,"searchables":14359,"seo":7,"slug":14362,"title":14364,"year":113},"4a60f974-09ec-4b3f-885f-2588f8905a54",[14141],{"_id":720,"_type":362,"colorPrimary":14142,"seo":7,"slug":14143,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"other":7,"profiles":14145},[14146,14172,14207,14240],{"_id":14147,"_type":1078,"activeYears":14148,"bio":14151,"bioShort":14159,"featuredImage":7,"filterables":14160,"links":7,"locations":14163,"searchables":14167,"seo":7,"slug":14169,"title":14171},"bdb31cea-fde8-4c53-a266-9fa703dfa1ba",[14149],{"_id":110,"_type":99,"seo":7,"slug":14150,"title":113},{"_type":9,"current":112},[14152],{"_key":14153,"_type":219,"children":14154,"markDefs":14158,"style":232},"8a450fd7ec65",[14155],{"_key":14156,"_type":223,"marks":14157,"text":12647},"8e9e05f9e3fc0",[],[],"Swiss artist, who’s interest lies in a field of activism, education and art as social action.",{"filterYear":14161},[14162],{"_id":110,"title":113},{"locations":14164,"other":7},[14165],{"_id":331,"_type":308,"seo":7,"slug":14166,"title":334},{"_type":9,"current":333},[14168,112],"julian pavesi",{"_type":9,"current":14170},"julian-pavesi","Julian Pavesi",{"_id":14173,"_type":1078,"activeYears":14174,"bio":14177,"bioShort":14185,"featuredImage":7,"filterables":14186,"links":7,"locations":14189,"searchables":14202,"seo":7,"slug":14204,"title":14206},"d6bc4df4-faaf-4220-9c54-e7456a166cac",[14175],{"_id":110,"_type":99,"seo":7,"slug":14176,"title":113},{"_type":9,"current":112},[14178],{"_key":14179,"_type":219,"children":14180,"markDefs":14184,"style":232},"7354f1c0769c",[14181],{"_key":14182,"_type":223,"marks":14183,"text":12647},"84b8328023fd0",[],[],"Artist who has specialized in innovative education.",{"filterYear":14187},[14188],{"_id":110,"title":113},{"locations":14190,"other":14193},[14191],{"_id":331,"_type":308,"seo":7,"slug":14192,"title":334},{"_type":9,"current":333},[14194],{"_key":14195,"_type":219,"children":14196,"markDefs":14201,"style":232},"7a15954cea30",[14197],{"_key":14198,"_type":223,"marks":14199,"text":14200},"69c4fc96aab7",[],"Based in Ecuador",[],[14203,112],"ana tijeras",{"_type":9,"current":14205},"ana-tijeras","Ana Tijeras",{"_id":14208,"_type":1078,"activeYears":14209,"bio":14214,"bioShort":14223,"featuredImage":7,"filterables":14224,"links":14228,"locations":14231,"searchables":14235,"seo":7,"slug":14237,"title":14239},"dced5e39-f380-4e87-8407-54a12a3bb868",[14210,14212],{"_id":115,"_type":99,"seo":7,"slug":14211,"title":118},{"_type":9,"current":117},{"_id":110,"_type":99,"seo":7,"slug":14213,"title":113},{"_type":9,"current":112},[14215],{"_key":14216,"_type":219,"children":14217,"markDefs":14222,"style":232},"7022fc2d9bc1",[14218],{"_key":14219,"_type":223,"marks":14220,"text":14221},"bfacf364c9c9",[]," -",[],"Miroslava is a curator, performer, journalist and text performative artist.",{"filterYear":14225},[14226,14227],{"_id":115,"title":118},{"_id":110,"title":113},[14229],{"_type":1138,"label":1142,"url":14230},"https://www.instagram.com/ibnhasm_/",{"locations":14232,"other":7},[14233],{"_id":331,"_type":308,"seo":7,"slug":14234,"title":334},{"_type":9,"current":333},[14236,117,112],"miraslava tyrina",{"_type":9,"current":14238},"miraslava-tyrina","Miraslava Tyrina",{"_id":14241,"_type":1078,"activeYears":14242,"bio":14245,"bioShort":14253,"featuredImage":7,"filterables":14254,"links":7,"locations":14257,"searchables":14270,"seo":7,"slug":14272,"title":14274},"bcc4fa3c-7565-4879-900a-a05f4d22047c",[14243],{"_id":110,"_type":99,"seo":7,"slug":14244,"title":113},{"_type":9,"current":112},[14246],{"_key":14247,"_type":219,"children":14248,"markDefs":14252,"style":232},"7c37780e2f7f",[14249],{"_key":14250,"_type":223,"marks":14251,"text":12647},"6d66962acdf70",[],[],"Swiss human geographer with interest and experience in radically democratic structures. ",{"filterYear":14255},[14256],{"_id":110,"title":113},{"locations":14258,"other":14261},[14259],{"_id":331,"_type":308,"seo":7,"slug":14260,"title":334},{"_type":9,"current":333},[14262],{"_key":14263,"_type":219,"children":14264,"markDefs":14269,"style":232},"b4cafa8032a6",[14265],{"_key":14266,"_type":223,"marks":14267,"text":14268},"bc079b76aa540",[],"Based in Zurich ",[],[14271,112],"irma müller",{"_type":9,"current":14273},"irma-mueller","Irma Müller",{"alt":14276,"asset":14277},"School of Commons - Shaking Barriers",{"_id":14278,"height":13703,"orientation":1474,"ratio":13704,"url":14279,"width":12654},"image-ab5b4d7bb15d93c59c33ef4061de49402938b754-2560x1810-jpg","https://cdn.sanity.io/images/eodip22e/production/ab5b4d7bb15d93c59c33ef4061de49402938b754-2560x1810.jpg",{"filterCategory":14281,"filterLocation":14283,"filterYear":14285},[14282],{"_id":720,"title":723},[14284],{"_id":331,"title":334},[14286],{"_id":110,"title":113},[],{"locations":14289,"other":7},[14290],{"_id":331,"_type":308,"seo":7,"slug":14291,"title":334},{"_type":9,"current":333},[14293],{"_type":1625,"settings":7,"text":14294},[14295,14303,14311,14319,14327,14335,14343,14351],{"_key":14296,"_type":219,"children":14297,"markDefs":14302,"style":232},"aa1869078bdf",[14298],{"_key":14299,"_type":223,"marks":14300,"text":14301},"916b0ac08f2f0",[],"The main focus of Shaking Barriers is to make visible and politicise barriers that people face in the art world by hearing the voices of those directly affected. Namely, barriers to their access to education, the recognition of their cultural practices and the development of their work practices.",[],{"_key":14304,"_type":219,"children":14305,"markDefs":14310,"style":232},"75bffae0247b",[14306],{"_key":14307,"_type":223,"marks":14308,"text":14309},"8d328c269a2f0",[],"Shaking barriers recognises that people’s barriers to participatory access to the arts are intersected by economics, territory, language, gender, ethnicity, disability, class, etc. Shaking Barriers therefore raises the fundamental question of how coordination can be achieved in a structure composed of a large number of actors that aspires to be radically democratic.",[],{"_key":14312,"_type":219,"children":14313,"markDefs":14318,"style":232},"b823f7f85705",[14314],{"_key":14315,"_type":223,"marks":14316,"text":14317},"133f187fd4960",[],"We would like to apply our findings in an international, pluricultural, multilingual and digital context. The people that contribute to this project also come from diverse territories, contexts and economies.",[],{"_key":14320,"_type":219,"children":14321,"markDefs":14326,"style":232},"a0bb4609a160",[14322],{"_key":14323,"_type":223,"marks":14324,"text":14325},"ccf57a3243a10",[],"We are in a process of developing and researching methodologies that can be used to create open, accessible and safer environments – aiming towards decentralization of knowledge and de-elitisation of cultural capital production. Ensuring this, prevents us from reproducing the very spaces which we are trying to challenge.",[],{"_key":14328,"_type":219,"children":14329,"markDefs":14334,"style":232},"50f5edb71e17",[14330],{"_key":14331,"_type":223,"marks":14332,"text":14333},"7047f87cf8910",[],"Shaking Barriers is a project with two axis: firstly, peer-to-peer education and secondly, art as social action.",[],{"_key":14336,"_type":219,"children":14337,"markDefs":14342,"style":232},"6381e64c9fe6",[14338],{"_key":14339,"_type":223,"marks":14340,"text":14341},"45fe6b7f57ce0",[],"The axis of education has a field of research and implementation through pluricultural methodologies that is rooted in the critical, popular and liberating pedagogy of Paulo Freire and touches on the critical work of Bell Hooks. This axis aims to recognise the environments, differences and barriers in accessing art spaces among participants and to co-investigate practices of working towards structural change.",[],{"_key":14344,"_type":219,"children":14345,"markDefs":14350,"style":232},"08a660802313",[14346],{"_key":14347,"_type":223,"marks":14348,"text":14349},"78334954b1aa0",[],"The second axis corresponds to art as a fundamental guidance that permeates all levels of our project, taking into account that the people who access the project may or may not come from specialised art circles.",[],{"_key":14352,"_type":219,"children":14353,"markDefs":14358,"style":232},"c39f6cb4a8e6",[14354],{"_key":14355,"_type":223,"marks":14356,"text":14357},"36baffd25ecb0",[],"The symbolic end of our project will be the collective creation of a zine, which will compile the sentiments and activistic art projects explored. In an equitable way, the project will present the graphic and visual discourses that evidence the reflections on the discussions of the barriers to people’s cultural access. It is important for us to take into account the pluricultural identity of Shaking Barriers, which aspires to be a diverse and international community that is grouped and organised in an online environment.",[],[14360,112,333,14168,14203,14236,14271,14361,722],"shaking barriers","the main focus of shaking barriers is to make visible and politicise barriers that people face in the art world by hearing the voices of those directly affected. namely, barriers to their access to education, the recognition of their cultural practices and the development of their work practices.\n\nshaking barriers recognises that people’s barriers to participatory access to the arts are intersected by economics, territory, language, gender, ethnicity, disability, class, etc. shaking barriers therefore raises the fundamental question of how coordination can be achieved in a structure composed of a large number of actors that aspires to be radically democratic.\n\nwe would like to apply our findings in an international, pluricultural, multilingual and digital context. the people that contribute to this project also come from diverse territories, contexts and economies.\n\nwe are in a process of developing and researching methodologies that can be used to create open, accessible and safer environments – aiming towards decentralization of knowledge and de-elitisation of cultural capital production. ensuring this, prevents us from reproducing the very spaces which we are trying to challenge.\n\nshaking barriers is a project with two axis: firstly, peer-to-peer education and secondly, art as social action.\n\nthe axis of education has a field of research and implementation through pluricultural methodologies that is rooted in the critical, popular and liberating pedagogy of paulo freire and touches on the critical work of bell hooks. this axis aims to recognise the environments, differences and barriers in accessing art spaces among participants and to co-investigate practices of working towards structural change.\n\nthe second axis corresponds to art as a fundamental guidance that permeates all levels of our project, taking into account that the people who access the project may or may not come from specialised art circles.\n\nthe symbolic end of our project will be the collective creation of a zine, which will compile the sentiments and activistic art projects explored. in an equitable way, the project will present the graphic and visual discourses that evidence the reflections on the discussions of the barriers to people’s cultural access. it is important for us to take into account the pluricultural identity of shaking barriers, which aspires to be a diverse and international community that is grouped and organised in an online environment.",{"_type":9,"current":14363},"shaking-barriers","Shaking Barriers",{"_id":14366,"_type":1027,"categories":14367,"credits":14377,"featuredImage":14409,"filterables":14413,"footnotes":14420,"locations":7,"logbook":7,"pageBuilder":14421,"researchQuestion":7,"researchQuestions":7,"searchables":14456,"seo":7,"slug":14459,"title":14461,"year":113},"98f7bbed-22e1-4034-b398-a601858ae8d4",[14368,14371,14374],{"_id":805,"_type":362,"colorPrimary":14369,"seo":7,"slug":14370,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"_id":1009,"_type":362,"colorPrimary":14372,"seo":7,"slug":14373,"title":1012},{"label":1031,"value":2658},{"_type":9,"current":1011},{"_id":405,"_type":362,"colorPrimary":14375,"seo":7,"slug":14376,"title":408},{"label":1031,"value":5263},{"_type":9,"current":407},{"other":7,"profiles":14378},[14379],{"_id":14380,"_type":1078,"activeYears":14381,"bio":14384,"bioShort":14393,"featuredImage":7,"filterables":14394,"links":14397,"locations":14400,"searchables":14404,"seo":7,"slug":14406,"title":14408},"d83d7c7b-f683-42d8-b069-aeda99351d53",[14382],{"_id":110,"_type":99,"seo":7,"slug":14383,"title":113},{"_type":9,"current":112},[14385],{"_key":14386,"_type":219,"children":14387,"markDefs":14392,"style":232},"a33b70ca07ec",[14388],{"_key":14389,"_type":223,"marks":14390,"text":14391},"fdeccbb7de120",[],"In addition to teaching, he pursues an independent practice focused on how automation and algorithms affect communication and aesthetics – a topic he explores through graphic design, and software design.",[],"Designer, developer, and educator from the San Francisco Bay Area, now living in Seoul and teaching at Seoul National University. ",{"filterYear":14395},[14396],{"_id":110,"title":113},[14398],{"_type":1138,"label":1139,"url":14399},"http://chrishamamoto.com",{"locations":14401,"other":7},[14402],{"_id":316,"_type":308,"seo":7,"slug":14403,"title":319},{"_type":9,"current":318},[14405,112],"chris hamamoto",{"_type":9,"current":14407},"chris-hamamoto","Chris Hamamoto",{"alt":7,"asset":14410},{"_id":14411,"height":2831,"orientation":7818,"ratio":2178,"url":14412,"width":2831},"image-16f467a7811aba8ca4cda2584c9f9cadfccdc5f3-1080x1080-png","https://cdn.sanity.io/images/eodip22e/production/16f467a7811aba8ca4cda2584c9f9cadfccdc5f3-1080x1080.png",{"filterCategory":14414,"filterLocation":7,"filterYear":14418},[14415,14416,14417],{"_id":805,"title":808},{"_id":1009,"title":1012},{"_id":405,"title":408},[14419],{"_id":110,"title":113},[],[14422],{"_type":1625,"settings":7,"text":14423},[14424,14432,14440,14448],{"_key":14425,"_type":219,"children":14426,"markDefs":14431,"style":232},"428fa32d464d",[14427],{"_key":14428,"_type":223,"marks":14429,"text":14430},"3d3a58cd45fa0",[],"Conspiracy theories are both subversive and normative. As belief systems they subvert reality by flattening complexity into overly-simplified maps to understand the present. As a descriptor they quell meaningful dissent by framing conspiracists as being unhinged. Within marginalized groups – such as racial minorities, women, and LGBTQ people – this duplicity is experienced first-hand. These groups are victimized through conspiracy theory as a device that validates and exploits their oppression through myth-making, and discredits this identification as conspiratorial.",[],{"_key":14433,"_type":219,"children":14434,"markDefs":14439,"style":232},"d5c95c65b69e",[14435],{"_key":14436,"_type":223,"marks":14437,"text":14438},"08d1e46d5ba20",[],"For instance during the 1960s, the Black Panther movement was deemed “greatest threat to the internal security of the country” by FBI Director J. Edgar Hoover. In order to counteract this “threat” the FBI destabilized the movement as part of their COINTELPRO effort – a policy once considered a conspiracy theory before being confirmed by declassified documents – by publishing propaganda under the guise of Black Nationalist authors. A particularly disturbing example is the The Black Panther Coloring Book, a comic supposedly aimed at children – likely created by the FBI – which depicts racial violence perpetrated against whites by blacks that was mass-mailed across the US to create anti-Black Panther sentiment. While this conspiracy theory has more-or-less been accepted as fact, conspiracy theories’ liminal status between fact and fiction, mainstream and fringe, are exploited by individuals and governments to their own ends.",[],{"_key":14441,"_type":219,"children":14442,"markDefs":14447,"style":232},"fb82a41c4749",[14443],{"_key":14444,"_type":223,"marks":14445,"text":14446},"724f1539e0f20",[],"More recently, the mechanics of social media platforms have supercharged previously fringe theories towards dire ends, with far-right movements such as QAnon spreading worldwide and becoming influential political actors. Within these movements the power of graphic design can’t be ignored – conspiracy theories take known symbols and lore, and assign them new meanings to create media products.",[],{"_key":14449,"_type":219,"children":14450,"markDefs":14455,"style":232},"b0c9edea276b",[14451],{"_key":14452,"_type":223,"marks":14453,"text":14454},"f67d47a06b960",[],"This project engages with the complexity of conspiracy theories and their relationship to graphic design, by creating an archive of Frank Chu’s protest signs. Chu is a San Francisco-based conspiracy theorist who has sustained a serial sign-making and protest practice for over two decades. Chu is a complex character, an Asian-American UC Berkeley graduate who is known as fame seeking and utilizes his micro-celebrity for local brand endorsements. In many ways Chu’s practice represents an important precursor to our current information environment, and serves as a microcosm of some of its economic and aesthetic dynamics. This archive would preserve and make visible this lesser known body of work, and act as a starting point for research on conspiracy theories and their social and racial dimensions.",[],[14457,112,14405,14458,807,1011,407],"the frank chu archive","conspiracy theories are both subversive and normative. as belief systems they subvert reality by flattening complexity into overly-simplified maps to understand the present. as a descriptor they quell meaningful dissent by framing conspiracists as being unhinged. within marginalized groups – such as racial minorities, women, and lgbtq people – this duplicity is experienced first-hand. these groups are victimized through conspiracy theory as a device that validates and exploits their oppression through myth-making, and discredits this identification as conspiratorial.\n\nfor instance during the 1960s, the black panther movement was deemed “greatest threat to the internal security of the country” by fbi director j. edgar hoover. in order to counteract this “threat” the fbi destabilized the movement as part of their cointelpro effort – a policy once considered a conspiracy theory before being confirmed by declassified documents – by publishing propaganda under the guise of black nationalist authors. a particularly disturbing example is the the black panther coloring book, a comic supposedly aimed at children – likely created by the fbi – which depicts racial violence perpetrated against whites by blacks that was mass-mailed across the us to create anti-black panther sentiment. while this conspiracy theory has more-or-less been accepted as fact, conspiracy theories’ liminal status between fact and fiction, mainstream and fringe, are exploited by individuals and governments to their own ends.\n\nmore recently, the mechanics of social media platforms have supercharged previously fringe theories towards dire ends, with far-right movements such as qanon spreading worldwide and becoming influential political actors. within these movements the power of graphic design can’t be ignored – conspiracy theories take known symbols and lore, and assign them new meanings to create media products.\n\nthis project engages with the complexity of conspiracy theories and their relationship to graphic design, by creating an archive of frank chu’s protest signs. chu is a san francisco-based conspiracy theorist who has sustained a serial sign-making and protest practice for over two decades. chu is a complex character, an asian-american uc berkeley graduate who is known as fame seeking and utilizes his micro-celebrity for local brand endorsements. in many ways chu’s practice represents an important precursor to our current information environment, and serves as a microcosm of some of its economic and aesthetic dynamics. this archive would preserve and make visible this lesser known body of work, and act as a starting point for research on conspiracy theories and their social and racial dimensions.",{"_type":9,"current":14460},"the-frank-chu-archive","The Frank Chu Archive",{"_id":14463,"_type":1027,"categories":14464,"credits":14471,"featuredImage":14514,"filterables":14519,"footnotes":14527,"locations":14528,"logbook":7,"pageBuilder":14532,"researchQuestion":14580,"researchQuestions":7,"searchables":14589,"seo":7,"slug":14593,"title":14515,"year":113},"d65bc776-7478-41fc-b83b-41c8a27be10d",[14465,14468],{"_id":620,"_type":362,"colorPrimary":14466,"seo":7,"slug":14467,"title":623},{"label":1031,"value":9277},{"_type":9,"current":622},{"_id":720,"_type":362,"colorPrimary":14469,"seo":7,"slug":14470,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"other":7,"profiles":14472},[14473],{"_id":14474,"_type":1078,"activeYears":14475,"bio":14478,"bioShort":14495,"featuredImage":7,"filterables":14496,"links":14499,"locations":14505,"searchables":14509,"seo":7,"slug":14511,"title":14513},"d3b21264-1bcd-4691-b61b-62fa712aeb33",[14476],{"_id":110,"_type":99,"seo":7,"slug":14477,"title":113},{"_type":9,"current":112},[14479],{"_key":14480,"_type":219,"children":14481,"markDefs":14494,"style":232},"9e82d0e8cfe3",[14482,14486,14490],{"_key":14483,"_type":223,"marks":14484,"text":14485},"40998da255370",[],"We call Cassie an artist because we don't have a better title for someone working this hard on invisible stuff, like changing. But in another time, she might have been called a ",{"_key":14487,"_type":223,"marks":14488,"text":14489},"595eb6b94d8e",[1559],"janitor",{"_key":14491,"_type":223,"marks":14492,"text":14493},"a14198919256",[],", one in a long line of descendents of Janus –two faced god of transitions, time and passages– in Ancient Roman myth. Cassie has come to clean up the messes of her confused, lonely and dysfunctional family, the beneficiaries of the western empires. A two-faced catalyst, Cassie works in at least two ways to clean up some of the old colonial and capitalist garbage lying around our collective psychic architecture. First, using good-natured practices she has developed including The Hologram, she helps groups and individuals build social infrastructure with trust, integrity and communication that will naturally evict hierarchies and toxic uses of power. This work includes workshops, consulting, and lectures about care, debt and crisis. This work can live independently or can be the groundwork for the second type of work, which includes sharp and incisive political art about the absurdity of our most sacred social structures (power, privilege, financialization and security) on a burning planet. This work has recently included writing extensively about The Flat White Dimension, attending a tech conference as a working class elder from the future, or turning a Swiss Spa into a place that transforms privilege into something useful. Cassie wrote a popular book called The Hologram published by Pluto Press, and helped launch an international social movement where all caregivers are cared for. She is also a steward for a bar that is secretly a social clinic in Berlin.",[],"Cassie is changing. In the apocalypse, everything must change, including us and the work we value and how we value things. ",{"filterYear":14497},[14498],{"_id":110,"title":113},[14500,14503],{"_type":1138,"label":14501,"url":14502},"Feminist Economics Department","https://feministeconomicsdepartment.com/",{"_type":1138,"label":1142,"url":14504},"https://www.instagram.com/the_feminist_economics_dept/",{"locations":14506,"other":7},[14507],{"_id":331,"_type":308,"seo":7,"slug":14508,"title":334},{"_type":9,"current":333},[14510,112],"cassie thornton",{"_type":9,"current":14512},"cassie-thornton","Cassie Thornton",{"alt":14515,"asset":14516},"The Hologram",{"_id":14517,"height":4099,"orientation":7818,"ratio":2178,"url":14518,"width":4099},"image-73998850c405096c1d9153d928ac61ae7f205874-1440x1440-jpg","https://cdn.sanity.io/images/eodip22e/production/73998850c405096c1d9153d928ac61ae7f205874-1440x1440.jpg",{"filterCategory":14520,"filterLocation":14523,"filterYear":14525},[14521,14522],{"_id":620,"title":623},{"_id":720,"title":723},[14524],{"_id":356,"title":359},[14526],{"_id":110,"title":113},[],{"locations":14529,"other":7},[14530],{"_id":356,"_type":308,"seo":7,"slug":14531,"title":359},{"_type":9,"current":358},[14533,14543,14554],{"_type":1625,"settings":7,"text":14534},[14535],{"_key":14536,"_type":219,"children":14537,"markDefs":14542,"style":232},"5b73295b512f",[14538],{"_key":14539,"_type":223,"marks":14540,"text":14541},"4fc5c819b83e",[],"Since 2016 a growing group of international collaborators have been formulating and practicing a viral, anti-capitalist, peer to peer mutual aid practice called The Hologram. Now it is a well-worn practice of sustained revolutionary care that is used around the world. Starting in 2020, when we started teaching online courses, many began to practice the protocol of The Hologram in our own lives. We became the first developers and testers of a practice that involves asking for and receiving long term distributed support from people in our communities. We believe that we are now harder to fuck with.",[],{"_type":8326,"caption":14544,"embedCode":14553},[14545],{"_key":14546,"_type":219,"children":14547,"markDefs":14552,"style":232},"c75e2dacef79",[14548],{"_key":14549,"_type":223,"marks":14550,"text":14551},"162a1877b7ca0",[],"The Hologram (with subtitles)",[],"\u003Ciframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/_x-OM2OmmCI?si=X-s0OAAdzcEWGFEP\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003C/iframe>",{"_type":1625,"settings":7,"text":14555},[14556,14564,14572],{"_key":14557,"_type":219,"children":14558,"markDefs":14563,"style":232},"402b621cf29b",[14559],{"_key":14560,"_type":223,"marks":14561,"text":14562},"61b4f25c6c93",[],"The premise of The Hologram is deceptively simple: One person invites three people to support them through regular seasonal meetings. These three people – the ‘Triangle’ – meet altogether, digitally or in person, to focus on asking questions about the physical, mental and social health of the ‘hologram’, who invited them. The hologram, in turn, teaches these listeners how to give and also receive care. When they are ready, the hologram supports them to each set up their own triangle of support by three people, and so the system expands. This social technology is based on “The Integrative Model” which was developed in a Social Solidarity Clinic in Thessaloniki, Greece during the height of the financial and migration crisis. In this model, a patient is seen by a doctor, social worker and therapist in one setting. Our research team would like to learn from Integrative Model practitioners and about what they learned and how they changed after providing nearly a decade of free, non-hierarchical, integrated care.",[],{"_key":14565,"_type":219,"children":14566,"markDefs":14571,"style":232},"31ab40a3dc96",[14567],{"_key":14568,"_type":223,"marks":14569,"text":14570},"4a0b5810140c",[],"The Hologram practice has lived and mutated through use for over three years among a yet unquantified number of people. Our second set of research questions are for Hologram users, about what happened when they gave or received anti-capitalist, distributed care and attention in a focused way for this time. Our research team of Hologram users would like to spend much of 2024 collecting data from Hologram users. Our team proposes to develop experimental surveys and interviews about what changed for people and their communities when they did ask for, receive, or supply help. Our sense is that when people actually practice.",[],{"_key":14573,"_type":219,"children":14574,"markDefs":14579,"style":232},"688e4bac262b",[14575],{"_key":14576,"_type":223,"marks":14577,"text":14578},"de77073e89f4",[],"The Hologram, a different level of communication, curiosity and exchange take place that could be very useful in many group or institutional settings. These qualities of communication and connection gently and subversively dismantle internalized and socialized forms of capitalist, patriarchal and racist behavior. Our final set of questions are about how to present our data in a way that can make The Hologram practice into an accessible idea and tool for pre-existing groups, institutions, and even municipalities. ",[],[14581],{"_key":14582,"_type":219,"children":14583,"markDefs":14588,"style":232},"f426ff67cdba",[14584],{"_key":14585,"_type":223,"marks":14586,"text":14587},"9d48b3742daa",[],"Our research team will work towards communicating about the complex learnings from this distributed care model in a way that many people and even institutions can learn about and become interested in.",[],[14590,112,358,14510,14591,14592,9749,722],"the hologram","since 2016 a growing group of international collaborators have been formulating and practicing a viral, anti-capitalist, peer to peer mutual aid practice called the hologram. now it is a well-worn practice of sustained revolutionary care that is used around the world. starting in 2020, when we started teaching online courses, many began to practice the protocol of the hologram in our own lives. we became the first developers and testers of a practice that involves asking for and receiving long term distributed support from people in our communities. we believe that we are now harder to fuck with.","the premise of the hologram is deceptively simple: one person invites three people to support them through regular seasonal meetings. these three people – the ‘triangle’ – meet altogether, digitally or in person, to focus on asking questions about the physical, mental and social health of the ‘hologram’, who invited them. the hologram, in turn, teaches these listeners how to give and also receive care. when they are ready, the hologram supports them to each set up their own triangle of support by three people, and so the system expands. this social technology is based on “the integrative model” which was developed in a social solidarity clinic in thessaloniki, greece during the height of the financial and migration crisis. in this model, a patient is seen by a doctor, social worker and therapist in one setting. our research team would like to learn from integrative model practitioners and about what they learned and how they changed after providing nearly a decade of free, non-hierarchical, integrated care.\n\nthe hologram practice has lived and mutated through use for over three years among a yet unquantified number of people. our second set of research questions are for hologram users, about what happened when they gave or received anti-capitalist, distributed care and attention in a focused way for this time. our research team of hologram users would like to spend much of 2024 collecting data from hologram users. our team proposes to develop experimental surveys and interviews about what changed for people and their communities when they did ask for, receive, or supply help. our sense is that when people actually practice.\n\nthe hologram, a different level of communication, curiosity and exchange take place that could be very useful in many group or institutional settings. these qualities of communication and connection gently and subversively dismantle internalized and socialized forms of capitalist, patriarchal and racist behavior. our final set of questions are about how to present our data in a way that can make the hologram practice into an accessible idea and tool for pre-existing groups, institutions, and even municipalities. ",{"_type":9,"current":14594},"the-hologram",{"_id":14596,"_type":1027,"categories":14597,"credits":14601,"featuredImage":14821,"filterables":14826,"footnotes":14834,"locations":14835,"logbook":7,"pageBuilder":14841,"researchQuestion":14921,"researchQuestions":7,"searchables":14946,"seo":7,"slug":14950,"title":14947,"year":113},"35a9e684-ba2b-400e-979b-ab99d51f6c80",[14598],{"_id":470,"_type":362,"colorPrimary":14599,"seo":7,"slug":14600,"title":473},{"label":1031,"value":4453},{"_type":9,"current":472},{"other":7,"profiles":14602},[14603,14639,14679,14718,14748,14784],{"_id":14604,"_type":1078,"activeYears":14605,"bio":14608,"bioShort":14617,"featuredImage":14618,"filterables":14624,"links":14627,"locations":14630,"searchables":14636,"seo":7,"slug":14638,"title":14637},"547163a4-3876-42bd-a098-569e8c850015",[14606],{"_id":110,"_type":99,"seo":7,"slug":14607,"title":113},{"_type":9,"current":112},[14609],{"_key":14610,"_type":219,"children":14611,"markDefs":14616,"style":232},"6e6cea76c996",[14612],{"_key":14613,"_type":223,"marks":14614,"text":14615},"c7524787263c0",[],"We come together to recognize and amplify marginalized Vietnamese youth voices on climate justice and eco-anxiety, hoping to co-create pluriversal, caring, and just futures.",[],"A collective of aspiring Vietnamese peers with diverse backgrounds and skill sets. ",{"alt":14619,"asset":14620},"reu-collective",{"_id":14621,"height":14622,"orientation":7818,"ratio":2178,"url":14623,"width":14622},"image-49e5424360125d11786c7fbcb8d2b2da0ac21297-400x400-jpg",400,"https://cdn.sanity.io/images/eodip22e/production/49e5424360125d11786c7fbcb8d2b2da0ac21297-400x400.jpg",{"filterYear":14625},[14626],{"_id":110,"title":113},[14628],{"_type":1138,"label":1142,"url":14629},"https://www.instagram.com/reu.collective/",{"locations":14631,"other":7},[14632,14634],{"_id":316,"_type":308,"seo":7,"slug":14633,"title":319},{"_type":9,"current":318},{"_id":331,"_type":308,"seo":7,"slug":14635,"title":334},{"_type":9,"current":333},[14637,112],"rêu collective",{"_type":9,"current":14619},{"_id":14640,"_type":1078,"activeYears":14641,"bio":14644,"bioShort":14652,"featuredImage":7,"filterables":14653,"links":14656,"locations":14660,"searchables":14675,"seo":7,"slug":14677,"title":14678},"0ebcd027-cd2c-47df-8885-66891dfb42b5",[14642],{"_id":110,"_type":99,"seo":7,"slug":14643,"title":113},{"_type":9,"current":112},[14645],{"_key":14646,"_type":219,"children":14647,"markDefs":14651,"style":232},"2e50ea1fb35e",[14648],{"_key":14649,"_type":223,"marks":14650,"text":12647},"a781d919b0910",[],[],"Tabby is Co-founder/ Freelance educator and facilitator in climate justice with intersectional and decolonial lens, antiracism, and gender equality.",{"filterYear":14654},[14655],{"_id":110,"title":113},[14657,14659],{"_type":1138,"label":13398,"url":14658},"https://www.linkedin.com/in/va1151/",{"_type":1138,"label":1142,"url":14629},{"locations":14661,"other":14666},[14662,14664],{"_id":316,"_type":308,"seo":7,"slug":14663,"title":319},{"_type":9,"current":318},{"_id":331,"_type":308,"seo":7,"slug":14665,"title":334},{"_type":9,"current":333},[14667],{"_key":14668,"_type":219,"children":14669,"markDefs":14674,"style":232},"13521b7b9385",[14670],{"_key":14671,"_type":223,"marks":14672,"text":14673},"3755e5d598c3",[],"Based in Madrid ",[],[14676,112],"tabby",{"_type":9,"current":14676},"Tabby",{"_id":14680,"_type":1078,"activeYears":14681,"bio":14684,"bioShort":14692,"featuredImage":7,"filterables":14693,"links":14696,"locations":14700,"searchables":14713,"seo":7,"slug":14715,"title":14717},"bb09312c-af6e-4894-89a6-fbf2003add7b",[14682],{"_id":110,"_type":99,"seo":7,"slug":14683,"title":113},{"_type":9,"current":112},[14685],{"_key":14686,"_type":219,"children":14687,"markDefs":14691,"style":232},"9d14708dd3df",[14688],{"_key":14689,"_type":223,"marks":14690,"text":12647},"ee47168158020",[],[],"Châu is Co-founder/ Experience, visual and speculative designer - Collective imagination practitioner - Climate and social justice advocate.",{"filterYear":14694},[14695],{"_id":110,"title":113},[14697,14699],{"_type":1138,"label":1139,"url":14698},"https://chauhoang.net/",{"_type":1138,"label":1142,"url":14629},{"locations":14701,"other":14704},[14702],{"_id":316,"_type":308,"seo":7,"slug":14703,"title":319},{"_type":9,"current":318},[14705],{"_key":14706,"_type":219,"children":14707,"markDefs":14712,"style":232},"bbff492ca44d",[14708],{"_key":14709,"_type":223,"marks":14710,"text":14711},"3db8ef33849c",[],"Based in Hanoi",[],[14714,112],"châu hoàng",{"_type":9,"current":14716},"chau-hoang","Châu Hoàng",{"_id":14719,"_type":1078,"activeYears":14720,"bio":14723,"bioShort":14731,"featuredImage":7,"filterables":14732,"links":14735,"locations":14737,"searchables":14743,"seo":7,"slug":14745,"title":14747},"fea0ece9-e2b0-45a8-8c61-d3bf9409ee0b",[14721],{"_id":110,"_type":99,"seo":7,"slug":14722,"title":113},{"_type":9,"current":112},[14724],{"_key":14725,"_type":219,"children":14726,"markDefs":14730,"style":232},"0ad8b75fbf95",[14727],{"_key":14728,"_type":223,"marks":14729,"text":12647},"969cd26afeb3",[],[],"Hoàng is Co-founder/ Consultant on Monitoring and Evaluation - Public engagement - Project/workshop design and facilitation.",{"filterYear":14733},[14734],{"_id":110,"title":113},[14736],{"_type":1138,"label":1142,"url":14629},{"locations":14738,"other":7},[14739,14741],{"_id":316,"_type":308,"seo":7,"slug":14740,"title":319},{"_type":9,"current":318},{"_id":331,"_type":308,"seo":7,"slug":14742,"title":334},{"_type":9,"current":333},[14744,112],"hoàng trần",{"_type":9,"current":14746},"hoang-tran","Hoàng Trần",{"_id":14749,"_type":1078,"activeYears":14750,"bio":14753,"bioShort":14761,"featuredImage":7,"filterables":14762,"links":14765,"locations":14767,"searchables":14779,"seo":7,"slug":14781,"title":14783},"e0e2ab20-c6f3-405e-9cc5-e13c44d81e83",[14751],{"_id":110,"_type":99,"seo":7,"slug":14752,"title":113},{"_type":9,"current":112},[14754],{"_key":14755,"_type":219,"children":14756,"markDefs":14760,"style":232},"b29b4547fa1f",[14757],{"_key":14758,"_type":223,"marks":14759,"text":12647},"3c95b3c965d7",[],[],"Giang is Co-founder/ Program consultant and designers focusing on Environmental management/ education and Policy campaigning.",{"filterYear":14763},[14764],{"_id":110,"title":113},[14766],{"_type":1138,"label":1142,"url":14629},{"locations":14768,"other":14771},[14769],{"_id":316,"_type":308,"seo":7,"slug":14770,"title":319},{"_type":9,"current":318},[14772],{"_key":14773,"_type":219,"children":14774,"markDefs":14778,"style":232},"62ae59e334ad",[14775],{"_key":14776,"_type":223,"marks":14777,"text":14711},"ba34ff006a53",[],[],[14780,112],"đinh lam giang",{"_type":9,"current":14782},"dinh-lam-giang","Đinh Lam Giang",{"_id":14785,"_type":1078,"activeYears":14786,"bio":14789,"bioShort":14797,"featuredImage":7,"filterables":14798,"links":14801,"locations":14803,"searchables":14816,"seo":7,"slug":14818,"title":14820},"020a2514-58b2-4adf-9967-71d840cd0c11",[14787],{"_id":110,"_type":99,"seo":7,"slug":14788,"title":113},{"_type":9,"current":112},[14790],{"_key":14791,"_type":219,"children":14792,"markDefs":14796,"style":232},"d5c24a1f4aea",[14793],{"_key":14794,"_type":223,"marks":14795,"text":12647},"70ae07ff8914",[],[],"Chi is Co-founder/ Media and communication - Community engagement - Environment",{"filterYear":14799},[14800],{"_id":110,"title":113},[14802],{"_type":1138,"label":1142,"url":14629},{"locations":14804,"other":14807},[14805],{"_id":331,"_type":308,"seo":7,"slug":14806,"title":334},{"_type":9,"current":333},[14808],{"_key":14809,"_type":219,"children":14810,"markDefs":14815,"style":232},"2cd13f5f9bf5",[14811],{"_key":14812,"_type":223,"marks":14813,"text":14814},"1fee64fc069a",[],"Currently based in London",[],[14817,112],"kiều vũ linh chi",{"_type":9,"current":14819},"kieu-vu-linh-chi","Kiều Vũ Linh Chi",{"alt":14822,"asset":14823},"School of Commons - [s]ây project by rêu collective",{"_id":14824,"height":4058,"orientation":7818,"ratio":2178,"url":14825,"width":4058},"image-b315c428569a9f37c4e5fcf506cbe22a14ed9a86-1200x1200-png","https://cdn.sanity.io/images/eodip22e/production/b315c428569a9f37c4e5fcf506cbe22a14ed9a86-1200x1200.png",{"filterCategory":14827,"filterLocation":14829,"filterYear":14832},[14828],{"_id":470,"title":473},[14830,14831],{"_id":316,"title":319},{"_id":331,"title":334},[14833],{"_id":110,"title":113},[],{"locations":14836,"other":7},[14837,14839],{"_id":316,"_type":308,"seo":7,"slug":14838,"title":319},{"_type":9,"current":318},{"_id":331,"_type":308,"seo":7,"slug":14840,"title":334},{"_type":9,"current":333},[14842,14852,14868,14918],{"_type":1625,"settings":7,"text":14843},[14844],{"_key":14845,"_type":219,"children":14846,"markDefs":14851,"style":232},"6e9c5a35889f",[14847],{"_key":14848,"_type":223,"marks":14849,"text":14850},"593c83fe004a",[],"A study led by one of the founders of rêu collective highlights a substantial level of awareness and involvement in collective climate action in Vietnam, a country highly vulnerable to climate change. Specifically, 76.4% of participants expressed familiarity with these initiatives. However, these initiatives focus on interventions rather than advocating for radical systemic change. Our recent study on the future imagination of Vietnamese youth highlights a recurring envision for 2040, depicting a developed society with a degraded environment, as a result of Western ideology, colonialism, extractivism, and capitalism. This study also emphasises the challenges faced by the youth, who, despite their active participation in climate change initiatives, express concerns and feelings of being overwhelmed due to a lack of knowledge and empowerment. Adding to this challenge is the influence of a dominant and partly manipulated narrative from the West, reinforcing a colonial viewpoint. Notably, the lens through which climate change is perceived in Vietnam lacks intersectional and decolonial perspectives. In response to these findings, our collective aims to facilitate peer-learning spaces for Vietnamese youth and Vietnamese marginalized communities.",[],{"_type":1621,"caption":14853,"image":14862},[14854],{"_key":14855,"_type":219,"children":14856,"markDefs":14861,"style":232},"74ead15bd800",[14857],{"_key":14858,"_type":223,"marks":14859,"text":14860},"b91e54f679b40",[],"[s]ây project by rêu collective",[],{"alt":14860,"asset":14863},{"_id":14864,"height":14865,"orientation":1474,"ratio":14866,"url":14867,"width":7699},"image-13191e4222b0bd43b1da014e9eedda9e887afa9f-768x726-png",726,1.0578512396694215,"https://cdn.sanity.io/images/eodip22e/production/13191e4222b0bd43b1da014e9eedda9e887afa9f-768x726.png",{"_type":1625,"settings":7,"text":14869},[14870,14878,14886,14894,14902,14910],{"_key":14871,"_type":219,"children":14872,"markDefs":14877,"style":232},"869e949fbb45",[14873],{"_key":14874,"_type":223,"marks":14875,"text":14876},"30f4be9d3645",[225],"We want to recognize and amplify:",[],{"_key":14879,"_type":219,"children":14880,"markDefs":14885,"style":232},"115b178dbe9b",[14881],{"_key":14882,"_type":223,"marks":14883,"text":14884},"ae606061b674",[],"1) unheard voices in climate discourse,",[],{"_key":14887,"_type":219,"children":14888,"markDefs":14893,"style":232},"efd601e9fc94",[14889],{"_key":14890,"_type":223,"marks":14891,"text":14892},"79a0c4b8b2fc",[],"2) local knowledge in climate adaptation, and",[],{"_key":14895,"_type":219,"children":14896,"markDefs":14901,"style":232},"05dbefd23817",[14897],{"_key":14898,"_type":223,"marks":14899,"text":14900},"9355f4a8b3d4",[],"3) pluriversality of possible hopeful futures.",[],{"_key":14903,"_type":219,"children":14904,"markDefs":14909,"style":232},"14bef2dc692c",[14905],{"_key":14906,"_type":223,"marks":14907,"text":14908},"b65de589300b",[],"Our topic for [s]ây project focuses on situated knowledge and just futures through the lenses of Vietnamese youths and marginalized communities such as ethnic minorities and the LGBTQIA+ community.",[],{"_key":14911,"_type":219,"children":14912,"markDefs":14917,"style":232},"68fa0407450d",[14913],{"_key":14914,"_type":223,"marks":14915,"text":14916},"941086cd4b5c",[],"To explore these questions in our inclusive peer-learning space, collective knowledge-sharing, and collective imagination methods will be explored and implemented. Specifically, we will organize a series of online workshops consisting of two sub-series: the first one centers on local knowledge-sharing and sensemaking of Climate change, Climate justice, and Climate adaptation, and the second one explores different collective imagination practices as a way to co-create detailed depiction of pluriversal just futures. As a result, a collection of local and traditional knowledge, stories, and futures will be shared with international audiences through an online archive and potentially with local audiences through a physical exhibition in Hanoi depending on our resources. The goal of sharing this collection is to further amplify the marginalized voices and local knowledge and to invite audiences to join the co-creation of these futures together with workshop participants.",[],{"_type":1621,"caption":7,"image":14919},{"alt":7,"asset":14920},{"_id":14621,"height":14622,"orientation":7818,"ratio":2178,"url":14623,"width":14622},[14922,14930,14938],{"_key":14923,"_type":219,"children":14924,"markDefs":14929,"style":232},"8e07d4424fdc",[14925],{"_key":14926,"_type":223,"marks":14927,"text":14928},"208801b97df7",[],"How climate change impacts disproportionately affect them?",[],{"_key":14931,"_type":219,"children":14932,"markDefs":14937,"style":232},"daca958e02af",[14933],{"_key":14934,"_type":223,"marks":14935,"text":14936},"e21bc9a6a22c",[],"How traditional or indigenous knowledge has been used and/or can be used to support communities in climate adaptation?",[],{"_key":14939,"_type":219,"children":14940,"markDefs":14945,"style":232},"c47155edbb06",[14941],{"_key":14942,"_type":223,"marks":14943,"text":14944},"9d000e2f6f02",[],"What just futures look like to them?",[],[14947,112,318,333,14637,14676,14714,14744,14780,14817,14948,14949,4695],"[s]ây project","a study led by one of the founders of rêu collective highlights a substantial level of awareness and involvement in collective climate action in vietnam, a country highly vulnerable to climate change. specifically, 76.4% of participants expressed familiarity with these initiatives. however, these initiatives focus on interventions rather than advocating for radical systemic change. our recent study on the future imagination of vietnamese youth highlights a recurring envision for 2040, depicting a developed society with a degraded environment, as a result of western ideology, colonialism, extractivism, and capitalism. this study also emphasises the challenges faced by the youth, who, despite their active participation in climate change initiatives, express concerns and feelings of being overwhelmed due to a lack of knowledge and empowerment. adding to this challenge is the influence of a dominant and partly manipulated narrative from the west, reinforcing a colonial viewpoint. notably, the lens through which climate change is perceived in vietnam lacks intersectional and decolonial perspectives. in response to these findings, our collective aims to facilitate peer-learning spaces for vietnamese youth and vietnamese marginalized communities.","we want to recognize and amplify:\n\n1) unheard voices in climate discourse,\n\n2) local knowledge in climate adaptation, and\n\n3) pluriversality of possible hopeful futures.\n\nour topic for [s]ây project focuses on situated knowledge and just futures through the lenses of vietnamese youths and marginalized communities such as ethnic minorities and the lgbtqia+ community.\n\nto explore these questions in our inclusive peer-learning space, collective knowledge-sharing, and collective imagination methods will be explored and implemented. specifically, we will organize a series of online workshops consisting of two sub-series: the first one centers on local knowledge-sharing and sensemaking of climate change, climate justice, and climate adaptation, and the second one explores different collective imagination practices as a way to co-create detailed depiction of pluriversal just futures. as a result, a collection of local and traditional knowledge, stories, and futures will be shared with international audiences through an online archive and potentially with local audiences through a physical exhibition in hanoi depending on our resources. the goal of sharing this collection is to further amplify the marginalized voices and local knowledge and to invite audiences to join the co-creation of these futures together with workshop participants.",{"_type":9,"current":14951},"s-ay-project",{"_id":14953,"_type":1027,"categories":14954,"credits":14959,"featuredImage":15004,"filterables":15009,"footnotes":15016,"locations":15017,"logbook":7,"pageBuilder":15021,"researchQuestion":15107,"researchQuestions":7,"searchables":15140,"seo":7,"slug":15145,"title":15141,"year":113},"958a3023-c059-4d65-9c51-d5c2d28650b6",[14955],{"_id":415,"_type":362,"colorPrimary":14956,"seo":7,"slug":14958,"title":418},{"label":1031,"value":14957},"#dc00dc",{"_type":9,"current":417},{"other":7,"profiles":14960},[14961],{"_id":14962,"_type":1078,"activeYears":14963,"bio":14966,"bioShort":14975,"featuredImage":14976,"filterables":14982,"links":14985,"locations":14988,"searchables":15000,"seo":7,"slug":15002,"title":14977},"b1bfa61d-ff7b-42fa-b3a2-244d209ecf3d",[14964],{"_id":110,"_type":99,"seo":7,"slug":14965,"title":113},{"_type":9,"current":112},[14967],{"_key":14968,"_type":219,"children":14969,"markDefs":14974,"style":232},"5a6189fa7409",[14970],{"_key":14971,"_type":223,"marks":14972,"text":14973},"bb008a958e960",[],"Anthropologist based in London, UK. She has worked on a number of projects at the intersection of open knowledge and internet infrastructure at a variety of organisations, including with the Internet Society, Open Knowledge Foundation, and Wikimedia Deutschland. Currently, she is an Artistic Research Fellow at the School of Commons, based at the Zurich University of the Arts as well as serves as a Community Manager for The Turing Way Project, an open access resource for data scientists and researchers. Previously, she pursued an ethnographic study of the OpenStreetMap community, and how maps are made in humanitarian crises.",[],"Anthropologist.",{"alt":14977,"asset":14978},"Anne Lee Steele",{"_id":14979,"height":14980,"orientation":1129,"ratio":2920,"url":14981,"width":1132},"image-07f15839c16db754d3a6efb47acdbf23f890884d-480x640-jpg",640,"https://cdn.sanity.io/images/eodip22e/production/07f15839c16db754d3a6efb47acdbf23f890884d-480x640.jpg",{"filterYear":14983},[14984],{"_id":110,"title":113},[14986],{"_type":1138,"label":1139,"url":14987},"https://www.aleesteele.com/",{"locations":14989,"other":14992},[14990],{"_id":331,"_type":308,"seo":7,"slug":14991,"title":334},{"_type":9,"current":333},[14993],{"_key":14994,"_type":219,"children":14995,"markDefs":14999,"style":232},"dccd27beff82",[14996],{"_key":14997,"_type":223,"marks":14998,"text":12720},"10b28adebc4f",[],[],[15001,112],"anne lee steele",{"_type":9,"current":15003},"anne-lee-steele",{"alt":15005,"asset":15006},"poetic tactics to counter extraction (alternative title: poetic tactics to train attention)",{"_id":15007,"height":7699,"orientation":1474,"ratio":3344,"url":15008,"width":4004},"image-0228281d19200de409406edc6d9fec5ec46b7410-1024x768-jpg","https://cdn.sanity.io/images/eodip22e/production/0228281d19200de409406edc6d9fec5ec46b7410-1024x768.jpg",{"filterCategory":15010,"filterLocation":15012,"filterYear":15014},[15011],{"_id":415,"title":418},[15013],{"_id":331,"title":334},[15015],{"_id":110,"title":113},[],{"locations":15018,"other":7},[15019],{"_id":331,"_type":308,"seo":7,"slug":15020,"title":334},{"_type":9,"current":333},[15022,15035,15043,15077,15085],{"_type":1625,"settings":7,"text":15023},[15024],{"_key":15025,"_type":219,"children":15026,"markDefs":15031,"style":232},"4c68b073a145",[15027],{"_key":15028,"_type":223,"marks":15029,"text":15030},"3fd3e8d80dc9",[],"The project aims to bring together a body of work that aims to answer the question: how do we counter the embodied ethos of extraction? how can we gather existing techniques – and develop new ways of engaging with our bodies to combat extraction’s effects? how can the metaphor of poetry can be used to combat the abstraction of datafication? when physical extraction is constitutive of digital culture, as well as a pervasive ethos and social norm, what role can poetry (and poetic tactics) play?",[15032],{"_key":15033,"_type":249,"href":15034},"6bb07e7c7d2a","https://docs.google.com/presentation/d/1srki1Vo-bTA5mO-26-0-qRFSRewX28MGBKFqb3HQzIg/edit#slide=id.gf5a57be6f8_0_16",{"_type":1621,"caption":7,"image":15036},{"alt":7,"asset":15037},{"_id":15038,"height":15039,"orientation":1474,"ratio":15040,"url":15041,"width":15042},"image-d78100864b316145ef4eff8525ad10c01fc9ee01-3284x1652-png",1652,1.9878934624697338,"https://cdn.sanity.io/images/eodip22e/production/d78100864b316145ef4eff8525ad10c01fc9ee01-3284x1652.png",3284,{"_type":1625,"settings":7,"text":15044},[15045,15053,15061,15069],{"_key":15046,"_type":219,"children":15047,"markDefs":15052,"style":232},"b29e560a70c2",[15048],{"_key":15049,"_type":223,"marks":15050,"text":15051},"b9931d3de5670",[],"drawing from mindy seu and ursula le guin’s notion of gathering, this project will gather, connect, and co-creat a collection of ‘poetic tactics’ that aim to combat the embodied nature of extraction at multiple scales: from that of the individual to the broader work that sustains social movements.",[],{"_key":15054,"_type":219,"children":15055,"markDefs":15060,"style":232},"9b27fb4aaca2",[15056],{"_key":15057,"_type":223,"marks":15058,"text":15059},"4eb3761854610",[],"the primary output of this project will be a pilot of an hybrid, open source syllabus or archive that will combine a variety of different methods to map these emergent (and long sustained) tensions from different angles and through different sensory practices: drawing from creative computation, artist and mindfulness practices, and various written and visual mediums. some of the primary methods that accompany this would be that of sound walks, infrastructure walks, and embodied mapping. each of these practices embody, build off of, and expand the contradictions and connections between “deep ecology” and “extractive ecosystems”",[],{"_key":15062,"_type":219,"children":15063,"markDefs":15068,"style":232},"8a77f478afda",[15064],{"_key":15065,"_type":223,"marks":15066,"text":15067},"c55eee6120790",[],"this project will debut different versions and understandings of these ‘poetic tactics’ in different contexts, aiming to connect a few different methodologies and modes of thought, particularly: deep listening, counter-mapping, slow internet, and networked (mycelium) thinking. they will be trialled at a few different events throughout 2024 and 2025: including at MozFest Amsterdam, EASST-4s, School of Commons Kitchen Sessions, and more.",[],{"_key":15070,"_type":219,"children":15071,"markDefs":15076,"style":232},"caacb338b984",[15072],{"_key":15073,"_type":223,"marks":15074,"text":15075},"9311e8a3cfa60",[],"In particular, sound walk and infrastructure walks will be trialed in August and September 2024 that interact with and interrogates the surveillance landscape – while also introducing and testing ‘poetic tactics’ to combat these structures.",[],{"_type":1621,"caption":7,"image":15078},{"alt":7,"asset":15079},{"_id":15080,"height":15081,"orientation":1474,"ratio":15082,"url":15083,"width":15084},"image-52b16d35199234ef53f035ad15c150205fca6526-2456x1282-png",1282,1.9157566302652107,"https://cdn.sanity.io/images/eodip22e/production/52b16d35199234ef53f035ad15c150205fca6526-2456x1282.png",2456,{"_type":1625,"settings":7,"text":15086},[15087],{"_key":15088,"_type":219,"children":15089,"markDefs":15105,"style":232},"11a88b515296",[15090,15094,15097,15102],{"_key":15091,"_type":223,"marks":15092,"text":15093},"b3f883a90b730",[1559],"note: this page will be updated with more information about the project as it develops. but in the meantime, you are welcome to check out this presentation, which was given at the",{"_key":15095,"_type":223,"marks":15096,"text":2066},"b3f883a90b731",[],{"_key":15098,"_type":223,"marks":15099,"text":15101},"b3f883a90b732",[1559,15100],"fa09c65bf5e1","introduction of the cohort",{"_key":15103,"_type":223,"marks":15104,"text":1097},"b3f883a90b733",[1559],[15106],{"_key":15100,"_type":249,"href":15034},[15108,15116,15124,15132],{"_key":15109,"_type":219,"children":15110,"markDefs":15115,"style":232},"315676a9b74a",[15111],{"_key":15112,"_type":223,"marks":15113,"text":15114},"338c00e27195",[],"how do we counter the embodied ethos of extraction? ",[],{"_key":15117,"_type":219,"children":15118,"markDefs":15123,"style":232},"b5f196938ffe",[15119],{"_key":15120,"_type":223,"marks":15121,"text":15122},"bf8be5eae815",[],"how can we gather existing techniques – and develop new ways of engaging with our bodies to combat extraction’s effects? ",[],{"_key":15125,"_type":219,"children":15126,"markDefs":15131,"style":232},"09cc78316074",[15127],{"_key":15128,"_type":223,"marks":15129,"text":15130},"7f0d23211231",[],"how can the metaphor of poetry can be used to combat the abstraction of datafication? ",[],{"_key":15133,"_type":219,"children":15134,"markDefs":15139,"style":232},"bf6f4e8c33a1",[15135],{"_key":15136,"_type":223,"marks":15137,"text":15138},"d07d7f8114ec",[],"when physical extraction is constitutive of digital culture, as well as a pervasive ethos and social norm, what role can poetry (and poetic tactics) play?",[],[15141,112,333,15001,15142,15143,15144,417],"poetic tactics to counter extraction (and other ways to train attention)","the project aims to bring together a body of work that aims to answer the question: how do we counter the embodied ethos of extraction? how can we gather existing techniques – and develop new ways of engaging with our bodies to combat extraction’s effects? how can the metaphor of poetry can be used to combat the abstraction of datafication? when physical extraction is constitutive of digital culture, as well as a pervasive ethos and social norm, what role can poetry (and poetic tactics) play?","drawing from mindy seu and ursula le guin’s notion of gathering, this project will gather, connect, and co-creat a collection of ‘poetic tactics’ that aim to combat the embodied nature of extraction at multiple scales: from that of the individual to the broader work that sustains social movements.\n\nthe primary output of this project will be a pilot of an hybrid, open source syllabus or archive that will combine a variety of different methods to map these emergent (and long sustained) tensions from different angles and through different sensory practices: drawing from creative computation, artist and mindfulness practices, and various written and visual mediums. some of the primary methods that accompany this would be that of sound walks, infrastructure walks, and embodied mapping. each of these practices embody, build off of, and expand the contradictions and connections between “deep ecology” and “extractive ecosystems”\n\nthis project will debut different versions and understandings of these ‘poetic tactics’ in different contexts, aiming to connect a few different methodologies and modes of thought, particularly: deep listening, counter-mapping, slow internet, and networked (mycelium) thinking. they will be trialled at a few different events throughout 2024 and 2025: including at mozfest amsterdam, easst-4s, school of commons kitchen sessions, and more.\n\nin particular, sound walk and infrastructure walks will be trialed in august and september 2024 that interact with and interrogates the surveillance landscape – while also introducing and testing ‘poetic tactics’ to combat these structures.","note: this page will be updated with more information about the project as it develops. but in the meantime, you are welcome to check out this presentation, which was given at the introduction of the cohort.",{"_type":9,"current":15146},"poetic-tactics-to-counter-extraction-and-other-ways-to-train-attention",{"_id":15148,"_type":1027,"categories":15149,"credits":15156,"featuredImage":15237,"filterables":15242,"footnotes":15251,"locations":15252,"logbook":7,"pageBuilder":15258,"researchQuestion":7,"researchQuestions":7,"searchables":15288,"seo":7,"slug":15291,"title":15289,"year":113},"d0d789c0-a7ad-4b5a-a1f2-e38db136f844",[15150,15153],{"_id":695,"_type":362,"colorPrimary":15151,"seo":7,"slug":15152,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"_id":535,"_type":362,"colorPrimary":15154,"seo":7,"slug":15155,"title":538},{"label":1031,"value":7216},{"_type":9,"current":537},{"other":7,"profiles":15157},[15158,15198],{"_id":15159,"_type":1078,"activeYears":15160,"bio":15163,"bioShort":15171,"featuredImage":7,"filterables":15172,"links":15175,"locations":15178,"searchables":15193,"seo":7,"slug":15195,"title":15197},"b26046c1-6ad5-41f5-8bd3-f0767c411c19",[15161],{"_id":110,"_type":99,"seo":7,"slug":15162,"title":113},{"_type":9,"current":112},[15164],{"_key":15165,"_type":219,"children":15166,"markDefs":15170,"style":232},"cc7e6b114eb2",[15167],{"_key":15168,"_type":223,"marks":15169,"text":12647},"5fb8e77bd9a50",[],[],"A marine ecologist, researcher and facilitator.",{"filterYear":15173},[15174],{"_id":110,"title":113},[15176],{"_type":1138,"label":1142,"url":15177},"https://www.instagram.com/project_invisibility/",{"locations":15179,"other":15184},[15180,15182],{"_id":331,"_type":308,"seo":7,"slug":15181,"title":334},{"_type":9,"current":333},{"_id":316,"_type":308,"seo":7,"slug":15183,"title":319},{"_type":9,"current":318},[15185],{"_key":15186,"_type":219,"children":15187,"markDefs":15192,"style":232},"758ecd91511a",[15188],{"_key":15189,"_type":223,"marks":15190,"text":15191},"dc659eddfb5b0",[],"Living between Pakistan, London and Berlin",[],[15194,112],"samirah siddiqui",{"_type":9,"current":15196},"samirah-siddiqui","Samirah 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There are only the deliberately silenced, or the preferably unheard.” ― Arundhati Roy",[],{"_key":15270,"_type":219,"children":15271,"markDefs":15285,"style":232},"558eeab383d2",[15272,15276,15281],{"_key":15273,"_type":223,"marks":15274,"text":15275},"79ad7a2cb1ff",[],"Project in/visibility disrupts dominant conservation narratives by amplifying perspectives and lived experiences from the forefront of Indigenous and local communities working on environmental restoration and preservation. We combine and build from the experience of ",{"_key":15277,"_type":223,"marks":15278,"text":15280},"15a81ba8c07e",[15279],"ae7396f9a62f","Project Myopia",{"_key":15282,"_type":223,"marks":15283,"text":15284},"5131fdd56ad8",[],", a participatory crowdsourcing platform that amplifies diverse voices in arts and humanities academia, and frontline environmental workers, activists, stewards.",[15286],{"_key":15279,"_type":249,"blank":250,"href":15287},"https://projectmyopia.com/",[15289,112,333,313,15194,15233,15290,697,7484],"project in/visibility","“there’s really no such thing as the ‘voiceless’. there are only the deliberately silenced, or the preferably unheard.” ― arundhati roy\n\nproject in/visibility disrupts dominant conservation narratives by amplifying perspectives and lived experiences from the forefront of indigenous and local communities working on environmental restoration and preservation. we combine and build from the experience of project myopia, a participatory crowdsourcing platform that amplifies diverse voices in arts and humanities academia, and frontline environmental workers, activists, stewards.",{"_type":9,"current":15292},"project-in-visibility",{"_id":15294,"_type":1027,"categories":15295,"credits":15299,"featuredImage":15374,"filterables":15382,"footnotes":15389,"locations":15390,"logbook":7,"pageBuilder":15394,"researchQuestion":15428,"researchQuestions":7,"searchables":15453,"seo":7,"slug":15457,"title":15459,"year":118},"688f8ed0-2ae0-4afe-980f-72799a5b2612",[15296],{"_id":695,"_type":362,"colorPrimary":15297,"seo":7,"slug":15298,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":15300,"profiles":15323},[15301,15312],{"_key":15302,"_type":219,"children":15303,"markDefs":15309,"style":232},"f22f448195da",[15304],{"_key":15305,"_type":223,"marks":15306,"text":15308},"4c0147a385320",[15307],"0ca790249617","Aokage Project, The Aokage Project (2016-2066) is an archive documenting “Aokage Village” in Japan.",[15310],{"_key":15307,"_type":249,"href":15311},"https://aokage-project.com/",{"_key":15313,"_type":219,"children":15314,"markDefs":15320,"style":232},"9d2175930314",[15315],{"_key":15316,"_type":223,"marks":15317,"text":15319},"c9697190d8830",[15318],"f5077415f323","The Society for Alternative-Social Media and Short Videos, \"Reconnecting social media with humanity.\"",[15321],{"_key":15318,"_type":249,"href":15322},"https://www.stellwerkbasel.ch/kreativschaffende/aktive/Akio-Yuguchi.html#/",[15324],{"_id":15325,"_type":1078,"activeYears":15326,"bio":15329,"bioShort":15348,"featuredImage":7,"filterables":15349,"links":15352,"locations":15357,"searchables":15369,"seo":7,"slug":15371,"title":15373},"9277ce94-7a54-46ac-b0a2-e972403615b0",[15327],{"_id":115,"_type":99,"seo":7,"slug":15328,"title":118},{"_type":9,"current":117},[15330],{"_key":15331,"_type":219,"children":15332,"markDefs":15346,"style":232},"8fc9ec788eee",[15333,15337,15342],{"_key":15334,"_type":223,"marks":15335,"text":15336},"494e5226ed3c0",[],"Yuguchi founded the ",{"_key":15338,"_type":223,"marks":15339,"text":15341},"494e5226ed3c1",[15340],"3231513b8387","Society for Alternative-Social Media and Short Videos",{"_key":15343,"_type":223,"marks":15344,"text":15345},"494e5226ed3c2",[]," in Basel, Switzerland, to restore humanity on social media with poetic and reflexive storytelling.",[15347],{"_key":15340,"_type":249,"href":15322},"Akio is a Japanese filmmaker and a former U.N. digital media officer. Yuguchi's interests centre around illuminating individual stories within specific social, environmental, and political contexts. ",{"filterYear":15350},[15351],{"_id":115,"title":118},[15353,15355],{"_type":1138,"label":1139,"url":15354},"https://akioyuguchi.com/",{"_type":1138,"label":15356,"url":15322},"The Society for Alternative-Social Media and Short Videos",{"locations":15358,"other":15361},[15359],{"_id":331,"_type":308,"seo":7,"slug":15360,"title":334},{"_type":9,"current":333},[15362],{"_key":15363,"_type":219,"children":15364,"markDefs":15368,"style":232},"421812d40364",[15365],{"_key":15366,"_type":223,"marks":15367,"text":5697},"ce5b540369990",[],[],[15370,117],"akio yuguchi",{"_type":9,"current":15372},"akio-yuguchi","Akio Yuguchi",{"alt":15375,"asset":15376},"Image Credits: “A selfie by Gabriel Veyre”l’Institut Lumière",{"_id":15377,"height":15378,"orientation":1474,"ratio":15379,"url":15380,"width":15381},"image-90b88c62d58d2dd5dcaa75dacd425f897ade3a24-2455x1638-jpg",1638,1.4987789987789988,"https://cdn.sanity.io/images/eodip22e/production/90b88c62d58d2dd5dcaa75dacd425f897ade3a24-2455x1638.jpg",2455,{"filterCategory":15383,"filterLocation":15385,"filterYear":15387},[15384],{"_id":695,"title":698},[15386],{"_id":331,"title":334},[15388],{"_id":115,"title":118},[],{"locations":15391,"other":7},[15392],{"_id":331,"_type":308,"seo":7,"slug":15393,"title":334},{"_type":9,"current":333},[15395],{"_type":1625,"settings":7,"text":15396},[15397,15405,15413,15421],{"_key":15398,"_type":219,"children":15399,"markDefs":15404,"style":232},"fda64f2bdc25",[15400],{"_key":15401,"_type":223,"marks":15402,"text":15403},"2bdf49e83c65",[],"This study examines the effects of short videos, also known as \"shorts,\" on social media. With high-speed internet, short videos have become the preferred medium for combining different audio-visual content into a unified platform.",[],{"_key":15406,"_type":219,"children":15407,"markDefs":15412,"style":232},"03b42fcbaeef",[15408],{"_key":15409,"_type":223,"marks":15410,"text":15411},"34952c7fb292",[],"To explore how social media and short videos are connected theoretically, we will examine how the Lumière brothers used cinematography as the first moving image-oriented social media tool, with filming, film development, and screening all bundled into one portable package. The average length of their films was 50 seconds, mirroring the durations of popular short video platforms today. Their films’ “silent” nature also resonates with current social media’s silent/talkie aspects, allowing for the transcendence of language and cultural barriers.",[],{"_key":15414,"_type":219,"children":15415,"markDefs":15420,"style":232},"70c0fbaa099e",[15416],{"_key":15417,"_type":223,"marks":15418,"text":15419},"14888a507e7f",[],"For the practical component, we aim to investigate how social media and audio-visual content are connected by experimenting with variables such as thumbnails, video lengths and formats. We also plan to organise short video production workshops to further apply our production expertise, particularly in self-reflective and poetic modes. In both the theoretical and practical segments, we will employ Bill Nichols’ theory of “6 modes of documentaries,” which includes performative, participatory, expository, reflexive, poetic, and observatory modes.",[],{"_key":15422,"_type":219,"children":15423,"markDefs":15427,"style":232},"684cefd89f94",[15424],{"_key":15425,"_type":223,"marks":15426,"text":15375},"7a03a705bcff",[],[],[15429,15437,15445],{"_key":15430,"_type":219,"children":15431,"markDefs":15436,"style":232},"2fafd527ecaa",[15432],{"_key":15433,"_type":223,"marks":15434,"text":15435},"a630b84ceed10",[],"How does social media influence society and human behavior? Can social media platforms alter our lifestyles and values?",[],{"_key":15438,"_type":219,"children":15439,"markDefs":15444,"style":232},"ac6aa2ba99a0",[15440],{"_key":15441,"_type":223,"marks":15442,"text":15443},"8658e332fc7e0",[],"What are the effects of short videos (or \"shorts\") on social media? How can the concept of \"engagement rate\" be redefined beyond likes, shares, and comments?",[],{"_key":15446,"_type":219,"children":15447,"markDefs":15452,"style":232},"9b5a1be9ec36",[15448],{"_key":15449,"_type":223,"marks":15450,"text":15451},"728007b8aa0e0",[],"How can the modes of documentary theory, specifically reflexive, poetic, and observatory modes, be applied to short video production on social media? Can these alternative approaches expand the horizons of content creation?",[],[15454,117,333,15370,15455,15456,697],"50 seconds of breath-taking","aokage project, the aokage project (2016-2066) is an archive documenting “aokage village” in japan.\n\nthe society for alternative-social media and short videos, \"reconnecting social media with humanity.\"","this study examines the effects of short videos, also known as \"shorts,\" on social media. with high-speed internet, short videos have become the preferred medium for combining different audio-visual content into a unified platform.\n\nto explore how social media and short videos are connected theoretically, we will examine how the lumière brothers used cinematography as the first moving image-oriented social media tool, with filming, film development, and screening all bundled into one portable package. the average length of their films was 50 seconds, mirroring the durations of popular short video platforms today. their films’ “silent” nature also resonates with current social media’s silent/talkie aspects, allowing for the transcendence of language and cultural barriers.\n\nfor the practical component, we aim to investigate how social media and audio-visual content are connected by experimenting with variables such as thumbnails, video lengths and formats. we also plan to organise short video production workshops to further apply our production expertise, particularly in self-reflective and poetic modes. in both the theoretical and practical segments, we will employ bill nichols’ theory of “6 modes of documentaries,” which includes performative, participatory, expository, reflexive, poetic, and observatory modes.\n\nimage credits: “a selfie by gabriel veyre”l’institut lumière",{"_type":9,"current":15458},"50-seconds-of-breath-taking","50 Seconds of Breath-taking",{"_id":15461,"_type":1027,"categories":15462,"credits":15472,"featuredImage":15559,"filterables":15564,"footnotes":15573,"locations":15574,"logbook":7,"pageBuilder":15578,"researchQuestion":15613,"researchQuestions":15638,"searchables":15666,"seo":7,"slug":15673,"title":15675,"year":118},"0f2d288a-817b-48e7-b29d-4d4e41fb5a46",[15463,15466,15469],{"_id":810,"_type":362,"colorPrimary":15464,"seo":7,"slug":15465,"title":813},{"label":1031,"value":8792},{"_type":9,"current":812},{"_id":710,"_type":362,"colorPrimary":15467,"seo":7,"slug":15468,"title":713},{"label":1031,"value":10359},{"_type":9,"current":712},{"_id":405,"_type":362,"colorPrimary":15470,"seo":7,"slug":15471,"title":408},{"label":1031,"value":5263},{"_type":9,"current":407},{"other":15473,"profiles":15482},[15474],{"_key":15475,"_type":219,"children":15476,"markDefs":15481,"style":232},"d5f57134b4cd",[15477],{"_key":15478,"_type":223,"marks":15479,"text":15480},"d50c8d4a528e0",[],"Kas and Aga are Amsterdam-based friends, artists and researchers, with roots from Central Asia and Eastern Europe. Through their work involved in various practices related to open/communal space and access to it and translocal solidarity, they try to (co)examine surroundings through recognizing fuzzy boundaries; highlighting through \"both\"/\"and also\", instead of \"either/or\"; seeing non-linear / non-binary / plural, and the necessity to operate from questions and possibilities instead of answers.",[],[15483,15521],{"_id":15484,"_type":1078,"activeYears":15485,"bio":15488,"bioShort":15496,"featuredImage":15497,"filterables":15504,"links":7,"locations":15507,"searchables":15517,"seo":7,"slug":15519,"title":15520},"3f978f6e-8eb1-473a-af31-72cf81ab9934",[15486],{"_id":115,"_type":99,"seo":7,"slug":15487,"title":118},{"_type":9,"current":117},[15489],{"_key":15490,"_type":219,"children":15491,"markDefs":15495,"style":232},"b3c2a167e43f",[15492],{"_key":15493,"_type":223,"marks":15494,"text":12647},"bca6467aede5",[],[],"Agata is a passionate mushroom picker of various interests with roots in Eastern Europe, doing work related to food (& its autonomy), agroecology, as well as collaborative living spaces and their limitations.",{"alt":15498,"asset":15499},"agata-gunka",{"_id":15500,"height":15501,"orientation":1474,"ratio":15502,"url":15503,"width":12654},"image-367747c8df17e80769fb289dbe0678693455828b-2560x1940-jpg",1940,1.3195876288659794,"https://cdn.sanity.io/images/eodip22e/production/367747c8df17e80769fb289dbe0678693455828b-2560x1940.jpg",{"filterYear":15505},[15506],{"_id":115,"title":118},{"locations":7,"other":15508},[15509],{"_key":15510,"_type":219,"children":15511,"markDefs":15516,"style":232},"04cae9fb289b",[15512],{"_key":15513,"_type":223,"marks":15514,"text":15515},"24c66c599b37",[],"Based in Amsterdam",[],[15518,117],"agata guńka",{"_type":9,"current":15498},"Agata Guńka",{"_id":15522,"_type":1078,"activeYears":15523,"bio":15526,"bioShort":15535,"featuredImage":15536,"filterables":15539,"links":15542,"locations":15545,"searchables":15557,"seo":7,"slug":15558,"title":15537},"97d31855-ec7e-4c11-9395-24ed6799cee2",[15524],{"_id":115,"_type":99,"seo":7,"slug":15525,"title":118},{"_type":9,"current":117},[15527],{"_key":15528,"_type":219,"children":15529,"markDefs":15534,"style":232},"fc933799eb4c",[15530],{"_key":15531,"_type":223,"marks":15532,"text":15533},"aa9d1c2558bf0",[],"Through their work they try to (co)examine surroundings through recognizing fuzzy boundaries; highlighting through \"both\"/\"and also\", instead of \"either/or\"; seeing non-linear / non-binary / plural, and the necessity to operate from questions and possibilities instead of answers.",[],"Kas is an Amsterdam-based friend, artist, researcher, with roots in Central Asia, involved in various practices related to open/communal space and access to it. ",{"alt":15537,"asset":15538},"yourfriendkas",{"_id":15500,"height":15501,"orientation":1474,"ratio":15502,"url":15503,"width":12654},{"filterYear":15540},[15541],{"_id":115,"title":118},[15543],{"_type":1138,"label":1142,"url":15544},"https://www.instagram.com/yourfriendkas/",{"locations":15546,"other":15549},[15547],{"_id":331,"_type":308,"seo":7,"slug":15548,"title":334},{"_type":9,"current":333},[15550],{"_key":15551,"_type":219,"children":15552,"markDefs":15556,"style":232},"91292e44149a",[15553],{"_key":15554,"_type":223,"marks":15555,"text":15515},"ef45fb0699ff",[],[],[15537,117],{"_type":9,"current":15537},{"alt":15560,"asset":15561},"School of Commons - Co/living: points of entry",{"_id":15562,"height":12654,"orientation":1129,"ratio":2920,"url":15563,"width":2834},"image-721ab6eaf433a53f5885990c4c65f9e6e1340733-1920x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/721ab6eaf433a53f5885990c4c65f9e6e1340733-1920x2560.jpg",{"filterCategory":15565,"filterLocation":15569,"filterYear":15571},[15566,15567,15568],{"_id":810,"title":813},{"_id":710,"title":713},{"_id":405,"title":408},[15570],{"_id":331,"title":334},[15572],{"_id":115,"title":118},[],{"locations":15575,"other":7},[15576],{"_id":331,"_type":308,"seo":7,"slug":15577,"title":334},{"_type":9,"current":333},[15579],{"_type":1625,"settings":7,"text":15580},[15581,15589,15597,15605],{"_key":15582,"_type":219,"children":15583,"markDefs":15588,"style":232},"d5650e4bef5e",[15584],{"_key":15585,"_type":223,"marks":15586,"text":15587},"1359dd84ec6b",[],"Communal living space is everywhere, even in increasingly hyper-individualistic modern landscape. It takes on many forms, which share some aspects, and differ in many more. People find themselves in such spaces for various reasons: willingly and unwillingly; comfortably and not; temporarily or (as much as that is possible) permanent. Urgent questions appear together with parallels that can be drawn between them.",[],{"_key":15590,"_type":219,"children":15591,"markDefs":15596,"style":232},"fdb184a4976e",[15592],{"_key":15593,"_type":223,"marks":15594,"text":15595},"8b83344a30a8",[],"Coliving situations are shaped by interconnected stratifications of deeply ingrained histories, associations, materials, cultures, verticals of power. They inform the availability of space, communal and personal, and how being there makes people feel. How much agency people that live in a space have over its form. How the space is structured. Which interactions and movements it allows for, encourages, or forbids. How much upkeep it requires. How all of these things can change over time.",[],{"_key":15598,"_type":219,"children":15599,"markDefs":15604,"style":232},"a64e7935b90c",[15600],{"_key":15601,"_type":223,"marks":15602,"text":15603},"8f3dd9e7571d",[],"Our research will involve gathering experiences and stories exploring co-living situations and their interrelation with by spectrums of migration, gender, ability, health, cultural background, and others.",[],{"_key":15606,"_type":219,"children":15607,"markDefs":15612,"style":232},"d97b61fc0f10",[15608],{"_key":15609,"_type":223,"marks":15610,"text":15611},"bbd2beea573b",[],"By gathering, sharing, and creating knowledge on how shelter and living situation influence belonging and alienation, we hope to offer an opportunity for people in different forms of community to find common grounds, build translocal solidarity, and trying/adopting practices informed by the experiences of others.",[],[15614,15622,15630],{"_key":15615,"_type":219,"children":15616,"markDefs":15621,"style":232},"04379c5e6b4b",[15617],{"_key":15618,"_type":223,"marks":15619,"text":15620},"d63efd6709150",[],"How do co-living situations shape the availability of communal and personal space, and how does it affect the well-being and agency of individuals?",[],{"_key":15623,"_type":219,"children":15624,"markDefs":15629,"style":232},"ff5669cf6bce",[15625],{"_key":15626,"_type":223,"marks":15627,"text":15628},"96452feea7e30",[],"What are the interconnections between co-living situations and various factors such as migration, gender, ability, health, and cultural background?",[],{"_key":15631,"_type":219,"children":15632,"markDefs":15637,"style":232},"2fd93fea6efb",[15633],{"_key":15634,"_type":223,"marks":15635,"text":15636},"fdc3a242304a0",[],"How does shelter and living situation influence the sense of belonging and alienation, and how can shared knowledge and experiences foster translocal solidarity and the adoption of informed practices?",[],[15639,15648,15657],{"_type":1733,"question":15640},[15641],{"_key":15642,"_type":219,"children":15643,"markDefs":15647,"style":232},"3e1635cb4004",[15644],{"_key":15645,"_type":223,"marks":15646,"text":15628},"ed71073f1fba",[],[],{"_type":1733,"question":15649},[15650],{"_key":15651,"_type":219,"children":15652,"markDefs":15656,"style":232},"5c2430633e64",[15653],{"_key":15654,"_type":223,"marks":15655,"text":15636},"ef6fffbba665",[],[],{"_type":1733,"question":15658},[15659],{"_key":15660,"_type":219,"children":15661,"markDefs":15665,"style":232},"7259a2cc501f",[15662],{"_key":15663,"_type":223,"marks":15664,"text":15620},"17a1905a5bff",[],[],[15667,117,15668,15669,15670,333,15518,15537,15671,15672,9256,10689,407],"co/living: points of entry","what are the interconnections between co-living situations and various factors such as migration, gender, ability, health, and cultural background?","how does shelter and living situation influence the sense of belonging and alienation, and how can shared knowledge and experiences foster translocal solidarity and the adoption of informed practices?","how do co-living situations shape the availability of communal and personal space, and how does it affect the well-being and agency of individuals?","kas and aga are amsterdam-based friends, artists and researchers, with roots from central asia and eastern europe. through their work involved in various practices related to open/communal space and access to it and translocal solidarity, they try to (co)examine surroundings through recognizing fuzzy boundaries; highlighting through \"both\"/\"and also\", instead of \"either/or\"; seeing non-linear / non-binary / plural, and the necessity to operate from questions and possibilities instead of answers.","communal living space is everywhere, even in increasingly hyper-individualistic modern landscape. it takes on many forms, which share some aspects, and differ in many more. people find themselves in such spaces for various reasons: willingly and unwillingly; comfortably and not; temporarily or (as much as that is possible) permanent. urgent questions appear together with parallels that can be drawn between them.\n\ncoliving situations are shaped by interconnected stratifications of deeply ingrained histories, associations, materials, cultures, verticals of power. they inform the availability of space, communal and personal, and how being there makes people feel. how much agency people that live in a space have over its form. how the space is structured. which interactions and movements it allows for, encourages, or forbids. how much upkeep it requires. how all of these things can change over time.\n\nour research will involve gathering experiences and stories exploring co-living situations and their interrelation with by spectrums of migration, gender, ability, health, cultural background, and others.\n\nby gathering, sharing, and creating knowledge on how shelter and living situation influence belonging and alienation, we hope to offer an opportunity for people in different forms of community to find common grounds, build translocal solidarity, and trying/adopting practices informed by the experiences of others.",{"_type":9,"current":15674},"co-living-points-of-entry","Co/living: points of entry",{"_id":15677,"_type":1027,"categories":15678,"credits":15682,"featuredImage":15749,"filterables":15755,"footnotes":15762,"locations":15763,"logbook":7,"pageBuilder":15767,"researchQuestion":15794,"researchQuestions":7,"searchables":15819,"seo":7,"slug":15822,"title":15824,"year":118},"19def1f8-94d7-4394-9c61-fc1159a208b2",[15679],{"_id":720,"_type":362,"colorPrimary":15680,"seo":7,"slug":15681,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"other":7,"profiles":15683},[15684],{"_id":15685,"_type":1078,"activeYears":15686,"bio":15691,"bioShort":15728,"featuredImage":15729,"filterables":15737,"links":7,"locations":15741,"searchables":15745,"seo":7,"slug":15747,"title":15730},"c6bb7913-c517-47b2-bba4-61f2557c909a",[15687,15689],{"_id":115,"_type":99,"seo":7,"slug":15688,"title":118},{"_type":9,"current":117},{"_id":110,"_type":99,"seo":7,"slug":15690,"title":113},{"_type":9,"current":112},[15692,15710],{"_key":15693,"_type":219,"children":15694,"markDefs":15707,"style":232},"363b5b445ebd",[15695,15699,15704],{"_key":15696,"_type":223,"marks":15697,"text":15698},"bd41f11964350",[],"She is the founding director of Feminist Design, an organization that uses feminist frameworks to inform design processes and harnesses creativity as a tool for feminist advocacy. 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Aliquam eu nunc. Vestibulum purus quam, scelerisque ut, mollis sed, nonummy id, metus. Sed libero. Quisque id mi.",[],[15869,15930,15987],{"_id":15870,"_type":1078,"activeYears":15871,"bio":15874,"bioShort":15891,"featuredImage":15892,"filterables":15900,"links":15903,"locations":15911,"searchables":15926,"seo":7,"slug":15928,"title":15893},"68fcbc94-2c8d-491d-8a5d-5d18381f47d2",[15872],{"_id":115,"_type":99,"seo":7,"slug":15873,"title":118},{"_type":9,"current":117},[15875,15883],{"_key":15876,"_type":219,"children":15877,"markDefs":15882,"style":232},"9fc7ddea5dc1",[15878],{"_key":15879,"_type":223,"marks":15880,"text":15881},"e9cd7b9bb7cf",[],"Santiago is an undisciplined artist who situates his practice on the coastline between art and education.",[],{"_key":15884,"_type":219,"children":15885,"markDefs":15890,"style":232},"9868e60df326",[15886],{"_key":15887,"_type":223,"marks":15888,"text":15889},"73d24240fc24",[],"His work explores the logic, imaginaries and effects of power: in language, visual culture, labor, architecture, everyday life. 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Once she was Head of Art in El Bosque University in Bogota, Colombia. She cares about how to inhabit in a more radical way the present. She mostly works in collectivity.",[],"María Angélica is getting rid of categories that limit her this year. ",{"alt":15954,"asset":15955},"María Angélica Madero",{"_id":15956,"height":15957,"orientation":1129,"ratio":15958,"url":15959,"width":15960},"image-31a168f56b75b0b1f2a301af04c2ff21e685f758-1448x1450-png",1450,0.9986206896551724,"https://cdn.sanity.io/images/eodip22e/production/31a168f56b75b0b1f2a301af04c2ff21e685f758-1448x1450.png",1448,{"filterYear":15962},[15963],{"_id":115,"title":118},[15965,15967,15969],{"_type":1138,"label":1139,"url":15966},"https://mariaangelicamadero.com/",{"_type":1138,"label":15968,"url":15908},"Garage School",{"_type":1138,"label":1142,"url":15970},"https://www.instagram.com/mariaaaangelica/",{"locations":15972,"other":15975},[15973],{"_id":331,"_type":308,"seo":7,"slug":15974,"title":334},{"_type":9,"current":333},[15976],{"_key":15977,"_type":219,"children":15978,"markDefs":15982,"style":232},"0008375e4b19",[15979],{"_key":15980,"_type":223,"marks":15981,"text":12720},"809f33d55fb2",[],[],[15984,117],"maría angélica madero",{"_type":9,"current":15986},"maria-angelica-madero",{"_id":15988,"_type":1078,"activeYears":15989,"bio":15992,"bioShort":16000,"featuredImage":16001,"filterables":16009,"links":16012,"locations":16017,"searchables":16032,"seo":7,"slug":16034,"title":16033},"67f77f43-bcce-40ff-b716-fe4270091e11",[15990],{"_id":115,"_type":99,"seo":7,"slug":15991,"title":118},{"_type":9,"current":117},[15993],{"_key":15994,"_type":219,"children":15995,"markDefs":15999,"style":232},"c32d5c70627d",[15996],{"_key":15997,"_type":223,"marks":15998,"text":12647},"248a180b1ef5",[],[],"Oficina diaspórica / Diasporic office. 2010.",{"alt":16002,"asset":16003},"escuela de garaje logo",{"_id":16004,"height":16005,"orientation":1474,"ratio":16006,"url":16007,"width":16008},"image-e0e1369e128aadaa7dec3bb04ab106579377d317-364x318-png",318,1.1446540880503144,"https://cdn.sanity.io/images/eodip22e/production/e0e1369e128aadaa7dec3bb04ab106579377d317-364x318.png",364,{"filterYear":16010},[16011],{"_id":115,"title":118},[16013,16015],{"_type":1138,"label":1139,"url":16014},"https://laagencia.net/",{"_type":1138,"label":1142,"url":16016},"https://www.instagram.com/laagenciadegaraje",{"locations":16018,"other":16023},[16019,16021],{"_id":346,"_type":308,"seo":7,"slug":16020,"title":349},{"_type":9,"current":348},{"_id":331,"_type":308,"seo":7,"slug":16022,"title":334},{"_type":9,"current":333},[16024],{"_key":16025,"_type":219,"children":16026,"markDefs":16031,"style":232},"1ca0e61032d9",[16027],{"_key":16028,"_type":223,"marks":16029,"text":16030},"d9e3cfc291e20",[],"Based in Basel / Bogota / Rotterdam",[],[16033,117],"escuela de garaje",{"_type":9,"current":16035},"escuela-de-garaje",{"alt":16037,"asset":16038},"School of Commons - Decolonial (re)mediators",{"_id":16039,"height":10441,"orientation":1474,"ratio":16040,"url":16041,"width":16042},"image-27b74f93e2fa9bf8b95b521f7710ea7bb2c93870-1322x1318-jpg",1.0030349013657056,"https://cdn.sanity.io/images/eodip22e/production/27b74f93e2fa9bf8b95b521f7710ea7bb2c93870-1322x1318.jpg",1322,{"filterCategory":16044,"filterLocation":16054,"filterYear":16057},[16045,16046,16047,16048,16049,16050,16051,16052,16053],{"_id":695,"title":698},{"_id":390,"title":393},{"_id":715,"title":718},{"_id":765,"title":768},{"_id":870,"title":873},{"_id":410,"title":413},{"_id":545,"title":548},{"_id":980,"title":983},{"_id":580,"title":583},[16055,16056],{"_id":346,"title":349},{"_id":331,"title":334},[16058],{"_id":115,"title":118},[],{"locations":16061,"other":7},[16062,16064],{"_id":346,"_type":308,"seo":7,"slug":16063,"title":349},{"_type":9,"current":348},{"_id":331,"_type":308,"seo":7,"slug":16065,"title":334},{"_type":9,"current":333},[16067],{"_type":1625,"settings":7,"text":16068},[16069,16081,16097],{"_key":16070,"_type":219,"children":16071,"markDefs":16080,"style":232},"76d4c000a648",[16072,16076],{"_key":16073,"_type":223,"marks":16074,"text":16075},"c433d07296bf",[1559],"You should try talking in my shoes for a mile ",{"_key":16077,"_type":223,"marks":16078,"text":16079},"c39e6815b4fc",[],"— Sofia Vergara",[],{"_key":16082,"_type":219,"children":16083,"markDefs":16096,"style":232},"c19f8108eb5f",[16084,16088,16092],{"_key":16085,"_type":223,"marks":16086,"text":16087},"b113b5916ed4",[],"Our research thinks translation as a method and radical practice of sharing which is political. We have the intention to generate an editorial platform for translating texts and other materials around decolonial theory. To undertake this task we should first of all decolonize translation. Our thesis is that there’s an unequal access and distribution of knowledge and translation is a way to act on those geopolitical forces. On the one hand, there’s texts in English that can’t be accessed by those who can’t speak in English and on the other, there’s a lack of decolonial texts translated to English. If we translate ",{"_key":16089,"_type":223,"marks":16090,"text":16091},"e5c0c8e2b0b6",[1559],"from English",{"_key":16093,"_type":223,"marks":16094,"text":16095},"473f0d11241c",[],", then more people will have access, and if we translate into English, more people will have a voice. Further questions around decolonial thinking will be tackled—which impact on understandings of subjects and their voices. The project would allow us to inhabit the form/content of the text as a radical starting point, not an end.",[],{"_key":16098,"_type":219,"children":16099,"markDefs":16113,"style":232},"89488d112b65",[16100,16104,16109],{"_key":16101,"_type":223,"marks":16102,"text":16103},"c78fec5278aa",[],"Nevertheless, these translation practices are happening in non-art contexts. ",{"_key":16105,"_type":223,"marks":16106,"text":16108},"ce9e2e4d44d2",[16107],"623b6841841a","Anime fansub",{"_key":16110,"_type":223,"marks":16111,"text":16112},"ba77c8da0e7c",[]," communities offer the paradigmatic example of how translation can be subversively activated and will therefore form the basis for our project. These practices have radically changed the way we relate to the traditional idea of translation by means of it taking place in a cybernetic world. Digisub practices leverage technological environments, ranging from file sharing in order to share raw content for translation and to distribute the finished product to chat rooms for discussion as well as multimedia authoring and subtitling tools. These “cultural remediators” embed themselves in the materiality of the content they translate.",[16114],{"_key":16107,"_type":249,"href":16115},"https://en.wikipedia.org/wiki/Fansub",[16117,16125,16133],{"_key":16118,"_type":219,"children":16119,"markDefs":16124,"style":232},"8c7a02cfd5e3",[16120],{"_key":16121,"_type":223,"marks":16122,"text":16123},"dc3ba08d86980",[],"How can translation be a method and radical practice of sharing in the context of decolonial theory, addressing the unequal access and distribution of knowledge?",[],{"_key":16126,"_type":219,"children":16127,"markDefs":16132,"style":232},"dae3322e56ef",[16128],{"_key":16129,"_type":223,"marks":16130,"text":16131},"c49b7f82286d0",[],"What is the impact of decolonial thinking on understandings of subjects, voices, and the decolonization of translation itself?",[],{"_key":16134,"_type":219,"children":16135,"markDefs":16140,"style":232},"605a3b475f47",[16136],{"_key":16137,"_type":223,"marks":16138,"text":16139},"e861bcb76399",[],"How can a translation platform serve as a method for connecting academic circles, activating spaces for the translatability of pedagogic material, and fostering a broader reach of decolonial ideas?",[],[16142,117,8430,333,15927,15984,16033,16143,16144,697,9748,717,767,11853,1783,547,982,582],"decolonial (re)mediators","in turpis. aliquam eu nunc. vestibulum purus quam, scelerisque ut, mollis sed, nonummy id, metus. sed libero. quisque id mi.","you should try talking in my shoes for a mile — sofia vergara\n\nour research thinks translation as a method and radical practice of sharing which is political. we have the intention to generate an editorial platform for translating texts and other materials around decolonial theory. to undertake this task we should first of all decolonize translation. our thesis is that there’s an unequal access and distribution of knowledge and translation is a way to act on those geopolitical forces. on the one hand, there’s texts in english that can’t be accessed by those who can’t speak in english and on the other, there’s a lack of decolonial texts translated to english. if we translate from english, then more people will have access, and if we translate into english, more people will have a voice. further questions around decolonial thinking will be tackled—which impact on understandings of subjects and their voices. the project would allow us to inhabit the form/content of the text as a radical starting point, not an end.\n\nnevertheless, these translation practices are happening in non-art contexts. anime fansub communities offer the paradigmatic example of how translation can be subversively activated and will therefore form the basis for our project. these practices have radically changed the way we relate to the traditional idea of translation by means of it taking place in a cybernetic world. digisub practices leverage technological environments, ranging from file sharing in order to share raw content for translation and to distribute the finished product to chat rooms for discussion as well as multimedia authoring and subtitling tools. these “cultural remediators” embed themselves in the materiality of the content they translate.",{"_type":9,"current":16146},"decolonial-re-mediators","Decolonial (re)mediators",{"_id":16149,"_type":1027,"categories":16150,"credits":16154,"featuredImage":16228,"filterables":16236,"footnotes":16243,"locations":16244,"logbook":7,"pageBuilder":16248,"researchQuestion":16263,"researchQuestions":7,"searchables":16288,"seo":7,"slug":16292,"title":16294,"year":118},"9634b3fb-0490-457b-9f3e-d04715007b55",[16151],{"_id":805,"_type":362,"colorPrimary":16152,"seo":7,"slug":16153,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"other":16155,"profiles":16171},[16156],{"_key":16157,"_type":219,"children":16158,"markDefs":16168,"style":232},"022a9c6bb92d",[16159,16163],{"_key":16160,"_type":223,"marks":16161,"text":16162},"4372b270442e0",[],"Image by Mary Barnes. Untitled, no date. Oil on board. Image reproduced courtesy Falkland Estate. ",{"_key":16164,"_type":223,"marks":16165,"text":16167},"4372b270442e1",[16166],"03574813cd43","www.falklandestate.co.uk",[16169],{"_key":16166,"_type":249,"href":16170},"http://www.falklandestate.co.uk/",[16172,16198],{"_id":16173,"_type":1078,"activeYears":16174,"bio":16177,"bioShort":16185,"featuredImage":7,"filterables":16186,"links":7,"locations":16189,"searchables":16193,"seo":7,"slug":16195,"title":16197},"16e76b90-b208-45ce-b6ba-cd504cd946c5",[16175],{"_id":115,"_type":99,"seo":7,"slug":16176,"title":118},{"_type":9,"current":117},[16178],{"_key":16179,"_type":219,"children":16180,"markDefs":16184,"style":232},"0b64433bf54a",[16181],{"_key":16182,"_type":223,"marks":16183,"text":12647},"ccea820f2994",[],[],"Inclusion Consultant",{"filterYear":16187},[16188],{"_id":115,"title":118},{"locations":16190,"other":7},[16191],{"_id":331,"_type":308,"seo":7,"slug":16192,"title":334},{"_type":9,"current":333},[16194,117],"letitia calin",{"_type":9,"current":16196},"letitia-calin","Letitia Calin",{"_id":16199,"_type":1078,"activeYears":16200,"bio":16203,"bioShort":16212,"featuredImage":7,"filterables":16213,"links":16216,"locations":16219,"searchables":16223,"seo":7,"slug":16225,"title":16227},"49a7194f-a14c-4ca4-a434-93575a6f45d5",[16201],{"_id":115,"_type":99,"seo":7,"slug":16202,"title":118},{"_type":9,"current":117},[16204],{"_key":16205,"_type":219,"children":16206,"markDefs":16211,"style":232},"509030914d55",[16207],{"_key":16208,"_type":223,"marks":16209,"text":16210},"cfd9e9c98eca0",[],"Ella is passionate about inclusive and political approaches to education, writing her Master's thesis on the radical potential of subversive spaces within the university.\n\nShe's run workshops around disability justice, anti-racist education, radical approaches to care and mental health, and challenging the marketisation of education.",[],"Programmes Coordinator and MA Cultural Studies Graduate",{"filterYear":16214},[16215],{"_id":115,"title":118},[16217],{"_type":1138,"label":1142,"url":16218},"https://www.instagram.com/ellaasheri/?hl=en",{"locations":16220,"other":7},[16221],{"_id":331,"_type":308,"seo":7,"slug":16222,"title":334},{"_type":9,"current":333},[16224,117],"ella asheri",{"_type":9,"current":16226},"ella-asheri","Ella Asheri",{"alt":16229,"asset":16230},"Image by Mary Barnes. Untitled, no date. Oil on board. Image reproduced courtesy Falkland Estate. www.falklandestate.co.uk",{"_id":16231,"height":16232,"orientation":1129,"ratio":16233,"url":16234,"width":16235},"image-069fa758ce361af6e2d4fd4fe85062a78b0be2d6-828x1296-jpg",1296,0.6388888888888888,"https://cdn.sanity.io/images/eodip22e/production/069fa758ce361af6e2d4fd4fe85062a78b0be2d6-828x1296.jpg",828,{"filterCategory":16237,"filterLocation":16239,"filterYear":16241},[16238],{"_id":805,"title":808},[16240],{"_id":331,"title":334},[16242],{"_id":115,"title":118},[],{"locations":16245,"other":7},[16246],{"_id":331,"_type":308,"seo":7,"slug":16247,"title":334},{"_type":9,"current":333},[16249],{"_type":1625,"settings":7,"text":16250},[16251],{"_key":16252,"_type":219,"children":16253,"markDefs":16262,"style":232},"7947243ade65",[16254,16258],{"_key":16255,"_type":223,"marks":16256,"text":16257},"4a5c5b416c5c",[],"Our research forms part of a slow-form inquiry into experimental peer-led self-organised forms of education (training & support) for testing, iterating and building ‘life-affirming institutions’ - a participatory-action-research project on practising other ways of working for artists and cultural workers.In the context of SoC, we would like to build on from a previous experiment in pedagogy of autonomy (ANTI-INSTITUTION SUMMER SCHOOL at The Horse Hospital, London) and develop ‘structures for changing’ and shaping the better worlds that our bodies tell us must be possible. We wish to do this by setting up an Office for Freedom Studies as a decentralised network of cultural changemakers working on intimate and public forms of togetherness which we would love to establish within the SoC community. We see our work as twofold: a space to imagine, and a rigorous questioning of the material infrastructures we need to maintain the imagined openings. We are interested in questions of ethical practice and its sustainability, instituting fugitivity, and sociality as a mode of study.\n\nWhile we remain committed to studying commoning, self-governance and abuse of power, the intersection of ableism, performance studies as a field of embodied knowledge, and transformative justice as a practice of ethical community formation, are our current areas of focus. We want to learn at the scale of relationship, teach each other how to uphold the responsibility of embodying abolition and practise what we learn; The question we are tentatively wishing to explore is: How can we think of building a sustainable (infra)structure as the writing of rhythm? Which in turn leads us to question not what rhythm is or what it does, but to consider what kinds of rhythms we want and desire. We are interested in developing practices and methods of working together that last and can be repeated, that are access-centered and self-accountable, non-extractive and non-possessive. We wish to prioritise (as well as interrogate) process-awareness over content delivery. We are interested in infrastructures as practices of unconscious collective consensing and wish to foreground a framework of ‘infra-poetics’ that refocuses attention to the granular & the latent disposition of a room/group. FORMS:-practice labs to test, distil, imagine and think together around a range of practical/organisational needs, theoretical and conceptual frameworks, and allow plenty of time in each session to practice what we learn. Topics might include: indigenous methodologies, good apologising, neurodivergent communication styles, ",{"_key":16259,"_type":223,"marks":16260,"text":16261},"3b1f37e102ed",[1559],"self-governance - sociocracy, decision-making, practices of accountability, non-violent communication, time-banking, community economics, autonomous emotional support; -letter-writing between the participants; -performative scoring structures for a number of autoethnographic collective-writing workshops for experimenting with lived-experience based knowledge production.",[],[16264,16272,16280],{"_key":16265,"_type":219,"children":16266,"markDefs":16271,"style":232},"073c8dba1744",[16267],{"_key":16268,"_type":223,"marks":16269,"text":16270},"4941d24e37a20",[],"How can sustainable infrastructures be built as the writing of rhythm, focusing on the desired rhythms and the development of access-centered, self-accountable, non-extractive, and non-possessive practices?",[],{"_key":16273,"_type":219,"children":16274,"markDefs":16279,"style":232},"4a774eef148b",[16275],{"_key":16276,"_type":223,"marks":16277,"text":16278},"d60b899e00100",[],"How can process-awareness and unconscious collective consensing be prioritized in infrastructures, foregrounding a framework of \"infra-poetics\" that attends to the granular and latent disposition of a room/group?",[],{"_key":16281,"_type":219,"children":16282,"markDefs":16287,"style":232},"789b7bc4c943",[16283],{"_key":16284,"_type":223,"marks":16285,"text":16286},"5b457476fbdf0",[],"What are the effective practices, methods, and frameworks for working together in experimental peer-led self-organised forms of education, specifically focusing on topics such as indigenous methodologies, communication styles, decision-making, accountability, community economics, and emotional support?",[],[16289,117,333,16194,16224,16290,16291,807],"freedom studies","image by mary barnes. untitled, no date. oil on board. image reproduced courtesy falkland estate. www.falklandestate.co.uk","our research forms part of a slow-form inquiry into experimental peer-led self-organised forms of education (training & support) for testing, iterating and building ‘life-affirming institutions’ - a participatory-action-research project on practising other ways of working for artists and cultural workers.in the context of soc, we would like to build on from a previous experiment in pedagogy of autonomy (anti-institution summer school at the horse hospital, london) and develop ‘structures for changing’ and shaping the better worlds that our bodies tell us must be possible. we wish to do this by setting up an office for freedom studies as a decentralised network of cultural changemakers working on intimate and public forms of togetherness which we would love to establish within the soc community. we see our work as twofold: a space to imagine, and a rigorous questioning of the material infrastructures we need to maintain the imagined openings. we are interested in questions of ethical practice and its sustainability, instituting fugitivity, and sociality as a mode of study.\n\nwhile we remain committed to studying commoning, self-governance and abuse of power, the intersection of ableism, performance studies as a field of embodied knowledge, and transformative justice as a practice of ethical community formation, are our current areas of focus. we want to learn at the scale of relationship, teach each other how to uphold the responsibility of embodying abolition and practise what we learn; the question we are tentatively wishing to explore is: how can we think of building a sustainable (infra)structure as the writing of rhythm? which in turn leads us to question not what rhythm is or what it does, but to consider what kinds of rhythms we want and desire. we are interested in developing practices and methods of working together that last and can be repeated, that are access-centered and self-accountable, non-extractive and non-possessive. we wish to prioritise (as well as interrogate) process-awareness over content delivery. we are interested in infrastructures as practices of unconscious collective consensing and wish to foreground a framework of ‘infra-poetics’ that refocuses attention to the granular & the latent disposition of a room/group. forms:-practice labs to test, distil, imagine and think together around a range of practical/organisational needs, theoretical and conceptual frameworks, and allow plenty of time in each session to practice what we learn. topics might include: indigenous methodologies, good apologising, neurodivergent communication styles, self-governance - sociocracy, decision-making, practices of accountability, non-violent communication, time-banking, community economics, autonomous emotional support; -letter-writing between the participants; -performative scoring structures for a number of autoethnographic collective-writing workshops for experimenting with lived-experience based knowledge production.",{"_type":9,"current":16293},"freedom-studies","Freedom Studies",{"_id":16296,"_type":1027,"categories":16297,"credits":16305,"featuredImage":16363,"filterables":16368,"footnotes":16376,"locations":16377,"logbook":7,"pageBuilder":16381,"researchQuestion":16439,"researchQuestions":7,"searchables":16462,"seo":7,"slug":16466,"title":16468,"year":118},"dda7fa01-09c7-41da-a297-3dadda29bf24",[16298,16301],{"_id":720,"_type":362,"colorPrimary":16299,"seo":7,"slug":16300,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"_id":550,"_type":362,"colorPrimary":16302,"seo":7,"slug":16304,"title":553},{"label":1031,"value":16303},"#a0a000",{"_type":9,"current":552},{"other":7,"profiles":16306},[16307],{"_id":16308,"_type":1078,"activeYears":16309,"bio":16312,"bioShort":16340,"featuredImage":16341,"filterables":16348,"links":16351,"locations":16354,"searchables":16358,"seo":7,"slug":16360,"title":16362},"ac8c08e3-4c78-4c2d-bcae-6cd4b68959c9",[16310],{"_id":115,"_type":99,"seo":7,"slug":16311,"title":118},{"_type":9,"current":117},[16313,16321],{"_key":16314,"_type":219,"children":16315,"markDefs":16320,"style":232},"64311b5907df",[16316],{"_key":16317,"_type":223,"marks":16318,"text":16319},"d2ef28462e560",[],"With a background in environmental and systemic engineering, Sarah merges critical artistic practices to create hybrid, accessible, and useful tools. This exploration questions and empowers processes like transdisciplinarity, activism, local engagement, co-creation, inclusivity, relational practices, and queerecologies. Through research, Sarah delves into the needs of projects in terms of materials, methodologies, theories, and emotions, developing an open framework that caters to each project's unique requirements.",[],{"_key":16322,"_type":219,"children":16323,"markDefs":16337,"style":232},"b95e69c3aa78",[16324,16328,16333],{"_key":16325,"_type":223,"marks":16326,"text":16327},"a635ce6fdc240",[],"In 2022, she obtained the ArTec interuniversity diploma (Paris) in which she studied Research-Creation and worked on “Terraforming” with other artist-researchers. She also participates in the publication of the \"Radical Survival Toolkit\", an open research on adaptation to the unknown and instability, which questions the ideas of collective sharing processes, skills to empower oneself and prepare for a more desirable future. She continues her work of sensitive explorations in Brussel with her collectives MOSSS (Moving Observations on Surviving Soft Skills ",{"_key":16329,"_type":223,"marks":16330,"text":16332},"a635ce6fdc241",[16331],"bf51fdd22f7f","@_m.o.s.s.s",{"_key":16334,"_type":223,"marks":16335,"text":16336},"a635ce6fdc242",[],") and Blossom.",[16338],{"_key":16331,"_type":249,"href":16339},"https://www.instagram.com/_m.o.s.s.s/","Sarah is an artist-engineer-facilitator. Through artistic co-creation devices, she seeks, as a political response to current crises, to equip transdisciplinarity, in order to recall the links between individuals, humans and non-humans, collectives and the environment, and also to question the different forms of knowledge sharing. ",{"alt":16342,"asset":16343},"Sarah Drapeau, School of Commons Gathering",{"_id":16344,"height":16345,"orientation":1474,"ratio":16346,"url":16347,"width":10279},"image-8d4fdcdf2b2c92a1c171012c4dae617447a69989-1700x1270-png",1270,1.3385826771653544,"https://cdn.sanity.io/images/eodip22e/production/8d4fdcdf2b2c92a1c171012c4dae617447a69989-1700x1270.png",{"filterYear":16349},[16350],{"_id":115,"title":118},[16352],{"_type":1138,"label":1142,"url":16353},"https://www.instagram.com/sarah.drapeau_/",{"locations":16355,"other":7},[16356],{"_id":331,"_type":308,"seo":7,"slug":16357,"title":334},{"_type":9,"current":333},[16359,117],"sarah drapeau",{"_type":9,"current":16361},"sarah-drapeau","Sarah Drapeau",{"alt":16364,"asset":16365},"School of Commons - Hybrid tools for transdisciplinarity",{"_id":16366,"height":6861,"orientation":7818,"ratio":2178,"url":16367,"width":6861},"image-39067166b7b20dcfa2e889ce147bd317bcf3a011-2160x2160-png","https://cdn.sanity.io/images/eodip22e/production/39067166b7b20dcfa2e889ce147bd317bcf3a011-2160x2160.png",{"filterCategory":16369,"filterLocation":16372,"filterYear":16374},[16370,16371],{"_id":720,"title":723},{"_id":550,"title":553},[16373],{"_id":331,"title":334},[16375],{"_id":115,"title":118},[],{"locations":16378,"other":7},[16379],{"_id":331,"_type":308,"seo":7,"slug":16380,"title":334},{"_type":9,"current":333},[16382],{"_type":1625,"settings":7,"text":16383},[16384,16392,16399,16407,16415,16423,16431],{"_key":16385,"_type":219,"children":16386,"markDefs":16391,"style":232},"cb807e16257b",[16387],{"_key":16388,"_type":223,"marks":16389,"text":16390},"da8ee22bbe54",[],"In times of climate and social emergency, the challenges we are facing are complex and systemic. They require new ways of doing, thinking, and learning. Through artistic co-creation dispositifs, I search, as a political response to the current crises, to equip transdisciplinarity, to recall the links between individuals, humans and non-humans, collectives and the environment, as well as to question the different forms of knowledge sharing.In the projects that I have experienced and that are full of potential for change and action, there is often art, science, theory and activism intermingled and feeding each other to form transdisciplinary artistic laboratories. These, I reckon, are key elements to build new worlds, but they are also challenging to work with. In order to respond to my urge to act and help those projects, I want to combine my previous studies in environmental and systemic engineering with the powerful critical practices and gestures of art.I intend to create hybrid, living, accessible, fun, useful, artistic, processual, collective and individual tools to help those projects that wish to work with elements such as \"transdisciplinarity\", \"activism\", \"local\", \"theory+practice\", \"co-creation\", \"inclusivity\", \"relational practices\", \"process-oriented approach\", \"queer ecologies\", and the like.",[],{"_key":16393,"_type":219,"children":16394,"markDefs":16398,"style":232},"10628b6cb0e0",[16395],{"_key":16396,"_type":223,"marks":16397,"text":1405},"11c37be96075",[],[],{"_key":16400,"_type":219,"children":16401,"markDefs":16406,"style":232},"71e55b2e3645",[16402],{"_key":16403,"_type":223,"marks":16404,"text":16405},"23a9a82dab29",[],"To accomplish this quest, I plan to conduct a sensitive and material research around these artistic laboratories:",[],{"_key":16408,"_type":219,"children":16409,"markDefs":16414,"style":232},"b03bd13b5a07",[16410],{"_key":16411,"_type":223,"marks":16412,"text":16413},"fb497dae87ec",[],"What are the needs of these projects to actually make real \"transdisciplinarity\", \"co-creation\" etc…? Material, methodological, theoretical, emotional needs?",[],{"_key":16416,"_type":219,"children":16417,"markDefs":16422,"style":232},"26a3c1b644fd",[16418],{"_key":16419,"_type":223,"marks":16420,"text":16421},"6202cf359782",[],"What could it be like, a hybrid and living protocol, frame, score — a structure open enough to guide the co-construction where each need would be heard and respond accordingly, constructing with them useful growth tools?",[],{"_key":16424,"_type":219,"children":16425,"markDefs":16430,"style":232},"2c6d0cadb8a8",[16426],{"_key":16427,"_type":223,"marks":16428,"text":16429},"dfbec22accd8",[],"How to collaboratively conceive useful, inclusive and fun tools to support their processes?",[],{"_key":16432,"_type":219,"children":16433,"markDefs":16438,"style":232},"01797186d170",[16434],{"_key":16435,"_type":223,"marks":16436,"text":16437},"93728ae4d593",[],"For this year of work with SoC I plan to carry on the first phase of the project: conduct a survey with different projects to map out their needs and limitations, build several protocols to be tested in practice, and constantly formulate questions that can feedback the process. I want to be in dialogue with the SoC projects that would like to participate in the survey and find artistic, accessible, engaging and useful ways to share those results and processes depending on the material obtained and the potential collaboration formed.ShareRewrite\n",[],[16440,16448,16455],{"_key":16441,"_type":219,"children":16442,"markDefs":16447,"style":232},"80c966350983",[16443],{"_key":16444,"_type":223,"marks":16445,"text":16446},"9bd816cdda29",[],"What are the needs of these projects to actually make real \"transdisciplinarity\", \"co-creation\" etc…? Material, methodological, theoretical, emotional needs",[],{"_key":16449,"_type":219,"children":16450,"markDefs":16454,"style":232},"e204bf8d5930",[16451],{"_key":16452,"_type":223,"marks":16453,"text":16421},"f1be8cc1067d",[],[],{"_key":16456,"_type":219,"children":16457,"markDefs":16461,"style":232},"3efa858b8c55",[16458],{"_key":16459,"_type":223,"marks":16460,"text":16429},"b15b619d84bd",[],[],[16463,117,333,16359,16464,722,16465],"hybrid tools for transdisciplinarity","in times of climate and social emergency, the challenges we are facing are complex and systemic. they require new ways of doing, thinking, and learning. through artistic co-creation dispositifs, i search, as a political response to the current crises, to equip transdisciplinarity, to recall the links between individuals, humans and non-humans, collectives and the environment, as well as to question the different forms of knowledge sharing.in the projects that i have experienced and that are full of potential for change and action, there is often art, science, theory and activism intermingled and feeding each other to form transdisciplinary artistic laboratories. these, i reckon, are key elements to build new worlds, but they are also challenging to work with. in order to respond to my urge to act and help those projects, i want to combine my previous studies in environmental and systemic engineering with the powerful critical practices and gestures of art.i intend to create hybrid, living, accessible, fun, useful, artistic, processual, collective and individual tools to help those projects that wish to work with elements such as \"transdisciplinarity\", \"activism\", \"local\", \"theory+practice\", \"co-creation\", \"inclusivity\", \"relational practices\", \"process-oriented approach\", \"queer ecologies\", and the like.\n\n\n\nto accomplish this quest, i plan to conduct a sensitive and material research around these artistic laboratories:\n\nwhat are the needs of these projects to actually make real \"transdisciplinarity\", \"co-creation\" etc…? material, methodological, theoretical, emotional needs?\n\nwhat could it be like, a hybrid and living protocol, frame, score — a structure open enough to guide the co-construction where each need would be heard and respond accordingly, constructing with them useful growth tools?\n\nhow to collaboratively conceive useful, inclusive and fun tools to support their processes?\n\nfor this year of work with soc i plan to carry on the first phase of the project: conduct a survey with different projects to map out their needs and limitations, build several protocols to be tested in practice, and constantly formulate questions that can feedback the process. i want to be in dialogue with the soc projects that would like to participate in the survey and find artistic, accessible, engaging and useful ways to share those results and processes depending on the material obtained and the potential collaboration formed.sharerewrite\n","expose + suggest",{"_type":9,"current":16467},"hybrid-tools-for-transdisciplinarity","Hybrid tools for transdisciplinarity",{"_id":16470,"_type":1027,"categories":16471,"credits":16475,"featuredImage":16528,"filterables":16536,"footnotes":16543,"locations":16544,"logbook":7,"pageBuilder":16548,"researchQuestion":16567,"researchQuestions":7,"searchables":16592,"seo":7,"slug":16595,"title":16529,"year":118},"e64082c4-a3fc-42b3-a896-168b67de7a8e",[16472],{"_id":720,"_type":362,"colorPrimary":16473,"seo":7,"slug":16474,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"other":7,"profiles":16476},[16477],{"_id":16478,"_type":1078,"activeYears":16479,"bio":16484,"bioShort":16493,"featuredImage":16494,"filterables":16499,"links":16503,"locations":16509,"searchables":16524,"seo":7,"slug":16526,"title":16495},"bcf4d5f8-aa82-48d9-b670-23f0add55f6c",[16480,16482],{"_id":120,"_type":99,"seo":7,"slug":16481,"title":123},{"_type":9,"current":122},{"_id":115,"_type":99,"seo":7,"slug":16483,"title":118},{"_type":9,"current":117},[16485],{"_key":16486,"_type":219,"children":16487,"markDefs":16492,"style":232},"e5f8729f05a4",[16488],{"_key":16489,"_type":223,"marks":16490,"text":16491},"6843b2b8435d0",[],"Her work examines notions of ‘participation’ and ‘collectivity’ by creating frameworks that invite non-artists and artists to think about how spaces can be organized to include the ‘other’. While spatial thinking remains at the core of her interdisciplinary practice, she works with publishing as a central framework. She is one of the five founding members of K-oh-llective. She was previously part of Artists for Artists (AfA) Masterclass: Radical Care, MASS Alexandria, Roznama Studio Program, and School of Commons. Currently, she is pursuing a master’s degree in Transdisciplinary Studies at Zürich University of the Arts.",[],"Engy is an artist and curator who lives and works between Zürich and Cairo. ",{"alt":16495,"asset":16496},"Engy Mohsen",{"_id":16497,"height":12654,"orientation":7818,"ratio":2178,"url":16498,"width":12654},"image-698f8dfcb70c11c482278872ba2941d164c33ff6-2560x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/698f8dfcb70c11c482278872ba2941d164c33ff6-2560x2560.jpg",{"filterYear":16500},[16501,16502],{"_id":120,"title":123},{"_id":115,"title":118},[16504,16506],{"_type":1138,"label":1139,"url":16505},"https://engymohsen.com/",{"_type":1138,"label":16507,"url":16508},"How to Love Many in Many Ways","https://engymohsen.com/How-to-Love-Many-in-Many-Ways",{"locations":16510,"other":16515},[16511,16513],{"_id":331,"_type":308,"seo":7,"slug":16512,"title":334},{"_type":9,"current":333},{"_id":311,"_type":308,"seo":7,"slug":16514,"title":314},{"_type":9,"current":313},[16516],{"_key":16517,"_type":219,"children":16518,"markDefs":16523,"style":232},"4f80e2d236ef",[16519],{"_key":16520,"_type":223,"marks":16521,"text":16522},"b9ea8d5c1051",[],"Based between Cairo and Zürich",[],[16525,122,117],"engy mohsen",{"_type":9,"current":16527},"engy-mohsen",{"alt":16529,"asset":16530},"I Grew Tired of Radical Education",{"_id":16531,"height":16532,"orientation":1474,"ratio":16533,"url":16534,"width":16535},"image-c1bfae9baab25d37efe953bf690322e5350195d3-771x452-png",452,1.7057522123893805,"https://cdn.sanity.io/images/eodip22e/production/c1bfae9baab25d37efe953bf690322e5350195d3-771x452.png",771,{"filterCategory":16537,"filterLocation":16539,"filterYear":16541},[16538],{"_id":720,"title":723},[16540],{"_id":336,"title":339},[16542],{"_id":115,"title":118},[],{"locations":16545,"other":7},[16546],{"_id":336,"_type":308,"seo":7,"slug":16547,"title":339},{"_type":9,"current":338},[16549],{"_type":1625,"settings":7,"text":16550},[16551,16559],{"_key":16552,"_type":219,"children":16553,"markDefs":16558,"style":232},"c6a2e8486abc",[16554],{"_key":16555,"_type":223,"marks":16556,"text":16557},"a04a61ead6db",[],"Tracing the emergence of self-organized, independent art schools in Arabic-speaking countries, both in the present and recent years, Mohsen aims to delve into how these individuals’ movements shape knowledge within the realms of art education, practice, and research. The research adopts a structured approach based on two significant moments: the initial “arrival” as a student/participant in these art schools, followed by the subsequent “return” as a teacher/mentor. This dual perspective aims to ensure the continuity of knowledge within these spaces across time. By mapping the trajectories of these individuals and gaining insights into what informed their thinking and practices during the interim period, the study seeks to explore the concept of “knowledge flows.”",[],{"_key":16560,"_type":219,"children":16561,"markDefs":16566,"style":232},"fcae3174b679",[16562],{"_key":16563,"_type":223,"marks":16564,"text":16565},"713424bff0df",[],"The performative nature of knowledge dissemination within self-organized art schools is examined, considering factors such as the continuous movement of individuals, improvised strategies, and ongoing crossovers. Two primary components constitute the research: a field report encompassing the analytical aspects and a protocol of learnings with a speculative dimension. The field report delves into examining the impact of mobility in cultural and socio-economic contexts, intertwined with individual narratives of cross-border exchange. This exploration encompasses a wide range of aspects, including transnational accounts, dynamics of translation and untranslatability, and the exploration of alternative learning methods derived from diverse models of self-organized learning spaces within the domain of contemporary art practices, with a particular focus on the Arab world.",[],[16568,16576,16584],{"_key":16569,"_type":219,"children":16570,"markDefs":16575,"style":232},"9282572b47f8",[16571],{"_key":16572,"_type":223,"marks":16573,"text":16574},"f6f7c91909bc0",[],"How do self-organized, independent art schools in Arabic-speaking countries shape knowledge and practices in art education, practice, and research?",[],{"_key":16577,"_type":219,"children":16578,"markDefs":16583,"style":232},"78b4ac7bea67",[16579],{"_key":16580,"_type":223,"marks":16581,"text":16582},"c5fe225e20990",[],"What are the dynamics of mobility, cross-border exchange, and translation within these self-organized art schools?",[],{"_key":16585,"_type":219,"children":16586,"markDefs":16591,"style":232},"68497e99c65b",[16587],{"_key":16588,"_type":223,"marks":16589,"text":16590},"aae341a8ab090",[],"How can alternative models of self-organized learning in the Arab world inform contemporary art practices and contribute to new ways of learning?",[],[16593,117,13898,16525,16594,722],"i grew tired of radical education","tracing the emergence of self-organized, independent art schools in arabic-speaking countries, both in the present and recent years, mohsen aims to delve into how these individuals’ movements shape knowledge within the realms of art education, practice, and research. the research adopts a structured approach based on two significant moments: the initial “arrival” as a student/participant in these art schools, followed by the subsequent “return” as a teacher/mentor. this dual perspective aims to ensure the continuity of knowledge within these spaces across time. by mapping the trajectories of these individuals and gaining insights into what informed their thinking and practices during the interim period, the study seeks to explore the concept of “knowledge flows.”\n\nthe performative nature of knowledge dissemination within self-organized art schools is examined, considering factors such as the continuous movement of individuals, improvised strategies, and ongoing crossovers. two primary components constitute the research: a field report encompassing the analytical aspects and a protocol of learnings with a speculative dimension. the field report delves into examining the impact of mobility in cultural and socio-economic contexts, intertwined with individual narratives of cross-border exchange. this exploration encompasses a wide range of aspects, including transnational accounts, dynamics of translation and untranslatability, and the exploration of alternative learning methods derived from diverse models of self-organized learning spaces within the domain of contemporary art practices, with a particular focus on the arab world.",{"_type":9,"current":16596},"i-grew-tired-of-radical-education",{"_id":16598,"_type":1027,"categories":16599,"credits":16617,"featuredImage":16682,"filterables":16689,"footnotes":16700,"locations":16701,"logbook":7,"pageBuilder":16705,"researchQuestion":16840,"researchQuestions":7,"searchables":16865,"seo":7,"slug":16869,"title":16871,"year":118},"bbd8e694-d80f-4106-aae1-0c3240f7ddf3",[16600,16603,16606,16610,16614],{"_id":800,"_type":362,"colorPrimary":16601,"seo":7,"slug":16602,"title":803},{"label":1031,"value":13290},{"_type":9,"current":802},{"_id":500,"_type":362,"colorPrimary":16604,"seo":7,"slug":16605,"title":503},{"label":1031,"value":14022},{"_type":9,"current":502},{"_id":690,"_type":362,"colorPrimary":16607,"seo":7,"slug":16609,"title":693},{"label":1031,"value":16608},"#ff3c3c",{"_type":9,"current":692},{"_id":725,"_type":362,"colorPrimary":16611,"seo":7,"slug":16613,"title":728},{"label":1031,"value":16612},"#787800",{"_type":9,"current":727},{"_id":555,"_type":362,"colorPrimary":16615,"seo":7,"slug":16616,"title":558},{"label":1031,"value":4977},{"_type":9,"current":557},{"other":7,"profiles":16618},[16619,16651],{"_id":16620,"_type":1078,"activeYears":16621,"bio":16624,"bioShort":16632,"featuredImage":16633,"filterables":16640,"links":7,"locations":16643,"searchables":16647,"seo":7,"slug":16649,"title":16634},"abe3c419-05ab-4e6a-9833-6a8761b53586",[16622],{"_id":115,"_type":99,"seo":7,"slug":16623,"title":118},{"_type":9,"current":117},[16625],{"_key":16626,"_type":219,"children":16627,"markDefs":16631,"style":232},"297226c00094",[16628],{"_key":16629,"_type":223,"marks":16630,"text":12647},"017feddf6d5e0",[],[],"Jara is a performer, writer and anthropologist who confronts and blurs boundaries. She performs as drag king Angelo Dynamo and hosts the show Border Ctrl. ",{"alt":16634,"asset":16635},"Jara Nassar",{"_id":16636,"height":12654,"orientation":1129,"ratio":16637,"url":16638,"width":16639},"image-958dd351039f85020aeeb1128d20570a5de631d5-1728x2560-jpg",0.675,"https://cdn.sanity.io/images/eodip22e/production/958dd351039f85020aeeb1128d20570a5de631d5-1728x2560.jpg",1728,{"filterYear":16641},[16642],{"_id":115,"title":118},{"locations":16644,"other":7},[16645],{"_id":331,"_type":308,"seo":7,"slug":16646,"title":334},{"_type":9,"current":333},[16648,117],"jara nassar",{"_type":9,"current":16650},"jara-nassar",{"_id":16652,"_type":1078,"activeYears":16653,"bio":16656,"bioShort":16664,"featuredImage":16665,"filterables":16672,"links":16675,"locations":7,"searchables":16678,"seo":7,"slug":16680,"title":16666},"0648362d-d745-457d-9c22-1bbda3e2c02e",[16654],{"_id":115,"_type":99,"seo":7,"slug":16655,"title":118},{"_type":9,"current":117},[16657],{"_key":16658,"_type":219,"children":16659,"markDefs":16663,"style":232},"7153efc5f059",[16660],{"_key":16661,"_type":223,"marks":16662,"text":12647},"19fa5c025c01",[],[],"Jamie is a novelist who aspires to build, through language, interactive spaces of resistance and experimentation. McGhee has authored several books and a graphic novel.",{"alt":16666,"asset":16667},"Jamie McGhee",{"_id":16668,"height":16669,"orientation":1129,"ratio":16670,"url":16671,"width":4056},"image-635030c78b167a9baf6e9cceac01656f44531a58-1600x2112-jpg",2112,0.7575757575757576,"https://cdn.sanity.io/images/eodip22e/production/635030c78b167a9baf6e9cceac01656f44531a58-1600x2112.jpg",{"filterYear":16673},[16674],{"_id":115,"title":118},[16676],{"_type":1138,"label":1142,"url":16677},"https://www.instagram.com/j.me.mcghee/",[16679,117],"jamie mcghee",{"_type":9,"current":16681},"jamie-mcghee",{"alt":16683,"asset":16684},"School of Commons - In the Eye of the Sea",{"_id":16685,"height":16686,"orientation":1129,"ratio":16687,"url":16688,"width":4201},"image-e1384b56ab20454f507cb02e20a4187a21aa0d7e-960x1568-jpg",1568,0.6122448979591837,"https://cdn.sanity.io/images/eodip22e/production/e1384b56ab20454f507cb02e20a4187a21aa0d7e-960x1568.jpg",{"filterCategory":16690,"filterLocation":16696,"filterYear":16698},[16691,16692,16693,16694,16695],{"_id":800,"title":803},{"_id":500,"title":503},{"_id":690,"title":693},{"_id":725,"title":728},{"_id":555,"title":558},[16697],{"_id":331,"title":334},[16699],{"_id":115,"title":118},[],{"locations":16702,"other":7},[16703],{"_id":331,"_type":308,"seo":7,"slug":16704,"title":334},{"_type":9,"current":333},[16706],{"_type":1625,"settings":7,"text":16707},[16708,16716,16724,16732,16739,16747,16755,16763,16771,16778,16786,16794,16802,16809,16817,16824,16832],{"_key":16709,"_type":219,"children":16710,"markDefs":16715,"style":232},"78292c5bcfe9",[16711],{"_key":16712,"_type":223,"marks":16713,"text":16714},"66d4357f98bd",[225],"Hope is not a naive idea—it is the active choice to keep building.",[],{"_key":16717,"_type":219,"children":16718,"markDefs":16723,"style":232},"a5aee43362a0",[16719],{"_key":16720,"_type":223,"marks":16721,"text":16722},"cde949d5e7a5",[],"In the Eye of the Sea is an Afro- and Arabfuturist short story collection by writer-performer duo Jara Nassar and Jamie McGhee.",[],{"_key":16725,"_type":219,"children":16726,"markDefs":16731,"style":232},"457a2056be33",[16727],{"_key":16728,"_type":223,"marks":16729,"text":16730},"e9e42713e067",[],"As postcolonial science fiction movements, Arabfuturism and Afrofuturism emphasize the triumph of hope in the face of collapse. In the Eye of the Sea clings to this idea, asking, through fiction, “How can radical hope empower African and Arab communities to (re)frame and (re)interpret their past histories and build toward a self-determined future? How can such hope transcend these communities and have a global impact?”",[],{"_key":16733,"_type":219,"children":16734,"markDefs":16738,"style":232},"2dc68877fedc",[16735],{"_key":16736,"_type":223,"marks":16737,"text":1405},"1c825893f817",[],[],{"_key":16740,"_type":219,"children":16741,"markDefs":16746,"style":232},"47742e0b5a15",[16742],{"_key":16743,"_type":223,"marks":16744,"text":16745},"2ee84b55e6d0",[225],"Narrative Structure",[],{"_key":16748,"_type":219,"children":16749,"markDefs":16754,"style":232},"78be3bbd6b86",[16750],{"_key":16751,"_type":223,"marks":16752,"text":16753},"b59310bc33ac",[],"In the Eye of the Sea is divided thematically into five sections, with two short stories in each section. The themes revolve around 1) chosen and found families, 2) symbiosis with nature, 3) connection to ancestral lands, 4) evolution of spiritual practices and 5) renewal of one’s understanding of death.",[],{"_key":16756,"_type":219,"children":16757,"markDefs":16762,"style":232},"70a909ea568c",[16758],{"_key":16759,"_type":223,"marks":16760,"text":16761},"5db74ec19ca8",[],"Half of the stories are Afrofuturist—that is, building speculatively on the legacies and cultural traditions of the African continent and of the African diaspora in the Caribbean and Americas. Afrofuturism, which originated in the 1970s, dares to imagine a future in which Black bodies are valued, West African traditions lost during the Transatlantic Slave Trade are recovered and new African societies thrive unvarnished by colonialism.",[],{"_key":16764,"_type":219,"children":16765,"markDefs":16770,"style":232},"2471d931445e",[16766],{"_key":16767,"_type":223,"marks":16768,"text":16769},"35ac577e8c0b",[],"The other half of the stories are Arabfuturist, highlighting the technologies, potentialities and identities of the Levant and the diaspora in Western Europe. Arabfuturism, inspired by Afrofuturism, often centers on land: on forging secure ties with one’s familial homeland, free of occupation, and on reclaiming a peace that was lost for all.",[],{"_key":16772,"_type":219,"children":16773,"markDefs":16777,"style":232},"694e12f14b69",[16774],{"_key":16775,"_type":223,"marks":16776,"text":1405},"e2751e2c8c48",[],[],{"_key":16779,"_type":219,"children":16780,"markDefs":16785,"style":232},"fc19ef413e0e",[16781],{"_key":16782,"_type":223,"marks":16783,"text":16784},"c92cf20f80ca",[225],"Language and Character",[],{"_key":16787,"_type":219,"children":16788,"markDefs":16793,"style":232},"b3f80070836b",[16789],{"_key":16790,"_type":223,"marks":16791,"text":16792},"f86a3d3cc68c",[],"Multilingualism: While English is the primary language of the stories for practical purposes, the collection foregrounds Arabic, Swahili and French Creole to disrupt linguistic imperialism. Levantine Arabic (Shami), heavily influenced by French and in more recent years by the rise of English, represents the unique everyday modalities of Arabic grown since the separation of Bilad Ash-Sham. Swahili (Kiswahili), heavily influenced by Arabic due to colonization, is the most widely spoken African language and ties African Americans back to the continent. French Creole (Kwéyòl) signifies how colonized Black subjects in the Caribbean continually reshape the colonizer’s tongue to claim the language for themselves.",[],{"_key":16795,"_type":219,"children":16796,"markDefs":16801,"style":232},"533886fd1e74",[16797],{"_key":16798,"_type":223,"marks":16799,"text":16800},"1d6d469558a1",[],"Voices: A key tenet of Afro- and Arabfuturism is elevating the voices of those who traditionally go unheard. Grown from the perspective of two queer writers of color, In the Eye of the Sea spotlights characters who break away from norms, who are women, who are nonbinary, who are transgender, who are disabled, who are neurodivergent, who are poor, who are suffering from PTSD.",[],{"_key":16803,"_type":219,"children":16804,"markDefs":16808,"style":232},"b28d0e6583ab",[16805],{"_key":16806,"_type":223,"marks":16807,"text":1405},"3d8ab54d53dd",[],[],{"_key":16810,"_type":219,"children":16811,"markDefs":16816,"style":232},"317cbc18cf7f",[16812],{"_key":16813,"_type":223,"marks":16814,"text":16815},"f132ba1eaae7",[225],"Central Question",[],{"_key":16818,"_type":219,"children":16819,"markDefs":16823,"style":232},"8bdd5b2c9542",[16820],{"_key":16821,"_type":223,"marks":16822,"text":16714},"55c537aad826",[],[],{"_key":16825,"_type":219,"children":16826,"markDefs":16831,"style":232},"2bd08ba3ea75",[16827],{"_key":16828,"_type":223,"marks":16829,"text":16830},"594f3426dbfe",[],"Hopelessness can be an ever-present ache for people with ties to Africa and the Middle East, where centuries of colonialism and slavery—compounded by environmental exploitation and governmental corruption—can leave communities feeling exhausted, exploited and discarded. This results in what philosopher Franco Berardi terms the “cancellation of the future.” This is the belief that because the present will not improve and the future will only get worse, it’s better not to imagine any future at all.",[],{"_key":16833,"_type":219,"children":16834,"markDefs":16839,"style":232},"fcce700ad5e8",[16835],{"_key":16836,"_type":223,"marks":16837,"text":16838},"bf21543fbd4f",[],"As science fiction-based art movements, Afrofuturism and Arabfuturism counter that belief, providing speculative frameworks for communities to visualize the lives they want to lead and carve a way forward, breaking away from the constant catastrophes of the everyday. Imagining the future is a political act. What cannot be envisioned cannot be pursued.",[],[16841,16849,16857],{"_key":16842,"_type":219,"children":16843,"markDefs":16848,"style":232},"23a5f9575f37",[16844],{"_key":16845,"_type":223,"marks":16846,"text":16847},"1977b85b57e10",[],"How can radical hope empower African and Arab communities to reinterpret their past histories and shape a self-determined future?",[],{"_key":16850,"_type":219,"children":16851,"markDefs":16856,"style":232},"29805aad242b",[16852],{"_key":16853,"_type":223,"marks":16854,"text":16855},"4a4635c25e600",[],"What is the impact of Afrofuturism and Arabfuturism in envisioning alternative futures and recovering cultural traditions?",[],{"_key":16858,"_type":219,"children":16859,"markDefs":16864,"style":232},"aee03ba21051",[16860],{"_key":16861,"_type":223,"marks":16862,"text":16863},"00848f0659a90",[],"How can the narratives of African and Arab communities transcend local contexts and have a global impact in promoting decolonial perspectives and futures?",[],[16866,117,333,16648,16679,16867,13549,14134,16868,727,557],"in the eye of the sea","hope is not a naive idea—it is the active choice to keep building.\n\nin the eye of the sea is an afro- and arabfuturist short story collection by writer-performer duo jara nassar and jamie mcghee.\n\nas postcolonial science fiction movements, arabfuturism and afrofuturism emphasize the triumph of hope in the face of collapse. in the eye of the sea clings to this idea, asking, through fiction, “how can radical hope empower african and arab communities to (re)frame and (re)interpret their past histories and build toward a self-determined future? how can such hope transcend these communities and have a global impact?”\n\n\n\nnarrative structure\n\nin the eye of the sea is divided thematically into five sections, with two short stories in each section. the themes revolve around 1) chosen and found families, 2) symbiosis with nature, 3) connection to ancestral lands, 4) evolution of spiritual practices and 5) renewal of one’s understanding of death.\n\nhalf of the stories are afrofuturist—that is, building speculatively on the legacies and cultural traditions of the african continent and of the african diaspora in the caribbean and americas. afrofuturism, which originated in the 1970s, dares to imagine a future in which black bodies are valued, west african traditions lost during the transatlantic slave trade are recovered and new african societies thrive unvarnished by colonialism.\n\nthe other half of the stories are arabfuturist, highlighting the technologies, potentialities and identities of the levant and the diaspora in western europe. arabfuturism, inspired by afrofuturism, often centers on land: on forging secure ties with one’s familial homeland, free of occupation, and on reclaiming a peace that was lost for all.\n\n\n\nlanguage and character\n\nmultilingualism: while english is the primary language of the stories for practical purposes, the collection foregrounds arabic, swahili and french creole to disrupt linguistic imperialism. levantine arabic (shami), heavily influenced by french and in more recent years by the rise of english, represents the unique everyday modalities of arabic grown since the separation of bilad ash-sham. swahili (kiswahili), heavily influenced by arabic due to colonization, is the most widely spoken african language and ties african americans back to the continent. french creole (kwéyòl) signifies how colonized black subjects in the caribbean continually reshape the colonizer’s tongue to claim the language for themselves.\n\nvoices: a key tenet of afro- and arabfuturism is elevating the voices of those who traditionally go unheard. grown from the perspective of two queer writers of color, in the eye of the sea spotlights characters who break away from norms, who are women, who are nonbinary, who are transgender, who are disabled, who are neurodivergent, who are poor, who are suffering from ptsd.\n\n\n\ncentral question\n\nhope is not a naive idea—it is the active choice to keep building.\n\nhopelessness can be an ever-present ache for people with ties to africa and the middle east, where centuries of colonialism and slavery—compounded by environmental exploitation and governmental corruption—can leave communities feeling exhausted, exploited and discarded. this results in what philosopher franco berardi terms the “cancellation of the future.” this is the belief that because the present will not improve and the future will only get worse, it’s better not to imagine any future at all.\n\nas science fiction-based art movements, afrofuturism and arabfuturism counter that belief, providing speculative frameworks for communities to visualize the lives they want to lead and carve a way forward, breaking away from the constant catastrophes of the everyday. imagining the future is a political act. what cannot be envisioned cannot be pursued.","inventions of the unknown",{"_type":9,"current":16870},"in-the-eye-of-the-sea","In the Eye of the Sea",{"_id":16873,"_type":1027,"categories":16874,"credits":16878,"featuredImage":16969,"filterables":16974,"footnotes":16981,"locations":16982,"logbook":7,"pageBuilder":16986,"researchQuestion":17062,"researchQuestions":7,"searchables":17087,"seo":7,"slug":17092,"title":16970,"year":118},"7b46c2c5-70d3-45d3-a4fb-cd4a6e6c8c3f",[16875],{"_id":695,"_type":362,"colorPrimary":16876,"seo":7,"slug":16877,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":16879,"profiles":16888},[16880],{"_key":16881,"_type":219,"children":16882,"markDefs":16887,"style":232},"40300f431ea8",[16883],{"_key":16884,"_type":223,"marks":16885,"text":16886},"1db43c34f1660",[],"As teachers at art colleges, we reflect upon the observation that academic design education is not (socially) inclusive and engendering equal opportunity but is rather characterized by both a homogeneity of the protagonists and the forms of education that this produces. Bringing together our individual and shared experiences with different formats of learning and teaching, our shared concern is to address non-homogenising forms of design education for non-homogenous groups of people, especially beyond academic qualifications and professional imaginaries.",[],[16889,16918,16944],{"_id":16890,"_type":1078,"activeYears":16891,"bio":16894,"bioShort":16902,"featuredImage":7,"filterables":16903,"links":16906,"locations":16909,"searchables":16913,"seo":7,"slug":16915,"title":16917},"ce132f76-09ef-477e-9306-661a34ecf71c",[16892],{"_id":115,"_type":99,"seo":7,"slug":16893,"title":118},{"_type":9,"current":117},[16895],{"_key":16896,"_type":219,"children":16897,"markDefs":16901,"style":232},"19013fe5778a",[16898],{"_key":16899,"_type":223,"marks":16900,"text":12647},"04da729374120",[],[],"Art in public space, New Media and Political Activism, and Digital Activism.",{"filterYear":16904},[16905],{"_id":115,"title":118},[16907],{"_type":1138,"label":1142,"url":16908},"https://www.instagram.com/marion.kliesch/?hl=en",{"locations":16910,"other":7},[16911],{"_id":331,"_type":308,"seo":7,"slug":16912,"title":334},{"_type":9,"current":333},[16914,117],"marion kliesch",{"_type":9,"current":16916},"marion-kliesch","Marion Kliesch",{"_id":16919,"_type":1078,"activeYears":16920,"bio":16923,"bioShort":16931,"featuredImage":7,"filterables":16932,"links":7,"locations":16935,"searchables":16939,"seo":7,"slug":16941,"title":16943},"9168206d-f052-41ae-aaba-ebec32331591",[16921],{"_id":115,"_type":99,"seo":7,"slug":16922,"title":118},{"_type":9,"current":117},[16924],{"_key":16925,"_type":219,"children":16926,"markDefs":16930,"style":232},"bb03ba7bb31c",[16927],{"_key":16928,"_type":223,"marks":16929,"text":12647},"1205da5268930",[],[],"Collaborating on accessible design education.",{"filterYear":16933},[16934],{"_id":115,"title":118},{"locations":16936,"other":7},[16937],{"_id":331,"_type":308,"seo":7,"slug":16938,"title":334},{"_type":9,"current":333},[16940,117],"peter hermans",{"_type":9,"current":16942},"peter-hermans","Peter Hermans",{"_id":16945,"_type":1078,"activeYears":16946,"bio":16949,"bioShort":16931,"featuredImage":7,"filterables":16957,"links":7,"locations":16960,"searchables":16964,"seo":7,"slug":16966,"title":16968},"c67622ea-a91f-4a7f-b7c3-8c50a7ecbdf3",[16947],{"_id":115,"_type":99,"seo":7,"slug":16948,"title":118},{"_type":9,"current":117},[16950],{"_key":16951,"_type":219,"children":16952,"markDefs":16956,"style":232},"d4c73e1f1d85",[16953],{"_key":16954,"_type":223,"marks":16955,"text":12647},"25fa37d2ba5f0",[],[],{"filterYear":16958},[16959],{"_id":115,"title":118},{"locations":16961,"other":7},[16962],{"_id":331,"_type":308,"seo":7,"slug":16963,"title":334},{"_type":9,"current":333},[16965,117],"sanna schiffler",{"_type":9,"current":16967},"sanna-schiffler","Sanna Schiffler",{"alt":16970,"asset":16971},"Learning from Volkshochschule",{"_id":16972,"height":3814,"orientation":1129,"ratio":5168,"url":16973,"width":9821},"image-8515adba622077ec9f1202feb5766f30cfec880d-1240x1550-jpg","https://cdn.sanity.io/images/eodip22e/production/8515adba622077ec9f1202feb5766f30cfec880d-1240x1550.jpg",{"filterCategory":16975,"filterLocation":16977,"filterYear":16979},[16976],{"_id":695,"title":698},[16978],{"_id":331,"title":334},[16980],{"_id":115,"title":118},[],{"locations":16983,"other":7},[16984],{"_id":331,"_type":308,"seo":7,"slug":16985,"title":334},{"_type":9,"current":333},[16987,17020,17053],{"_type":1625,"settings":7,"text":16988},[16989,16997,17004,17012],{"_key":16990,"_type":219,"children":16991,"markDefs":16996,"style":232},"a205634c7a51",[16992],{"_key":16993,"_type":223,"marks":16994,"text":16995},"bd1c1df5df01",[225],"Collaborating on accessible design education",[],{"_key":16998,"_type":219,"children":16999,"markDefs":17003,"style":232},"46c230bfd2c4",[17000],{"_key":17001,"_type":223,"marks":17002,"text":16886},"e5746138035d",[],[],{"_key":17005,"_type":219,"children":17006,"markDefs":17011,"style":232},"d75a44c4ffb5",[17007],{"_key":17008,"_type":223,"marks":17009,"text":17010},"e4409efbd359",[],"The research project asks how accessible design education can be thought and especially, put into practice. Which frameworks does such a practice need? How do methods and curricula change in an (extra)institutional setting and what can be learned from and with existing examples? Which conditions and structures do which people need to be able to learn and teach together, self-organised and within a structure? What does it mean for a curriculum if the focus of (design)education is on mutual empowerment rather than professional qualification? Under what conditions can sustainable educational structures exist outside of institutions? What forms of organization, collaboration and rhythm favors open, mutually organized learning?",[],{"_key":17013,"_type":219,"children":17014,"markDefs":17019,"style":232},"5fd24b102d5d",[17015],{"_key":17016,"_type":223,"marks":17017,"text":17018},"4fa056840466",[],"Here we see the tradition of Volkshochschulen (adult education centers) as a well-established positive example of a more open form of institutional education. Besides the lifelong learning approach, openness and accessibility (social inclusion) are the most important principles of these community-oriented educational offerings and institutions. Besides collecting and contextualizing different examples of open design education practices more generally, we want to run a pilot project at a Volkshochschule (e.g. in Halle/Leipzig) to test the potential of these institutions. We want to develop and discuss the concept, scope and implementation of this project within the framework of the SoC. The current goal is to curate and implement a course program on »Collaborating on accessible design education« consisting of different courses and formats. Here, the central question in the negotiation process is how the scope of such a course program can be aligned with and integrated into the framework of Volkshochschulen.",[],{"_type":2894,"slides":17021},[17022,17037],{"_type":1621,"caption":17023,"image":17032},[17024],{"_key":17025,"_type":219,"children":17026,"markDefs":17031,"style":232},"9c563a21300f",[17027],{"_key":17028,"_type":223,"marks":17029,"text":17030},"3693ea57251a0",[],"Workshop VHS",[],{"alt":17033,"asset":17034},"Workshop_VHS",{"_id":17035,"height":2394,"orientation":1129,"ratio":2920,"url":17036,"width":4201},"image-58d9139e8018bbcd08d1c668e597cc2c78e4883a-960x1280-jpg","https://cdn.sanity.io/images/eodip22e/production/58d9139e8018bbcd08d1c668e597cc2c78e4883a-960x1280.jpg",{"_type":1621,"caption":17038,"image":17046},[17039],{"_key":17040,"_type":219,"children":17041,"markDefs":17045,"style":232},"49638df04c41",[17042],{"_key":17043,"_type":223,"marks":17044,"text":17030},"0b9d6f912211",[],[],{"alt":17030,"asset":17047},{"_id":17048,"height":17049,"orientation":1129,"ratio":17050,"url":17051,"width":17052},"image-86946b95d7cbfc5bc5d953bf923cde86706b4cee-878x1108-jpg",1108,0.7924187725631769,"https://cdn.sanity.io/images/eodip22e/production/86946b95d7cbfc5bc5d953bf923cde86706b4cee-878x1108.jpg",878,{"_type":1625,"settings":7,"text":17054},[17055],{"_key":17056,"_type":219,"children":17057,"markDefs":17061,"style":232},"7c499052d87e",[17058],{"_key":17059,"_type":223,"marks":17060,"text":17018},"0383b662a5f30",[],[],[17063,17071,17079],{"_key":17064,"_type":219,"children":17065,"markDefs":17070,"style":232},"a12ae18e68f6",[17066],{"_key":17067,"_type":223,"marks":17068,"text":17069},"b28181a6354b0",[],"How can accessible design education be conceptualized and implemented in practice?",[],{"_key":17072,"_type":219,"children":17073,"markDefs":17078,"style":232},"86cbe6e948fb",[17074],{"_key":17075,"_type":223,"marks":17076,"text":17077},"6e165f442f240",[],"What frameworks, methods, and curricula are needed for non-homogenizing forms of design education?",[],{"_key":17080,"_type":219,"children":17081,"markDefs":17086,"style":232},"66540d79d1ba",[17082],{"_key":17083,"_type":223,"marks":17084,"text":17085},"1cf68f8ae3f10",[],"How can sustainable educational structures exist outside of traditional institutions, and what organizational and collaborative approaches support open, mutually organized learning?",[],[17088,117,333,16914,16940,16965,17089,17090,17091,697],"learning from volkshochschule","as teachers at art colleges, we reflect upon the observation that academic design education is not (socially) inclusive and engendering equal opportunity but is rather characterized by both a homogeneity of the protagonists and the forms of education that this produces. bringing together our individual and shared experiences with different formats of learning and teaching, our shared concern is to address non-homogenising forms of design education for non-homogenous groups of people, especially beyond academic qualifications and professional imaginaries.","collaborating on accessible design education\n\nas teachers at art colleges, we reflect upon the observation that academic design education is not (socially) inclusive and engendering equal opportunity but is rather characterized by both a homogeneity of the protagonists and the forms of education that this produces. bringing together our individual and shared experiences with different formats of learning and teaching, our shared concern is to address non-homogenising forms of design education for non-homogenous groups of people, especially beyond academic qualifications and professional imaginaries.\n\nthe research project asks how accessible design education can be thought and especially, put into practice. which frameworks does such a practice need? how do methods and curricula change in an (extra)institutional setting and what can be learned from and with existing examples? which conditions and structures do which people need to be able to learn and teach together, self-organised and within a structure? what does it mean for a curriculum if the focus of (design)education is on mutual empowerment rather than professional qualification? under what conditions can sustainable educational structures exist outside of institutions? what forms of organization, collaboration and rhythm favors open, mutually organized learning?\n\nhere we see the tradition of volkshochschulen (adult education centers) as a well-established positive example of a more open form of institutional education. besides the lifelong learning approach, openness and accessibility (social inclusion) are the most important principles of these community-oriented educational offerings and institutions. besides collecting and contextualizing different examples of open design education practices more generally, we want to run a pilot project at a volkshochschule (e.g. in halle/leipzig) to test the potential of these institutions. we want to develop and discuss the concept, scope and implementation of this project within the framework of the soc. the current goal is to curate and implement a course program on »collaborating on accessible design education« consisting of different courses and formats. here, the central question in the negotiation process is how the scope of such a course program can be aligned with and integrated into the framework of volkshochschulen.","here we see the tradition of volkshochschulen (adult education centers) as a well-established positive example of a more open form of institutional education. besides the lifelong learning approach, openness and accessibility (social inclusion) are the most important principles of these community-oriented educational offerings and institutions. besides collecting and contextualizing different examples of open design education practices more generally, we want to run a pilot project at a volkshochschule (e.g. in halle/leipzig) to test the potential of these institutions. we want to develop and discuss the concept, scope and implementation of this project within the framework of the soc. the current goal is to curate and implement a course program on »collaborating on accessible design education« consisting of different courses and formats. here, the central question in the negotiation process is how the scope of such a course program can be aligned with and integrated into the framework of volkshochschulen.",{"_type":9,"current":17093},"learning-from-volkshochschule",{"_id":17095,"_type":1027,"categories":17096,"credits":17100,"featuredImage":17161,"filterables":17169,"footnotes":17176,"locations":17177,"logbook":7,"pageBuilder":17190,"researchQuestion":17303,"researchQuestions":7,"searchables":17312,"seo":7,"slug":17317,"title":17319,"year":118},"dd660df5-fc21-4a90-96d3-1d6b6ca48db7",[17097],{"_id":720,"_type":362,"colorPrimary":17098,"seo":7,"slug":17099,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"other":17101,"profiles":17124},[17102,17110,17117],{"_key":17103,"_type":219,"children":17104,"markDefs":17109,"style":232},"b5e72b3ce33d",[17105],{"_key":17106,"_type":223,"marks":17107,"text":17108},"4fcca67f730e0",[],"Project in collaboration with Richard Welch, Mic Balkind, Luyolo Lenga, Lizo Sonkwala, Duduzile Mathebula, Vuyiswa Xeketwane, Wandile Ndlovu and the Sidvwaba Cave",[],{"_key":17111,"_type":219,"children":17112,"markDefs":17116,"style":232},"439775e5cdac",[17113],{"_key":17114,"_type":223,"marks":17115,"text":1405},"c7d73672531a",[],[],{"_key":17118,"_type":219,"children":17119,"markDefs":17123,"style":232},"b0fe171e0416",[17120],{"_key":17121,"_type":223,"marks":17122,"text":1405},"3bcea6da2357",[],[],[17125],{"_id":17126,"_type":1078,"activeYears":17127,"bio":17134,"bioShort":17143,"featuredImage":7,"filterables":17144,"links":17149,"locations":17152,"searchables":17156,"seo":7,"slug":17158,"title":17160},"fa239bb7-c970-4cfe-9300-d50e356a4a67",[17128,17130,17132],{"_id":125,"_type":99,"seo":7,"slug":17129,"title":128},{"_type":9,"current":127},{"_id":120,"_type":99,"seo":7,"slug":17131,"title":123},{"_type":9,"current":122},{"_id":115,"_type":99,"seo":7,"slug":17133,"title":118},{"_type":9,"current":117},[17135],{"_key":17136,"_type":219,"children":17137,"markDefs":17142,"style":232},"e8031d1b0140",[17138],{"_key":17139,"_type":223,"marks":17140,"text":17141},"f63365f82be5",[],"Pule is a scholar of linguistics and a cultural historian of speech practices of Azania/!Naremâb, promoting writing systems of the continent, like N'Ko or Ditema tsa Dinoko script. His MA research describes South African cryptolects - secret forms of speech.",[],"Pule kaJanolintji (ߔߎ߯ߟߍ߫ ߞߊ-ߖߊ߬ߣߏ߬ߟߌ߲߯ߗߌ) ngumcwaningi wolimi lwesiNtu nezabathwa, isazi somlando nemikhuba yokusetshenziswa kwezinkulumo zaseNingizimu, futhi umthuthukisi wezinhlelo zokuloba zezwekazi, njengesiBheqe Sohlamvu. ",{"filterYear":17145},[17146,17147,17148],{"_id":125,"title":128},{"_id":120,"title":123},{"_id":115,"title":118},[17150],{"_type":1138,"label":1142,"url":17151},"https://www.instagram.com/lepuwana/",{"locations":17153,"other":7},[17154],{"_id":311,"_type":308,"seo":7,"slug":17155,"title":314},{"_type":9,"current":313},[17157,127,122,117],"pule kajanolintji ",{"_type":9,"current":17159},"pule-kajanolintji","Pule kaJanolintji ",{"alt":17162,"asset":17163},"School of Commons - Makhandzambili (\"Forerunners\")",{"_id":17164,"height":17165,"orientation":1474,"ratio":17166,"url":17167,"width":17168},"image-0534a287a7b3b70858d6aa6321ca93fd8e6df3a1-2660x1146-png",1146,2.3211169284467714,"https://cdn.sanity.io/images/eodip22e/production/0534a287a7b3b70858d6aa6321ca93fd8e6df3a1-2660x1146.png",2660,{"filterCategory":17170,"filterLocation":17172,"filterYear":17174},[17171],{"_id":720,"title":723},[17173],{"_id":311,"title":314},[17175],{"_id":115,"title":118},[],{"locations":17178,"other":17181},[17179],{"_id":311,"_type":308,"seo":7,"slug":17180,"title":314},{"_type":9,"current":313},[17182],{"_key":17183,"_type":219,"children":17184,"markDefs":17189,"style":232},"b758fd3db89b",[17185],{"_key":17186,"_type":223,"marks":17187,"text":17188},"d7e9baedb7400",[],"Sudwala Caves, South Africa",[],[17191],{"_type":1625,"settings":7,"text":17192},[17193,17201,17209,17217,17225,17239,17247,17255,17263,17271,17279,17287,17295],{"_key":17194,"_type":219,"children":17195,"markDefs":17200,"style":232},"9537438472ea",[17196],{"_key":17197,"_type":223,"marks":17198,"text":17199},"1455bfdf4fbc",[],"STORY OF CAVES:",[],{"_key":17202,"_type":219,"children":17203,"markDefs":17208,"style":232},"7030aaae0df0",[17204],{"_key":17205,"_type":223,"marks":17206,"text":17207},"fd3aab93b508",[],"CAVE#1",[],{"_key":17210,"_type":219,"children":17211,"markDefs":17216,"style":232},"678259f4af54",[17212],{"_key":17213,"_type":223,"marks":17214,"text":17215},"47cb492928c1",[],"In May of 2022, under the auspices of performer-academic Msakha Mona, we participated in a concert held inside the 240 million year old Precambrian dolomite caves near Mbombela in the Mpumalanga province of the Rep. South Africa, not far from the eSwatini border.",[],{"_key":17218,"_type":219,"children":17219,"markDefs":17224,"style":232},"257152c3013c",[17220],{"_key":17221,"_type":223,"marks":17222,"text":17223},"abe86d9021de",[],"Young people from schools around the province were bused in to form the participating audience in the enormous natural amphitheatre, with a stage set inside its vaulting rock fortress, with incredible acoustics, grace of the absorptive capacity of dolomite.",[],{"_key":17226,"_type":219,"children":17227,"markDefs":17237,"style":232},"931aa2d7dc0a",[17228,17232],{"_key":17229,"_type":223,"marks":17230,"text":17231},"09b64d9de89e",[],"These are officially called the “Sudwala Caves”, whereas this is a relic of Anglicised pronunciation, with the true name being “Sidvwaba”, eponymous of the indvuna (captain/councilor) of Prince Somcuba, who was their guardian when used as a defensive fortress inhabited by many people with cattle. ",{"_key":17233,"_type":223,"marks":17234,"text":17236},"9426bee277f6",[17235],"d14eeaa3d22b","https://ss.wikipedia.org/wiki/Umlandvo_wemaSwati",[17238],{"_key":17235,"_type":249,"blank":250,"href":17236},{"_key":17240,"_type":219,"children":17241,"markDefs":17246,"style":232},"3dc7545274b4",[17242],{"_key":17243,"_type":223,"marks":17244,"text":17245},"4a8d0ddc776c",[],"But as the music filled the cave, and this “correction” was made in song (正名 - https://en.wikipedia.org/wiki/Rectification_of_names), the space temporarily became like a living rock cathedral of alternative knowledge production. It became clear that we need to mobilise further for this..",[],{"_key":17248,"_type":219,"children":17249,"markDefs":17254,"style":232},"40af766c95f0",[17250],{"_key":17251,"_type":223,"marks":17252,"text":17253},"d3970f2fcdab",[],"So, the above narrative reorientation served as an index to a possible collaborative objective. We could attempt to summarise this as follows:",[],{"_key":17256,"_type":219,"children":17257,"markDefs":17262,"style":232},"12aa8f9995bc",[17258],{"_key":17259,"_type":223,"marks":17260,"text":17261},"2ee64060efe6",[],"“an ensemble of adventurous artist/ic-researchers giving way to endogenous knowledge production and tradition”.",[],{"_key":17264,"_type":219,"children":17265,"markDefs":17270,"style":232},"ee70086f4b57",[17266],{"_key":17267,"_type":223,"marks":17268,"text":17269},"a0b3f6480fcb",[],"These people hail from the region of Southern Africa, but who are to be found all around the world, as well as those that hail from all around the world, but who could be better found in our caves.",[],{"_key":17272,"_type":219,"children":17273,"markDefs":17278,"style":232},"9526031e539b",[17274],{"_key":17275,"_type":223,"marks":17276,"text":17277},"270cfecb1e2e",[],"CAVE#2",[],{"_key":17280,"_type":219,"children":17281,"markDefs":17286,"style":232},"5d923ba4e321",[17282],{"_key":17283,"_type":223,"marks":17284,"text":17285},"724cd78089f3",[],"Near the mouth of the estuary known as the Verlorenvlei, in the cold rainfall region of the Western Cape called !Naremâb, there is the Eland’s Bay Cave. It is named as such because of the traditional petroglyphs depicting eland antelope – a prime potency and identity in the trance practice that produced/sensed them. Also on these walls are hundreds of ancient ochre handprints. We understand they are created in the diviner’s séance and they connect people through the rock across time and space. At the foot of these caves are some abandoned buildings inside which there are decades of scratched graffiti – a companion to the old rock paintings above.",[],{"_key":17288,"_type":219,"children":17289,"markDefs":17294,"style":232},"fa748e043441",[17290],{"_key":17291,"_type":223,"marks":17292,"text":17293},"58606eac9234",[],"Here we find another space of emakhandzambili – the forerunners – and their descendant digressions of sign – another meeting place for the practice of collective reorientation.",[],{"_key":17296,"_type":219,"children":17297,"markDefs":17302,"style":232},"6cda491a48f1",[17298],{"_key":17299,"_type":223,"marks":17300,"text":17301},"cfafa9e12cf7",[],"We propose to use these two spaces as both a physical/online and figurative base to image how a peer-learning hub fostering these values could be structured and maintained as a companion or satellite to the SoC, currently based at ZHdK.\n\n(1) We want to do this project because there is a real need for alternative peer-learning spaces in Southern Africa that are sustainable and foster communal growth, dynamism, and imaginative experimentation. We want to use the caves as an emblem of this and engage peers to help realise this investigation, in Mbombela, ||Hui!gaeb (Cape Town), and Johannesburg, as well as eSwatini, Botswana, and possibly Mozambique, Zimbabwe, Namibia, and Lesotho.",[],[17304],{"_key":17305,"_type":219,"children":17306,"markDefs":17311,"style":232},"819c1055c93a",[17307],{"_key":17308,"_type":223,"marks":17309,"text":17310},"5e73216fdd950",[],"Investigate establishing a sustainable alternative peer-learning creative network based in Southern Africa, for the greatest possible presence of local transdisciplinary collaborative agency, decentralised internationally and antipodally.",[],[17313,117,313,17314,17157,17315,17316,722],"makhandzambili (\"forerunners\")","sudwala caves, south africa","project in collaboration with richard welch, mic balkind, luyolo lenga, lizo sonkwala, duduzile mathebula, vuyiswa xeketwane, wandile ndlovu and the sidvwaba cave\n\n\n\n","story of caves:\n\ncave#1\n\nin may of 2022, under the auspices of performer-academic msakha mona, we participated in a concert held inside the 240 million year old precambrian dolomite caves near mbombela in the mpumalanga province of the rep. south africa, not far from the eswatini border.\n\nyoung people from schools around the province were bused in to form the participating audience in the enormous natural amphitheatre, with a stage set inside its vaulting rock fortress, with incredible acoustics, grace of the absorptive capacity of dolomite.\n\nthese are officially called the “sudwala caves”, whereas this is a relic of anglicised pronunciation, with the true name being “sidvwaba”, eponymous of the indvuna (captain/councilor) of prince somcuba, who was their guardian when used as a defensive fortress inhabited by many people with cattle. https://ss.wikipedia.org/wiki/umlandvo_wemaswati\n\nbut as the music filled the cave, and this “correction” was made in song (正名 - https://en.wikipedia.org/wiki/rectification_of_names), the space temporarily became like a living rock cathedral of alternative knowledge production. it became clear that we need to mobilise further for this..\n\nso, the above narrative reorientation served as an index to a possible collaborative objective. we could attempt to summarise this as follows:\n\n“an ensemble of adventurous artist/ic-researchers giving way to endogenous knowledge production and tradition”.\n\nthese people hail from the region of southern africa, but who are to be found all around the world, as well as those that hail from all around the world, but who could be better found in our caves.\n\ncave#2\n\nnear the mouth of the estuary known as the verlorenvlei, in the cold rainfall region of the western cape called !naremâb, there is the eland’s bay cave. it is named as such because of the traditional petroglyphs depicting eland antelope – a prime potency and identity in the trance practice that produced/sensed them. also on these walls are hundreds of ancient ochre handprints. we understand they are created in the diviner’s séance and they connect people through the rock across time and space. at the foot of these caves are some abandoned buildings inside which there are decades of scratched graffiti – a companion to the old rock paintings above.\n\nhere we find another space of emakhandzambili – the forerunners – and their descendant digressions of sign – another meeting place for the practice of collective reorientation.\n\nwe propose to use these two spaces as both a physical/online and figurative base to image how a peer-learning hub fostering these values could be structured and maintained as a companion or satellite to the soc, currently based at zhdk.\n\n(1) we want to do this project because there is a real need for alternative peer-learning spaces in southern africa that are sustainable and foster communal growth, dynamism, and imaginative experimentation. we want to use the caves as an emblem of this and engage peers to help realise this investigation, in mbombela, ||hui!gaeb (cape town), and johannesburg, as well as eswatini, botswana, and possibly mozambique, zimbabwe, namibia, and lesotho.",{"_type":9,"current":17318},"makhandzambili-forerunners","Makhandzambili (\"Forerunners\")",{"_id":17321,"_type":1027,"categories":17322,"credits":17326,"featuredImage":17380,"filterables":17383,"footnotes":17390,"locations":17391,"logbook":7,"pageBuilder":17395,"researchQuestion":17468,"researchQuestions":7,"searchables":17493,"seo":7,"slug":17496,"title":17381,"year":118},"66c5d889-07d2-41f5-8852-e90316eb0380",[17323],{"_id":510,"_type":362,"colorPrimary":17324,"seo":7,"slug":17325,"title":513},{"label":1031,"value":1060},{"_type":9,"current":512},{"other":7,"profiles":17327},[17328],{"_id":17329,"_type":1078,"activeYears":17330,"bio":17333,"bioShort":17342,"featuredImage":17343,"filterables":17351,"links":17354,"locations":17364,"searchables":17376,"seo":7,"slug":17378,"title":17344},"b1f999b5-259f-4372-99e3-cd6a76bf9e2b",[17331],{"_id":115,"_type":99,"seo":7,"slug":17332,"title":118},{"_type":9,"current":117},[17334],{"_key":17335,"_type":219,"children":17336,"markDefs":17341,"style":232},"13555846b5df",[17337],{"_key":17338,"_type":223,"marks":17339,"text":17340},"1e9f391d06630",[],"In doing so, we create a space for critical engagement, reflective experimentation and radical solidarity. With the aim of creating an intersectional platform for excellent diasporic, migrant and international art and culture, a place to foster artistic dialogue on locally, nationally and internationally relevant issues, we realise socio-cultural and artistic projects that highlight neurodiverse and class critical perspectives throughout Berlin and internationally. As we see ourselves as an inter- and anti-disciplinary platform for emerging approaches, we work with various artistic disciplines, such as visual arts, performance art, theatre, literature, dance, music and more, that intersect, transcend accepted artistic practices and identify the grey space in between, thus emerge and exist beyond its traditional boundaries. As a foundation to our inter- and anti-disciplinary approach in arts and socioculture, intersectionality is a crucial guiding principle and lived practice at Oyoun. This is reflected in our programming through which different realities of life and their artistic and cultural forms of expression are made visible and empowered.",[],"A cultural institution that envisions, develops and implements artistic-cultural projects through decolonial, queer*feminist and migrant perspectives. ",{"alt":17344,"asset":17345},"Oyoun Berlin",{"_id":17346,"height":17347,"orientation":1474,"ratio":17348,"url":17349,"width":17350},"image-47672912f2e0c184216983c58b02716b2230fadc-842x595-png",595,1.4151260504201681,"https://cdn.sanity.io/images/eodip22e/production/47672912f2e0c184216983c58b02716b2230fadc-842x595.png",842,{"filterYear":17352},[17353],{"_id":115,"title":118},[17355,17357,17359,17362],{"_type":1138,"label":1139,"url":17356},"https://oyoun.de/",{"_type":1138,"label":1142,"url":17358},"https://www.instagram.com/oyounberlin/",{"_type":1138,"label":17360,"url":17361},"Vimeo","https://vimeo.com/oyoun",{"_type":1138,"label":9398,"url":17363},"https://soundcloud.com/oyoun",{"locations":17365,"other":17368},[17366],{"_id":331,"_type":308,"seo":7,"slug":17367,"title":334},{"_type":9,"current":333},[17369],{"_key":17370,"_type":219,"children":17371,"markDefs":17375,"style":232},"c3023a07749d",[17372],{"_key":17373,"_type":223,"marks":17374,"text":5697},"c84942c68109",[],[],[17377,117],"oyoun berlin",{"_type":9,"current":17379},"oyoun-berlin",{"alt":17381,"asset":17382},"Oyoun Curator*s Lab",{"_id":17346,"height":17347,"orientation":1474,"ratio":17348,"url":17349,"width":17350},{"filterCategory":17384,"filterLocation":17386,"filterYear":17388},[17385],{"_id":510,"title":513},[17387],{"_id":331,"title":334},[17389],{"_id":115,"title":118},[],{"locations":17392,"other":7},[17393],{"_id":331,"_type":308,"seo":7,"slug":17394,"title":334},{"_type":9,"current":333},[17396],{"_type":1625,"settings":7,"text":17397},[17398,17406,17414,17421,17429,17437,17445,17452,17460],{"_key":17399,"_type":219,"children":17400,"markDefs":17405,"style":232},"2239183c1230",[17401],{"_key":17402,"_type":223,"marks":17403,"text":17404},"ca9eaac7f574",[],"We live in a time almost entirely defined by neocolonialism, climate change, extractivism, war and (forced) displacement, increasing populism, right-wing radicalization and attacks on migrant, disabled and queer bodies with rising movements of resistance mushrooming across the globe. Queer, Trans*, Black, Indigenous and People of Colour (QTI+BIPOC) and disabled folks have been at the forefront of social and racial justice movements that seek to unsettle hegemonies and are dedicated to political goals of liberation. QTI+BIPOC and disabled perspectives around queering and decolonising are separate and distinct from each other. These perspectives vary significantly in temporality and location; each one documents the catastrophic channels of past and transgenerational trauma. Our shared histories are knitted together with complex, interwoven patterns across geographies, which are difficult to unravel today.",[],{"_key":17407,"_type":219,"children":17408,"markDefs":17413,"style":232},"9f69ad19fbdf",[17409],{"_key":17410,"_type":223,"marks":17411,"text":17412},"36c8c3839321",[],"In these spaces we find alternative reimaginations and an endeavour towards conviviality, which we must look for to uncover new modes of\nrelating with each other:",[],{"_key":17415,"_type":219,"children":17416,"markDefs":17420,"style":232},"9a473e2daab8",[17417],{"_key":17418,"_type":223,"marks":17419,"text":1405},"cd0ea7aab916",[],[],{"_key":17422,"_type":219,"children":17423,"markDefs":17428,"style":232},"cd77c5d115ce",[17424],{"_key":17425,"_type":223,"marks":17426,"text":17427},"c155564ca574",[1559],"What role does curation play in deepening our practices and producing knowledge?",[],{"_key":17430,"_type":219,"children":17431,"markDefs":17436,"style":232},"18f60ceeb244",[17432],{"_key":17433,"_type":223,"marks":17434,"text":17435},"9f5c2be06559",[1559],"How do we open ourselves to various forms of learning through curation?",[],{"_key":17438,"_type":219,"children":17439,"markDefs":17444,"style":232},"a9222091e77e",[17440],{"_key":17441,"_type":223,"marks":17442,"text":17443},"149522896ace",[1559],"How to empower the self by centering our own lived experiences within curation?",[],{"_key":17446,"_type":219,"children":17447,"markDefs":17451,"style":232},"6bec0c0aaf41",[17448],{"_key":17449,"_type":223,"marks":17450,"text":1405},"4bc29cc40243",[],[],{"_key":17453,"_type":219,"children":17454,"markDefs":17459,"style":232},"2213784ee2a0",[17455],{"_key":17456,"_type":223,"marks":17457,"text":17458},"ecf2dd6b5690",[],"The Curators* Lab is an experimental format by Oyoun that invites emerging underrepresented curators, artists, activists, thinkers, academics, and cultural practitioners to come together to better understand the significant roles of curation as a tool for social movements and knowledge-production outside of the museum and ivory-tower of academia. Through this platform, we are committed to continuing our work with marginalised communities to practise co-creating, co-curating, and distributing knowledge in the community. Here, we invite participants with their existing skill sets to expand their practices into motions beyond the confines of traditional curation.",[],{"_key":17461,"_type":219,"children":17462,"markDefs":17467,"style":232},"4b88c97891b1",[17463],{"_key":17464,"_type":223,"marks":17465,"text":17466},"08401187220a",[],"Over the last two years we have developed Oyoun’s Curators* Lab by exploring the prototype of curatorship as activism, archiving and alternative knowledge production as the core question/objective of our project. This development has been amplified through peer learning, Open Labs, Experimental Residencies, Community Engagement and Do-It-With-Others as methodologies to create a solidarity framework to answer our core objectives. We are now in a phase of expanding our research, learning from other collaborative projects and testing new decolonial and feminist pedagogies that go beyond theory. As oral knowledge systems are often built on experiential, we want to explore how we can translate shared knowledge into engagement with and for our communities.",[],[17469,17477,17485],{"_key":17470,"_type":219,"children":17471,"markDefs":17476,"style":232},"960e6bc33e5d",[17472],{"_key":17473,"_type":223,"marks":17474,"text":17475},"1885294be4250",[],"What is the role of curation in deepening artistic practices and generating knowledge?",[],{"_key":17478,"_type":219,"children":17479,"markDefs":17484,"style":232},"eb39bab59811",[17480],{"_key":17481,"_type":223,"marks":17482,"text":17483},"11a0df89ee6d0",[],"How can we embrace diverse forms of learning through curation?",[],{"_key":17486,"_type":219,"children":17487,"markDefs":17492,"style":232},"bf6511cd2763",[17488],{"_key":17489,"_type":223,"marks":17490,"text":17491},"424f825999c30",[],"How can centering our own lived experiences within curation empower ourselves and marginalized communities?",[],[17494,117,333,17377,17495,1789],"oyoun curator*s lab","we live in a time almost entirely defined by neocolonialism, climate change, extractivism, war and (forced) displacement, increasing populism, right-wing radicalization and attacks on migrant, disabled and queer bodies with rising movements of resistance mushrooming across the globe. queer, trans*, black, indigenous and people of colour (qti+bipoc) and disabled folks have been at the forefront of social and racial justice movements that seek to unsettle hegemonies and are dedicated to political goals of liberation. qti+bipoc and disabled perspectives around queering and decolonising are separate and distinct from each other. these perspectives vary significantly in temporality and location; each one documents the catastrophic channels of past and transgenerational trauma. our shared histories are knitted together with complex, interwoven patterns across geographies, which are difficult to unravel today.\n\nin these spaces we find alternative reimaginations and an endeavour towards conviviality, which we must look for to uncover new modes of\nrelating with each other:\n\n\n\nwhat role does curation play in deepening our practices and producing knowledge?\n\nhow do we open ourselves to various forms of learning through curation?\n\nhow to empower the self by centering our own lived experiences within curation?\n\n\n\nthe curators* lab is an experimental format by oyoun that invites emerging underrepresented curators, artists, activists, thinkers, academics, and cultural practitioners to come together to better understand the significant roles of curation as a tool for social movements and knowledge-production outside of the museum and ivory-tower of academia. through this platform, we are committed to continuing our work with marginalised communities to practise co-creating, co-curating, and distributing knowledge in the community. here, we invite participants with their existing skill sets to expand their practices into motions beyond the confines of traditional curation.\n\nover the last two years we have developed oyoun’s curators* lab by exploring the prototype of curatorship as activism, archiving and alternative knowledge production as the core question/objective of our project. this development has been amplified through peer learning, open labs, experimental residencies, community engagement and do-it-with-others as methodologies to create a solidarity framework to answer our core objectives. we are now in a phase of expanding our research, learning from other collaborative projects and testing new decolonial and feminist pedagogies that go beyond theory. as oral knowledge systems are often built on experiential, we want to explore how we can translate shared knowledge into engagement with and for our communities.",{"_type":9,"current":17497},"oyoun-curator-s-lab",{"_id":17499,"_type":1027,"categories":17500,"credits":17504,"featuredImage":17573,"filterables":17580,"footnotes":17587,"locations":17588,"logbook":7,"pageBuilder":17592,"researchQuestion":17810,"researchQuestions":7,"searchables":17835,"seo":7,"slug":17840,"title":17842,"year":118},"3e867769-2fa1-4090-aed2-1470cd4a97aa",[17501],{"_id":710,"_type":362,"colorPrimary":17502,"seo":7,"slug":17503,"title":713},{"label":1031,"value":10359},{"_type":9,"current":712},{"other":17505,"profiles":17514},[17506],{"_key":17507,"_type":219,"children":17508,"markDefs":17513,"style":232},"7fef0c1ccd65",[17509],{"_key":17510,"_type":223,"marks":17511,"text":17512},"7d99f0ad6ff30",[],"With contributions to Red Threads from Maxim Spivakov. In a wide range of media that spans from video installation to scholarly research, Spivakov’s work enquires into the general tenets that govern representation as political, aesthetic, and technical practice. His projects delve into the formation of colonial Other, the violence of and against the image, embodied spectatorship, and techno-apocalyptic conspiracy beliefs.",[],[17515],{"_id":17516,"_type":1078,"activeYears":17517,"bio":17520,"bioShort":17537,"featuredImage":17538,"filterables":17546,"links":17549,"locations":17553,"searchables":17568,"seo":7,"slug":17570,"title":17572},"67aff647-15e3-4670-9740-a5774b4b698c",[17518],{"_id":115,"_type":99,"seo":7,"slug":17519,"title":118},{"_type":9,"current":117},[17521,17529],{"_key":17522,"_type":219,"children":17523,"markDefs":17528,"style":232},"0b9ec9564285",[17524],{"_key":17525,"_type":223,"marks":17526,"text":17527},"2a359ced136e",[],"Andrea Liu is an art critic & artist working between New York/Berlin/Paris.",[],{"_key":17530,"_type":219,"children":17531,"markDefs":17536,"style":232},"70e06edb6d92",[17532],{"_key":17533,"_type":223,"marks":17534,"text":17535},"f3505ba97756",[],"She received fellowship awards from Banff Centre Jarislowsky Outstanding Artist Award, Center for Experimental Museology (V-A-C Foundation), Museum Fine Arts Houston & ZHdK (Zurich University of the Arts). She wrote catalogue/exhibition essays for visual artists Georgia Sagri (Deste Foundation, 2017), Kandis Williams (Soft Colony, 2017), Aditya Mandayam (Kunstverein Munich Companion Series, 2019) & Bob Gramsma (Edition Fink, 2014). Her writing appeared in e-flux, Afterimage, Social Text, New Museum, Art Margins (amongst others). She received her undergrad education from Yale and was curator of Counterhegemony: Art in a Social Context (theoretical fellowship program for visual artists).",[],"Andrea is an art critic & artist working between New York/Berlin/Paris.",{"alt":17539,"asset":17540},"Andrea Liu selfie",{"_id":17541,"height":17542,"orientation":1474,"ratio":17543,"url":17544,"width":17545},"image-d8ffc41ceaf65dcf9217ef8b8171b0213f9bf876-445x376-jpg",376,1.1835106382978724,"https://cdn.sanity.io/images/eodip22e/production/d8ffc41ceaf65dcf9217ef8b8171b0213f9bf876-445x376.jpg",445,{"filterYear":17547},[17548],{"_id":115,"title":118},[17550],{"_type":1138,"label":17551,"url":17552},"Link","https://parsejournal.com/authors/andrea-liu/",{"locations":17554,"other":17559},[17555,17557],{"_id":331,"_type":308,"seo":7,"slug":17556,"title":334},{"_type":9,"current":333},{"_id":341,"_type":308,"seo":7,"slug":17558,"title":344},{"_type":9,"current":343},[17560],{"_key":17561,"_type":219,"children":17562,"markDefs":17567,"style":232},"baf6655a571c",[17563],{"_key":17564,"_type":223,"marks":17565,"text":17566},"a57eda3628ad",[],"Between New York/Berlin/Paris",[],[17569,117],"andrea liu",{"_type":9,"current":17571},"andrea-liu","Andrea Liu",{"alt":17574,"asset":17575},"School of Commons - Post-structuralist Fun Pack",{"_id":17576,"height":17577,"orientation":1474,"ratio":17578,"url":17579,"width":12654},"image-7439f8b63a06da17564a1c7e6813a868aeb08e7a-2560x2498-jpg",2498,1.0248198558847077,"https://cdn.sanity.io/images/eodip22e/production/7439f8b63a06da17564a1c7e6813a868aeb08e7a-2560x2498.jpg",{"filterCategory":17581,"filterLocation":17583,"filterYear":17585},[17582],{"_id":710,"title":713},[17584],{"_id":331,"title":334},[17586],{"_id":115,"title":118},[],{"locations":17589,"other":7},[17590],{"_id":331,"_type":308,"seo":7,"slug":17591,"title":334},{"_type":9,"current":333},[17593,17596,17670,17688,17792],{"_type":1621,"caption":7,"image":17594},{"alt":7,"asset":17595},{"_id":17576,"height":17577,"orientation":1474,"ratio":17578,"url":17579,"width":12654},{"_type":1625,"settings":7,"text":17597},[17598,17606,17622,17638,17654,17662],{"_key":17599,"_type":219,"children":17600,"markDefs":17605,"style":232},"1512951f6811",[17601],{"_key":17602,"_type":223,"marks":17603,"text":17604},"fa63f579c81f",[],"A Parable for Post-structuralism:",[],{"_key":17607,"_type":219,"children":17608,"markDefs":17621,"style":232},"187a5d6b907a",[17609,17613,17617],{"_key":17610,"_type":223,"marks":17611,"text":17612},"553496d8d33c",[],"In Lewis Carroll’s ",{"_key":17614,"_type":223,"marks":17615,"text":17616},"ea35fe3d1fe4",[1559],"Alice in Through the Looking Glass, ",{"_key":17618,"_type":223,"marks":17619,"text":17620},"8ce52b30c3a0",[],"Humpty Dumpty explains to Alice why “un-birthday presents” are better than birthday presents. After applauding himself for making a good argument, he says “Glory!” Alice asks, “What’s glory?” Humpty replies, “It’s a nice knock down argument.” Alice protests and says “glory” and “nice knock down argument” do not mean the same thing. Humpty Dumpty replies, “When I use a word, it means just what I choose it to mean – neither more nor less.”",[],{"_key":17623,"_type":219,"children":17624,"markDefs":17637,"style":232},"9cb0fe7a8446",[17625,17629,17633],{"_key":17626,"_type":223,"marks":17627,"text":17628},"438b8ba619d5",[],"A word and its meaning; sound and sense; the ‘signifier’ and the ‘signified.’ Much of post-structuralist thought can be interpreted as coming out of a radicalization of Saussure’s “arbitrary nature of the sign” (",{"_key":17630,"_type":223,"marks":17631,"text":17632},"5f05728f8dee",[1559],"A Course in General Linguistics,",{"_key":17634,"_type":223,"marks":17635,"text":17636},"727b0084f54a",[]," 1916), which told us there is no inherent relation between the “signified” (sound-image of word) and the “signifier” (concept of a word). The word “dog” has no inherent “dogginess;” we could have just as easily called a dog a “tree”, “polka-dot” or “fire.” Post-structuralism flourishes in this gap between signifier and signified—all its creativity, vitality and perspicacity comes from exploiting the instability between signifier and signified.",[],{"_key":17639,"_type":219,"children":17640,"markDefs":17653,"style":232},"94f37a8c944e",[17641,17645,17649],{"_key":17642,"_type":223,"marks":17643,"text":17644},"ce58af55eee4",[],"Post-structuralism is suffused with an intractable suspicion, as it scrutinizes the ways in which symbolic systems are employed to establish and perpetuate authority (if not domination). Post-structuralism can be understood as a discrediting project. It wants to discredit the notion of “truth” as universal, timeless and monolithic, but instead truth as an unstable field of competing epistemic claims (the progenitor being Nietzsche). It wants to discredit the assumption that words are capable of referring to a meaning existing outside of language, but instead meaning is only the effect (and not the cause) of language itself. It wants to discredit the triumphalism of humanism which posits that “man” is on a teleological trajectory towards progress, but instead diminishes man to a “strange empirico-transcendental doublet” (",{"_key":17646,"_type":223,"marks":17647,"text":17648},"24ca73cc73ef",[1559],"The Order of Things",{"_key":17650,"_type":223,"marks":17651,"text":17652},"a92eadfb969c",[],", Foucault), man as mere accident of historical discourses. It wants to discredit the notion of the Cartesian “subject” as rational, coherent & capable of free will—but instead the subject as imbricated in an invisible matrix of power struggles beyond its control, divided against itself. It wants to discredit the notion of a “work” as a hermetically sealed masterpiece with a single stagnant meaning which we have to ‘unlock’—but instead the “text” as an unstable tissue of quotations whose meaning is constantly deferred.",[],{"_key":17655,"_type":219,"children":17656,"markDefs":17661,"style":232},"14cbe1596bfa",[17657],{"_key":17658,"_type":223,"marks":17659,"text":17660},"5cae6f72ebac",[],"In its heyday, post-structuralism ignited a conflagration in the U.S. (though not in Europe), becoming a political football in the “culture wars” of the 1980’s (because of its ability to erode citadels of cultural authority), leading to the politicization of the humanities in the U.S. and the rise of the “Studies” fields (i.e. Culture Studies, Gender Studies, Postcolonial Studies, Ethnic Studies, etc. Even the difference today between a university department being called “Art History” versus “Visual Cultures” is the unspoken legacy of post-structuralism (art history = a more old-fashioned cavalcade of canonical “masterpieces”; visual cultures = post-1960’s approach to visual phenomena in the expanded field as imbricated in material, social and political discourses). Lacan brought psychoanalysis into the domain of philosophy; Derrida brought literature into philosophy. Whereas once criticism was subservient to literature, post-structuralists brought criticism into such efflorescence that criticism challenged the primacy of literature.",[],{"_key":17663,"_type":219,"children":17664,"markDefs":17669,"style":232},"e22b6bd91e9a",[17665],{"_key":17666,"_type":223,"marks":17667,"text":17668},"63691e6cac1c",[],"This project will turn post-structuralism into fun material objects you can touch and feel (so craft & theory no longer have to be segregated). It will create a post-structuralist board game, a cartoon series called “Post-structuralist Comics,” homemade post-structuralist jewelry (post-structuralist bracelets & necklaces,) and a Working Group called “The Arts of Post-structuralism”.",[],{"_type":1621,"caption":17671,"image":17680},[17672],{"_key":17673,"_type":219,"children":17674,"markDefs":17679,"style":232},"d63fc6c92994",[17675],{"_key":17676,"_type":223,"marks":17677,"text":17678},"c29b3dcc603b0",[],"Bingo, Post Structuralist Hans Bellmer",[],{"alt":17681,"asset":17682},"Bingo_PostStructuralist3_HansBellmer",{"_id":17683,"height":17684,"orientation":1129,"ratio":17685,"url":17686,"width":17687},"image-a256632dfed0a63ff973feab172e33844499735a-1285x1529-jpg",1529,0.8404185742315239,"https://cdn.sanity.io/images/eodip22e/production/a256632dfed0a63ff973feab172e33844499735a-1285x1529.jpg",1285,{"_type":1625,"settings":7,"text":17689},[17690,17698,17725,17744,17773],{"_key":17691,"_type":219,"children":17692,"markDefs":17697,"style":232},"b168cb0e8148",[17693],{"_key":17694,"_type":223,"marks":17695,"text":17696},"5716b527d157",[],"POST-STRUCTURALIST FUN PACK “Red Threads”:",[],{"_key":17699,"_type":219,"children":17700,"markDefs":17724,"style":232},"fc2017f0006f",[17701,17705,17708,17712,17716,17720],{"_key":17702,"_type":223,"marks":17703,"text":17704},"18aefd2566d1",[225],"Red Thread 1:",{"_key":17706,"_type":223,"marks":17707,"text":2066},"f82b413a8788",[],{"_key":17709,"_type":223,"marks":17710,"text":17711},"54006984b8a8",[225],"The Russian origins of Post-structuralism",{"_key":17713,"_type":223,"marks":17714,"text":17715},"96ed3a8b3a2c",[],": Originating with OPOYAZ [Общество изучения Поэтического Языка] (St. Petersburg) and the Moscow Linguistic Circle (1915-1924), the Russian formalists (i.e. Roman Jakobson, Viktor Shklovsky, etc.) were the ancestors of structuralism (as well as Soviet writer Vladimir Propp’s ",{"_key":17717,"_type":223,"marks":17718,"text":17719},"96b172b70ea6",[1559],"Morphology of the Folktale",{"_key":17721,"_type":223,"marks":17722,"text":17723},"69959636c845",[]," (1928) taken up by Levi-Strauss who rewrote it for structuralism (1960).",[],{"_key":17726,"_type":219,"children":17727,"markDefs":17743,"style":232},"0684e767f027",[17728,17732,17735,17739],{"_key":17729,"_type":223,"marks":17730,"text":17731},"8d73e5d97427",[225],"Red Thread 2:",{"_key":17733,"_type":223,"marks":17734,"text":2066},"d4de02081f2a",[],{"_key":17736,"_type":223,"marks":17737,"text":17738},"39043312ddb2",[225],"Post-structuralism & Queer Theory:",{"_key":17740,"_type":223,"marks":17741,"text":17742},"b52ce9dd63d4",[]," Foucault’s rejection of the supposed “objectivity” of historical knowledge and “universal truth” opens the door to the rejection of heterosexuality as a universal truth, instead recasting heterosexuality as a contingent matrix of discourses, institutions and norms which have been naturalized as “universal” or “normal”—i.e. a “truth effect”.",[],{"_key":17745,"_type":219,"children":17746,"markDefs":17771,"style":232},"959c443fa061",[17747,17751,17754,17758,17762,17767],{"_key":17748,"_type":223,"marks":17749,"text":17750},"d536e85dfb35",[225],"Red Thread 3:",{"_key":17752,"_type":223,"marks":17753,"text":2066},"df9d8f514521",[],{"_key":17755,"_type":223,"marks":17756,"text":17757},"ae31d3391768",[225],"Far Right Co-Option of Post-structuralism:",{"_key":17759,"_type":223,"marks":17760,"text":17761},"47ad24dd4a68",[]," Whether it is the IDF’s use of Deleuze/Guattari’s “smooth & striated” space ",{"_key":17763,"_type":223,"marks":17764,"text":17766},"1fcfa4470f67",[17765],"c887d6a0bf99","https://www.frieze.com/article/art-war",{"_key":17768,"_type":223,"marks":17769,"text":17770},"9d7106d1203f",[],", the Identitarian movement’s (Fabrice Robert) use of Gramsci’s ideas in spreading right-wing politics through culture (“métapolitique”), or Alexander Dugin’s embracing the post-structuralist idea of multiple truths, how has the Far Right repurposed post-structuralism for its own politics?",[17772],{"_key":17765,"_type":249,"href":17766},{"_key":17774,"_type":219,"children":17775,"markDefs":17791,"style":232},"1de46248193a",[17776,17780,17783,17787],{"_key":17777,"_type":223,"marks":17778,"text":17779},"eeb40404fef4",[225],"Red Thread 4:",{"_key":17781,"_type":223,"marks":17782,"text":2066},"99a947fd4173",[],{"_key":17784,"_type":223,"marks":17785,"text":17786},"fa7135bf2969",[225],"Post-structuralism & the Post-Internet Age:",{"_key":17788,"_type":223,"marks":17789,"text":17790},"b32bd797d75d",[]," The ‘rhizome’ (Deleuze), the ‘trace’ (Derrida), the ‘death of the author and the birth of the reader’ (Barthes)—seminal post-structuralist ideas were effortlessly (and inadvertently) put into practice by the internet’s non-linear decentralized structure (i.e. hypertext [online texts dynamically changing in response to user input] as well as the de-monumentalization of the author function [once monolithic and hermetically sealed, authorship has now been deterritorialized by the internet (i.e. online forms of distributed authorship & communal writing [wikipedia, blogs, etc.])",[],{"_type":1621,"caption":17793,"image":17802},[17794],{"_key":17795,"_type":219,"children":17796,"markDefs":17801,"style":232},"c2174f80b48b",[17797],{"_key":17798,"_type":223,"marks":17799,"text":17800},"c74680ed70a30",[],"Chalkboard, Post-structuralist Fun Pack",[],{"alt":17803,"asset":17804},"Chalkboard_PostStructFunPack",{"_id":17805,"height":17806,"orientation":1129,"ratio":17807,"url":17808,"width":17809},"image-fa44c7d15de5452959832471291fddb2b0ddb36f-616x821-jpg",821,0.7503045066991474,"https://cdn.sanity.io/images/eodip22e/production/fa44c7d15de5452959832471291fddb2b0ddb36f-616x821.jpg",616,[17811,17819,17827],{"_key":17812,"_type":219,"children":17813,"markDefs":17818,"style":232},"860e36f82754",[17814],{"_key":17815,"_type":223,"marks":17816,"text":17817},"f2c672078c160",[],"Deconstructing Knowledge and Reality: How can the monolithic and singular notions of knowledge, truth, and reality be deconstructed and destabilized, challenging the Enlightenment perspective of linear progress and transparent language?",[],{"_key":17820,"_type":219,"children":17821,"markDefs":17826,"style":232},"48b6403d3c8d",[17822],{"_key":17823,"_type":223,"marks":17824,"text":17825},"7ac3b5f06a250",[],"Language and Meaning: How does language shape and construct ideas and meanings, as opposed to reflecting pre-existing essences? How can the relationship between signifiers and signifieds be explored to reveal their inherent instability?",[],{"_key":17828,"_type":219,"children":17829,"markDefs":17834,"style":232},"941da63958b4",[17830],{"_key":17831,"_type":223,"marks":17832,"text":17833},"fef5a9eac09d0",[],"Discourse and Power: In what ways can the concept of truth be reimagined as a complex and contested field of competing epistemic claims, highlighting the discursive nature of power and the dismantling of bourgeois ideology?",[],[17836,117,333,17569,17837,17838,17839,10689],"post-structuralist fun pack","with contributions to red threads from maxim spivakov. in a wide range of media that spans from video installation to scholarly research, spivakov’s work enquires into the general tenets that govern representation as political, aesthetic, and technical practice. his projects delve into the formation of colonial other, the violence of and against the image, embodied spectatorship, and techno-apocalyptic conspiracy beliefs.","a parable for post-structuralism:\n\nin lewis carroll’s alice in through the looking glass, humpty dumpty explains to alice why “un-birthday presents” are better than birthday presents. after applauding himself for making a good argument, he says “glory!” alice asks, “what’s glory?” humpty replies, “it’s a nice knock down argument.” alice protests and says “glory” and “nice knock down argument” do not mean the same thing. humpty dumpty replies, “when i use a word, it means just what i choose it to mean – neither more nor less.”\n\na word and its meaning; sound and sense; the ‘signifier’ and the ‘signified.’ much of post-structuralist thought can be interpreted as coming out of a radicalization of saussure’s “arbitrary nature of the sign” (a course in general linguistics, 1916), which told us there is no inherent relation between the “signified” (sound-image of word) and the “signifier” (concept of a word). the word “dog” has no inherent “dogginess;” we could have just as easily called a dog a “tree”, “polka-dot” or “fire.” post-structuralism flourishes in this gap between signifier and signified—all its creativity, vitality and perspicacity comes from exploiting the instability between signifier and signified.\n\npost-structuralism is suffused with an intractable suspicion, as it scrutinizes the ways in which symbolic systems are employed to establish and perpetuate authority (if not domination). post-structuralism can be understood as a discrediting project. it wants to discredit the notion of “truth” as universal, timeless and monolithic, but instead truth as an unstable field of competing epistemic claims (the progenitor being nietzsche). it wants to discredit the assumption that words are capable of referring to a meaning existing outside of language, but instead meaning is only the effect (and not the cause) of language itself. it wants to discredit the triumphalism of humanism which posits that “man” is on a teleological trajectory towards progress, but instead diminishes man to a “strange empirico-transcendental doublet” (the order of things, foucault), man as mere accident of historical discourses. it wants to discredit the notion of the cartesian “subject” as rational, coherent & capable of free will—but instead the subject as imbricated in an invisible matrix of power struggles beyond its control, divided against itself. it wants to discredit the notion of a “work” as a hermetically sealed masterpiece with a single stagnant meaning which we have to ‘unlock’—but instead the “text” as an unstable tissue of quotations whose meaning is constantly deferred.\n\nin its heyday, post-structuralism ignited a conflagration in the u.s. (though not in europe), becoming a political football in the “culture wars” of the 1980’s (because of its ability to erode citadels of cultural authority), leading to the politicization of the humanities in the u.s. and the rise of the “studies” fields (i.e. culture studies, gender studies, postcolonial studies, ethnic studies, etc. even the difference today between a university department being called “art history” versus “visual cultures” is the unspoken legacy of post-structuralism (art history = a more old-fashioned cavalcade of canonical “masterpieces”; visual cultures = post-1960’s approach to visual phenomena in the expanded field as imbricated in material, social and political discourses). lacan brought psychoanalysis into the domain of philosophy; derrida brought literature into philosophy. whereas once criticism was subservient to literature, post-structuralists brought criticism into such efflorescence that criticism challenged the primacy of literature.\n\nthis project will turn post-structuralism into fun material objects you can touch and feel (so craft & theory no longer have to be segregated). it will create a post-structuralist board game, a cartoon series called “post-structuralist comics,” homemade post-structuralist jewelry (post-structuralist bracelets & necklaces,) and a working group called “the arts of post-structuralism”.","post-structuralist fun pack “red threads”:\n\nred thread 1: the russian origins of post-structuralism: originating with opoyaz [общество изучения поэтического языка] (st. petersburg) and the moscow linguistic circle (1915-1924), the russian formalists (i.e. roman jakobson, viktor shklovsky, etc.) were the ancestors of structuralism (as well as soviet writer vladimir propp’s morphology of the folktale (1928) taken up by levi-strauss who rewrote it for structuralism (1960).\n\nred thread 2: post-structuralism & queer theory: foucault’s rejection of the supposed “objectivity” of historical knowledge and “universal truth” opens the door to the rejection of heterosexuality as a universal truth, instead recasting heterosexuality as a contingent matrix of discourses, institutions and norms which have been naturalized as “universal” or “normal”—i.e. a “truth effect”.\n\nred thread 3: far right co-option of post-structuralism: whether it is the idf’s use of deleuze/guattari’s “smooth & striated” space https://www.frieze.com/article/art-war, the identitarian movement’s (fabrice robert) use of gramsci’s ideas in spreading right-wing politics through culture (“métapolitique”), or alexander dugin’s embracing the post-structuralist idea of multiple truths, how has the far right repurposed post-structuralism for its own politics?\n\nred thread 4: post-structuralism & the post-internet age: the ‘rhizome’ (deleuze), the ‘trace’ (derrida), the ‘death of the author and the birth of the reader’ (barthes)—seminal post-structuralist ideas were effortlessly (and inadvertently) put into practice by the internet’s non-linear decentralized structure (i.e. hypertext [online texts dynamically changing in response to user input] as well as the de-monumentalization of the author function [once monolithic and hermetically sealed, authorship has now been deterritorialized by the internet (i.e. online forms of distributed authorship & communal writing [wikipedia, blogs, etc.])",{"_type":9,"current":17841},"post-structuralist-fun-pack","Post-structuralist Fun Pack",{"_id":17844,"_type":1027,"categories":7,"credits":17845,"featuredImage":18084,"filterables":18087,"footnotes":18092,"locations":18093,"logbook":7,"pageBuilder":18097,"researchQuestion":18124,"researchQuestions":7,"searchables":18133,"seo":7,"slug":18136,"title":18138,"year":118},"f3546c42-f000-4e16-8542-a6447962ba96",{"other":7,"profiles":17846},[17847,17892,17917,17941,17965,17989,18013,18037,18060],{"_id":17848,"_type":1078,"activeYears":17849,"bio":17852,"bioShort":17860,"featuredImage":17861,"filterables":17868,"links":17871,"locations":17876,"searchables":17889,"seo":7,"slug":17891,"title":17862},"7fd1c8c9-4965-4fd9-8f18-8dd0f60ae86c",[17850],{"_id":115,"_type":99,"seo":7,"slug":17851,"title":118},{"_type":9,"current":117},[17853],{"_key":17854,"_type":219,"children":17855,"markDefs":17859,"style":232},"fd0713317490",[17856],{"_key":17857,"_type":223,"marks":17858,"text":12647},"d486d2652f2a0",[],[],"An educational and research platform from Prishtina (RKS) published in the format of a Newspaper, in printed and digital versions.",{"alt":17862,"asset":17863},"Potpuri",{"_id":17864,"height":17865,"orientation":1474,"ratio":17866,"url":17867,"width":12654},"image-a599c3fd98c71f773e9f93915e64a37e7e27e171-2560x1957-jpg",1957,1.3081246806336229,"https://cdn.sanity.io/images/eodip22e/production/a599c3fd98c71f773e9f93915e64a37e7e27e171-2560x1957.jpg",{"filterYear":17869},[17870],{"_id":115,"title":118},[17872,17874],{"_type":1138,"label":1139,"url":17873},"https://potpuri.org/",{"_type":1138,"label":1142,"url":17875},"https://www.instagram.com/potpuri.ks/",{"locations":17877,"other":17880},[17878],{"_id":331,"_type":308,"seo":7,"slug":17879,"title":334},{"_type":9,"current":333},[17881],{"_key":17882,"_type":219,"children":17883,"markDefs":17888,"style":232},"6a829e4d0616",[17884],{"_key":17885,"_type":223,"marks":17886,"text":17887},"3d31406e14270",[],"📍Prishtina 🕊️ 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Ismaili",{"_id":17942,"_type":1078,"activeYears":17943,"bio":17946,"bioShort":17954,"featuredImage":7,"filterables":17955,"links":17958,"locations":7,"searchables":17960,"seo":7,"slug":17962,"title":17964},"1938b0c9-cf41-4a5e-ab0a-c749045b4136",[17944],{"_id":115,"_type":99,"seo":7,"slug":17945,"title":118},{"_type":9,"current":117},[17947],{"_key":17948,"_type":219,"children":17949,"markDefs":17953,"style":232},"a510005aaefd",[17950],{"_key":17951,"_type":223,"marks":17952,"text":12647},"3c82f510dffe",[],[],"Artist, Author and Researcher – Content developer at Potpuri",{"filterYear":17956},[17957],{"_id":115,"title":118},[17959],{"_type":1138,"label":17911,"url":17875},[17961,117],"diona kusari",{"_type":9,"current":17963},"diona-kusari","Diona 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Dragusha",{"_id":17990,"_type":1078,"activeYears":17991,"bio":17994,"bioShort":18002,"featuredImage":7,"filterables":18003,"links":18006,"locations":7,"searchables":18008,"seo":7,"slug":18010,"title":18012},"9f54d48b-b4f6-4521-a369-008fb4fc18a0",[17992],{"_id":115,"_type":99,"seo":7,"slug":17993,"title":118},{"_type":9,"current":117},[17995],{"_key":17996,"_type":219,"children":17997,"markDefs":18001,"style":232},"20ab4d202862",[17998],{"_key":17999,"_type":223,"marks":18000,"text":12647},"539d86c510c9",[],[],"Artist and Young European Ambassador at Webalkan – Logistics coordinator at Potpuri",{"filterYear":18004},[18005],{"_id":115,"title":118},[18007],{"_type":1138,"label":17911,"url":17875},[18009,117],"endrit tasholli",{"_type":9,"current":18011},"endrit-tasholli","Endrit Tasholli",{"_id":18014,"_type":1078,"activeYears":18015,"bio":18018,"bioShort":18026,"featuredImage":7,"filterables":18027,"links":18030,"locations":7,"searchables":18032,"seo":7,"slug":18034,"title":18036},"c2479645-999c-40ef-a6a2-99f3ba37dc7b",[18016],{"_id":115,"_type":99,"seo":7,"slug":18017,"title":118},{"_type":9,"current":117},[18019],{"_key":18020,"_type":219,"children":18021,"markDefs":18025,"style":232},"6a36a2862264",[18022],{"_key":18023,"_type":223,"marks":18024,"text":12647},"abd7a55374fa0",[],[],"Community Organizer and Researcher – Creative producer at Potpuri",{"filterYear":18028},[18029],{"_id":115,"title":118},[18031],{"_type":1138,"label":17911,"url":17875},[18033,117],"era qena",{"_type":9,"current":18035},"era-qena","Era Qena",{"_id":18038,"_type":1078,"activeYears":18039,"bio":18042,"bioShort":18026,"featuredImage":7,"filterables":18050,"links":18053,"locations":7,"searchables":18055,"seo":7,"slug":18057,"title":18059},"5dc76dce-a732-49f7-af6f-4b2adb992da6",[18040],{"_id":115,"_type":99,"seo":7,"slug":18041,"title":118},{"_type":9,"current":117},[18043],{"_key":18044,"_type":219,"children":18045,"markDefs":18049,"style":232},"9760fbdcc323",[18046],{"_key":18047,"_type":223,"marks":18048,"text":12647},"ba1035d7acac0",[],[],{"filterYear":18051},[18052],{"_id":115,"title":118},[18054],{"_type":1138,"label":17911,"url":17875},[18056,117],"shpat shkodra",{"_type":9,"current":18058},"shpat-shkodra","Shpat Shkodra",{"_id":18061,"_type":1078,"activeYears":18062,"bio":18065,"bioShort":18073,"featuredImage":7,"filterables":18074,"links":18077,"locations":7,"searchables":18079,"seo":7,"slug":18081,"title":18083},"2d6fb6df-3071-493a-84f5-890f6e1e96a6",[18063],{"_id":115,"_type":99,"seo":7,"slug":18064,"title":118},{"_type":9,"current":117},[18066],{"_key":18067,"_type":219,"children":18068,"markDefs":18072,"style":232},"c22e11770021",[18069],{"_key":18070,"_type":223,"marks":18071,"text":12647},"f99db2ffeda70",[],[],"Artist and Researcher – Visual and creative developer at Potpuri",{"filterYear":18075},[18076],{"_id":115,"title":118},[18078],{"_type":1138,"label":17911,"url":17875},[18080,117],"toska salihu",{"_type":9,"current":18082},"toska-salihu","Toska Salihu",{"alt":18085,"asset":18086},"School of Commons - Potpuri Process",{"_id":17864,"height":17865,"orientation":1474,"ratio":17866,"url":17867,"width":12654},{"filterCategory":7,"filterLocation":18088,"filterYear":18090},[18089],{"_id":331,"title":334},[18091],{"_id":115,"title":118},[],{"locations":18094,"other":7},[18095],{"_id":331,"_type":308,"seo":7,"slug":18096,"title":334},{"_type":9,"current":333},[18098],{"_type":1625,"settings":7,"text":18099},[18100,18108,18116],{"_key":18101,"_type":219,"children":18102,"markDefs":18107,"style":232},"0268c77f3e07",[18103],{"_key":18104,"_type":223,"marks":18105,"text":18106},"90e1c699a62a0",[],"In 2022 Potpuri produced the first independent, experimental and handicraft newspaper print in Kosovo, a few years after all commercial newspapers were discontinued. Our collective goals were to experiment with research and production methodologies, to put play over aesthetics, to craft the product ourselves rather than outsource to providers, as well as make the process transparent (we curated an exhibition which was a ritualistic offering, a playful scenography displaying all parts of our process) and accessible (we offered the newspaper through suggested pricing). We have been working together for a year, attending weekly meetings, coming into collective decisions, researching and writing, maintaining an online platform, facilitating a process based on inclusivity and openness, horizontal decision-making and community driven by self-initiative and care practices. We have one another’s insistence to further develop our work to speak for the sustainability of our collective. Our work in developing core practices, principles and strategy is ongoing even though financial sustainability and self-renewal are unsure as of now. Our practice has in a way preceded disproportionate theorizing, our ability to nurture a collective has preceded the labile terrain in which we operate. Such a creative process is not something that our current modes of production and economic distribution currently allow, and as such we are left to wonder: How can the learner and practitioner survive in precarity? How can you forge support when peripheral ways of seeing and being are overshadowed by the consent manufactured through media and big companies? How can a collective thrive without answering to the intersectional issues an individual faces when striving to make a living? How can interest and desire to work in the collective continue and renew without individual consideration, care and trauma-informed communities? What alternatives can we imagine?",[],{"_key":18109,"_type":219,"children":18110,"markDefs":18115,"style":232},"04b1cf69bd9d",[18111],{"_key":18112,"_type":223,"marks":18113,"text":18114},"b13e14bbb7bd0",[],"The project we are proposing bridges together the recurring and all-encompassing impediments in implementing collaborative initiatives in cultural and art production in general, and the situation we face currently in our work process – precarity. We bring fresh perspectives with regard to production and design practices, experiential learning, naturally emerging practices within a community-run initiative, and how performing and publicizing such research reflects and is reflected by the culture in a country with such low social mobility.",[],{"_key":18117,"_type":219,"children":18118,"markDefs":18123,"style":232},"69f68953103e",[18119],{"_key":18120,"_type":223,"marks":18121,"text":18122},"a827ecd287c3",[],"We will focus on overcoming and integrating precarity through a multimodal lens, and different activities throughout collective work processes.",[],[18125],{"_key":18126,"_type":219,"children":18127,"markDefs":18132,"style":232},"b2a717040f48",[18128],{"_key":18129,"_type":223,"marks":18130,"text":18131},"92238f5bb492",[],"How can the learner and practitioner survive in precarity? \n\nHow can you forge support when peripheral ways of seeing and being are overshadowed by the consent manufactured through media and big companies? \n\nHow can a collective thrive without answering to the intersectional issues an individual faces when striving to make a living? \n\nHow can interest and desire to work in the collective continue and renew without individual consideration, care and trauma-informed communities? \n\nWhat alternatives can we imagine?",[],[18134,117,333,17890,17913,17937,17961,17985,18009,18033,18056,18080,18135],"potpuri – how to (not) live precariously as a collective learner?","in 2022 potpuri produced the first independent, experimental and handicraft newspaper print in kosovo, a few years after all commercial newspapers were discontinued. our collective goals were to experiment with research and production methodologies, to put play over aesthetics, to craft the product ourselves rather than outsource to providers, as well as make the process transparent (we curated an exhibition which was a ritualistic offering, a playful scenography displaying all parts of our process) and accessible (we offered the newspaper through suggested pricing). we have been working together for a year, attending weekly meetings, coming into collective decisions, researching and writing, maintaining an online platform, facilitating a process based on inclusivity and openness, horizontal decision-making and community driven by self-initiative and care practices. we have one another’s insistence to further develop our work to speak for the sustainability of our collective. our work in developing core practices, principles and strategy is ongoing even though financial sustainability and self-renewal are unsure as of now. our practice has in a way preceded disproportionate theorizing, our ability to nurture a collective has preceded the labile terrain in which we operate. such a creative process is not something that our current modes of production and economic distribution currently allow, and as such we are left to wonder: how can the learner and practitioner survive in precarity? how can you forge support when peripheral ways of seeing and being are overshadowed by the consent manufactured through media and big companies? how can a collective thrive without answering to the intersectional issues an individual faces when striving to make a living? how can interest and desire to work in the collective continue and renew without individual consideration, care and trauma-informed communities? what alternatives can we imagine?\n\nthe project we are proposing bridges together the recurring and all-encompassing impediments in implementing collaborative initiatives in cultural and art production in general, and the situation we face currently in our work process – precarity. we bring fresh perspectives with regard to production and design practices, experiential learning, naturally emerging practices within a community-run initiative, and how performing and publicizing such research reflects and is reflected by the culture in a country with such low social mobility.\n\nwe will focus on overcoming and integrating precarity through a multimodal lens, and different activities throughout collective work processes.",{"_type":9,"current":18137},"potpuri-how-to-not-live-precariously-as-a-collective-learner","Potpuri – How to (not) live precariously as a collective learner?",{"_id":18140,"_type":1027,"categories":18141,"credits":18145,"featuredImage":18212,"filterables":18220,"footnotes":18227,"locations":18228,"logbook":7,"pageBuilder":7,"researchQuestion":18232,"researchQuestions":7,"searchables":18257,"seo":7,"slug":18260,"title":18213,"year":118},"961b5845-1672-4386-9fee-a96aa9287ffa",[18142],{"_id":720,"_type":362,"colorPrimary":18143,"seo":7,"slug":18144,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"other":18146,"profiles":18163},[18147,18155],{"_key":18148,"_type":219,"children":18149,"markDefs":18154,"style":232},"e048b047f2a9",[18150],{"_key":18151,"_type":223,"marks":18152,"text":18153},"7c712d59114b",[],"Project contributors include: ",[],{"_key":18156,"_type":219,"children":18157,"markDefs":18162,"style":232},"1edd75837570",[18158],{"_key":18159,"_type":223,"marks":18160,"text":18161},"ed3ec7a97bed",[],"Erena Rangimarie Ransfield Rhöse\nSamantha Novella\nJeremy Boxer\nAlnoor Ladha \nLynn Murphy\nFanny Lindström",[],[18164],{"_id":18165,"_type":1078,"activeYears":18166,"bio":18169,"bioShort":18185,"featuredImage":7,"filterables":18186,"links":18189,"locations":18195,"searchables":18207,"seo":7,"slug":18209,"title":18211},"882ce7c5-bdd5-45f6-8299-52a540771edd",[18167],{"_id":115,"_type":99,"seo":7,"slug":18168,"title":118},{"_type":9,"current":117},[18170,18177],{"_key":18171,"_type":219,"children":18172,"markDefs":18176,"style":232},"55b7053d3568",[18173],{"_key":18174,"_type":223,"marks":18175,"text":1405},"a154465e26ec0",[],[],{"_key":18178,"_type":219,"children":18179,"markDefs":18184,"style":232},"60913d2a53c6",[18180],{"_key":18181,"_type":223,"marks":18182,"text":18183},"ef3390c68474",[],"She is an alumni of the CCL Creative Climate Leadership training from JB and the co-founder of HARP (Holistic Arts Research Program) of LIOS Labs - Arts of Ecology platform. Together with Earthrise studio, and in collaboration with the pioneering sound studio MONOM (4DSOUND), she produces sound installations and immersive art projects about the climate crisis. In 2021 she was part of launching a collaborative sound installation project at the COP26 with Minga Indigena at the Indigenous peoples hub and with the New York Times Climate Forward hub in London. She was the head of programming for CultureCOP28 in Egypt and is certified in Indigenous Peoples Rights at Columbia University. Jasmine holds a (BA) in film directing from the DFFB where she is also currently finnishing her master’s degree. She was previously an active member of an international anarchist squat in Exarcheia, Athens, and worked on opening and hosting safe spaces for women refugees and children there in 2019-2021.",[],"Jasmine is a Finnish film director and activist working for Climate Justice in the transgression of storytelling, Nature's Rights and Indigenous peoples rights. ",{"filterYear":18187},[18188],{"_id":115,"title":118},[18190,18193],{"_type":1138,"label":18191,"url":18192},"RiverLov","https://riverlov.com/",{"_type":1138,"label":1142,"url":18194},"https://www.instagram.com/jasmine.alakari/",{"locations":18196,"other":18199},[18197],{"_id":331,"_type":308,"seo":7,"slug":18198,"title":334},{"_type":9,"current":333},[18200],{"_key":18201,"_type":219,"children":18202,"markDefs":18206,"style":232},"3b63d902e3fe",[18203],{"_key":18204,"_type":223,"marks":18205,"text":5697},"b91324176934",[],[],[18208,117],"jasmine alakari",{"_type":9,"current":18210},"jasmine-alakari","Jasmine Alakari",{"alt":18213,"asset":18214},"Rights of Nature: Tools and methodologies for systemic change",{"_id":18215,"height":18216,"orientation":1129,"ratio":18217,"url":18218,"width":18219},"image-c7a1a72258f3fd1babdf3f3ce24c5582c415b966-736x981-jpg",981,0.7502548419979612,"https://cdn.sanity.io/images/eodip22e/production/c7a1a72258f3fd1babdf3f3ce24c5582c415b966-736x981.jpg",736,{"filterCategory":18221,"filterLocation":18223,"filterYear":18225},[18222],{"_id":720,"title":723},[18224],{"_id":331,"title":334},[18226],{"_id":115,"title":118},[],{"locations":18229,"other":7},[18230],{"_id":331,"_type":308,"seo":7,"slug":18231,"title":334},{"_type":9,"current":333},[18233,18241,18249],{"_key":18234,"_type":219,"children":18235,"markDefs":18240,"style":232},"8fb32af3da4a",[18236],{"_key":18237,"_type":223,"marks":18238,"text":18239},"b9ad0d4bed390",[],"Narrative Research: How can narrative approaches support the rights of nature movement?",[],{"_key":18242,"_type":219,"children":18243,"markDefs":18248,"style":232},"4844bde54144",[18244],{"_key":18245,"_type":223,"marks":18246,"text":18247},"b53096ab08f80",[],"Legal Research: How can legal strategies advance the protection of commons and hold corporations accountable for environmental impact?",[],{"_key":18250,"_type":219,"children":18251,"markDefs":18256,"style":232},"23579fdd1cd1",[18252],{"_key":18253,"_type":223,"marks":18254,"text":18255},"fa1339f9f1400",[],"Design and Launch: How can artistic and creative processes contribute to effective tools for promoting the rights of nature?",[],[18258,117,333,18208,18259,722],"rights of nature: tools and methodologies for systemic change","project contributors include: \n\nerena rangimarie ransfield rhöse\nsamantha novella\njeremy boxer\nalnoor ladha \nlynn murphy\nfanny lindström",{"_type":9,"current":18261},"rights-of-nature-tools-and-methodologies-for-systemic-change",{"_id":18263,"_type":1027,"categories":18264,"credits":18274,"featuredImage":18324,"filterables":18332,"footnotes":18341,"locations":18342,"logbook":7,"pageBuilder":18346,"researchQuestion":18357,"researchQuestions":7,"searchables":18366,"seo":7,"slug":18369,"title":18325,"year":118},"92299949-4df3-426b-9d50-1d60275ae1d6",[18265,18268,18271],{"_id":805,"_type":362,"colorPrimary":18266,"seo":7,"slug":18267,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"_id":410,"_type":362,"colorPrimary":18269,"seo":7,"slug":18270,"title":413},{"label":1031,"value":1036},{"_type":9,"current":412},{"_id":505,"_type":362,"colorPrimary":18272,"seo":7,"slug":18273,"title":508},{"label":1031,"value":5270},{"_type":9,"current":507},{"other":7,"profiles":18275},[18276],{"_id":18277,"_type":1078,"activeYears":18278,"bio":18283,"bioShort":18292,"featuredImage":18293,"filterables":18300,"links":18304,"locations":18307,"searchables":18320,"seo":7,"slug":18322,"title":18294},"54da38a6-e780-4d33-b724-9a3e67b159f9",[18279,18281],{"_id":120,"_type":99,"seo":7,"slug":18280,"title":123},{"_type":9,"current":122},{"_id":115,"_type":99,"seo":7,"slug":18282,"title":118},{"_type":9,"current":117},[18284],{"_key":18285,"_type":219,"children":18286,"markDefs":18291,"style":232},"653b149ee71b",[18287],{"_key":18288,"_type":223,"marks":18289,"text":18290},"711479a874ed0",[],"Internationally recognized as one of the most promising performers in the contemporary field (Ulysses Network), he has won prizes and collected appreciations as soloist, with important orchestras (Filarmonica della scala, Pomeriggi Musicali etc.) and renowned ensembles (Ensemble Intercontemporain, Ensemble Modern, Divertimento Ensemble etc.). He graduated in Clarinet at the Conservatory of Milan, obtaining a master degree in Bass Clarinet, both with honors and winning the prize as best wind instrumentalist of the institution. He obtained a master degree in contemporary music at the International Ensemble Modern Academy and he won auditions for numerous institutions (Lucerne Contemporary Orchestra, IRCAM Ulysses Ensemble, IEMA etc.). He is the artistic director and ideator of the music festival The No Way Experience. He frequently collaborates with composers of all nationalities in writing solo compositions dedicated to him. Acciarino recorded with labels such as Stradivarius, Hessischer Rundfunk, Limen Music and RAI, Italy's first radio station, from which he was invited for a podcast reserved to the most promising young contemporary performers. Since 2022 he is working on a research project that involves the University of the Arts in Zurich, the Orpheus Institute in Ghent, the Conservatories of Milan and the Conservatory of Florence. He teaches music, clarinet and saxophone in different institutions between Italy, Germany and Switzerland.",[],"A multifaceted multi-instrumentalist with an international concert career that ranges across opposing musical genres. ",{"alt":18294,"asset":18295},"Riccardo Acciarino",{"_id":18296,"height":2394,"orientation":1129,"ratio":18297,"url":18298,"width":18299},"image-197bcbc91b8a2d2f3e069292b9547d219b4272a9-824x1280-jpg",0.64375,"https://cdn.sanity.io/images/eodip22e/production/197bcbc91b8a2d2f3e069292b9547d219b4272a9-824x1280.jpg",824,{"filterYear":18301},[18302,18303],{"_id":120,"title":123},{"_id":115,"title":118},[18305],{"_type":1138,"label":1142,"url":18306},"https://www.instagram.com/ricky_acciarino/?hl=en",{"locations":18308,"other":18311},[18309],{"_id":331,"_type":308,"seo":7,"slug":18310,"title":334},{"_type":9,"current":333},[18312],{"_key":18313,"_type":219,"children":18314,"markDefs":18319,"style":232},"04bfba239e67",[18315],{"_key":18316,"_type":223,"marks":18317,"text":18318},"83df88d2b73d0",[],"Between Milan and Zürich\n",[],[18321,122,117],"riccardo acciarino",{"_type":9,"current":18323},"riccardo-acciarino",{"alt":18325,"asset":18326},"The No Way Experience",{"_id":18327,"height":18328,"orientation":1474,"ratio":18329,"url":18330,"width":18331},"image-498196860deccb54c41eeeaeeed61900f55ca1cf-1264x924-png",924,1.367965367965368,"https://cdn.sanity.io/images/eodip22e/production/498196860deccb54c41eeeaeeed61900f55ca1cf-1264x924.png",1264,{"filterCategory":18333,"filterLocation":18337,"filterYear":18339},[18334,18335,18336],{"_id":805,"title":808},{"_id":410,"title":413},{"_id":505,"title":508},[18338],{"_id":331,"title":334},[18340],{"_id":115,"title":118},[],{"locations":18343,"other":7},[18344],{"_id":331,"_type":308,"seo":7,"slug":18345,"title":334},{"_type":9,"current":333},[18347],{"_type":1625,"settings":7,"text":18348},[18349],{"_key":18350,"_type":219,"children":18351,"markDefs":18356,"style":232},"0dcdb1ccecc3",[18352],{"_key":18353,"_type":223,"marks":18354,"text":18355},"403ac26f5f990",[],"In Zygmunt Bauman’s society of uncertainty, certain ty educates, univocity enchants, and habit reigns. Music seeks its place among entertainment and boredom, in the most fragmented proposition the world has ever welcomed. Interpretation as stan dard, definition as limitation, and listening as learn ing are just some of the delicate issues character izing the post-modern era, which for the first time in history sees technical reproduction reign over art. This research arises from the tangible discomfort increasingly found in ‘cultured’ genres of music, a discomfort caused by the increasing need for oppor tunities that move away from the conventional to ward the personal. NWE therefore asks:How to pro pose and interpret today music conceived in such a different past and how to create new music that is unconventional and conscious of modern fruition at the same time? How to make the genre not a lim itation but an opportunity? How does the nature of perception influence the conception of the category Music? Who is the performer today? Focus will be on the figure of the performer, the average listener, the role of writing and music in general, exploring the necessary artistic, sociological, psychological and historical aspects. Institutions of international importance including the ZHdK in Zurich, the Or pheus Institute in Ghent, the conservatories of Mi lan and Florence and their respective students are already involved in the research. Thanks to SoC, the research would be able to count on the stimuli and feedback from the various participants, which are crucial for the development of the ideas. The goal is to outline a critical plan that can lead the way to a practical and viable solution, to a network of artists and students that could reform a scene in search of novelty. Thus was born The No Way Experience, the itinerant music festival where traditional rules of mu sic are challenged and pushed to the limit. NWE is unique multi-artistic events that will never be repeat ed in the same way. It is live, human, risky, imperfect and unpredictable. It is a meeting point of cultures, but also an opportunity to explore uncharted musical territories. NWE doesn’t target a specific audience, it mutates to reach everybody. NWE breaks free from praxis in favour of interpretation, it studies habits to shatter their monotony. NWE is not definition, it is emancipation. NWE is not just us, NWE is you.",[],[18358],{"_key":18359,"_type":219,"children":18360,"markDefs":18365,"style":232},"a4a06ee991bd",[18361],{"_key":18362,"_type":223,"marks":18363,"text":18364},"ffaca14f1719",[],"How can we redefine today's music in light of a different past?\n\nIs genre not a limitation but an opportunity?\n\nWhat role does perception play in defining Music?\n\nWho is the performer of today?",[],[18367,117,333,18321,18368,807,1783,5642],"the no way experience","in zygmunt bauman’s society of uncertainty, certain ty educates, univocity enchants, and habit reigns. music seeks its place among entertainment and boredom, in the most fragmented proposition the world has ever welcomed. interpretation as stan dard, definition as limitation, and listening as learn ing are just some of the delicate issues character izing the post-modern era, which for the first time in history sees technical reproduction reign over art. this research arises from the tangible discomfort increasingly found in ‘cultured’ genres of music, a discomfort caused by the increasing need for oppor tunities that move away from the conventional to ward the personal. nwe therefore asks:how to pro pose and interpret today music conceived in such a different past and how to create new music that is unconventional and conscious of modern fruition at the same time? how to make the genre not a lim itation but an opportunity? how does the nature of perception influence the conception of the category music? who is the performer today? focus will be on the figure of the performer, the average listener, the role of writing and music in general, exploring the necessary artistic, sociological, psychological and historical aspects. institutions of international importance including the zhdk in zurich, the or pheus institute in ghent, the conservatories of mi lan and florence and their respective students are already involved in the research. thanks to soc, the research would be able to count on the stimuli and feedback from the various participants, which are crucial for the development of the ideas. the goal is to outline a critical plan that can lead the way to a practical and viable solution, to a network of artists and students that could reform a scene in search of novelty. thus was born the no way experience, the itinerant music festival where traditional rules of mu sic are challenged and pushed to the limit. nwe is unique multi-artistic events that will never be repeat ed in the same way. it is live, human, risky, imperfect and unpredictable. it is a meeting point of cultures, but also an opportunity to explore uncharted musical territories. nwe doesn’t target a specific audience, it mutates to reach everybody. nwe breaks free from praxis in favour of interpretation, it studies habits to shatter their monotony. nwe is not definition, it is emancipation. nwe is not just us, nwe is you.",{"_type":9,"current":18370},"the-no-way-experience",{"_id":18372,"_type":1027,"categories":18373,"credits":18386,"featuredImage":18472,"filterables":18477,"footnotes":18487,"locations":18488,"logbook":7,"pageBuilder":18492,"researchQuestion":18559,"researchQuestions":7,"searchables":18584,"seo":7,"slug":18589,"title":18412,"year":118},"6e705ee8-e213-48c6-a07f-e8a633565415",[18374,18377,18380,18383],{"_id":985,"_type":362,"colorPrimary":18375,"seo":7,"slug":18376,"title":988},{"label":1031,"value":5255},{"_type":9,"current":987},{"_id":535,"_type":362,"colorPrimary":18378,"seo":7,"slug":18379,"title":538},{"label":1031,"value":7216},{"_type":9,"current":537},{"_id":405,"_type":362,"colorPrimary":18381,"seo":7,"slug":18382,"title":408},{"label":1031,"value":5263},{"_type":9,"current":407},{"_id":695,"_type":362,"colorPrimary":18384,"seo":7,"slug":18385,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":7,"profiles":18387},[18388,18431],{"_id":18389,"_type":1078,"activeYears":18390,"bio":18393,"bioShort":18402,"featuredImage":7,"filterables":18403,"links":18406,"locations":18414,"searchables":18426,"seo":7,"slug":18428,"title":18430},"9c186fad-498b-44ef-a67d-bb40b639cc75",[18391],{"_id":115,"_type":99,"seo":7,"slug":18392,"title":118},{"_type":9,"current":117},[18394],{"_key":18395,"_type":219,"children":18396,"markDefs":18401,"style":232},"07d67a97ef3f",[18397],{"_key":18398,"_type":223,"marks":18399,"text":18400},"ac09b55bb7c60",[],"She currently teaches at Ravensbourne University and Richmond American University, London. She has previously taught at Condé Nast College of Fashion & Design, University for the Creative Arts and Fashion Retail Academy with primary roles in leading and supporting units Innovation in Publishing, Design Futures, Critical Design Practice and Professional Life Practice: Criticalities. Urjuan is currently learning Modern Standard Arabic through the London Learning Co-Operative Group.",[],"Urjuan is a London-based multi-disciplinary graphic designer and educator whose research-based practice explores collaboration and systems of accessible knowledge-sharing, with an acute focus on the fields of design and education. ",{"filterYear":18404},[18405],{"_id":115,"title":118},[18407,18409,18411],{"_type":1138,"label":17551,"url":18408},"https://2023.rca.ac.uk/students/urjuan-toosy/",{"_type":1138,"label":1142,"url":18410},"https://www.instagram.com/urjuantoosy/",{"_type":1138,"label":18412,"url":18413},"The Short Big","https://www.theshortbig.com/",{"locations":18415,"other":18418},[18416],{"_id":331,"_type":308,"seo":7,"slug":18417,"title":334},{"_type":9,"current":333},[18419],{"_key":18420,"_type":219,"children":18421,"markDefs":18425,"style":232},"51f30fb4f995",[18422],{"_key":18423,"_type":223,"marks":18424,"text":12720},"a9500407d0720",[],[],[18427,117],"urjuan toosy",{"_type":9,"current":18429},"urjuan-toosy","Urjuan Toosy",{"_id":18432,"_type":1078,"activeYears":18433,"bio":18436,"bioShort":18444,"featuredImage":7,"filterables":18445,"links":18448,"locations":18454,"searchables":18467,"seo":7,"slug":18469,"title":18471},"a9d3ad8c-a5d1-42d9-864b-6ca66cc06726",[18434],{"_id":115,"_type":99,"seo":7,"slug":18435,"title":118},{"_type":9,"current":117},[18437],{"_key":18438,"_type":219,"children":18439,"markDefs":18443,"style":232},"13d19253d8ce",[18440],{"_key":18441,"_type":223,"marks":18442,"text":12647},"5b804a553fa40",[],[],"Graphic Designer, Visual Researcher & Art Director",{"filterYear":18446},[18447],{"_id":115,"title":118},[18449,18451,18453],{"_type":1138,"label":1139,"url":18450},"https://marianacheiran.squarespace.com/",{"_type":1138,"label":1142,"url":18452},"https://www.instagram.com/mariana_c.neves/",{"_type":1138,"label":18412,"url":18413},{"locations":18455,"other":18458},[18456],{"_id":331,"_type":308,"seo":7,"slug":18457,"title":334},{"_type":9,"current":333},[18459],{"_key":18460,"_type":219,"children":18461,"markDefs":18466,"style":232},"04275135d536",[18462],{"_key":18463,"_type":223,"marks":18464,"text":18465},"e9c9c3b283d70",[],"Based in London, born in Lisbon",[],[18468,117],"mariana neves",{"_type":9,"current":18470},"mariana-neves","Mariana Neves",{"alt":18473,"asset":18474},"School of Commons - The Short Big",{"_id":18475,"height":12654,"orientation":7818,"ratio":2178,"url":18476,"width":12654},"image-ca7a107ad7f35aee986c3a53d1c202ba9171724a-2560x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/ca7a107ad7f35aee986c3a53d1c202ba9171724a-2560x2560.jpg",{"filterCategory":18478,"filterLocation":18483,"filterYear":18485},[18479,18480,18481,18482],{"_id":985,"title":988},{"_id":535,"title":538},{"_id":405,"title":408},{"_id":695,"title":698},[18484],{"_id":331,"title":334},[18486],{"_id":115,"title":118},[],{"locations":18489,"other":7},[18490],{"_id":331,"_type":308,"seo":7,"slug":18491,"title":334},{"_type":9,"current":333},[18493,18503,18508,18518,18523,18547],{"_type":1625,"settings":7,"text":18494},[18495],{"_key":18496,"_type":219,"children":18497,"markDefs":18502,"style":232},"c35453faf0a3",[18498],{"_key":18499,"_type":223,"marks":18500,"text":18501},"0f47bf04aa07",[],"The Short Big is a workshop and podcast series that aims to demystify academic language and emphasise experiential approaches to knowledge generation. Our focus is on bridging the gap between academia and the wider public, highlighting global learning models and the potential of education to enhance social mobility through engaging and open-sourcing knowledge production processes.",[],{"_type":1621,"caption":7,"image":18504},{"alt":18473,"asset":18505},{"_id":18506,"height":12654,"orientation":7818,"ratio":2178,"url":18507,"width":12654},"image-f575830a8fa765aba78df5f2a6d599bda03c9f5e-2560x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/f575830a8fa765aba78df5f2a6d599bda03c9f5e-2560x2560.jpg",{"_type":1625,"settings":7,"text":18509},[18510],{"_key":18511,"_type":219,"children":18512,"markDefs":18517,"style":232},"0d26f9290057",[18513],{"_key":18514,"_type":223,"marks":18515,"text":18516},"547bdc10cd06",[],"Through a series of workshops involving diverse participants, we collaboratively engage in iteratively refining, translating, clarifying, transcribing and editing contemporary research—allowing space to understand, question and contextualise theory in a caring, inclusive and additive way. 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To work within self-organized frameworks, outside established institutions, without a static (economic) infrastructure, might offer the freedom to do things differently, but can also inadvertently (re)generate precarious conditions in which participants are overworked, take up several roles simultaneously, and are left without the capacity to fully embody their ethics.\n\nAs a collective, we repeatedly find ourselves navigating questions such as: What is the ethical dimension of hosting in collective knowledge production? What are the power relations we need to consider as hosts, how can they be reflected or even deconstructed/unlearned? How to navigate the responsibilities and affective investments of the host within the limitations of precarious working conditions?\n\nWith our research, we aim to dive deeper into characteristics, contradictions and possibilities of hosting in the specific frame of (often precarious) self-organized structures in order to develop strategies and tools to navigate responsible and sustainable hosting practices. While current discourses around rethinking hospitality in art institutions, that inform concepts of the museum, the curator as ",{"_key":18755,"_type":223,"marks":18756,"text":18757},"dbd2276143e1",[1559],"good",{"_key":18759,"_type":223,"marks":18760,"text":18761},"7b209891e938",[]," hosts, reveal similarities to the relational template of parental care (Fraser 2016), we want to propose the ",{"_key":18763,"_type":223,"marks":18764,"text":18765},"24ca81e896a5",[1559],"good enough",{"_key":18767,"_type":223,"marks":18768,"text":18769},"828e1f00dff3",[]," host (Winnicott 1956) as a potential strategy for non-institutional facilitation. Rather than situating our idea of hosting in the good/bad binary, the ",{"_key":18771,"_type":223,"marks":18772,"text":18765},"a8459d6df4cc",[1559],{"_key":18774,"_type":223,"marks":18775,"text":18776},"3efe74786940",[]," offers us a way to engage with ambivalences and difficulties inherent to the role of the host. Based on this proposition our first research stage aims to create a common pool of knowledge and references through conversations, exchange of experiences and close readings, in which we engage with texts regarding hosting and collective organizing (e.g. A. Fraser, A. Martinis Roe, D.W. Winnicott, Jo Freeman). For our second research stage, we would like to invite guests working in fields of accessibility, cultural labor unionizing and collective research facilitation to deepen our research on practical steps and strategies. Based on their input, we want to collectively develop tools, such as protocols or guides for navigating capabilities, responsibilities and boundaries of the host. A possible outcome for those tools is the development of a publication (available in print and online), to be shared and used with other facilitators, organizers and hosts. 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How would we host if the socio-economic, political structures surrounding us were different?).",[],[18787,18795,18803],{"_key":18788,"_type":219,"children":18789,"markDefs":18794,"style":232},"461c7c342755",[18790],{"_key":18791,"_type":223,"marks":18792,"text":18793},"c6493b736af30",[],"What is the ethical dimension of hosting in formats of collective knowledge production?",[],{"_key":18796,"_type":219,"children":18797,"markDefs":18802,"style":232},"54d43608ae9f",[18798],{"_key":18799,"_type":223,"marks":18800,"text":18801},"e5e8151bad100",[],"What are the power relations that hosts need to consider and how can they be reflected on or deconstructed?",[],{"_key":18804,"_type":219,"children":18805,"markDefs":18810,"style":232},"e6e1c5f5e882",[18806],{"_key":18807,"_type":223,"marks":18808,"text":18809},"0bd38cad0fc40",[],"How can hosts navigate their responsibilities and affective investments within the limitations of precarious working conditions?",[],[18812,117,18813,333,18633,18669,18709,18814,807],"the good enough host - pragmatic tools for idealistic practices","rupert aep • the good enough host w/ catwings • 2023.11.07","hosting, facilitating and organizing in collective structures can come with a lot of baggage. to work within self-organized frameworks, outside established institutions, without a static (economic) infrastructure, might offer the freedom to do things differently, but can also inadvertently (re)generate precarious conditions in which participants are overworked, take up several roles simultaneously, and are left without the capacity to fully embody their ethics.\n\nas a collective, we repeatedly find ourselves navigating questions such as: what is the ethical dimension of hosting in collective knowledge production? what are the power relations we need to consider as hosts, how can they be reflected or even deconstructed/unlearned? how to navigate the responsibilities and affective investments of 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was initiated by Lena Pozdnyakova, Eldar Tagi and Luise Willer, but invites many others. Their interests align when it comes to imagining playful ways of engaging with the public, practices of solidarity and complement in experimental ways of working. 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She seeks to identify their critiques of institutional structures and canonical knowledges, to gather visions of futurity and to engage and form collaborative processes.",[],"Luise is a producer and art historian whose work revolves around socially oriented artistic practices, particularly their performative moments and organizational forms.  ",{"alt":18969,"asset":18970},"Luise Willer",{"_id":18971,"height":2394,"orientation":1129,"ratio":2920,"url":18972,"width":4201},"image-c8d642c5cc0386b8e34a1c9df39419c9cafe8fcd-960x1280-png","https://cdn.sanity.io/images/eodip22e/production/c8d642c5cc0386b8e34a1c9df39419c9cafe8fcd-960x1280.png",{"filterYear":18974},[18975,18976],{"_id":115,"title":118},{"_id":110,"title":113},[18978],{"_type":1138,"label":1142,"url":18979},"https://www.instagram.com/luise.willer/",{"locations":18981,"other":18984},[18982],{"_id":331,"_type":308,"seo":7,"slug":18983,"title":334},{"_type":9,"current":333},[18985],{"_key":18986,"_type":219,"children":18987,"markDefs":18991,"style":232},"1cc9c528321e",[18988],{"_key":18989,"_type":223,"marks":18990,"text":5697},"9744a2d66384",[],[],[18993,117,112],"luise willer",{"_type":9,"current":18995},"luise-willer",{"_id":18997,"_type":1078,"activeYears":18998,"bio":19007,"bioShort":19024,"featuredImage":19025,"filterables":19032,"links":19038,"locations":19041,"searchables":19054,"seo":7,"slug":19056,"title":19026},"c0a50ddc-e250-462c-a1e5-ba512fcea581",[18999,19001,19003,19005],{"_id":115,"_type":99,"seo":7,"slug":19000,"title":118},{"_type":9,"current":117},{"_id":110,"_type":99,"seo":7,"slug":19002,"title":113},{"_type":9,"current":112},{"_id":105,"_type":99,"seo":7,"slug":19004,"title":108},{"_type":9,"current":107},{"_id":98,"_type":99,"seo":7,"slug":19006,"title":102},{"_type":9,"current":101},[19008,19016],{"_key":19009,"_type":219,"children":19010,"markDefs":19015,"style":232},"4be80586df4c",[19011],{"_key":19012,"_type":223,"marks":19013,"text":19014},"461cdb9af6e7",[],"Lena (b. 1985, Almaty, Kazakhstan) is an artist and researcher.",[],{"_key":19017,"_type":219,"children":19018,"markDefs":19023,"style":232},"3d5a541211c0",[19019],{"_key":19020,"_type":223,"marks":19021,"text":19022},"a4e86285936f",[],"Her work delves into the culture-nature dichotomy, the Anthropocene as a lived experience, and the intersection of life and art. With degrees in Architecture from Sheffield University and DIA University of Applied Sciences, and as an alumna of the Southern California Institute of Architecture, she works in sculpture, multimedia installations, and community projects. Since 2014, she has shown her work at LAMAG, Bauhausfest, Unsound, CTM, Soundpedro Festivals, and the Kazakhstan Pavilion at the 60th Venice Art Biennial. Her socially-engaged projects include work with kids at Neue Nachbarschaft Moabit (Germany), senior communities through Petelka.gift (Kazakhstan), Practices of Care (Kazakhstan), local communities through Plum (LA and Germany), and trans-local collaboration with Lumbung radio. She also co-leads the2vvo duo with Eldar Tagi.",[],"Lena (b. 1985, Almaty, Kazakhstan) is an artist and researcher. 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Tagi explores themes of dynamic systems, liminality, sound perception, bio- and eco-acoustics. His projects, including the2vvo duo with Lena Pozdnyakova, have been presented at international venues, including Archive Machines at the Los Angeles Municipal Museum of Art, the Bauhaus Festival in Dessau, SoundPedro Sound Art Festival in San Pedro, the Korkut Sound Art Biennial at the Kasteev Museum in Almaty, and the Unsound and CTM festivals. In 2024, their work Presence was presented at the 60th International Art Exhibition in Venice, Italy.",[],"Eldar (b.1987, Almaty, Kazakhstan) is a sound artist, composer and researcher. 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Their interdisciplinary approach encompasses theater, literature, visual arts and community-oriented projects. Anna's work focuses on exploring social issues such as class dynamics, ethics of care, belonging and gaps in historical and cultural archives, with a particular emphasis on the welfare system and subjectification within degrading distributive mechanisms of the nation state.",[],"Anna is a versatile practitioner whose work combines art, research and social work. 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His non-club-oriented composition work mainly focuses on conveying the essence of a place or time through organic sounds and instruments. He also works in the field of podcast and editorial strategy for several French media outlets and institutions.",[],{"filterYear":19188},[19189],{"_id":115,"title":118},[19191,117],"germain calsou",{"_type":9,"current":19193},"germain-calsou","Germain Calsou",{"_id":19196,"_type":1078,"activeYears":19197,"bio":19200,"bioShort":19209,"featuredImage":19210,"filterables":19216,"links":19219,"locations":7,"searchables":19222,"seo":7,"slug":19224,"title":19211},"83c973b6-042d-45a8-9cba-f487f1da0c24",[19198],{"_id":115,"_type":99,"seo":7,"slug":19199,"title":118},{"_type":9,"current":117},[19201],{"_key":19202,"_type":219,"children":19203,"markDefs":19208,"style":232},"9b80a2eb57eb",[19204],{"_key":19205,"_type":223,"marks":19206,"text":19207},"c99b6eec55970",[],"Maria is a contemporary artist whose practice spans filmmaking, photography, and mixed-media experimentation. Her work is deeply informed by contemplative practices and a nuanced art of observation, inviting viewers to engage in self-reflection and mindful awareness of the world around them. Her projects have been exhibited as part of the Santa Monica Artwalk, at Studio106LA, and the Echo Park Rising Festival in Los Angeles. She is involved in the European Silk Road project in Vienna, the School of Commons community in Zurich, and the Lumbung Radio community that emerged at Documenta15 in Kassel. With a creative journey that spans Los Angeles, New York, Berlin, Moscow, and Almaty, her works are held in private collections across Los Angeles, Hong Kong, Dubai, and Moscow.",[],"Maria is a contemporary artist whose practice spans filmmaking, photography, and mixed-media experimentation.",{"alt":19211,"asset":19212},"Maria Aus",{"_id":19213,"height":19214,"orientation":7818,"ratio":2178,"url":19215,"width":19214},"image-5e75805169df2d6f9fbe99b382a81a2575d05df9-2371x2371-jpg",2371,"https://cdn.sanity.io/images/eodip22e/production/5e75805169df2d6f9fbe99b382a81a2575d05df9-2371x2371.jpg",{"filterYear":19217},[19218],{"_id":115,"title":118},[19220],{"_type":1138,"label":1139,"url":19221},"https://www.nophotoplz.com",[19223,117],"maria aus",{"_type":9,"current":19225},"maria-aus",{"alt":19227,"asset":19228},"School of Commons - There,there listening space",{"_id":19229,"height":19230,"orientation":1129,"ratio":19231,"url":19232,"width":19233},"image-f494e5d615ffefe7a6983ed692c864cb8df7ddd6-833x1023-jpg",1023,0.8142717497556208,"https://cdn.sanity.io/images/eodip22e/production/f494e5d615ffefe7a6983ed692c864cb8df7ddd6-833x1023.jpg",833,{"filterCategory":19235,"filterLocation":19265,"filterYear":19267},[19236,19237,19238,19239,19240,19241,19242,19243,19244,19245,19246,19247,19248,19249,19250,19251,19252,19253,19254,19255,19256,19257,19258,19259,19260,19261,19262,19263,19264],{"_id":700,"title":703},{"_id":610,"title":613},{"_id":520,"title":523},{"_id":620,"title":623},{"_id":675,"title":678},{"_id":630,"title":633},{"_id":825,"title":828},{"_id":545,"title":548},{"_id":850,"title":853},{"_id":400,"title":403},{"_id":735,"title":738},{"_id":980,"title":983},{"_id":830,"title":833},{"_id":975,"title":978},{"_id":1000,"title":1002},{"_id":605,"title":608},{"_id":1009,"title":1012},{"_id":510,"title":513},{"_id":490,"title":493},{"_id":470,"title":473},{"_id":880,"title":883},{"_id":425,"title":428},{"_id":460,"title":463},{"_id":390,"title":393},{"_id":505,"title":508},{"_id":595,"title":598},{"_id":500,"title":503},{"_id":405,"title":408},{"_id":385,"title":388},[19266],{"_id":331,"title":334},[19268],{"_id":115,"title":118},[],{"locations":19271,"other":7},[19272],{"_id":331,"_type":308,"seo":7,"slug":19273,"title":334},{"_type":9,"current":333},[19275,19385,19392,19400,19433],{"_type":1625,"settings":7,"text":19276},[19277,19285,19292,19300,19308,19316,19331,19346,19361,19369,19377],{"_key":19278,"_type":219,"children":19279,"markDefs":19284,"style":232},"ee3496147d84",[19280],{"_key":19281,"_type":223,"marks":19282,"text":19283},"381e67ace0890",[],"There, There working group is an open collaboration that connects and shares ideas in a decentralized way, focusing on playful public engagement, care, and experimental working practices.",[],{"_key":19286,"_type":219,"children":19287,"markDefs":19291,"style":232},"a116f4f1158b",[19288],{"_key":19289,"_type":223,"marks":19290,"text":1405},"570d1f780e480",[],[],{"_key":19293,"_type":219,"children":19294,"markDefs":19299,"style":232},"3daa38f35274",[19295],{"_key":19296,"_type":223,"marks":19297,"text":19298},"c590e2bf7e9c0",[],"For the School of Commons program, There there proposed a series of listening experiences to be developed. The project is envisioned to be launched on lumbung radio and is released in 2024, after a year of collaborative work in 2023.",[],{"_key":19301,"_type":219,"children":19302,"markDefs":19307,"style":232},"b914fb2c0613",[19303],{"_key":19304,"_type":223,"marks":19305,"text":19306},"342dde5236780",[],"The format is defined as a listening experience that explores cultural practices of radical inclusion and openness to various voices and perspectives driven by the notion of solidarity and care while addressing complex topics of migration, struggles under oppressive regimes (institutional, social, and political), and surviving under the conditions of climate change and late capitalism. Given that these downing paradigms overlap, the project finds its positionality on terrains of what could be referred to as “optimism in despair.” With the project, we hope to create a virtual space where productive discussions and artistic experiments could drive constructive forms of gaining agency and participation/ taking political action.",[],{"_key":19309,"_type":219,"children":19310,"markDefs":19315,"style":232},"6556478f85af",[19311],{"_key":19312,"_type":223,"marks":19313,"text":19314},"493ef7c2be430",[],"With various interpretations at hand, the project of radical openness to diverse voices and stories, and engages with the following themes:",[],{"_key":19317,"_type":219,"children":19318,"markDefs":19330,"style":232},"e43b114d7f02",[19319,19323,19326],{"_key":19320,"_type":223,"marks":19321,"text":19322},"b6d5d517f5100",[225],"1) There there – as a form of repetition and the power of sonic expression",{"_key":19324,"_type":223,"marks":19325,"text":2264},"b6d5d517f5101",[],{"_key":19327,"_type":223,"marks":19328,"text":19329},"b6d5d517f5102",[225],"– is open to various contributions through sound pieces, sonic arts, field recordings, sonic explorations, and commentaries.",[],{"_key":19332,"_type":219,"children":19333,"markDefs":19345,"style":232},"5407a8b23457",[19334,19338,19341],{"_key":19335,"_type":223,"marks":19336,"text":19337},"761646bbbbcc0",[225],"2) There there – as a temporal aspect and projection of the future driven by “optimism in/over despair”",{"_key":19339,"_type":223,"marks":19340,"text":2264},"761646bbbbcc1",[],{"_key":19342,"_type":223,"marks":19343,"text":19344},"761646bbbbcc2",[225],"– is open to conversations and reflections on forms of futurity.",[],{"_key":19347,"_type":219,"children":19348,"markDefs":19360,"style":232},"f71f25ca82ff",[19349,19353,19356],{"_key":19350,"_type":223,"marks":19351,"text":19352},"ddbca820c44b0",[225],"3) There there – as a reference to spatial, planetary, and geographic conditions",{"_key":19354,"_type":223,"marks":19355,"text":2264},"ddbca820c44b1",[],{"_key":19357,"_type":223,"marks":19358,"text":19359},"ddbca820c44b2",[225],"– is open to stories and explorations about migration and transitioning.",[],{"_key":19362,"_type":219,"children":19363,"markDefs":19368,"style":232},"29abd057d203",[19364],{"_key":19365,"_type":223,"marks":19366,"text":19367},"187ce0a199710",[225],"4) There there – as a form of relational work and practices of care – addresses participatory forms of engagement as a form of decolonial project, immanent critique, and decolonial thinking through art and practice.",[],{"_key":19370,"_type":219,"children":19371,"markDefs":19376,"style":232},"5c069c362ea8",[19372],{"_key":19373,"_type":223,"marks":19374,"text":19375},"ddc9b9883a260",[],"On a regular basis, There there releases episodes that take on contrasting formats (addressing specific interpretations of “There there” mentioned above), organizes public events and fosters collaboration. This is aligned with the lumbung radio’s values by proposing the format of radical openness, with only one predicament of accentuating care and solidarity notions. By thinking and testing various non-hierarchical formats for experience sharing and knowledge dissemination, There there aspires to learn through practice.",[],{"_key":19378,"_type":219,"children":19379,"markDefs":19384,"style":232},"4184038b01c4",[19380],{"_key":19381,"_type":223,"marks":19382,"text":19383},"4aed55bcb7050",[],"Driven by all the values mentioned above, the project also incorporates various local and trans-local sub-programs: collaborations, community workshops, shared listening sessions, educational projects, discursive formats and more.",[],{"_type":1621,"caption":7,"image":19386},{"alt":7,"asset":19387},{"_id":19388,"height":19389,"orientation":1474,"ratio":19390,"url":19391,"width":7699},"image-0b13bf897ccebabfca3a5c2cdbe5637ff60fd715-768x537-png",537,1.4301675977653632,"https://cdn.sanity.io/images/eodip22e/production/0b13bf897ccebabfca3a5c2cdbe5637ff60fd715-768x537.png",{"_type":1621,"caption":7,"image":19393},{"alt":7,"asset":19394},{"_id":19395,"height":19396,"orientation":1474,"ratio":19397,"url":19398,"width":19399},"image-339c6dfa8a8b42800e0b0ee73dc995a3e4406d76-2028x1562-png",1562,1.298335467349552,"https://cdn.sanity.io/images/eodip22e/production/339c6dfa8a8b42800e0b0ee73dc995a3e4406d76-2028x1562.png",2028,{"_type":1625,"settings":7,"text":19401},[19402,19417],{"_key":19403,"_type":219,"children":19404,"markDefs":19414,"style":232},"8d16bb1c24e2",[19405,19409],{"_key":19406,"_type":223,"marks":19407,"text":19408},"c7f8935415730",[],"The release of There, there podcasts will be announced here and on the ",{"_key":19410,"_type":223,"marks":19411,"text":19413},"c7f8935415731",[19412],"40ff7c7a076b","lumbung radio website.",[19415],{"_key":19412,"_type":249,"href":19416},"https://www.lumbungradio.org/",{"_key":19418,"_type":219,"children":19419,"markDefs":19432,"style":232},"3ec68ecc1024",[19420,19424,19428],{"_key":19421,"_type":223,"marks":19422,"text":19423},"a2488f1bbe900",[],"We are part of the lumbung inter-local online community, therefore a few words about them:\n\n",{"_key":19425,"_type":223,"marks":19426,"text":19427},"a2488f1bbe901",[225],"lumbung Radio",{"_key":19429,"_type":223,"marks":19430,"text":19431},"a2488f1bbe902",[]," is an inter-local online community radio part of documenta fifteen. 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The thing this project tents to realize through the research is what can be a place of contemporary transdisciplinary art collective place in modern society and how it should be able to find out ways to react to political and social events and changes.",[],{"_key":19717,"_type":219,"children":19718,"markDefs":19723,"style":232},"97d813f9c1b8",[19719],{"_key":19720,"_type":223,"marks":19721,"text":19722},"f41f9aad04b8",[],"Two primary questions are raised here:",[],{"_key":19725,"_type":219,"children":19726,"level":2178,"listItem":2179,"markDefs":19731,"style":232},"4b1105362950",[19727],{"_key":19728,"_type":223,"marks":19729,"text":19730},"652251762f11",[],"How an art collective can exist in capitalist societies by being aware of it and of its own position?",[],{"_key":19733,"_type":219,"children":19734,"level":2178,"listItem":2179,"markDefs":19739,"style":232},"cff72f8b4d7a",[19735],{"_key":19736,"_type":223,"marks":19737,"text":19738},"265bc91a0025",[],"How should an art collective act in unsustainable societies and act as an active social element, as an impulse for structural changes?",[],{"_key":19741,"_type":219,"children":19742,"markDefs":19747,"style":232},"93b718c599e2",[19743],{"_key":19744,"_type":223,"marks":19745,"text":19746},"eeea81490c65",[],"Translating research into practice is a crucial point of this project, but the form of the final contribution would appear and construct during the long way of searching for answers to the main questions.",[],[19749,19756],{"_key":19750,"_type":219,"children":19751,"markDefs":19755,"style":232},"5f1c5052f673",[19752],{"_key":19753,"_type":223,"marks":19754,"text":19730},"93b253db6276",[],[],{"_key":19757,"_type":219,"children":19758,"markDefs":19762,"style":232},"c2a7a20c6891",[19759],{"_key":19760,"_type":223,"marks":19761,"text":19738},"81f20cbf8f07",[],[],[19764,117,333,19527,19552,19581,14236,19630,19655,19680,19765,1783],"unsustainable elements","this project is dedicated to the topic of forming an art collective as a social element actively influencing modern society. the research is focused on how the art collectives in europe were historically formed, how they survived unsustainable times and changing political regimes, how they reacted differently to social shifts, and why some of them fell apart, and some of them existed for a long time. the thing this project tents to realize through the research is what can be a place of contemporary transdisciplinary art collective place in modern society and how it should be able to find out ways to react to political and social events and changes.\n\ntwo primary questions are raised here:\n\nhow an art collective can exist in capitalist societies by being aware of it and of its own position?\n\nhow should an art collective act in unsustainable societies and act as an active social element, as an impulse for structural changes?\n\ntranslating research into practice is a crucial point of this project, but the form of the final contribution would appear and construct during the long way of searching for answers to the main questions.",{"_type":9,"current":19767},"unsustainable-elements","Unsustainable Elements",{"_id":19770,"_type":1027,"categories":19771,"credits":19775,"featuredImage":19822,"filterables":19827,"footnotes":19834,"locations":19835,"logbook":7,"pageBuilder":19839,"researchQuestion":19870,"researchQuestions":7,"searchables":19887,"seo":7,"slug":19890,"title":19892,"year":118},"c01aa85d-2e9d-4fbb-990f-f5b469a7e075",[19772],{"_id":695,"_type":362,"colorPrimary":19773,"seo":7,"slug":19774,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":7,"profiles":19776},[19777],{"_id":19778,"_type":1078,"activeYears":19779,"bio":19782,"bioShort":19799,"featuredImage":19800,"filterables":19808,"links":19811,"locations":19814,"searchables":19818,"seo":7,"slug":19820,"title":19801},"59d18fda-84a2-44d6-a328-9ca8ccb7bcf7",[19780],{"_id":115,"_type":99,"seo":7,"slug":19781,"title":118},{"_type":9,"current":117},[19783,19791],{"_key":19784,"_type":219,"children":19785,"markDefs":19790,"style":232},"e508d5e2cc24",[19786],{"_key":19787,"_type":223,"marks":19788,"text":19789},"ce75e69c1627",[],"For the past twenty years, Lina Zeller (former Lina Frazão) has been working as a movement artist, Pilates instructor, and dance teacher.",[],{"_key":19792,"_type":219,"children":19793,"markDefs":19798,"style":232},"3554bd9dfe8a",[19794],{"_key":19795,"_type":223,"marks":19796,"text":19797},"c6e878415082",[],"She holds a Master’s degree in contemporary arts, with a specialization course in art history and a Bachelor's degree in dance from the Hogeschool voor de Kunsten in Amsterdam, the Netherlands. She has been teaching classes for dance and drama undergraduate students in Brasilia, Brazil, where she was also the coordinator and later, director of research and extension at Instituto Federal de Brasília, in Brazil. She is interested in researching the creative process in dance and its relation to transdisciplinary fields.",[],"For the past twenty years, Lina Zeller (former Lina Frazão) has been working as a movement artist, Pilates instructor, and dance teacher. ",{"alt":19801,"asset":19802},"Lina Zeller",{"_id":19803,"height":19804,"orientation":1129,"ratio":19805,"url":19806,"width":19807},"image-0c1953fb80b899b9b31d87350992f24d039342f9-1199x1599-jpg",1599,0.7498436522826767,"https://cdn.sanity.io/images/eodip22e/production/0c1953fb80b899b9b31d87350992f24d039342f9-1199x1599.jpg",1199,{"filterYear":19809},[19810],{"_id":115,"title":118},[19812],{"_type":1138,"label":1139,"url":19813},"https://www.linazeller.com",{"locations":19815,"other":7},[19816],{"_id":331,"_type":308,"seo":7,"slug":19817,"title":334},{"_type":9,"current":333},[19819,117],"lina zeller",{"_type":9,"current":19821},"lina-zeller",{"alt":19823,"asset":19824},"School of Commons - Writing letters to/from choreographic elements",{"_id":19825,"height":10805,"orientation":1129,"ratio":2920,"url":19826,"width":4629},"image-22022c85e5cbbd6c6beba32e244982fa52565775-750x1000-png","https://cdn.sanity.io/images/eodip22e/production/22022c85e5cbbd6c6beba32e244982fa52565775-750x1000.png",{"filterCategory":19828,"filterLocation":19830,"filterYear":19832},[19829],{"_id":695,"title":698},[19831],{"_id":331,"title":334},[19833],{"_id":115,"title":118},[],{"locations":19836,"other":7},[19837],{"_id":331,"_type":308,"seo":7,"slug":19838,"title":334},{"_type":9,"current":333},[19840,19847,19865],{"_type":1621,"caption":7,"image":19841},{"alt":7,"asset":19842},{"_id":19843,"height":19844,"orientation":1474,"ratio":19845,"url":19846,"width":11105},"image-a601d9eb7eca22ec07f23d372dbf85d0d1eabb15-2500x1796-jpg",1796,1.3919821826280623,"https://cdn.sanity.io/images/eodip22e/production/a601d9eb7eca22ec07f23d372dbf85d0d1eabb15-2500x1796.jpg",{"_type":1625,"settings":7,"text":19848},[19849],{"_key":19850,"_type":219,"children":19851,"markDefs":19864,"style":232},"52a3931e5de9",[19852,19856,19860],{"_key":19853,"_type":223,"marks":19854,"text":19855},"9140d9cdf0bb",[],"My main interest in practical/theoretical research is related to the body, the movements and the studies that deal with Choreographic Composition. I have never had a specific interest in ",{"_key":19857,"_type":223,"marks":19858,"text":19859},"18592f368f8d",[1559],"creating",{"_key":19861,"_type":223,"marks":19862,"text":19863},"779b57148645",[]," choreography, but I am fascinated by the elements of choreographic making, and how its concepts can be expanded, dissolved, transmuted and reorganized, either in the dance field or not. To go deeper into this topic, I am interested in using the Choreographical Tool Box, which is a very well structured instrument for research in dance making, developed by Dr. Gabriele Klein at the University of Hamburg. This kit has various topics that can be addressed independently and relate to the generation and formatting of movements, games, composition, and cooperation. Although my interest in SoC is not in developing a choreographic composition, I understand that the kit can be an important element to support transdisciplinary dialogues. I think of bringing fundamental questions of the body and choreographic making to contaminate/relate to the poetic practices of SoC colleagues. How would it be like to look into other people’s creative process through choreographic ideas? How to evoke dance/movement elements and bring them up to establish a transdisciplinary field? I am interested in making use of this kit/tool in a 2/3 hour workshop for SoC members with the goal of crossing the boundaries of certainties of choreographic making: dissolving convictions, softening memories, and experimenting with movement/choreographic elements. In order to navigate between the choreographic world and the colleagues’ research, I am interested in sending /via post/ handwritten letters that dialogue/affect the creative processes of SoC colleagues. After carefully analyzing each SoC’s proposal, the letters would bring choreographic elements to provoke/stimulate/resonate with them. A letter received could suggest: “Make a gesture/movement that dialogues or represents your research. Photograph this movement”. “Film yourself talking in slow motion about your own research”. “Write something really wrong about your own work. Analyse the musicality of your own wrong text. Make a drawing/graphic that dialog with this action”. The main goal in this experience with the SoC is to establish an affective/artistic/aesthetic bond where the letters can provoke dialogues and make us think collectively about the osmotic and flexible borders that support the choreographic making. ",[],{"_type":1621,"caption":7,"image":19866},{"alt":7,"asset":19867},{"_id":19868,"height":14980,"orientation":7818,"ratio":2178,"url":19869,"width":14980},"image-b78e739aaeaef00b8157c817075dd0be92607a8a-640x640-jpg","https://cdn.sanity.io/images/eodip22e/production/b78e739aaeaef00b8157c817075dd0be92607a8a-640x640.jpg",[19871,19879],{"_key":19872,"_type":219,"children":19873,"markDefs":19878,"style":232},"0dc449622aa2",[19874],{"_key":19875,"_type":223,"marks":19876,"text":19877},"9525bb1ebcdf",[],"How would it be like to look into other people’s creative process through choreographic ideas? ",[],{"_key":19880,"_type":219,"children":19881,"markDefs":19886,"style":232},"cb648577ba14",[19882],{"_key":19883,"_type":223,"marks":19884,"text":19885},"e1b9fa15cfa5",[],"How to evoke dance/movement elements and bring them up to establish a transdisciplinary field?",[],[19888,117,333,19819,19889,697],"writing letters to/from choreographic elements","my main interest in practical/theoretical research is related to the body, the movements and the studies that deal with choreographic composition. i have never had a specific interest in creating choreography, but i am fascinated by the elements of choreographic making, and how its concepts can be expanded, dissolved, transmuted and reorganized, either in the dance field or not. to go deeper into this topic, i am interested in using the choreographical tool box, which is a very well structured instrument for research in dance making, developed by dr. gabriele klein at the university of hamburg. this kit has various topics that can be addressed independently and relate to the generation and formatting of movements, games, composition, and cooperation. although my interest in soc is not in developing a choreographic composition, i understand that the kit can be an important element to support transdisciplinary dialogues. i think of bringing fundamental questions of the body and choreographic making to contaminate/relate to the poetic practices of soc colleagues. how would it be like to look into other people’s creative process through choreographic ideas? how to evoke dance/movement elements and bring them up to establish a transdisciplinary field? i am interested in making use of this kit/tool in a 2/3 hour workshop for soc members with the goal of crossing the boundaries of certainties of choreographic making: dissolving convictions, softening memories, and experimenting with movement/choreographic elements. in order to navigate between the choreographic world and the colleagues’ research, i am interested in sending /via post/ handwritten letters that dialogue/affect the creative processes of soc colleagues. after carefully analyzing each soc’s proposal, the letters would bring choreographic elements to provoke/stimulate/resonate with them. a letter received could suggest: “make a gesture/movement that dialogues or represents your research. photograph this movement”. “film yourself talking in slow motion about your own research”. “write something really wrong about your own work. analyse the musicality of your own wrong text. make a drawing/graphic that dialog with this action”. the main goal in this experience with the soc is to establish an affective/artistic/aesthetic bond where the letters can provoke dialogues and make us think collectively about the osmotic and flexible borders that support the choreographic making. ",{"_type":9,"current":19891},"writing-letters-to-from-choreographic-elements","Writing letters to/from choreographic elements",{"_id":19894,"_type":1027,"categories":19895,"credits":19899,"featuredImage":19935,"filterables":19942,"footnotes":19949,"locations":19950,"logbook":7,"pageBuilder":19954,"researchQuestion":19977,"researchQuestions":7,"searchables":20002,"seo":7,"slug":20005,"title":20003,"year":118},"47bd2f61-8bb1-43f0-a5f9-e057fd0c4b1d",[19896],{"_id":720,"_type":362,"colorPrimary":19897,"seo":7,"slug":19898,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"other":7,"profiles":19900},[19901],{"_id":19902,"_type":1078,"activeYears":19903,"bio":19906,"bioShort":19914,"featuredImage":7,"filterables":19915,"links":7,"locations":19918,"searchables":19931,"seo":7,"slug":19933,"title":19932},"4ecbe2eb-7879-4c74-99da-e68ecd9f0f36",[19904],{"_id":115,"_type":99,"seo":7,"slug":19905,"title":118},{"_type":9,"current":117},[19907],{"_key":19908,"_type":219,"children":19909,"markDefs":19913,"style":232},"119c8bf8f208",[19910],{"_key":19911,"_type":223,"marks":19912,"text":12647},"a8c2be0922f30",[],[],"rahel is a berlin-based person, questioning identity and politics while getting lost in it. to escape this they are always in search of people and situations of togetherness.",{"filterYear":19916},[19917],{"_id":115,"title":118},{"locations":19919,"other":19922},[19920],{"_id":331,"_type":308,"seo":7,"slug":19921,"title":334},{"_type":9,"current":333},[19923],{"_key":19924,"_type":219,"children":19925,"markDefs":19930,"style":232},"83d4835da6b6",[19926],{"_key":19927,"_type":223,"marks":19928,"text":19929},"04e911a2e842",[],"Based in Berlin ",[],[19932,117],"rahel stange",{"_type":9,"current":19934},"rahel-stange",{"alt":19936,"asset":19937},"border space: europe / EU map scaled",{"_id":19938,"height":19939,"orientation":1474,"ratio":19940,"url":19941,"width":12654},"image-292d6311f29ac5269eb1329136cf25ad5b7849e3-2560x2260-jpg",2260,1.1327433628318584,"https://cdn.sanity.io/images/eodip22e/production/292d6311f29ac5269eb1329136cf25ad5b7849e3-2560x2260.jpg",{"filterCategory":19943,"filterLocation":19945,"filterYear":19947},[19944],{"_id":720,"title":723},[19946],{"_id":331,"title":334},[19948],{"_id":115,"title":118},[],{"locations":19951,"other":7},[19952],{"_id":331,"_type":308,"seo":7,"slug":19953,"title":334},{"_type":9,"current":333},[19955,19965],{"_type":1625,"settings":7,"text":19956},[19957],{"_key":19958,"_type":219,"children":19959,"markDefs":19964,"style":232},"6477e94e84b4",[19960],{"_key":19961,"_type":223,"marks":19962,"text":19963},"bf2033e7aada",[],"The research on border space in europe focuses on the space between national-states. It encompasses three dimensions: the physical border/border architecture, the legal framework governing the space, and the practical execution of the law within that space. The research involves collecting information and look at the dimensions of spatial formation in a differentiated way in order to then understand connections and entanglements. The project seeks to unveil the arbitrary nature of borders and border politics, decode the practices that justify and materialise them. Aim of this work is to visually present and analyse the collected information using critical mapping techniques. Mapping is considered a suitable tool for visually connecting the different border dimensions, providing insights and a deeper understanding of their complexities.",[],{"_type":1621,"caption":19966,"image":19975},[19967],{"_key":19968,"_type":219,"children":19969,"markDefs":19974,"style":232},"b119267cac34",[19970],{"_key":19971,"_type":223,"marks":19972,"text":19973},"3eb07f1367840",[],"Courtesy of rahel stange",[],{"alt":19973,"asset":19976},{"_id":19938,"height":19939,"orientation":1474,"ratio":19940,"url":19941,"width":12654},[19978,19986,19994],{"_key":19979,"_type":219,"children":19980,"markDefs":19985,"style":232},"9bbf78a585bf",[19981],{"_key":19982,"_type":223,"marks":19983,"text":19984},"f44994bf910a0",[],"How does the architecture of national borders contribute to the concept of the border itself?",[],{"_key":19987,"_type":219,"children":19988,"markDefs":19993,"style":232},"5d78b37dce9a",[19989],{"_key":19990,"_type":223,"marks":19991,"text":19992},"bf6ccb7c30fc0",[],"What are the legal frameworks that shape and define the border space in Europe?",[],{"_key":19995,"_type":219,"children":19996,"markDefs":20001,"style":232},"8abf3ecd46b1",[19997],{"_key":19998,"_type":223,"marks":19999,"text":20000},"4f5e2149f8990",[],"How do border practices and the execution of legal regulations manifest in the border space?",[],[20003,117,333,19932,20004,722],"border space: europe","the research on border space in europe focuses on the space between national-states. it encompasses three dimensions: the physical border/border architecture, the legal framework governing the space, and the practical execution of the law within that space. the research involves collecting information and look at the dimensions of spatial formation in a differentiated way in order to then understand connections and entanglements. the project seeks to unveil the arbitrary nature of borders and border politics, decode the practices that justify and materialise them. aim of this work is to visually present and analyse the collected information using critical mapping techniques. mapping is considered a suitable tool for visually connecting the different border dimensions, providing insights and a deeper understanding of their complexities.",{"_type":9,"current":20006},"border-space-europe",{"_id":20008,"_type":1027,"categories":20009,"credits":20013,"featuredImage":20071,"filterables":20077,"footnotes":20085,"locations":20086,"logbook":7,"pageBuilder":20092,"researchQuestion":20123,"researchQuestions":7,"searchables":20148,"seo":7,"slug":20150,"title":20117,"year":118},"30ddf150-d69b-44da-877a-03e535099975",[20010],{"_id":720,"_type":362,"colorPrimary":20011,"seo":7,"slug":20012,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"other":7,"profiles":20014},[20015,20048],{"_id":20016,"_type":1078,"activeYears":20017,"bio":20020,"bioShort":20029,"featuredImage":20030,"filterables":20035,"links":7,"locations":20038,"searchables":20044,"seo":7,"slug":20046,"title":20031},"3629f805-f9ec-48a1-8328-039ddf75759e",[20018],{"_id":115,"_type":99,"seo":7,"slug":20019,"title":118},{"_type":9,"current":117},[20021],{"_key":20022,"_type":219,"children":20023,"markDefs":20028,"style":232},"a73247335e6c",[20024],{"_key":20025,"_type":223,"marks":20026,"text":20027},"514b348b37fc0",[],"They hold a Photography BFA from the University of Art in Tehran and are currently pursuing an MA in Transdisciplinary studies at Zurich University of the Arts. Their practice focuses on the politics of memories, creative politics and everyday life, involving experimental writing, photographic image, collaboration, as well as theoretical research.",[],"Pooya is an artist and writer who was born and raised in Iran and is now based in Zurich. ",{"alt":20031,"asset":20032},"Pooya Kazemi",{"_id":20033,"height":10165,"orientation":1129,"ratio":5168,"url":20034,"width":14622},"image-14a35af811f2a4aad235c79bb069a498b47a22fc-400x500-jpg","https://cdn.sanity.io/images/eodip22e/production/14a35af811f2a4aad235c79bb069a498b47a22fc-400x500.jpg",{"filterYear":20036},[20037],{"_id":115,"title":118},{"locations":20039,"other":7},[20040,20042],{"_id":336,"_type":308,"seo":7,"slug":20041,"title":339},{"_type":9,"current":338},{"_id":331,"_type":308,"seo":7,"slug":20043,"title":334},{"_type":9,"current":333},[20045,117],"pooya kazemi",{"_type":9,"current":20047},"pooya-kazemi",{"_id":20049,"_type":1078,"activeYears":20050,"bio":20053,"bioShort":20062,"featuredImage":7,"filterables":20063,"links":7,"locations":7,"searchables":20066,"seo":7,"slug":20068,"title":20070},"a53a2dc6-1450-4437-83f4-dc21194c2f66",[20051],{"_id":115,"_type":99,"seo":7,"slug":20052,"title":118},{"_type":9,"current":117},[20054],{"_key":20055,"_type":219,"children":20056,"markDefs":20061,"style":232},"718da94393e2",[20057],{"_key":20058,"_type":223,"marks":20059,"text":20060},"694ef7112c890",[],"He was born in Esfahan, Iran, and studied dramatic arts at the Isfahan Fine Arts Academy. He graduated from the University of Tehran, With a BA in Puppet Theater. He has performed in several theater and performance shows in the public sphere. Erfan served as the executive director of the 19th Tehran International Puppet Theater Festival and is currently working on several children's literature books.",[],"Erfan is a multidisciplinary artist who mainly works in theater, performance art, and writing. ",{"filterYear":20064},[20065],{"_id":115,"title":118},[20067,117],"erfan safari",{"_type":9,"current":20069},"erfan-safari","Erfan Safari",{"alt":20072,"asset":20073},"School of Commons - dancing in front of the king",{"_id":20074,"height":20075,"orientation":7818,"ratio":2178,"url":20076,"width":20075},"image-f608a863360490680f072a63e250833cd3b784b7-1578x1578-jpg",1578,"https://cdn.sanity.io/images/eodip22e/production/f608a863360490680f072a63e250833cd3b784b7-1578x1578.jpg",{"filterCategory":20078,"filterLocation":20080,"filterYear":20083},[20079],{"_id":720,"title":723},[20081,20082],{"_id":336,"title":339},{"_id":331,"title":334},[20084],{"_id":115,"title":118},[],{"locations":20087,"other":7},[20088,20090],{"_id":336,"_type":308,"seo":7,"slug":20089,"title":339},{"_type":9,"current":338},{"_id":331,"_type":308,"seo":7,"slug":20091,"title":334},{"_type":9,"current":333},[20093],{"_type":1625,"settings":7,"text":20094},[20095,20111],{"_key":20096,"_type":219,"children":20097,"markDefs":20110,"style":232},"c1dde984115b",[20098,20102,20106],{"_key":20099,"_type":223,"marks":20100,"text":20101},"a1f6f27c9acd",[],"This practice is rooted in the experience of being in the margins, taking inspiration from the everyday practices of resistance by individuals and communities. This perspective aligns with the thoughts of ",{"_key":20103,"_type":223,"marks":20104,"text":20105},"eac71ba9b8b8",[1559],"bell hooks",{"_key":20107,"_type":223,"marks":20108,"text":20109},"d825e3cc7a9d",[],", who theorised the margins not just as a realm of oppression, but also as a space for resistance, empowerment, and knowledge/perception. The lived knowledge of that coming from being in inside and outside, provides the potential of critical thinking and performing.",[],{"_key":20112,"_type":219,"children":20113,"markDefs":20122,"style":232},"d3f0923bfe69",[20114,20118],{"_key":20115,"_type":223,"marks":20116,"text":20117},"c03762d61145",[1559],"dancing in front of the king",{"_key":20119,"_type":223,"marks":20120,"text":20121},"6fb6147eb83e",[]," aims to connect and share the multiplicities of knowledge and experience through alternative publication forms as a means of collective empowerment. Inspired by the zine movement, the practice seeks to create a space for connection, reflection, and dialogue, processing into a playful and performative zine-making.",[],[20124,20132,20140],{"_key":20125,"_type":219,"children":20126,"markDefs":20131,"style":232},"0c178b13cd64",[20127],{"_key":20128,"_type":223,"marks":20129,"text":20130},"dd943b773ae10",[],"How do experiences of otherness and exclusion shape the concept of \"becoming Other\" in diasporic situations and intersecting social movements?",[],{"_key":20133,"_type":219,"children":20134,"markDefs":20139,"style":232},"2124b13f0011",[20135],{"_key":20136,"_type":223,"marks":20137,"text":20138},"30ea6ffc8a260",[],"How can translation and mediating strategies contribute to sharing and connecting the multiplicities of experiences related to exclusion and oppression?",[],{"_key":20141,"_type":219,"children":20142,"markDefs":20147,"style":232},"16fba26b8d24",[20143],{"_key":20144,"_type":223,"marks":20145,"text":20146},"16d35080353f0",[],"In what ways can games-performances, utilizing performative characters from dramatic arts in Iran, such as \"Dalghak/Talkhak\" (Joker), explore the dynamics of otherness as both a subject of oppression and an agent of resistance?",[],[20117,117,13898,333,20045,20067,20149,722],"this practice is rooted in the experience of being in the margins, taking inspiration from the everyday practices of resistance by individuals and communities. this perspective aligns with the thoughts of bell hooks, who theorised the margins not just as a realm of oppression, but also as a space for resistance, empowerment, and knowledge/perception. the lived knowledge of that coming from being in inside and outside, provides the potential of critical thinking and performing.\n\ndancing in front of the king aims to connect and share the multiplicities of knowledge and experience through alternative publication forms as a means of collective empowerment. inspired by the zine movement, the practice seeks to create a space for connection, reflection, and dialogue, processing into a playful and performative zine-making.",{"_type":9,"current":20151},"dancing-in-front-of-the-king",{"_id":20153,"_type":1027,"categories":20154,"credits":20158,"featuredImage":20204,"filterables":20210,"footnotes":20217,"locations":20218,"logbook":7,"pageBuilder":20222,"researchQuestion":20277,"researchQuestions":7,"searchables":20302,"seo":7,"slug":20306,"title":20303,"year":118},"2704db07-9320-4f42-90fe-732d84644149",[20155],{"_id":805,"_type":362,"colorPrimary":20156,"seo":7,"slug":20157,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"other":7,"profiles":20159},[20160],{"_id":20161,"_type":1078,"activeYears":20162,"bio":20165,"bioShort":20190,"featuredImage":7,"filterables":20191,"links":20194,"locations":7,"searchables":20199,"seo":7,"slug":20201,"title":20203},"2628a468-fc66-4c04-b07c-51b81d4af29a",[20163],{"_id":115,"_type":99,"seo":7,"slug":20164,"title":118},{"_type":9,"current":117},[20166,20174,20182],{"_key":20167,"_type":219,"children":20168,"markDefs":20173,"style":232},"90b2381a5393",[20169],{"_key":20170,"_type":223,"marks":20171,"text":20172},"ab2b365b8dc7",[],"In her practice-based research she is exploring the structures of the Self through a multifaceted analysis of body, mind and environment, by taking into consideration the regressive history of the domination of nature, and social power structures.",[],{"_key":20175,"_type":219,"children":20176,"markDefs":20181,"style":232},"34cfebaf9af5",[20177],{"_key":20178,"_type":223,"marks":20179,"text":20180},"88c5f535650b",[],"Her auto-biographical research on intergenerational trauma, migration and belonging is carried forward within her ongoing collaborations with scientists and diverse communities as part of socially engaged commissions, such as Refugee Week London (2021-2022).",[],{"_key":20183,"_type":219,"children":20184,"markDefs":20189,"style":232},"c209580c4971",[20185],{"_key":20186,"_type":223,"marks":20187,"text":20188},"00f049f67e680",[],"As an artist she has presented her works at international institutions, such as National Gallery Vilnius (2023), Drugo More (2022), Uferstudios Berlin (2021), Kommunale Galerie Bärenzwinger (2019), Tate Exchange at Tate Modern London (2017 & 2018), Arts Catalyst (2016), Foreign Affairs Festival at Berliner Festspiele (2014), and as guest lecturer at SOAS University of London (2022), Garage Museum in Moscow (2019), Al-Quds Bard College (2018), and Chelsea College (2017). Dorniak holds a Master Degree in Art and Science (Department Fine Art) from the Central Saint Martins in London (2017).",[],"Monika is a German-Polish artist with an interdisciplinary background in choreography, psychology and design, who often merges media – specifically performance, (textile) sculpture and multimedia.",{"filterYear":20192},[20193],{"_id":115,"title":118},[20195,20197],{"_type":1138,"label":1139,"url":20196},"https://monikadorniak.com/",{"_type":1138,"label":1142,"url":20198},"https://www.instagram.com/monikadorniak/",[20200,117],"monika dorniak",{"_type":9,"current":20202},"monika-dorniak","Monika Dorniak",{"alt":7,"asset":20205},{"_id":20206,"height":20207,"orientation":1129,"ratio":20208,"url":20209,"width":15896},"image-66bda5a0cbc94981e71f3175292f6d9fa1f57f0d-1130x1749-jpg",1749,0.6460834762721556,"https://cdn.sanity.io/images/eodip22e/production/66bda5a0cbc94981e71f3175292f6d9fa1f57f0d-1130x1749.jpg",{"filterCategory":20211,"filterLocation":20213,"filterYear":20215},[20212],{"_id":805,"title":808},[20214],{"_id":331,"title":334},[20216],{"_id":115,"title":118},[],{"locations":20219,"other":7},[20220],{"_id":331,"_type":308,"seo":7,"slug":20221,"title":334},{"_type":9,"current":333},[20223,20233,20267],{"_type":1625,"settings":7,"text":20224},[20225],{"_key":20226,"_type":219,"children":20227,"markDefs":20232,"style":232},"2c5788d9d207",[20228],{"_key":20229,"_type":223,"marks":20230,"text":20231},"c00864979e48",[],"Our bodies can store memories that far exceed our lifetimes. Throughout the past decades, the interdisciplinary study of intergenerational trauma has become increasingly important. Violent historical events, such as wars and genocides, can deconstruct landscapes, human and more-than-human bodies, as well as cultural archives and artefacts for generations to come – this leaves descendants often with no less than puzzling fragments of their bygone ‘realities’. The acts of translating the (cultural and genetical) heritage of our ancestors’ traumatic experiences, and its impact on the present and future, can contribute to collective processes of restoration and reclaiming.",[],{"_type":2894,"slides":20234},[20235,20252],{"_type":1621,"caption":20236,"image":20245},[20237],{"_key":20238,"_type":219,"children":20239,"markDefs":20244,"style":232},"a8ee72249bcc",[20240],{"_key":20241,"_type":223,"marks":20242,"text":20243},"f93643fcc2aa0",[],"Courtesy of Monika Dorniak",[],{"alt":20243,"asset":20246},{"_id":20247,"height":20248,"orientation":1129,"ratio":20249,"url":20250,"width":20251},"image-f3c0d71cd43e62f5450dd9e1d33b82c56676ae85-639x892-png",892,0.7163677130044843,"https://cdn.sanity.io/images/eodip22e/production/f3c0d71cd43e62f5450dd9e1d33b82c56676ae85-639x892.png",639,{"_type":1621,"caption":20253,"image":20261},[20254],{"_key":20255,"_type":219,"children":20256,"markDefs":20260,"style":232},"c6cef875d280",[20257],{"_key":20258,"_type":223,"marks":20259,"text":20243},"f60fdcb10d370",[],[],{"alt":20243,"asset":20262},{"_id":20263,"height":12654,"orientation":1129,"ratio":20264,"url":20265,"width":20266},"image-2f685ec8a7d8bcdc15e40bab43fe4789d2d8f4d5-1934x2560-jpg",0.75546875,"https://cdn.sanity.io/images/eodip22e/production/2f685ec8a7d8bcdc15e40bab43fe4789d2d8f4d5-1934x2560.jpg",1934,{"_type":1625,"settings":7,"text":20268},[20269],{"_key":20270,"_type":219,"children":20271,"markDefs":20276,"style":232},"00817c10c336",[20272],{"_key":20273,"_type":223,"marks":20274,"text":20275},"e4ef03672e4b",[],"The practice-based research project ‘language (as a technology that) re-/animates cartographies’ aims to reflect how inherited memories could be translated through a somatic language, and how scores could turn into a tool for handling triggering emotions and feelings that are related to traumatic memories. Those queries are phrased in the context of a neoliberal condition that severely lacks space, time and consistency for collective rituals, specifically for people from the working class.",[],[20278,20286,20294],{"_key":20279,"_type":219,"children":20280,"markDefs":20285,"style":232},"3067eca26e09",[20281],{"_key":20282,"_type":223,"marks":20283,"text":20284},"07737db25de10",[],"How can inherited memories be decoded into a somatic language to address intergenerational trauma?",[],{"_key":20287,"_type":219,"children":20288,"markDefs":20293,"style":232},"f0d697dc2e7f",[20289],{"_key":20290,"_type":223,"marks":20291,"text":20292},"6a3f27bb5c5f0",[],"How can somatic practices provide tools to handle triggering emotions and feelings related to traumatic memories?",[],{"_key":20295,"_type":219,"children":20296,"markDefs":20301,"style":232},"ed0d64a50a65",[20297],{"_key":20298,"_type":223,"marks":20299,"text":20300},"e0595ba6b82c0",[],"What is the role of language as a technology in reanimating and reconstructing fragmented cartographies of personal and collective histories?",[],[20303,117,333,20200,20304,20305,807],"language (as a technology that) re-/animates (dis-/jointed) cartographies","our bodies can store memories that far exceed our lifetimes. throughout the past decades, the interdisciplinary study of intergenerational trauma has become increasingly important. violent historical events, such as wars and genocides, can deconstruct landscapes, human and more-than-human bodies, as well as cultural archives and artefacts for generations to come – this leaves descendants often with no less than puzzling fragments of their bygone ‘realities’. the acts of translating the (cultural and genetical) heritage of our ancestors’ traumatic experiences, and its impact on the present and future, can contribute to collective processes of restoration and reclaiming.","the practice-based research project ‘language (as a technology that) re-/animates cartographies’ aims to reflect how inherited memories could be translated through a somatic language, and how scores could turn into a tool for handling triggering emotions and feelings that are related to traumatic memories. those queries are phrased in the context of a neoliberal condition that severely lacks space, time and consistency for collective rituals, specifically for people from the working class.",{"_type":9,"current":20307},"language-as-a-technology-that-re-animates-dis-jointed-cartographies",{"_id":20309,"_type":1027,"categories":20310,"credits":20320,"featuredImage":20369,"filterables":20374,"footnotes":20383,"locations":20384,"logbook":7,"pageBuilder":20388,"researchQuestion":20415,"researchQuestions":7,"searchables":20424,"seo":7,"slug":20427,"title":20425,"year":118},"056cfad1-dcac-4f9f-a142-5a9710aeef1d",[20311,20314,20317],{"_id":410,"_type":362,"colorPrimary":20312,"seo":7,"slug":20313,"title":413},{"label":1031,"value":1036},{"_type":9,"current":412},{"_id":405,"_type":362,"colorPrimary":20315,"seo":7,"slug":20316,"title":408},{"label":1031,"value":5263},{"_type":9,"current":407},{"_id":695,"_type":362,"colorPrimary":20318,"seo":7,"slug":20319,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":7,"profiles":20321},[20322],{"_id":20323,"_type":1078,"activeYears":20324,"bio":20329,"bioShort":20338,"featuredImage":7,"filterables":20339,"links":20343,"locations":20351,"searchables":20364,"seo":7,"slug":20366,"title":20368},"cebd6dc8-d8d5-41cf-952d-4ee5905432bd",[20325,20327],{"_id":130,"_type":99,"seo":7,"slug":20326,"title":133},{"_type":9,"current":132},{"_id":115,"_type":99,"seo":7,"slug":20328,"title":118},{"_type":9,"current":117},[20330],{"_key":20331,"_type":219,"children":20332,"markDefs":20337,"style":232},"9e97f224f794",[20333],{"_key":20334,"_type":223,"marks":20335,"text":20336},"3d4e37a9c0bd0",[],"With her interests in the discourse of performativity, decolonial thinking and re-narration of histories, Negoro’s curatorial practice aims at encouraging the fluidity of transcultural, non-binary conditions in the global present. She also writes about architecture, space and gender.",[],"Miwa is a curator and researcher working at the intersection of art and performing arts. ",{"filterYear":20340},[20341,20342],{"_id":130,"title":133},{"_id":115,"title":118},[20344,20346,20349],{"_type":1138,"label":1139,"url":20345},"https://miwanegoro.com/",{"_type":1138,"label":20347,"url":20348},"inter:archive","https://www.volumeszurich.ch/collection/interarchive-by-giovanna-bragaglia-miwa-negoro-camille-regli",{"_type":1138,"label":1142,"url":20350},"https://www.instagram.com/miwanegoro/",{"locations":20352,"other":20355},[20353],{"_id":331,"_type":308,"seo":7,"slug":20354,"title":334},{"_type":9,"current":333},[20356],{"_key":20357,"_type":219,"children":20358,"markDefs":20363,"style":232},"daebf71591b4",[20359],{"_key":20360,"_type":223,"marks":20361,"text":20362},"5d3c44142afd",[],"Based in Berlin and Vienna",[],[20365,132,117],"miwa negoro",{"_type":9,"current":20367},"miwa-negoro","Miwa Negoro",{"alt":20370,"asset":20371},"School of Commons - living library of becomings",{"_id":20372,"height":10130,"orientation":1474,"ratio":3344,"url":20373,"width":1128},"image-56ada23d3c56c243383408f4cb36b2599a1df42f-800x600-jpg","https://cdn.sanity.io/images/eodip22e/production/56ada23d3c56c243383408f4cb36b2599a1df42f-800x600.jpg",{"filterCategory":20375,"filterLocation":20379,"filterYear":20381},[20376,20377,20378],{"_id":410,"title":413},{"_id":405,"title":408},{"_id":695,"title":698},[20380],{"_id":331,"title":334},[20382],{"_id":115,"title":118},[],{"locations":20385,"other":7},[20386],{"_id":331,"_type":308,"seo":7,"slug":20387,"title":334},{"_type":9,"current":333},[20389],{"_type":1625,"settings":7,"text":20390},[20391,20399,20407],{"_key":20392,"_type":219,"children":20393,"markDefs":20398,"style":232},"39783311a18f",[20394],{"_key":20395,"_type":223,"marks":20396,"text":20397},"86a032543ac8",[],"“living library of becomings” is a research and performative library project dedicated to the multiple artistic narrations from intersectional, queer, and decolonial feminist perspectives, with an attempt to create a platform in which such voices and texts are shared in tactile and performative ways.",[],{"_key":20400,"_type":219,"children":20401,"markDefs":20406,"style":232},"875877f991fe",[20402],{"_key":20403,"_type":223,"marks":20404,"text":20405},"fee663041691",[],"Key questions are: how can the method of library-making and archival practice be collaborative to challenge the canonical systematisation, categorisation and languages? How can intersectional feminist spirits be shared as a living library while embracing the physical bodily experiences with textual materials?",[],{"_key":20408,"_type":219,"children":20409,"markDefs":20414,"style":232},"1b8ec861b31b",[20410],{"_key":20411,"_type":223,"marks":20412,"text":20413},"0cdd6ac55e7c",[],"With these questions, the learning period in the SoC framework will be spent to research and collect artistic publications or text- or audio-based materials in various forms, to research and interviews with practitioners who engage in the decolonial feminist archive and libraries, and to develop a digital platform. The project seeks alternative modes of knowing as a communal and collective practice that resists the ongoing colonial system of knowledge production to explore a platform as a decentralised time-space of (un)learning that be with the past, the present to the future of intersectional feminist endeavours.",[],[20416],{"_key":20417,"_type":219,"children":20418,"markDefs":20423,"style":232},"443d38dc189e",[20419],{"_key":20420,"_type":223,"marks":20421,"text":20422},"283f97fb8db8",[],"How can the method of library-making and archival practice be collaborative to challenge the canonical systematisation, categorisation and languages? \n\nHow can intersectional feminist spirits be shared as a living library while embracing the physical bodily experiences with textual materials?",[],[20425,117,333,20365,20426,1783,407,697],"living library of becomings","“living library of becomings” is a research and performative library project dedicated to the multiple artistic narrations from intersectional, queer, and decolonial feminist perspectives, with an attempt to create a platform in which such voices and texts are shared in tactile and performative ways.\n\nkey questions are: how can the method of library-making and archival practice be collaborative to challenge the canonical systematisation, categorisation and languages? how can intersectional feminist spirits be shared as a living library while embracing the physical bodily experiences with textual materials?\n\nwith these questions, the learning period in the soc framework will be spent to research and collect artistic publications or text- or audio-based materials in various forms, to research and interviews with practitioners who engage in the decolonial feminist archive and libraries, and to develop a digital platform. the project seeks alternative modes of knowing as a communal and collective practice that resists the ongoing colonial system of knowledge production to explore a platform as a decentralised time-space of (un)learning that be with the past, the present to the future of intersectional feminist endeavours.",{"_type":9,"current":20428},"living-library-of-becomings",{"_id":20430,"_type":1027,"categories":20431,"credits":20435,"featuredImage":20520,"filterables":20527,"footnotes":20534,"locations":20535,"logbook":7,"pageBuilder":20539,"researchQuestion":20702,"researchQuestions":7,"searchables":20711,"seo":7,"slug":20714,"title":20716,"year":123},"b181be21-953b-439f-ab55-8481f7dd29c8",[20432],{"_id":720,"_type":362,"colorPrimary":20433,"seo":7,"slug":20434,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"other":7,"profiles":20436},[20437,20484],{"_id":20438,"_type":1078,"activeYears":20439,"bio":20442,"bioShort":20451,"featuredImage":20452,"filterables":20460,"links":20463,"locations":20468,"searchables":20480,"seo":7,"slug":20482,"title":20453},"a9fb509b-6a11-4421-a892-78555159f90a",[20440],{"_id":120,"_type":99,"seo":7,"slug":20441,"title":123},{"_type":9,"current":122},[20443],{"_key":20444,"_type":219,"children":20445,"markDefs":20450,"style":232},"f3e118efab41",[20446],{"_key":20447,"_type":223,"marks":20448,"text":20449},"a62d26df04b40",[],"She is an independent type and graphic designer working with Arabic and Latin scripts. She has set up her practice in 2019 after working for several years in a corporate environment. She leads workshops attempting to connect type design to storytelling, language and archives. She also takes part in initiatives that contribute to opening up the discipline to broader audiences.",[],"Naïm grew up in France with Tunisian heritage. Through her design practice she has been (re)connecting with this heritage. Her interests are in the borders and spaces in between and how they translate in design forms and ideas. ",{"alt":20453,"asset":20454},"Naïma Ben Ayed",{"_id":20455,"height":20456,"orientation":1129,"ratio":20457,"url":20458,"width":20459},"image-133b075b7df2c1a946278ffdff748923a69b1955-1417x2124-jpg",2124,0.6671374764595104,"https://cdn.sanity.io/images/eodip22e/production/133b075b7df2c1a946278ffdff748923a69b1955-1417x2124.jpg",1417,{"filterYear":20461},[20462],{"_id":120,"title":123},[20464,20466],{"_type":1138,"label":1142,"url":20465},"https://www.instagram.com/naimabenayedbureau/",{"_type":1138,"label":1139,"url":20467},"https://naimabenayedbureau.com/",{"locations":20469,"other":20472},[20470],{"_id":331,"_type":308,"seo":7,"slug":20471,"title":334},{"_type":9,"current":333},[20473],{"_key":20474,"_type":219,"children":20475,"markDefs":20479,"style":232},"2fb0d2920785",[20476],{"_key":20477,"_type":223,"marks":20478,"text":12720},"a2a8dda7446d",[],[],[20481,122],"naïma ben ayed",{"_type":9,"current":20483},"naima-ben-ayed",{"_id":20485,"_type":1078,"activeYears":20486,"bio":20489,"bioShort":20498,"featuredImage":20499,"filterables":20506,"links":20509,"locations":20512,"searchables":20516,"seo":7,"slug":20518,"title":20500},"d5f1a965-3ecb-4213-a161-e57715e0cd70",[20487],{"_id":120,"_type":99,"seo":7,"slug":20488,"title":123},{"_type":9,"current":122},[20490],{"_key":20491,"_type":219,"children":20492,"markDefs":20497,"style":232},"f5933ff343a7",[20493],{"_key":20494,"_type":223,"marks":20495,"text":20496},"651a1950c6d10",[],"Having grown up between Dubai and Beirut, and being raised in an Armenian family, Khajag has an affinity for different languages and writing systems, which he has applied to the development of typefaces in many scripts, including Arabic, Armenian, and Latin. He currently operates under the name “debakir” Armenian for “printed type”, and is in constant collaboration with different type foundries like Commercial Type, Bold Monday and Typotheque. He has worked with various international brands including IBM, Apple, Samsung and Disney ME. He also teaches design courses at the American University of Beirut.",[],"Lettering artist, type and graphic designer. ",{"alt":20500,"asset":20501},"Khajag Apelian",{"_id":20502,"height":12654,"orientation":1129,"ratio":20503,"url":20504,"width":20505},"image-2a7278dcf10889059f39b779e95bcdbcf2d50cf9-1895x2560-jpg",0.740234375,"https://cdn.sanity.io/images/eodip22e/production/2a7278dcf10889059f39b779e95bcdbcf2d50cf9-1895x2560.jpg",1895,{"filterYear":20507},[20508],{"_id":120,"title":123},[20510],{"_type":1138,"label":1139,"url":20511},"http://debakir.com/",{"locations":20513,"other":7},[20514],{"_id":336,"_type":308,"seo":7,"slug":20515,"title":339},{"_type":9,"current":338},[20517,122],"khajag apelian",{"_type":9,"current":20519},"khajag-apelian",{"alt":20521,"asset":20522},"School of Commons - Alternative pedagogy for Arabic type design",{"_id":20523,"height":8220,"orientation":1474,"ratio":20524,"url":20525,"width":20526},"image-79da9fe3eef224c162ca5ec07cb08e88127e1076-1667x1250-jpg",1.3336,"https://cdn.sanity.io/images/eodip22e/production/79da9fe3eef224c162ca5ec07cb08e88127e1076-1667x1250.jpg",1667,{"filterCategory":20528,"filterLocation":20530,"filterYear":20532},[20529],{"_id":720,"title":723},[20531],{"_id":331,"title":334},[20533],{"_id":120,"title":123},[],{"locations":20536,"other":7},[20537],{"_id":331,"_type":308,"seo":7,"slug":20538,"title":334},{"_type":9,"current":333},[20540],{"_type":1625,"settings":7,"text":20541},[20542,20550,20558,20566,20574,20582,20590,20598,20606,20614,20622,20630,20638,20646,20654,20662,20670,20678,20686,20694],{"_key":20543,"_type":219,"children":20544,"markDefs":20549,"style":232},"7c059c9aa5f1",[20545],{"_key":20546,"_type":223,"marks":20547,"text":20548},"4e660137836f",[],"Our topic of research is driven by our desire as educators to open the discipline of type design and our need as practitioners to expand it. We see type as a vehicle of/for cultures, identities, and politics as well as a medium to critically discuss the impact of colonialism on a language and its visual forms.",[],{"_key":20551,"_type":219,"children":20552,"markDefs":20557,"style":232},"4ee9be29d83e",[20553],{"_key":20554,"_type":223,"marks":20555,"text":20556},"d62273b89291",[],"Across the countries using the Arabic script, occasional Arabic type design classes and workshops are available, nevertheless typefaces developed in such a short amount of time rarely get completed, let alone published.",[],{"_key":20559,"_type":219,"children":20560,"markDefs":20565,"style":232},"6bc37699f509",[20561],{"_key":20562,"_type":223,"marks":20563,"text":20564},"dd5a4742c58b",[],"Type design master degrees are located mostly in Europe and Northern America, with a curriculum usually centering the Latin script.",[],{"_key":20567,"_type":219,"children":20568,"markDefs":20573,"style":232},"fccfa35466ba",[20569],{"_key":20570,"_type":223,"marks":20571,"text":20572},"36c5fded6269",[],"In order to avoid the frame of Western design standards that can also occur in Arab design schools, we believe that we need to create alternative and non-linear pedagogical paths.",[],{"_key":20575,"_type":219,"children":20576,"markDefs":20581,"style":232},"64a370f21460",[20577],{"_key":20578,"_type":223,"marks":20579,"text":20580},"01c40c8035ad",[],"\nSoC is the opportunity for us to define and design this alternative.",[],{"_key":20583,"_type":219,"children":20584,"markDefs":20589,"style":232},"0d5601ec2acf",[20585],{"_key":20586,"_type":223,"marks":20587,"text":20588},"89070ffcd5c9",[],"Our field of research and action will be:",[],{"_key":20591,"_type":219,"children":20592,"markDefs":20597,"style":232},"4f9a6203223c",[20593],{"_key":20594,"_type":223,"marks":20595,"text":20596},"59d666362606",[],"Possible commission processes",[],{"_key":20599,"_type":219,"children":20600,"level":2178,"listItem":2179,"markDefs":20605,"style":232},"d4029e6521d7",[20601],{"_key":20602,"_type":223,"marks":20603,"text":20604},"dcadb23fff17",[],"From establishing the brief and the standard for our typefaces (character set / weight / style) to testing fonts: we want to collaborate with graphic designers and more broadly type users.",[],{"_key":20607,"_type":219,"children":20608,"level":2178,"listItem":2179,"markDefs":20613,"style":232},"5f5af2642b26",[20609],{"_key":20610,"_type":223,"marks":20611,"text":20612},"f8969d0c0715",[],"We want to design and publish fonts that graphic designers need, instead of fonts that type designers want to draw; filling the gaps between type designers and type users.",[],{"_key":20615,"_type":219,"children":20616,"markDefs":20621,"style":232},"4d926843d80a",[20617],{"_key":20618,"_type":223,"marks":20619,"text":20620},"a6acf17a98c6",[],"Possible resources",[],{"_key":20623,"_type":219,"children":20624,"level":2178,"listItem":2179,"markDefs":20629,"style":232},"4b41e3b3148d",[20625],{"_key":20626,"_type":223,"marks":20627,"text":20628},"aa21728b3fcc",[],"Most existing archives are located in Europe and have been collected during the colonial period. However, new initiatives dedicated to Arab graphic design and Arabic letterforms archives are emerging in the MENA region.",[],{"_key":20631,"_type":219,"children":20632,"level":2178,"listItem":2179,"markDefs":20637,"style":232},"b0f20a91d8c1",[20633],{"_key":20634,"_type":223,"marks":20635,"text":20636},"c50458aa2f9f",[],"Looking into collaborating with existing platforms",[],{"_key":20639,"_type":219,"children":20640,"level":2178,"listItem":2179,"markDefs":20645,"style":232},"712f40e4fdf3",[20641],{"_key":20642,"_type":223,"marks":20643,"text":20644},"8e69152cb9d5",[],"Using type design as a medium to both research and revive Arabic letterforms from the archives.",[],{"_key":20647,"_type":219,"children":20648,"markDefs":20653,"style":232},"337906205feb",[20649],{"_key":20650,"_type":223,"marks":20651,"text":20652},"c36cfb817bf0",[],"Tentative design processes",[],{"_key":20655,"_type":219,"children":20656,"level":2178,"listItem":2179,"markDefs":20661,"style":232},"8d3de94e899b",[20657],{"_key":20658,"_type":223,"marks":20659,"text":20660},"c25b30995fa4",[],"Designing collectively to move away from a self centered and isolated practice where typefaces take years to complete.",[],{"_key":20663,"_type":219,"children":20664,"level":2178,"listItem":2179,"markDefs":20669,"style":232},"c50ac9ddf36e",[20665],{"_key":20666,"_type":223,"marks":20667,"text":20668},"881311477979",[],"Experimenting with hierarchy and relation between scripts in the case of multi script typefaces (ie: Arabic + Latin).",[],{"_key":20671,"_type":219,"children":20672,"markDefs":20677,"style":232},"b1609be3647a",[20673],{"_key":20674,"_type":223,"marks":20675,"text":20676},"6af74f8d3158",[],"Knowledge diffusion",[],{"_key":20679,"_type":219,"children":20680,"level":2178,"listItem":2179,"markDefs":20685,"style":232},"fd126a00ea52",[20681],{"_key":20682,"_type":223,"marks":20683,"text":20684},"7b696ffd4343",[],"Rethinking the notion of copyright and ownership in type design and trying to twist it.",[],{"_key":20687,"_type":219,"children":20688,"level":2178,"listItem":2179,"markDefs":20693,"style":232},"07bfe8ea3403",[20689],{"_key":20690,"_type":223,"marks":20691,"text":20692},"a15d49dfe5e7",[],"Exploring the possibilities of open source typefaces, tools, and/or curriculum.",[],{"_key":20695,"_type":219,"children":20696,"level":2178,"listItem":2179,"markDefs":20701,"style":232},"440944c99772",[20697],{"_key":20698,"_type":223,"marks":20699,"text":20700},"6dce33e18465",[],"Proposing good quality free typefaces for users who can’t afford to buy any.",[],[20703],{"_key":20704,"_type":219,"children":20705,"markDefs":20710,"style":232},"217c4b4d4d21",[20706],{"_key":20707,"_type":223,"marks":20708,"text":20709},"e12cca39e70b",[],"We want to imagine an agile pedagogy that operates through an alternative space/platform beyond the design studio or the design school, deeply collaborative and with the objective of creating and distributing Arabic typefaces.",[],[20712,122,333,20481,20517,20713,722],"alternative pedagogy for arabic type design","our topic of research is driven by our desire as educators to open the discipline of type design and our need as practitioners to expand it. we see type as a vehicle of/for cultures, identities, and politics as well as a medium to critically discuss the impact of colonialism on a language and its visual forms.\n\nacross the countries using the arabic script, occasional arabic type design classes and workshops are available, nevertheless typefaces developed in such a short amount of time rarely get completed, let alone published.\n\ntype design master degrees are located mostly in europe and northern america, with a curriculum usually centering the latin script.\n\nin order to avoid the frame of western design standards that can also occur in arab design schools, we believe that we need to create alternative and non-linear pedagogical paths.\n\n\nsoc is the opportunity for us to define and design this alternative.\n\nour field of research and action will be:\n\npossible commission processes\n\nfrom establishing the brief and the standard for our typefaces (character set / weight / style) to testing fonts: we want to collaborate with graphic designers and more broadly type users.\n\nwe want to design and publish fonts that graphic designers need, instead of fonts that type designers want to draw; filling the gaps between type designers and type users.\n\npossible resources\n\nmost existing archives are located in europe and have been collected during the colonial period. however, new initiatives dedicated to arab graphic design and arabic letterforms archives are emerging in the mena region.\n\nlooking into collaborating with existing platforms\n\nusing type design as a medium to both research and revive arabic letterforms from the archives.\n\ntentative design processes\n\ndesigning collectively to move away from a self centered and isolated practice where typefaces take years to complete.\n\nexperimenting with hierarchy and relation between scripts in the case of multi script typefaces (ie: arabic + latin).\n\nknowledge diffusion\n\nrethinking the notion of copyright and ownership in type design and trying to twist it.\n\nexploring the possibilities of open source typefaces, tools, and/or curriculum.\n\nproposing good quality free typefaces for users who can’t afford to buy any.",{"_type":9,"current":20715},"alternative-pedagogy-for-arabic-type-design","Alternative pedagogy for Arabic type design",{"_id":20718,"_type":1027,"categories":20719,"credits":20726,"featuredImage":20789,"filterables":20796,"footnotes":20804,"locations":20805,"logbook":7,"pageBuilder":20809,"researchQuestion":20916,"researchQuestions":7,"searchables":20941,"seo":7,"slug":20944,"title":20946,"year":123},"3a150dfe-f979-4062-b128-a8b3891b3cb3",[20720,20723],{"_id":805,"_type":362,"colorPrimary":20721,"seo":7,"slug":20722,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"_id":405,"_type":362,"colorPrimary":20724,"seo":7,"slug":20725,"title":408},{"label":1031,"value":5263},{"_type":9,"current":407},{"other":7,"profiles":20727},[20728],{"_id":20729,"_type":1078,"activeYears":20730,"bio":20733,"bioShort":20764,"featuredImage":7,"filterables":20765,"links":20768,"locations":20771,"searchables":20784,"seo":7,"slug":20786,"title":20788},"aec3dc8f-fa4b-428f-b991-5d928dec28c3",[20731],{"_id":130,"_type":99,"seo":7,"slug":20732,"title":133},{"_type":9,"current":132},[20734],{"_key":20735,"_type":219,"children":20736,"markDefs":20763,"style":232},"80349bde240d",[20737,20741,20745,20748,20752,20755,20759],{"_key":20738,"_type":223,"marks":20739,"text":20740},"fa5b6cd9f3e30",[],"He has previously been published in ",{"_key":20742,"_type":223,"marks":20743,"text":20744},"fa5b6cd9f3e32",[1559],"Real Life Magazine",{"_key":20746,"_type":223,"marks":20747,"text":2704},"fa5b6cd9f3e33",[],{"_key":20749,"_type":223,"marks":20750,"text":20751},"fa5b6cd9f3e34",[1559],"It’s Nice That",{"_key":20753,"_type":223,"marks":20754,"text":1198},"fa5b6cd9f3e35",[],{"_key":20756,"_type":223,"marks":20757,"text":20758},"fa5b6cd9f3e36",[1559],"Running Dog",{"_key":20760,"_type":223,"marks":20761,"text":20762},"fa5b6cd9f3e37",[],". He works through net art, editorial design, experimental films, installations, computational art, as well as participatory workshops. He received an MA in Digital Media from Goldsmiths College. Parts of this project will contain contributions from CJ Park.",[],"Alif is a writer and artist. ",{"filterYear":20766},[20767],{"_id":130,"title":133},[20769],{"_type":1138,"label":1142,"url":20770},"https://www.instagram.com/ofn.w/",{"locations":20772,"other":20775},[20773],{"_id":316,"_type":308,"seo":7,"slug":20774,"title":319},{"_type":9,"current":318},[20776],{"_key":20777,"_type":219,"children":20778,"markDefs":20783,"style":232},"af9a1eb1ab29",[20779],{"_key":20780,"_type":223,"marks":20781,"text":20782},"6647934b9226",[],"Based in Jakarta, Indonesia",[],[20785,132],"alif ibrahim",{"_type":9,"current":20787},"alif-ibrahim","Alif Ibrahim",{"alt":20790,"asset":20791},"School of Commons - Autolysis: Post-mortem change",{"_id":20792,"height":20793,"orientation":1474,"ratio":20794,"url":20795,"width":4004},"image-231b3832624ede8a5530c2c8568a74a418fbf1fc-1024x682-png",682,1.501466275659824,"https://cdn.sanity.io/images/eodip22e/production/231b3832624ede8a5530c2c8568a74a418fbf1fc-1024x682.png",{"filterCategory":20797,"filterLocation":20800,"filterYear":20802},[20798,20799],{"_id":805,"title":808},{"_id":405,"title":408},[20801],{"_id":316,"title":319},[20803],{"_id":120,"title":123},[],{"locations":20806,"other":7},[20807],{"_id":316,"_type":308,"seo":7,"slug":20808,"title":319},{"_type":9,"current":318},[20810],{"_type":1625,"settings":7,"text":20811},[20812,20820,20828,20876,20908],{"_key":20813,"_type":219,"children":20814,"markDefs":20819,"style":232},"968ada4f2edb",[20815],{"_key":20816,"_type":223,"marks":20817,"text":20818},"2445efb7e7e4",[],"For Derrida, there is no archive fever without the death drive, but what if we refuse the universality of death? Power brokers in this pandemic, not burnt out by anticipatory grief, establish an acceptable threshold of death for the economy. “Official” and national archives erase the death required to obtain objects in their collection. One such example are the Malay illuminated manuscripts, obtained during the British occupation of Malaya, currently being digitised by the British Museum. What to make of death, if a body never becomes a cadaver, like when a spiritual escape occurs?",[],{"_key":20821,"_type":219,"children":20822,"markDefs":20827,"style":232},"4b41eb7435b0",[20823],{"_key":20824,"_type":223,"marks":20825,"text":20826},"c1008ac87e08",[],"The heavily visual Western conception of death makes its way into medical records, pandemic response plans, databases, digital wellbeing, pain porn, photographs of colonial death, museum catalogues to coffee table books. We count death as separate from life. How do we grieve in capitalist time? How do the ways we measure life transforms the passages of death?",[],{"_key":20829,"_type":219,"children":20830,"markDefs":20875,"style":232},"5cc5da05d613",[20831,20835,20839,20843,20847,20851,20855,20859,20863,20867,20871],{"_key":20832,"_type":223,"marks":20833,"text":20834},"819a66ffcb6a",[],"Post-mortem change has been analogised as a form of self-digestion: membranes break, enzymes leak, and cells eat away at themselves from within. Known as ",{"_key":20836,"_type":223,"marks":20837,"text":20838},"a367c5441b88",[1559],"autolysis",{"_key":20840,"_type":223,"marks":20841,"text":20842},"c27eda182701",[],", this feast finds its etymological origins in Greek, pointing towards a ",{"_key":20844,"_type":223,"marks":20845,"text":20846},"e6c3170d11a4",[1559],"rupturing",{"_key":20848,"_type":223,"marks":20849,"text":20850},"e3dba1ce0dd7",[]," or a ",{"_key":20852,"_type":223,"marks":20853,"text":20854},"d21276f11466",[1559],"loosening",{"_key":20856,"_type":223,"marks":20857,"text":20858},"93a5c80aab4a",[],". In bread-making, the ",{"_key":20860,"_type":223,"marks":20861,"text":20862},"86442ea25884",[1559],"autolyse",{"_key":20864,"_type":223,"marks":20865,"text":20866},"df4784d936a4",[]," method begins with leaving a water-flour mixture to its own devices. The enzymes present in flour break down protein and starch, making for a more elastic dough that’s far easier to knead. Similarly, ageing wine ",{"_key":20868,"_type":223,"marks":20869,"text":20870},"5c256aeadb0f",[1559],"sur lie",{"_key":20872,"_type":223,"marks":20873,"text":20874},"2cba054f39fd",[]," calls for its sustained contact with accumulated dead yeast cells to impart additional aromas and flavours. ",[],{"_key":20877,"_type":219,"children":20878,"markDefs":20907,"style":232},"27df5742ea46",[20879,20883,20887,20891,20895,20899,20903],{"_key":20880,"_type":223,"marks":20881,"text":20882},"a6821eda2876",[],"An offering in one sense, and an uplifting in another, the anaphora in orthodox Christian tradition precedes the Eucharistic prayer and sees to the preparation of bread and wine, consecrating the body and blood of Christ through spoken word. If a l",{"_key":20884,"_type":223,"marks":20885,"text":20886},"dd20524b23f0",[1559],"ysis",{"_key":20888,"_type":223,"marks":20889,"text":20890},"7d09ac5f0a0f",[]," of the self rests upon pliability, the sacrament is an exercise in stretching language. By way of loosening",{"_key":20892,"_type":223,"marks":20893,"text":20894},"614155eea459",[1559],", lysis",{"_key":20896,"_type":223,"marks":20897,"text":20898},"792f77ce8001",[]," might articulate a reversal of ",{"_key":20900,"_type":223,"marks":20901,"text":20902},"ba5e1c00c007",[1559],"crisis",{"_key":20904,"_type":223,"marks":20905,"text":20906},"987745110b5a",[]," as the act of self-digestion locates life in death, re-construction in destruction. ",[],{"_key":20909,"_type":219,"children":20910,"markDefs":20915,"style":232},"94a40dfc3e8c",[20911],{"_key":20912,"_type":223,"marks":20913,"text":20914},"2c996a070ed4",[],"It becomes clear that though death may be something that we think we are familiar with, we may not know anything about it at all. In this project, we take death to be the transformative catalyst that deserves more attention in how it permeates our ways of knowing.",[],[20917,20925,20933],{"_key":20918,"_type":219,"children":20919,"markDefs":20924,"style":232},"9a42e2bfbdfc",[20920],{"_key":20921,"_type":223,"marks":20922,"text":20923},"f915fe5e185b0",[],"When does a body become a cadaver? ",[],{"_key":20926,"_type":219,"children":20927,"markDefs":20932,"style":232},"0b61d9eff3c0",[20928],{"_key":20929,"_type":223,"marks":20930,"text":20931},"7947af12f33c",[],"How have the mechanisms of death affect how archives are constructed? ",[],{"_key":20934,"_type":219,"children":20935,"markDefs":20940,"style":232},"98851143d90b",[20936],{"_key":20937,"_type":223,"marks":20938,"text":20939},"9e6cb5d0d40a",[],"More generously, we flip the question around: how can radical concepts of death and rebirth pave new ways of knowledge-making technologies?",[],[20942,122,318,20785,20943,807,407],"autolysis: post-mortem change","for derrida, there is no archive fever without the death drive, but what if we refuse the universality of death? power brokers in this pandemic, not burnt out by anticipatory grief, establish an acceptable threshold of death for the economy. “official” and national archives erase the death required to obtain objects in their collection. one such example are the malay illuminated manuscripts, obtained during the british occupation of malaya, currently being digitised by the british museum. what to make of death, if a body never becomes a cadaver, like when a spiritual escape occurs?\n\nthe heavily visual western conception of death makes its way into medical records, pandemic response plans, databases, digital wellbeing, pain porn, photographs of colonial death, museum catalogues to coffee table books. we count death as separate from life. how do we grieve in capitalist time? how do the ways we measure life transforms the passages of death?\n\npost-mortem change has been analogised as a form of self-digestion: membranes break, enzymes leak, and cells eat away at themselves from within. known as autolysis, this feast finds its etymological origins in greek, pointing towards a rupturing or a loosening. in bread-making, the autolyse method begins with leaving a water-flour mixture to its own devices. the enzymes present in flour break down protein and starch, making for a more elastic dough that’s far easier to knead. similarly, ageing wine sur lie calls for its sustained contact with accumulated dead yeast cells to impart additional aromas and flavours. \n\nan offering in one sense, and an uplifting in another, the anaphora in orthodox christian tradition precedes the eucharistic prayer and sees to the preparation of bread and wine, consecrating the body and blood of christ through spoken word. if a lysis of the self rests upon pliability, the sacrament is an exercise in stretching language. by way of loosening, lysis might articulate a reversal of crisis as the act of self-digestion locates life in death, re-construction in destruction. \n\nit becomes clear that though death may be something that we think we are familiar with, we may not know anything about it at all. in this project, we take death to be the transformative catalyst that deserves more attention in how it permeates our ways of knowing.",{"_type":9,"current":20945},"autolysis-post-mortem-change","Autolysis: Post-mortem change",{"_id":20948,"_type":1027,"categories":20949,"credits":20956,"featuredImage":21040,"filterables":21047,"footnotes":21055,"locations":21056,"logbook":7,"pageBuilder":21060,"researchQuestion":21119,"researchQuestions":7,"searchables":21144,"seo":7,"slug":21147,"title":21074,"year":123},"d680df8a-5139-4a13-92ad-6abc5f528fba",[20950,20953],{"_id":695,"_type":362,"colorPrimary":20951,"seo":7,"slug":20952,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"_id":535,"_type":362,"colorPrimary":20954,"seo":7,"slug":20955,"title":538},{"label":1031,"value":7216},{"_type":9,"current":537},{"other":7,"profiles":20957},[20958,20984,21012],{"_id":20959,"_type":1078,"activeYears":20960,"bio":20963,"bioShort":20971,"featuredImage":20972,"filterables":20977,"links":7,"locations":7,"searchables":20980,"seo":7,"slug":20982,"title":20973},"71905956-b607-412c-af7b-1d80f7f3645d",[20961],{"_id":120,"_type":99,"seo":7,"slug":20962,"title":123},{"_type":9,"current":122},[20964],{"_key":20965,"_type":219,"children":20966,"markDefs":20970,"style":232},"00927146adf6",[20967],{"_key":20968,"_type":223,"marks":20969,"text":12647},"70aabc2128180",[],[],"Cultural 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(Compass-Body), aims to explore the relationship between learning, perception and memory, taking as a starting point some body methodologies from the performing arts. ",{"_key":21080,"_type":223,"marks":21081,"text":21074},"f803d3c295fd",[1559],{"_key":21083,"_type":223,"marks":21084,"text":21085},"b76d8d8369f6",[]," is a term used by the Brazilian author Suely Rolnik who proposes taking our bodies as guides, disobeying in some way the mandate of Western rationality that suspects the capacity of the senses and the information of the body to create knowledge. We take this idea, with the intention of focusing on the body and perception to generate ways to build collective learning. \n\nOur compass comprises exchange and coexistence between the performing arts, disruptive apprenticeships, neuro-psycho-education and epistemologies of the south. From this compass and this way of approaching the body, we ask ourselves, what arises from the encounter and tension between the established learning theories and the proposals that resemanticize perception, memory and, therefore, learning? What types of records and knowledge emerge from bodily experience that drives perception and expands memory to bring affectively learning? How could learning be the same as creating? What is the place of the body in our existence?\n\nThrough the process of exploration, study and creation of the Cuerpo-Brújula we are interested in:",[],{"_key":21088,"_type":219,"children":21089,"markDefs":21094,"style":232},"30a1225b4688",[21090],{"_key":21091,"_type":223,"marks":21092,"text":21093},"c1cfe644066a",[],"1- Make the concept of learning close and affective (Does it embody the learning process?).",[],{"_key":21096,"_type":219,"children":21097,"markDefs":21102,"style":232},"6605b4803248",[21098],{"_key":21099,"_type":223,"marks":21100,"text":21101},"0696f23dc567",[],"2- Experience perception as a complex action.",[],{"_key":21104,"_type":219,"children":21105,"markDefs":21110,"style":232},"b04f9be2c49d",[21106],{"_key":21107,"_type":223,"marks":21108,"text":21109},"0c653c21d310",[],"3- Expand the concept of memory by trying different record possibilities.\n\nThus, meetings will be held proposing a methodological mixture, where we alternate corporal practices with individual and collective recording techniques in which possibilities of creation and articulation of knowledge around the proposed theme will be displayed and systematized. In parallel to the meetings, we will conduct some interviews (dialogues) with professionals in art, education, social sciences and neurosciences.",[],{"_key":21112,"_type":219,"children":21113,"markDefs":21118,"style":232},"dd5eb95f6cc4",[21114],{"_key":21115,"_type":223,"marks":21116,"text":21117},"2645d9d15e91",[],"Finally, we will make a digital publication that accounts for the process and the different activities carried out by Cuerpo-brújula, based on texts and images generated.",[],[21120,21128,21136],{"_key":21121,"_type":219,"children":21122,"markDefs":21127,"style":232},"7c16806cf6a5",[21123],{"_key":21124,"_type":223,"marks":21125,"text":21126},"784805c1f6a1",[],"What arises from the encounter and tension between the established learning theories and the proposals that resemanticize perception, memory and, therefore, learning? ",[],{"_key":21129,"_type":219,"children":21130,"markDefs":21135,"style":232},"763bdeaa5458",[21131],{"_key":21132,"_type":223,"marks":21133,"text":21134},"0b19ec424d41",[],"What types of records and knowledge emerge from bodily experience that drives perception and expands memory to bring affectively learning? ",[],{"_key":21137,"_type":219,"children":21138,"markDefs":21143,"style":232},"626e33a58d57",[21139],{"_key":21140,"_type":223,"marks":21141,"text":21142},"9213fd4302e8",[],"How could learning be the same as creating? What is the place of the body in our existence?\n",[],[21145,122,8430,20981,21009,21037,21146,697,7484],"cuerpo-brújula","cuerpo-brújula (compass-body), aims to explore the relationship between learning, perception and memory, taking as a starting point some body methodologies from the performing arts. cuerpo-brújula is a term used by the brazilian author suely rolnik who proposes taking our bodies as guides, disobeying in some way the mandate of western rationality that suspects the capacity of the senses and the information of the body to create knowledge. we take this idea, with the intention of focusing on the body and perception to generate ways to build collective learning. \n\nour compass comprises exchange and coexistence between the performing arts, disruptive apprenticeships, neuro-psycho-education and epistemologies of the south. from this compass and this way of approaching the body, we ask ourselves, what arises from the encounter and tension between the established learning theories and the proposals that resemanticize perception, memory and, therefore, learning? what types of records and knowledge emerge from bodily experience that drives perception and expands memory to bring affectively learning? how could learning be the same as creating? what is the place of the body in our existence?\n\nthrough the process of exploration, study and creation of the cuerpo-brújula we are interested in:\n\n1- make the concept of learning close and affective (does it embody the learning process?).\n\n2- experience perception as a complex action.\n\n3- expand the concept of memory by trying different record possibilities.\n\nthus, meetings will be held proposing a methodological mixture, where we alternate corporal practices with individual and collective recording techniques in which possibilities of creation and articulation of knowledge around the proposed theme will be displayed and systematized. in parallel to the meetings, we will conduct some interviews (dialogues) with professionals in art, education, social sciences and neurosciences.\n\nfinally, we will make a digital publication that accounts for the process and the different activities carried out by cuerpo-brújula, based on texts and images generated.",{"_type":9,"current":21148},"cuerpo-brujula",{"_id":21150,"_type":1027,"categories":21151,"credits":21155,"featuredImage":21201,"filterables":21208,"footnotes":21215,"locations":21216,"logbook":7,"pageBuilder":21220,"researchQuestion":21263,"researchQuestions":7,"searchables":21272,"seo":7,"slug":21275,"title":21277,"year":123},"bff0f1a5-b903-4668-917e-b87a4c6338e8",[21152],{"_id":720,"_type":362,"colorPrimary":21153,"seo":7,"slug":21154,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"other":7,"profiles":21156},[21157],{"_id":21158,"_type":1078,"activeYears":21159,"bio":21162,"bioShort":21171,"featuredImage":21172,"filterables":21179,"links":21182,"locations":21185,"searchables":21197,"seo":7,"slug":21199,"title":21173},"84ef6bbd-7e44-482c-a233-aa6c2864fb9f",[21160],{"_id":120,"_type":99,"seo":7,"slug":21161,"title":123},{"_type":9,"current":122},[21163],{"_key":21164,"_type":219,"children":21165,"markDefs":21170,"style":232},"54a3f9b9b4ad",[21166],{"_key":21167,"_type":223,"marks":21168,"text":21169},"d75c0ef2435b0",[],"She holds a Bachelor's degree in Psychology and Art History and completed her Master's degree in Cultural Analysis and Gender Studies at the University of Zurich. She has worked at the Center for Art and Media in Karlsruhe and at Stapferhaus in Lenzburg.",[],"Dorothea is a curator, museum and art educator, cultural analysist, access consultant, neurodiversity activist and a neuroqueer mind.",{"alt":21173,"asset":21174},"Dorothea Deli",{"_id":21175,"height":4851,"orientation":1129,"ratio":21176,"url":21177,"width":21178},"image-8cb90ae114f26ba2e94bfa742c05596562a3b584-1480x2048-jpg",0.72265625,"https://cdn.sanity.io/images/eodip22e/production/8cb90ae114f26ba2e94bfa742c05596562a3b584-1480x2048.jpg",1480,{"filterYear":21180},[21181],{"_id":120,"title":123},[21183],{"_type":1138,"label":1142,"url":21184},"https://www.instagram.com/kalypsorabinow/",{"locations":21186,"other":21189},[21187],{"_id":331,"_type":308,"seo":7,"slug":21188,"title":334},{"_type":9,"current":333},[21190],{"_key":21191,"_type":219,"children":21192,"markDefs":21196,"style":232},"e7021c85c423",[21193],{"_key":21194,"_type":223,"marks":21195,"text":12166},"43c24e5214b6",[],[],[21198,122],"dorothea deli",{"_type":9,"current":21200},"dorothea-deli",{"alt":21202,"asset":21203},"School of Commons - Doing Neuroqueerness",{"_id":21204,"height":4851,"orientation":1129,"ratio":21205,"url":21206,"width":21207},"image-9b7c77d74377358d88b007f2ca8a948055ec4893-1365x2048-jpg",0.66650390625,"https://cdn.sanity.io/images/eodip22e/production/9b7c77d74377358d88b007f2ca8a948055ec4893-1365x2048.jpg",1365,{"filterCategory":21209,"filterLocation":21211,"filterYear":21213},[21210],{"_id":720,"title":723},[21212],{"_id":331,"title":334},[21214],{"_id":120,"title":123},[],{"locations":21217,"other":7},[21218],{"_id":331,"_type":308,"seo":7,"slug":21219,"title":334},{"_type":9,"current":333},[21221],{"_type":1625,"settings":7,"text":21222},[21223,21231,21239,21247,21255],{"_key":21224,"_type":219,"children":21225,"markDefs":21230,"style":232},"adc13ca2d75a",[21226],{"_key":21227,"_type":223,"marks":21228,"text":21229},"793a69f05705",[],"This research project deals with autism. The research interest aims on the one hand to find possible ways out of stereotypical attributions about autistics and on the other hand to work out possibilities of agency for autistics. This agency is theorized and negotiated through the concept of Neuroqueerness.",[],{"_key":21232,"_type":219,"children":21233,"markDefs":21238,"style":232},"3d0e48b67077",[21234],{"_key":21235,"_type":223,"marks":21236,"text":21237},"7bf4c1b30d8a",[],"Neuroqueerness is a compound word made up of the adjective “neurological”, since autism is a neurological difference, and the verb “to queer”, which represents the questioning of supposed social and cultural certainties. The thesis is that the neurological difference of neurodivergent people – in this case people with autism – is not the completely other, the extra-discursive or the incomprehensible, as it is often presented in the research literature or in stereotypical perspectives. Rather, this difference is entangled with the neurotypical world (the world of people without autism) and can touch and enrich it with new impulses and thus potentially break open and expand rigid ways of doing things. However, for this productive reception of neurological diversity and agency to become possible, education about autism and neuroqueerness is needed for neurotypicals and a conscious approach to one’s own different way of doing things for autistic people. I would like to call this conscious approach Doing Neuroqueerness.",[],{"_key":21240,"_type":219,"children":21241,"markDefs":21246,"style":232},"91bfc260e9ef",[21242],{"_key":21243,"_type":223,"marks":21244,"text":21245},"834fa2e49594",[],"Only about 5-12% of all employable people with autism are employed in the primary labour market. Socially, autism is still seen as something deficient or intolerable. It is worth mentioning that autism is not a disorder that needs to be cured but simply a difference. Many employers do not educate themselves on this topic and prefer to work with neurotypical people, whereas neurodivergent employees would contribute to diversity in the team and bring new impulses. People with autism in particular have a number of extremely good qualities. They are matter-of-fact, motivated by the cause, uninfluenceable, honest, creative, have high fluid intelligence and are extremely powerful cognitively. In a larger context, this project therefore also aims to contribute to the recognition of autistics and neuroqueer practices in society and especially in the labour market and to promote new possibilities of working together.",[],{"_key":21248,"_type":219,"children":21249,"markDefs":21254,"style":232},"66905b20237a",[21250],{"_key":21251,"_type":223,"marks":21252,"text":21253},"0df2b5768d01",[],"The Instagram page @doing.neuroqueerness, which is being created as part of this project, targets to mediate between autistics and neurotypicals and to enable respectful insights and connections between both neurotypes. It offers resource-oriented information, thus raising awareness about and recognition for autism and dispelling fear and stereotypes about the topic.",[],{"_key":21256,"_type":219,"children":21257,"markDefs":21262,"style":232},"50400c1dd516",[21258],{"_key":21259,"_type":223,"marks":21260,"text":21261},"cd30c3b7c38c",[],"It is supposed to build community among autistics primarily in German speaking countries and to help engage with the topic of autism and the advantages of neuroqueer ways of thinking and acting. It also aims to encourage potential employers to provide autistic workers with the necessary workplace adaptations, as the benefits of working with autistics that are able to fulfil their potential are immense.",[],[21264],{"_key":21265,"_type":219,"children":21266,"markDefs":21271,"style":232},"07d76d00ab40",[21267],{"_key":21268,"_type":223,"marks":21269,"text":21270},"7c629ced8ff60",[],"Is it enough to tolerate difference, or is it much more important to encourage it to flourish?",[],[21273,122,333,21198,21274,722],"doing neuroqueerness","this research project deals with autism. the research interest aims on the one hand to find possible ways out of stereotypical attributions about autistics and on the other hand to work out possibilities of agency for autistics. this agency is theorized and negotiated through the concept of neuroqueerness.\n\nneuroqueerness is a compound word made up of the adjective “neurological”, since autism is a neurological difference, and the verb “to queer”, which represents the questioning of supposed social and cultural certainties. the thesis is that the neurological difference of neurodivergent people – in this case people with autism – is not the completely other, the extra-discursive or the incomprehensible, as it is often presented in the research literature or in stereotypical perspectives. rather, this difference is entangled with the neurotypical world (the world of people without autism) and can touch and enrich it with new impulses and thus potentially break open and expand rigid ways of doing things. however, for this productive reception of neurological diversity and agency to become possible, education about autism and neuroqueerness is needed for neurotypicals and a conscious approach to one’s own different way of doing things for autistic people. i would like to call this conscious approach doing neuroqueerness.\n\nonly about 5-12% of all employable people with autism are employed in the primary labour market. socially, autism is still seen as something deficient or intolerable. it is worth mentioning that autism is not a disorder that needs to be cured but simply a difference. many employers do not educate themselves on this topic and prefer to work with neurotypical people, whereas neurodivergent employees would contribute to diversity in the team and bring new impulses. people with autism in particular have a number of extremely good qualities. they are matter-of-fact, motivated by the cause, uninfluenceable, honest, creative, have high fluid intelligence and are extremely powerful cognitively. in a larger context, this project therefore also aims to contribute to the recognition of autistics and neuroqueer practices in society and especially in the labour market and to promote new possibilities of working together.\n\nthe instagram page @doing.neuroqueerness, which is being created as part of this project, targets to mediate between autistics and neurotypicals and to enable respectful insights and connections between both neurotypes. it offers resource-oriented information, thus raising awareness about and recognition for autism and dispelling fear and stereotypes about the topic.\n\nit is supposed to build community among autistics primarily in german speaking countries and to help engage with the topic of autism and the advantages of neuroqueer ways of thinking and acting. it also aims to encourage potential employers to provide autistic workers with the necessary workplace adaptations, as the benefits of working with autistics that are able to fulfil their potential are immense.",{"_type":9,"current":21276},"doing-neuroqueerness","Doing Neuroqueerness",{"_id":21279,"_type":1027,"categories":21280,"credits":21290,"featuredImage":21340,"filterables":21347,"footnotes":21356,"locations":21357,"logbook":7,"pageBuilder":21361,"researchQuestion":21431,"researchQuestions":7,"searchables":21440,"seo":7,"slug":21443,"title":21445,"year":123},"b0aa5604-74be-4bc1-bfbe-b9519d6c6df7",[21281,21284,21287],{"_id":720,"_type":362,"colorPrimary":21282,"seo":7,"slug":21283,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"_id":890,"_type":362,"colorPrimary":21285,"seo":7,"slug":21286,"title":893},{"label":1031,"value":4468},{"_type":9,"current":892},{"_id":555,"_type":362,"colorPrimary":21288,"seo":7,"slug":21289,"title":558},{"label":1031,"value":4977},{"_type":9,"current":557},{"other":7,"profiles":21291},[21292],{"_id":21293,"_type":1078,"activeYears":21294,"bio":21297,"bioShort":21306,"featuredImage":21307,"filterables":21315,"links":21318,"locations":21323,"searchables":21336,"seo":7,"slug":21338,"title":21308},"6f706b33-32b1-4beb-a683-68f92a597ea7",[21295],{"_id":120,"_type":99,"seo":7,"slug":21296,"title":123},{"_type":9,"current":122},[21298],{"_key":21299,"_type":219,"children":21300,"markDefs":21305,"style":232},"2ae05ba64dae",[21301],{"_key":21302,"_type":223,"marks":21303,"text":21304},"57000d660b7f0",[],"She is currently exploring how the combination of art and gaming techniques can encourage 'making kin' and create ground for the emergence of inclusive and sustainable multispecies societies.",[],"Artist and researcher interested in the significant otherness of non-human living organisms and often works through the ethical implications of believing that humans and non-humans share an equal moral status. ",{"alt":21308,"asset":21309},"Manuela Viezzer",{"_id":21310,"height":21311,"orientation":1129,"ratio":21312,"url":21313,"width":21314},"image-02c40692cf0f6bfad86732476ba1ac9b16668a6e-1428x1824-jpg",1824,0.7828947368421053,"https://cdn.sanity.io/images/eodip22e/production/02c40692cf0f6bfad86732476ba1ac9b16668a6e-1428x1824.jpg",1428,{"filterYear":21316},[21317],{"_id":120,"title":123},[21319,21321],{"_type":1138,"label":1139,"url":21320},"https://manuelaviezzer.com/",{"_type":1138,"label":1142,"url":21322},"https://www.instagram.com/manuela.viezzer/",{"locations":21324,"other":21327},[21325],{"_id":331,"_type":308,"seo":7,"slug":21326,"title":334},{"_type":9,"current":333},[21328],{"_key":21329,"_type":219,"children":21330,"markDefs":21335,"style":232},"2a8c670f4b11",[21331],{"_key":21332,"_type":223,"marks":21333,"text":21334},"0b143c4609ab",[],"Based in the Netherlands",[],[21337,122],"manuela viezzer",{"_type":9,"current":21339},"manuela-viezzer",{"alt":21341,"asset":21342},"Eat Me Eat Me Not - porcelain figurines for prototype, detail.",{"_id":21343,"height":12654,"orientation":1129,"ratio":21344,"url":21345,"width":21346},"image-bfe226689166993c8c07f073ed350909c3d8cbb4-2377x2560-jpg",0.928515625,"https://cdn.sanity.io/images/eodip22e/production/bfe226689166993c8c07f073ed350909c3d8cbb4-2377x2560.jpg",2377,{"filterCategory":21348,"filterLocation":21352,"filterYear":21354},[21349,21350,21351],{"_id":720,"title":723},{"_id":890,"title":893},{"_id":555,"title":558},[21353],{"_id":331,"title":334},[21355],{"_id":120,"title":123},[],{"locations":21358,"other":7},[21359],{"_id":331,"_type":308,"seo":7,"slug":21360,"title":334},{"_type":9,"current":333},[21362,21396,21415],{"_type":1625,"settings":7,"text":21363},[21364,21372,21380,21388],{"_key":21365,"_type":219,"children":21366,"markDefs":21371,"style":232},"4c1c958fdd9f",[21367],{"_key":21368,"_type":223,"marks":21369,"text":21370},"4650f12b8b23",[],"This project proposal is part of a long-term artistic research practice broadly exploring ethical and epistemological questions of how to live harmoniously as a multispecies in a rapidly changing and deteriorating world. Being in harmony here means recognizing that living and dying are at stake together, and at the same time striving for kinship, for inclusivity, for a multispecies community in which all the actors are able and willing to work together and to be collectively responsible for each other. How can we learn kinship and put it into practice? Our initial assumption is that the ability to ‘make kin’ requires both ‘perspective-shifting’ (being willing to listen to other earthly beings) and ‘alter-rooting’ (being willing to engage with values that are different from our species-specific own). The aim of the project is to design, make and use art games during which players will experience ‘perspective-shifting’ and ‘alter-rooting’. Players will also be encouraged to make together (sym-poiesis) and assume responsibility together.",[],{"_key":21373,"_type":219,"children":21374,"markDefs":21379,"style":232},"977dd4c4ee9a",[21375],{"_key":21376,"_type":223,"marks":21377,"text":21378},"c8c5b2f6d67d",[],"Games can be powerful tools to involve players and inspire them to think in novel ways. They can also be designed with purposes other than entertainment, for example with the aim to change the attitude and behaviour of players beyond the game session, as in persuasive games. Usually games are distinguished from open play because of their structure, which is given by clearly defined rules and ending points. In this project, art games are defined as games that are much closer to play, in the sense that their rules are loosely defined, new elements (and sometimes also new rules) can be introduced by the players themselves (thus actively transforming the game), and the playful element becomes predominant and may even overcome the rules.",[],{"_key":21381,"_type":219,"children":21382,"markDefs":21387,"style":232},"ec0e7c7a70b0",[21383],{"_key":21384,"_type":223,"marks":21385,"text":21386},"47234b5fcc90",[],"In this project I will translate my research into practice by designing art games in which traditional game dynamics are coupled with performative techniques to involve the players in the co-creation of the game. In the game, players will experience ‘perspective-shifting’ and ‘alter-rooting’, and will be encouraged to embrace kinship beyond the game session. Since the notion of kinship is deeply entangled with the notion of ecosystem, and any given ecosystem is always and foremost also a food system, the idea is to begin my game storylines by unpacking the hidden infrastructures of our contemporary industrial food system, its environmental consequences and its impact on climate change. By taking a critical approach to the food industry, the idea is to explore, in a playful way, what will end up in our plates if we were to ‘make kin’ instead of exploiting and enslaving.",[],{"_key":21389,"_type":219,"children":21390,"markDefs":21395,"style":232},"ef373686c2fc",[21391],{"_key":21392,"_type":223,"marks":21393,"text":21394},"fc4f49feecf4",[],"This project is loosely inspired by the notion of ‘making kin’ described in “Staying with the trouble” by Donna Haraway (2016), the heideggerian concept of ‘localized ethics’, and recent approaches in the field of food studies.",[],{"_type":2894,"slides":21397},[21398,21405,21410],{"_type":1621,"caption":7,"image":21399},{"alt":7,"asset":21400},{"_id":21401,"height":12654,"orientation":1129,"ratio":21402,"url":21403,"width":21404},"image-671e6844a17ac69455d606a34cf3a7869d690f82-1596x2560-jpg",0.6234375,"https://cdn.sanity.io/images/eodip22e/production/671e6844a17ac69455d606a34cf3a7869d690f82-1596x2560.jpg",1596,{"_type":1621,"caption":7,"image":21406},{"alt":7,"asset":21407},{"_id":21408,"height":12654,"orientation":1129,"ratio":2920,"url":21409,"width":2834},"image-61af45a3f65acfe850dbfdc9d88bd027cea35ad4-1920x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/61af45a3f65acfe850dbfdc9d88bd027cea35ad4-1920x2560.jpg",{"_type":1621,"caption":7,"image":21411},{"alt":7,"asset":21412},{"_id":21413,"height":12654,"orientation":1129,"ratio":2920,"url":21414,"width":2834},"image-a93b8d89a412ed10e33d56560a2476c3e719662c-1920x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/a93b8d89a412ed10e33d56560a2476c3e719662c-1920x2560.jpg",{"_type":2894,"slides":21416},[21417,21424],{"_type":1621,"caption":7,"image":21418},{"alt":7,"asset":21419},{"_id":21420,"height":12654,"orientation":1129,"ratio":21421,"url":21422,"width":21423},"image-4df880e07384f85501c5b271d488b33a83f3a001-2366x2560-jpg",0.92421875,"https://cdn.sanity.io/images/eodip22e/production/4df880e07384f85501c5b271d488b33a83f3a001-2366x2560.jpg",2366,{"_type":1621,"caption":7,"image":21425},{"alt":7,"asset":21426},{"_id":21427,"height":21428,"orientation":1474,"ratio":21429,"url":21430,"width":12654},"image-0ed23e4f26c212015efe7ed4b5d259aa4278c454-2560x1899-jpg",1899,1.348077935755661,"https://cdn.sanity.io/images/eodip22e/production/0ed23e4f26c212015efe7ed4b5d259aa4278c454-2560x1899.jpg",[21432],{"_key":21433,"_type":219,"children":21434,"markDefs":21439,"style":232},"ccc0d3d83090",[21435],{"_key":21436,"_type":223,"marks":21437,"text":21438},"9980f140f7050",[],"How can we learn kinship and put it into practice?",[],[21441,122,333,21337,21442,722,892,557],"eat me eat me not - art games for 'making kin'","this project proposal is part of a long-term artistic research practice broadly exploring ethical and epistemological questions of how to live harmoniously as a multispecies in a rapidly changing and deteriorating world. being in harmony here means recognizing that living and dying are at stake together, and at the same time striving for kinship, for inclusivity, for a multispecies community in which all the actors are able and willing to work together and to be collectively responsible for each other. how can we learn kinship and put it into practice? our initial assumption is that the ability to ‘make kin’ requires both ‘perspective-shifting’ (being willing to listen to other earthly beings) and ‘alter-rooting’ (being willing to engage with values that are different from our species-specific own). the aim of the project is to design, make and use art games during which players will experience ‘perspective-shifting’ and ‘alter-rooting’. players will also be encouraged to make together (sym-poiesis) and assume responsibility together.\n\ngames can be powerful tools to involve players and inspire them to think in novel ways. they can also be designed with purposes other than entertainment, for example with the aim to change the attitude and behaviour of players beyond the game session, as in persuasive games. usually games are distinguished from open play because of their structure, which is given by clearly defined rules and ending points. in this project, art games are defined as games that are much closer to play, in the sense that their rules are loosely defined, new elements (and sometimes also new rules) can be introduced by the players themselves (thus actively transforming the game), and the playful element becomes predominant and may even overcome the rules.\n\nin this project i will translate my research into practice by designing art games in which traditional game dynamics are coupled with performative techniques to involve the players in the co-creation of the game. in the game, players will experience ‘perspective-shifting’ and ‘alter-rooting’, and will be encouraged to embrace kinship beyond the game session. since the notion of kinship is deeply entangled with the notion of ecosystem, and any given ecosystem is always and foremost also a food system, the idea is to begin my game storylines by unpacking the hidden infrastructures of our contemporary industrial food system, its environmental consequences and its impact on climate change. by taking a critical approach to the food industry, the idea is to explore, in a playful way, what will end up in our plates if we were to ‘make kin’ instead of exploiting and enslaving.\n\nthis project is loosely inspired by the notion of ‘making kin’ described in “staying with the trouble” by donna haraway (2016), the heideggerian concept of ‘localized ethics’, and recent approaches in the field of food studies.",{"_type":9,"current":21444},"eat-me-eat-me-not-art-games-for-making-kin","Eat me eat me not - art games for 'making kin'",{"_id":21447,"_type":1027,"categories":21448,"credits":21455,"featuredImage":21520,"filterables":21523,"footnotes":21533,"locations":21534,"logbook":21542,"pageBuilder":21557,"researchQuestion":7,"researchQuestions":7,"searchables":21592,"seo":7,"slug":21596,"title":21598,"year":123},"8aaa8e69-4a52-48e8-b364-22debc074710",[21449,21452],{"_id":720,"_type":362,"colorPrimary":21450,"seo":7,"slug":21451,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"_id":700,"_type":362,"colorPrimary":21453,"seo":7,"slug":21454,"title":703},{"label":1031,"value":1040},{"_type":9,"current":702},{"other":7,"profiles":21456},[21457],{"_id":21458,"_type":1078,"activeYears":21459,"bio":21462,"bioShort":21487,"featuredImage":21488,"filterables":21493,"links":21496,"locations":21501,"searchables":21518,"seo":7,"slug":21519,"title":21489},"9897e18f-48c2-442f-bc08-aea51976dd39",[21460],{"_id":120,"_type":99,"seo":7,"slug":21461,"title":123},{"_type":9,"current":122},[21463,21471],{"_key":21464,"_type":219,"children":21465,"markDefs":21470,"style":232},"c0c480e4ba1d",[21466],{"_key":21467,"_type":223,"marks":21468,"text":21469},"55ad077eeddf0",[],"Individually engaged in research areas such as material feminism, critical ecologies, postcoloniality, and geopolitics and based in different geographical contexts – San Jose (Costa Rica), Istanbul (Turkey) and Berlin (Germany), together we seek to bring into conversation this multitude of contextual and disciplinary perspectives. Through creating a process of prolonged conversation, we ask how to work and think with each other through an approach that prioritizes care and sensibility to what drives our research and practice.",[],{"_key":21472,"_type":219,"children":21473,"markDefs":21486,"style":232},"7cff4cd46d97",[21474,21478,21482],{"_key":21475,"_type":223,"marks":21476,"text":21477},"966bd72a256a0",[],"We therefore initiate long-term collaborative research projects with thinkers and practitioners from various places and disciplines to collect methods and tools that help us move towards a shared ground while being attentive to specificities. We develop experimental exhibition formats as collective efforts and rehearsal spaces. In addition, we invite the participants to continue thinking together across distance through our online archive. Here, we share the reflections that surface in the ",{"_key":21479,"_type":223,"marks":21480,"text":21481},"966bd72a256a1",[1559],"afterlife",{"_key":21483,"_type":223,"marks":21484,"text":21485},"966bd72a256a2",[]," of an encounter, we re-think and re-work, we rehearse and fail, and become attentive to the ways in which ideas are moved, inflected and twisted differently over time and space.",[],"topsoil is a transnational curatorial and research collective formed by Sofia Villena Araya, Deniz Kirkali and Amelie Wedel in 2017 in London. ",{"alt":21489,"asset":21490},"topsoil",{"_id":21491,"height":12654,"orientation":7818,"ratio":2178,"url":21492,"width":12654},"image-d0708cb13ce1f5b3ecb14711e052dc4ac743d4cf-2560x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/d0708cb13ce1f5b3ecb14711e052dc4ac743d4cf-2560x2560.jpg",{"filterYear":21494},[21495],{"_id":120,"title":123},[21497,21499],{"_type":1138,"label":1139,"url":21498},"https://www.topsoilcollective.com/",{"_type":1138,"label":1142,"url":21500},"https://www.instagram.com/topsoil_istaken/",{"locations":21502,"other":21509},[21503,21505,21507],{"_id":321,"_type":308,"seo":7,"slug":21504,"title":324},{"_type":9,"current":323},{"_id":316,"_type":308,"seo":7,"slug":21506,"title":319},{"_type":9,"current":318},{"_id":331,"_type":308,"seo":7,"slug":21508,"title":334},{"_type":9,"current":333},[21510],{"_key":21511,"_type":219,"children":21512,"markDefs":21517,"style":232},"aa673b22c0ee",[21513],{"_key":21514,"_type":223,"marks":21515,"text":21516},"01f51dd16fad",[],"San Jose (Costa Rica), Istanbul (Turkey) and Berlin (Germany)",[],[21489,122],{"_type":9,"current":21489},{"alt":21521,"asset":21522},"As topsoil, our work stems from our shared experiences of learning spaces at Goldsmiths University, exhibition spaces, conferences, talks, lecture halls, reading groups, which have been spaces of immense inspiration and value. However, we are equally critical of these institutions and spaces for reproducing forms of exclusion and showing very constrained and performed ways of producing knowledges. Hence, we have developed a practice of collectively discussing and critically understanding diverse pedagogical spaces we attend to in our respective, albeit differently conditioned, academic and artistic contexts in Costa Rica, Germany and Turkey.  Friendship, for us, is a strong resource from which we propose alternatives to those learning spaces and towards the inclusion of others. We understand various forms of intimate relations and especially friendship as a research methodology. By looking at the implicit, often invisible strategies and methodologies of care inherent in friendships, we want to explore how they can become transformed into accountable, involved and affected learning spaces with others (while remaining attentive to the forms of cooptation and extraction of personal relationships in the arts).  Since June 2020, we have been working on a long-term research project titled Experimental Pedagogies which looks at the relationship between friendship, ecologies and learning spaces. It started by questioning how we learn collectively and what alternative methods we can invent and experiment with for creating collective knowledges departing from our understanding of the potential of affective bonds. We started mapping the methodologies that we use and created visual representations and documentations of how we organize thoughts, memories, processes and research. Throughout our past projects, we have observed our processes, motivations and points of frustration and have learned how to shift with them. Therefore, we now have a toolbox of methods that we carry with us into the next projects: we pay attention to our contexts (the overlapping and departures), we value doing over speaking, we make sure to not forget our bodies (and those of other human and nonhuman creatures), we centre personal storytelling, use minds-eye imagination, attend to nonhuman presences and agencies, work through various temporalities, explore feminist methodologies and focus on the physical, psychological and emotional set up of socioecological spaces. SoC is an opportunity for us to further our ongoing research and it will serve as a platform to be self-reflective, exchange and learn from others throughout the process, borrow methods from others, build new connections and relationalities, present our own questions and ways of working to others, and materialize this research.  Looking at other collectives, how collective work and learning processes can be done otherwise, how friends or colleagues work together is important for our research in the long term. We think wanting to share time and thinking with others and to build new potentialities for friendships is indeed a very valid and productive place to begin a research process. We would like to map these connections and encounters and experiment with new forms of thinking around these alliances.",{"_id":21491,"height":12654,"orientation":7818,"ratio":2178,"url":21492,"width":12654},{"filterCategory":21524,"filterLocation":21527,"filterYear":21531},[21525,21526],{"_id":720,"title":723},{"_id":700,"title":703},[21528,21529,21530],{"_id":321,"title":324},{"_id":331,"title":334},{"_id":316,"title":319},[21532],{"_id":120,"title":123},[],{"locations":21535,"other":7},[21536,21538,21540],{"_id":321,"_type":308,"seo":7,"slug":21537,"title":324},{"_type":9,"current":323},{"_id":331,"_type":308,"seo":7,"slug":21539,"title":334},{"_type":9,"current":333},{"_id":316,"_type":308,"seo":7,"slug":21541,"title":319},{"_type":9,"current":318},[21543],{"_key":21544,"_type":219,"children":21545,"markDefs":21554,"style":232},"38675f78d74e",[21546,21551],{"_key":21547,"_type":223,"marks":21548,"text":21550},"061ba27b16cc",[21549],"a9af8f2448af","Download publications",{"_key":21552,"_type":223,"marks":21553,"text":2264},"53aa31626517",[],[21555],{"_key":21549,"_type":249,"blank":250,"href":21556},"https://drive.google.com/drive/folders/1tbbj6YDdZ97nEzEEoO1_f-qnq92RS2sE",[21558],{"_type":1625,"settings":7,"text":21559},[21560,21568,21576,21584],{"_key":21561,"_type":219,"children":21562,"markDefs":21567,"style":232},"e159f8050d8d",[21563],{"_key":21564,"_type":223,"marks":21565,"text":21566},"7d830bc75012",[],"As topsoil, our work stems from our shared experiences of learning spaces at Goldsmiths University, exhibition spaces, conferences, talks, lecture halls, reading groups, which have been spaces of immense inspiration and value. However, we are equally critical of these institutions and spaces for reproducing forms of exclusion and showing very constrained and performed ways of producing knowledges. Hence, we have developed a practice of collectively discussing and critically understanding diverse pedagogical spaces we attend to in our respective, albeit differently conditioned, academic and artistic contexts in Costa Rica, Germany and Turkey.",[],{"_key":21569,"_type":219,"children":21570,"markDefs":21575,"style":232},"390673c3d128",[21571],{"_key":21572,"_type":223,"marks":21573,"text":21574},"a7dac8ac7652",[],"Friendship, for us, is a strong resource from which we propose alternatives to those learning spaces and towards the inclusion of others. We understand various forms of intimate relations and especially friendship as a research methodology. By looking at the implicit, often invisible strategies and methodologies of care inherent in friendships, we want to explore how they can become transformed into accountable, involved and affected learning spaces with others (while remaining attentive to the forms of cooptation and extraction of personal relationships in the arts).",[],{"_key":21577,"_type":219,"children":21578,"markDefs":21583,"style":232},"8a2fd6b14894",[21579],{"_key":21580,"_type":223,"marks":21581,"text":21582},"3f2598cb9046",[],"Since June 2020, we have been working on a long-term research project titled Experimental Pedagogies which looks at the relationship between friendship, ecologies and learning spaces. It started by questioning how we learn collectively and what alternative methods we can invent and experiment with for creating collective knowledges departing from our understanding of the potential of affective bonds. We started mapping the methodologies that we use and created visual representations and documentations of how we organize thoughts, memories, processes and research. Throughout our past projects, we have observed our processes, motivations and points of frustration and have learned how to shift with them. Therefore, we now have a toolbox of methods that we carry with us into the next projects: we pay attention to our contexts (the overlapping and departures), we value doing over speaking, we make sure to not forget our bodies (and those of other human and nonhuman creatures), we centre personal storytelling, use minds-eye imagination, attend to nonhuman presences and agencies, work through various temporalities, explore feminist methodologies and focus on the physical, psychological and emotional set up of socioecological spaces. SoC is an opportunity for us to further our ongoing research and it will serve as a platform to be self-reflective, exchange and learn from others throughout the process, borrow methods from others, build new connections and relationalities, present our own questions and ways of working to others, and materialize this research.",[],{"_key":21585,"_type":219,"children":21586,"markDefs":21591,"style":232},"46f332b0fe62",[21587],{"_key":21588,"_type":223,"marks":21589,"text":21590},"88e8675f361c",[],"Looking at other collectives, how collective work and learning processes can be done otherwise, how friends or colleagues work together is important for our research in the long term. We think wanting to share time and thinking with others and to build new potentialities for friendships is indeed a very valid and productive place to begin a research process. We would like to map these connections and encounters and experiment with new forms of thinking around these alliances.",[],[21593,122,21594,4694,333,318,21489,21595,722,1784],"experimental pedagogies","download publications ","as topsoil, our work stems from our shared experiences of learning spaces at goldsmiths university, exhibition spaces, conferences, talks, lecture halls, reading groups, which have been spaces of immense inspiration and value. however, we are equally critical of these institutions and spaces for reproducing forms of exclusion and showing very constrained and performed ways of producing knowledges. hence, we have developed a practice of collectively discussing and critically understanding diverse pedagogical spaces we attend to in our respective, albeit differently conditioned, academic and artistic contexts in costa rica, germany and turkey.\n\nfriendship, for us, is a strong resource from which we propose alternatives to those learning spaces and towards the inclusion of others. we understand various forms of intimate relations and especially friendship as a research methodology. by looking at the implicit, often invisible strategies and methodologies of care inherent in friendships, we want to explore how they can become transformed into accountable, involved and affected learning spaces with others (while remaining attentive to the forms of cooptation and extraction of personal relationships in the arts).\n\nsince june 2020, we have been working on a long-term research project titled experimental pedagogies which looks at the relationship between friendship, ecologies and learning spaces. it started by questioning how we learn collectively and what alternative methods we can invent and experiment with for creating collective knowledges departing from our understanding of the potential of affective bonds. we started mapping the methodologies that we use and created visual representations and documentations of how we organize thoughts, memories, processes and research. throughout our past projects, we have observed our processes, motivations and points of frustration and have learned how to shift with them. therefore, we now have a toolbox of methods that we carry with us into the next projects: we pay attention to our contexts (the overlapping and departures), we value doing over speaking, we make sure to not forget our bodies (and those of other human and nonhuman creatures), we centre personal storytelling, use minds-eye imagination, attend to nonhuman presences and agencies, work through various temporalities, explore feminist methodologies and focus on the physical, psychological and emotional set up of socioecological spaces. soc is an opportunity for us to further our ongoing research and it will serve as a platform to be self-reflective, exchange and learn from others throughout the process, borrow methods from others, build new connections and relationalities, present our own questions and ways of working to others, and materialize this research.\n\nlooking at other collectives, how collective work and learning processes can be done otherwise, how friends or colleagues work together is important for our research in the long term. we think wanting to share time and thinking with others and to build new potentialities for friendships is indeed a very valid and productive place to begin a research process. we would like to map these connections and encounters and experiment with new forms of thinking around these alliances.",{"_type":9,"current":21597},"experimental-pedagogies","Experimental Pedagogies",{"_id":21600,"_type":1027,"categories":21601,"credits":21608,"featuredImage":21649,"filterables":21656,"footnotes":21664,"locations":21665,"logbook":7,"pageBuilder":21669,"researchQuestion":7,"researchQuestions":7,"searchables":21720,"seo":7,"slug":21723,"title":21725,"year":123},"c607e25e-5f54-4a06-9549-71121de71067",[21602,21605],{"_id":805,"_type":362,"colorPrimary":21603,"seo":7,"slug":21604,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"_id":555,"_type":362,"colorPrimary":21606,"seo":7,"slug":21607,"title":558},{"label":1031,"value":4977},{"_type":9,"current":557},{"other":7,"profiles":21609},[21610],{"_id":21611,"_type":1078,"activeYears":21612,"bio":21615,"bioShort":21624,"featuredImage":7,"filterables":21625,"links":21628,"locations":21631,"searchables":21644,"seo":7,"slug":21646,"title":21648},"e3c9490e-1e73-45b1-aa71-9c28549eb056",[21613],{"_id":120,"_type":99,"seo":7,"slug":21614,"title":123},{"_type":9,"current":122},[21616],{"_key":21617,"_type":219,"children":21618,"markDefs":21623,"style":232},"6ab47d4f46a2",[21619],{"_key":21620,"_type":223,"marks":21621,"text":21622},"3bfe1ce3d23e0",[],"She has recently exhibited at CCB, Bogota and TENT Rotterdam.",[],"Kari Robertson (b.1988 Edinburgh, UK) is a visual artist, teacher and researcher largely concerned with eco-social themes. ",{"filterYear":21626},[21627],{"_id":120,"title":123},[21629],{"_type":1138,"label":1139,"url":21630},"https://karilericherobertson.com/",{"locations":21632,"other":21635},[21633],{"_id":331,"_type":308,"seo":7,"slug":21634,"title":334},{"_type":9,"current":333},[21636],{"_key":21637,"_type":219,"children":21638,"markDefs":21643,"style":232},"6ff5d5de92ea",[21639],{"_key":21640,"_type":223,"marks":21641,"text":21642},"49a25849336a",[],"Based in Rotterdam",[],[21645,122],"kari robertson",{"_type":9,"current":21647},"kari-robertson","Kari Robertson",{"alt":21650,"asset":21651},"Cholera miasma theory courtesy of Haptics of Miasma",{"_id":21652,"height":21653,"orientation":1474,"ratio":21654,"url":21655,"width":19153},"image-b98a7cc823370563f590d55b06b2362a6a591bfe-524x427-jpg",427,1.2271662763466042,"https://cdn.sanity.io/images/eodip22e/production/b98a7cc823370563f590d55b06b2362a6a591bfe-524x427.jpg",{"filterCategory":21657,"filterLocation":21660,"filterYear":21662},[21658,21659],{"_id":805,"title":808},{"_id":555,"title":558},[21661],{"_id":331,"title":334},[21663],{"_id":120,"title":123},[],{"locations":21666,"other":7},[21667],{"_id":331,"_type":308,"seo":7,"slug":21668,"title":334},{"_type":9,"current":333},[21670],{"_type":1625,"settings":7,"text":21671},[21672,21680,21688,21696,21704,21712],{"_key":21673,"_type":219,"children":21674,"markDefs":21679,"style":232},"0cd501e45e4e",[21675],{"_key":21676,"_type":223,"marks":21677,"text":21678},"1f3b9a4277d7",[],"Haptics of Miasma explores contamination and loss of boundaries, through the concept of ‘Miasma’ (a pre-germ-theory explanation of disease). Miasma actually means ‘pollution’ but could also be foul odours, fog, mist and noxious gases that spread both ill-health and immorality through the air.",[],{"_key":21681,"_type":219,"children":21682,"markDefs":21687,"style":232},"cd1fb8e0761c",[21683],{"_key":21684,"_type":223,"marks":21685,"text":21686},"6de6234a324b",[],"Germ theory, conversely, equates haptics and touch with the cause of disease or infection; through contact germs move between hosts. “Germ” refers to not just bacteria, but to any type of micro-organism or even non-living pathogen (virus, funghi etc) that can cause disease. Germ theory, accepted as the dominant scientific explanation for disease around the 1880s, is a method of containment, preventing the spread of viruses and bacteria between organisms through sterilization, hand-washing and separation as well as vaccination. Since its widespread adoption germ theory has indisputably saved billions of lives and in part, has created modern medicine.",[],{"_key":21689,"_type":219,"children":21690,"markDefs":21695,"style":232},"3a358dd132a1",[21691],{"_key":21692,"_type":223,"marks":21693,"text":21694},"306519cc7aa6",[],"In her work on microbial ecosystems ecologist and engineer Jennifer Green looks at how the architecture of hospitals and other buildings are extremely effective at keeping the outside out – through heating, filtering, and air-conditioning systems, in order to prevent the spread of germs, and subsequently, infection. However, in her research she questions this assumption. Green argues that, due to sealing out ‘the outdoors’ so successfully, the microbial matter in hospital air is almost 100% human (from skin and saliva), while the healthiest air is that composed of microbes of plant and soil. Prior to Germ theory, hospitals designed to manage miasma had large windows, lots of natural light and airflow and were surrounded by gardens and trees. Patients were encouraged to spend as much time outdoors as possible. As superviruses proliferate in hospitals and scientists discover the naturally antibiotic effects of sunshine and fresh air, this Miasmatic approach to treatment and prevention is now being revisited.",[],{"_key":21697,"_type":219,"children":21698,"markDefs":21703,"style":232},"c80335e8bb4d",[21699],{"_key":21700,"_type":223,"marks":21701,"text":21702},"dba7dcb5127d",[],"Miasma theory is holistic, a relational and negotiated approach to our environment, its postulates that if our surroundings are not healthy, neither are we. Through its more atomised approach, germ theory is much more compatible with capitalism. We can literally ‘wash our hands’ of contamination, and separate from the filth of our environment. Miasma theory, on the other hand, has us always-already contaminated. Within the Miasmiatic approach we are implicated in our environment and held accountable to our societal failings; jails release Miasma which affects the health of everyone else, swamps punish us by releasing miasma if they are encroached upon.",[],{"_key":21705,"_type":219,"children":21706,"markDefs":21711,"style":232},"360677852339",[21707],{"_key":21708,"_type":223,"marks":21709,"text":21710},"9d99aeb7657f",[],"In our current state of global Coronavirus pandemic, partly caused by the climate and ecological crises, myths of separability must be challenged. First Nations/ Indigenous communities have long had a far more sustainable relationship to their environment, in part due to seeing themselves as inseparable from it. The present is a testimony to impossibilities of containment on a global scale. Deforestation in Brazil causes natural disasters on the opposite side of the world; within a matter of weeks a pathogen can spread across the globe irrespective of state borders.",[],{"_key":21713,"_type":219,"children":21714,"markDefs":21719,"style":232},"86835011687b",[21715],{"_key":21716,"_type":223,"marks":21717,"text":21718},"fdea453deb21",[],"Haptics of Miasma uses the frame of miasma theory to explore existing and imagined states of contamination, unsovereignty and borderlessness. The body of prose, poetry and essays speak from an urgent place of interconnectedness and terrestrial immanence.",[],[21721,122,333,21645,21722,807,557],"haptics of miasma","haptics of miasma explores contamination and loss of boundaries, through the concept of ‘miasma’ (a pre-germ-theory explanation of disease). miasma actually means ‘pollution’ but could also be foul odours, fog, mist and noxious gases that spread both ill-health and immorality through the air.\n\ngerm theory, conversely, equates haptics and touch with the cause of disease or infection; through contact germs move between hosts. “germ” refers to not just bacteria, but to any type of micro-organism or even non-living pathogen (virus, funghi etc) that can cause disease. germ theory, accepted as the dominant scientific explanation for disease around the 1880s, is a method of containment, preventing the spread of viruses and bacteria between organisms through sterilization, hand-washing and separation as well as vaccination. since its widespread adoption germ theory has indisputably saved billions of lives and in part, has created modern medicine.\n\nin her work on microbial ecosystems ecologist and engineer jennifer green looks at how the architecture of hospitals and other buildings are extremely effective at keeping the outside out – through heating, filtering, and air-conditioning systems, in order to prevent the spread of germs, and subsequently, infection. however, in her research she questions this assumption. green argues that, due to sealing out ‘the outdoors’ so successfully, the microbial matter in hospital air is almost 100% human (from skin and saliva), while the healthiest air is that composed of microbes of plant and soil. prior to germ theory, hospitals designed to manage miasma had large windows, lots of natural light and airflow and were surrounded by gardens and trees. patients were encouraged to spend as much time outdoors as possible. as superviruses proliferate in hospitals and scientists discover the naturally antibiotic effects of sunshine and fresh air, this miasmatic approach to treatment and prevention is now being revisited.\n\nmiasma theory is holistic, a relational and negotiated approach to our environment, its postulates that if our surroundings are not healthy, neither are we. through its more atomised approach, germ theory is much more compatible with capitalism. we can literally ‘wash our hands’ of contamination, and separate from the filth of our environment. miasma theory, on the other hand, has us always-already contaminated. within the miasmiatic approach we are implicated in our environment and held accountable to our societal failings; jails release miasma which affects the health of everyone else, swamps punish us by releasing miasma if they are encroached upon.\n\nin our current state of global coronavirus pandemic, partly caused by the climate and ecological crises, myths of separability must be challenged. first nations/ indigenous communities have long had a far more sustainable relationship to their environment, in part due to seeing themselves as inseparable from it. the present is a testimony to impossibilities of containment on a global scale. deforestation in brazil causes natural disasters on the opposite side of the world; within a matter of weeks a pathogen can spread across the globe irrespective of state borders.\n\nhaptics of miasma uses the frame of miasma theory to explore existing and imagined states of contamination, unsovereignty and borderlessness. the body of prose, poetry and essays speak from an urgent place of interconnectedness and terrestrial immanence.",{"_type":9,"current":21724},"haptics-of-miasma","Haptics of Miasma",{"_id":21727,"_type":1027,"categories":21728,"credits":21732,"featuredImage":21797,"filterables":21804,"footnotes":21811,"locations":21812,"logbook":7,"pageBuilder":21816,"researchQuestion":21859,"researchQuestions":7,"searchables":21868,"seo":7,"slug":21872,"title":21874,"year":123},"61efa7fc-6339-4082-be32-77f74a89bfb6",[21729],{"_id":805,"_type":362,"colorPrimary":21730,"seo":7,"slug":21731,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"other":21733,"profiles":21758},[21734],{"_key":21735,"_type":219,"children":21736,"markDefs":21757,"style":232},"f01930d2b6cf",[21737,21741,21745,21749,21753],{"_key":21738,"_type":223,"marks":21739,"text":21740},"b08bc4aa7619",[],"Image: ",{"_key":21742,"_type":223,"marks":21743,"text":21744},"cc0e07d196fb",[1559],"Nerve cells in a dog’s olfactory bulb",{"_key":21746,"_type":223,"marks":21747,"text":21748},"aaf42f245b65",[]," (detail), from Camillo Golgi’s ",{"_key":21750,"_type":223,"marks":21751,"text":21752},"e31e9e23857f",[1559],"Sulla fina anatomia degli organi centrali del sistema nervoso",{"_key":21754,"_type":223,"marks":21755,"text":21756},"860b6ea7632a",[]," (1885)",[],[21759],{"_id":21760,"_type":1078,"activeYears":21761,"bio":21764,"bioShort":21773,"featuredImage":7,"filterables":21774,"links":21777,"locations":21780,"searchables":21792,"seo":7,"slug":21794,"title":21796},"b3fbf405-01f5-4d18-b7d5-01b82f64c092",[21762],{"_id":120,"_type":99,"seo":7,"slug":21763,"title":123},{"_type":9,"current":122},[21765],{"_key":21766,"_type":219,"children":21767,"markDefs":21772,"style":232},"f437abe2142c",[21768],{"_key":21769,"_type":223,"marks":21770,"text":21771},"3c3015d9d4440",[],"She has worked in the editorial and communication department of Filarmonica della Scala, Festival Milano Musica, Sentieri selvaggi, Festival dei Due Mondi in Spoleto. She is interested in exploring different ways of playing and listening to classical music. Last year she conducted a series of laboratories in collaboration with the artists’ collective Altalena.",[],"Elisa is a pianist and editor. She studied at Conservatorio “Giuseppe Verdi” and at Bocconi University, graduating from the master’s degree with an experimental thesis on students’ interest for classical music. ",{"filterYear":21775},[21776],{"_id":120,"title":123},[21778],{"_type":1138,"label":1142,"url":21779},"https://www.instagram.com/hiddeninplainsight_sonata/",{"locations":21781,"other":21784},[21782],{"_id":331,"_type":308,"seo":7,"slug":21783,"title":334},{"_type":9,"current":333},[21785],{"_key":21786,"_type":219,"children":21787,"markDefs":21791,"style":232},"61a774819f6f",[21788],{"_key":21789,"_type":223,"marks":21790,"text":6317},"c7ed48e7947c",[],[],[21793,122],"elisa lemma",{"_type":9,"current":21795},"elisa-lemma","Elisa Lemma",{"alt":21798,"asset":21799},"School of Commons - Hidden in plain sight. Sonata for many voices: Image: Nerve cells in a dog’s olfactory bulb (detail), from Camillo Golgi’s Sulla fina anatomia degli organi centrali del sistema nervoso (1885)",{"_id":21800,"height":2394,"orientation":1129,"ratio":21801,"url":21802,"width":21803},"image-bccf7b93a60c0ab45f3faf5be0971625fce8f292-926x1280-jpg",0.7234375,"https://cdn.sanity.io/images/eodip22e/production/bccf7b93a60c0ab45f3faf5be0971625fce8f292-926x1280.jpg",926,{"filterCategory":21805,"filterLocation":21807,"filterYear":21809},[21806],{"_id":805,"title":808},[21808],{"_id":331,"title":334},[21810],{"_id":120,"title":123},[],{"locations":21813,"other":7},[21814],{"_id":331,"_type":308,"seo":7,"slug":21815,"title":334},{"_type":9,"current":333},[21817],{"_type":1625,"settings":7,"text":21818},[21819,21827,21835,21843,21851],{"_key":21820,"_type":219,"children":21821,"markDefs":21826,"style":232},"ee5a0b3044ad",[21822],{"_key":21823,"_type":223,"marks":21824,"text":21825},"61df2c333591",[],"Classical music, as any music, takes place in time. Usually a long time. It counts on us to wait, to remember what is happening and to build our mental canvas of the events. A melody reappears here and there, slightly changed or completely transformed, the chords surprise, comfort, the pulse moves forward, is left suspended. Gradually the piece shows its unique musical matter: themes, harmony, rhythm, voices, register, timbre, the way they interact with each other.",[],{"_key":21828,"_type":219,"children":21829,"markDefs":21834,"style":232},"5404283e6a88",[21830],{"_key":21831,"_type":223,"marks":21832,"text":21833},"c75d50408df4",[],"Listening to music as if it were a language is usually considered a prerogative of musicians. And yet, this project originates from the experience and the belief that this kind of intimacy with music is an attention practice that can be learned without reading scores or spending years in a Conservatory. Is it interesting to listen to classical music as if it were a language? Can this perspective be an opportunity for interaction with other artistic languages?",[],{"_key":21836,"_type":219,"children":21837,"markDefs":21842,"style":232},"e2fa2adf3309",[21838],{"_key":21839,"_type":223,"marks":21840,"text":21841},"204c8ee53748",[],"This research looks for a common ground between the researcher (musician) and the participants (diverse backgrounds): listening to music and observing what they see happening, both may find a space for unexpected perception, a space whose existence will depend on the symmetry of the exchange. As they allow confrontation, small groups of three or four people are the chosen setting for the approach of classical music as a language, through a vocabulary and a learning practice that do not require a professional music background.",[],{"_key":21844,"_type":219,"children":21845,"markDefs":21850,"style":232},"cad25e281836",[21846],{"_key":21847,"_type":223,"marks":21848,"text":21849},"7b6b40444522",[],"During a first set of explorative laboratories the researcher will prompt listening and discussion, performing at the piano and proposing recorded material of symphonic and chamber music repertoire. The laboratories will try out different starting points: single melodic line recognition (Mozart, Beethoven), multiple melodic lines and their interaction (polyphony, fugue, voices in orchestra and chamber music – Bach, Mozart, Beethoven), harmony – paratactic and hypotactic structure (Classicism, Schubert, Chopin), tonal system and its breakdown (Schönberg, contemporary music). Building on this first experience, laboratories for larger groups will be held in Zurich in Autumn. The listening practices a that arise from the research will published on this website through recordings, texts, links to performances.",[],{"_key":21852,"_type":219,"children":21853,"markDefs":21858,"style":232},"d805f363cf2d",[21854],{"_key":21855,"_type":223,"marks":21856,"text":21857},"f8c27d144212",[],"Playing classical music repertoire can be a cycle of repetition, the repetition of a piece which was played countless times before the countless repetitions one needs to learn it. Notes become music when one can feel them new yet another time, when one does not fall in the dangerous loop of repeating oneself.",[],[21860],{"_key":21861,"_type":219,"children":21862,"markDefs":21867,"style":232},"76d720474e75",[21863],{"_key":21864,"_type":223,"marks":21865,"text":21866},"582a0bfeddfa0",[],"What is better than filling the air between you and the other people in the room?",[],[21869,122,333,21793,21870,21871,807],"hidden in plain sight. sonata for many voices","image: nerve cells in a dog’s olfactory bulb (detail), from camillo golgi’s sulla fina anatomia degli organi centrali del sistema nervoso (1885)","classical music, as any music, takes place in time. usually a long time. it counts on us to wait, to remember what is happening and to build our mental canvas of the events. a melody reappears here and there, slightly changed or completely transformed, the chords surprise, comfort, the pulse moves forward, is left suspended. gradually the piece shows its unique musical matter: themes, harmony, rhythm, voices, register, timbre, the way they interact with each other.\n\nlistening to music as if it were a language is usually considered a prerogative of musicians. and yet, this project originates from the experience and the belief that this kind of intimacy with music is an attention practice that can be learned without reading scores or spending years in a conservatory. is it interesting to listen to classical music as if it were a language? can this perspective be an opportunity for interaction with other artistic languages?\n\nthis research looks for a common ground between the researcher (musician) and the participants (diverse backgrounds): listening to music and observing what they see happening, both may find a space for unexpected perception, a space whose existence will depend on the symmetry of the exchange. as they allow confrontation, small groups of three or four people are the chosen setting for the approach of classical music as a language, through a vocabulary and a learning practice that do not require a professional music background.\n\nduring a first set of explorative laboratories the researcher will prompt listening and discussion, performing at the piano and proposing recorded material of symphonic and chamber music repertoire. the laboratories will try out different starting points: single melodic line recognition (mozart, beethoven), multiple melodic lines and their interaction (polyphony, fugue, voices in orchestra and chamber music – bach, mozart, beethoven), harmony – paratactic and hypotactic structure (classicism, schubert, chopin), tonal system and its breakdown (schönberg, contemporary music). building on this first experience, laboratories for larger groups will be held in zurich in autumn. the listening practices a that arise from the research will published on this website through recordings, texts, links to performances.\n\nplaying classical music repertoire can be a cycle of repetition, the repetition of a piece which was played countless times before the countless repetitions one needs to learn it. notes become music when one can feel them new yet another time, when one does not fall in the dangerous loop of repeating oneself.",{"_type":9,"current":21873},"hidden-in-plain-sight-sonata-for-many-voices","Hidden in plain sight. Sonata for many voices",{"_id":21876,"_type":1027,"categories":21877,"credits":21888,"featuredImage":21975,"filterables":21982,"footnotes":21991,"locations":21992,"logbook":7,"pageBuilder":21996,"researchQuestion":7,"researchQuestions":7,"searchables":22106,"seo":7,"slug":22111,"title":22113,"year":123},"bbfb5b11-f851-4b35-b86d-1296a63ed04f",[21878,21881,21884],{"_id":805,"_type":362,"colorPrimary":21879,"seo":7,"slug":21880,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"_id":380,"_type":362,"colorPrimary":21882,"seo":7,"slug":21883,"title":383},{"label":1031,"value":4991},{"_type":9,"current":382},{"_id":655,"_type":362,"colorPrimary":21885,"seo":7,"slug":21887,"title":658},{"label":1031,"value":21886},"#f000f0",{"_type":9,"current":657},{"other":7,"profiles":21889},[21890],{"_id":21891,"_type":1078,"activeYears":21892,"bio":21897,"bioShort":21946,"featuredImage":21947,"filterables":21952,"links":21956,"locations":21959,"searchables":21971,"seo":7,"slug":21973,"title":21948},"2ae141bf-e99a-4aa7-86c3-5ce53aad1ffe",[21893,21895],{"_id":120,"_type":99,"seo":7,"slug":21894,"title":123},{"_type":9,"current":122},{"_id":115,"_type":99,"seo":7,"slug":21896,"title":118},{"_type":9,"current":117},[21898],{"_key":21899,"_type":219,"children":21900,"markDefs":21939,"style":232},"26d67a56c108",[21901,21905,21909,21913,21918,21922,21927,21930,21935],{"_key":21902,"_type":223,"marks":21903,"text":21904},"f19236f642f90",[],"I hold a MSci (2014) and a PhD (2016) in Computer Science and Engineering from the University of Washington (Seattle); and recently I have been undertaking an MPA at the Hertie School of public policy and governance. The topic of technology in organizational change, and ",{"_key":21906,"_type":223,"marks":21907,"text":21908},"f19236f642f91",[225],"how a group can adapt digital technologies to their work",{"_key":21910,"_type":223,"marks":21911,"text":21912},"f19236f642f92",[],", has been a major interest since ",{"_key":21914,"_type":223,"marks":21915,"text":21917},"f19236f642f93",[21916],"082f80488a92","my PhD research",{"_key":21919,"_type":223,"marks":21920,"text":21921},"f19236f642f94",[],". Over the last decade, I have expanded my knowledge of organizational change and technological adaptation through experience as a software engineer and data analyst; and through further training. 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Toniolo, Eliana Otta, Ingo Niermann (The Army of Love), Mohamed Al-Bakeri, Petra Mrša, Philip Ullrich, Rania Atef, Raúl Hott, Shahd Omar.",[],{"_key":22140,"_type":219,"children":22141,"markDefs":22146,"style":232},"77dc3301c9f3",[22142],{"_key":22143,"_type":223,"marks":22144,"text":22145},"b5ad133c72130",[],"Edited by Ismail Fayed, proof-reading by Jenifer Evans, visual identity by Engy 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2022, Gabriel has been part of the leadership team at the School of Commons, Zürcher Hochschule der Künste (ZHdK), and oversees the Peer Learning Program.",[],{"_key":22206,"_type":219,"children":22207,"markDefs":22219,"style":232},"63cb8708ad5e",[22208,22212,22215],{"_key":22209,"_type":223,"marks":22210,"text":22211},"09c4a764c0c7",[],"Gabriel",{"_key":22213,"_type":223,"marks":22214,"text":2264},"1e1998a46d82",[225],{"_key":22216,"_type":223,"marks":22217,"text":22218},"a79f8bd836f51",[],"is a visual artist and educator. 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Coming from diverse disciplines and backgrounds, their responses range from the artistic to the scientific, the somatic, and the satirical:",[],{"_key":22380,"_type":219,"children":22381,"level":2178,"listItem":2179,"markDefs":22386,"style":232},"c8b398d73973",[22382],{"_key":22383,"_type":223,"marks":22384,"text":22385},"7a604e899ca9",[],"Engy Mohsen and Gabriel Hensche, artists (Cairo/Berlin), kicked off with the titular “How to Love Many in Many Ways”, a set of exercises that playfully invite you to enact many rituals with many options of potential players; Yourself, Other/s, Other Other/s.",[],{"_key":22388,"_type":219,"children":22389,"level":2178,"listItem":2179,"markDefs":22394,"style":232},"5803eb60c9a0",[22390],{"_key":22391,"_type":223,"marks":22392,"text":22393},"2ac835b91952",[],"Eliana Otta, artist (Lima), responded with “Rehearsing Horizontalities”, a set of exercises to create scenarios where players re-examine their relationship with others by playing with their spatial, choreographic, and acoustic awareness, all while maintaining what she calls a ‘Horizontality Pact’ to reexamine our relationships with others.",[],{"_key":22396,"_type":219,"children":22397,"level":2178,"listItem":2179,"markDefs":22402,"style":232},"5ab5b49ca451",[22398],{"_key":22399,"_type":223,"marks":22400,"text":22401},"e79614f75648",[],"Eleonora Toniolo, interdisciplinary designer (Berlin), responded with NOI Game, a card game that attempts to shift a common understanding of communication that particularly emphasises speaking up as a preferable mode to its supposed opposite: silence.",[],{"_key":22404,"_type":219,"children":22405,"level":2178,"listItem":2179,"markDefs":22410,"style":232},"0410e9908bd0",[22406],{"_key":22407,"_type":223,"marks":22408,"text":22409},"fd5df07edba1",[],"Ingo Niermann (The Army of Love), writer/artist (Basel/Berlin), responded with “Falling in Love with the World”, an exercise that directs the group to overcome aversions and extend notions of love and care to others or objects.",[],{"_key":22412,"_type":219,"children":22413,"level":2178,"listItem":2179,"markDefs":22418,"style":232},"656f6af09a1c",[22414],{"_key":22415,"_type":223,"marks":22416,"text":22417},"fa4d444e59d4",[],"Mohamed Al Bakeri, artist (Cairo/Sierre), responded with “The Things You Do for Love”, a board game that invites players to think of love as a material need and commodity. while navigating the world of online dating.",[],{"_key":22420,"_type":219,"children":22421,"level":2178,"listItem":2179,"markDefs":22426,"style":232},"3eb629c52a93",[22422],{"_key":22423,"_type":223,"marks":22424,"text":22425},"a188d5dba3b7",[],"Petra Mrša, artist/photographer (Berlin), responded with “Shivering Throats, Breaking Walls”, as she plays with alternative notions of intimacy and encounter, ideas of presence and absence, and unconventional modes of communication and exchange.",[],{"_key":22428,"_type":219,"children":22429,"level":2178,"listItem":2179,"markDefs":22434,"style":232},"6dd2e601410a",[22430],{"_key":22431,"_type":223,"marks":22432,"text":22433},"968e8b627698",[],"Philip Ullrich, artist (Zurich/Bern), responded with “Take That Loving Grace”, a game where two players try to win the game ‘Nim’ – one by following computer-generated moves in the role of the ‘machine’, the other on their own as the ‘human’.",[],{"_key":22436,"_type":219,"children":22437,"level":2178,"listItem":2179,"markDefs":22442,"style":232},"d90382da7b52",[22438],{"_key":22439,"_type":223,"marks":22440,"text":22441},"bb199f4c8d32",[],"Rania Atef, artist (Cairo), responded with “Bad Mother”, a card game that critically–and sarcastically–scrutinizes the societal gaze for maternal love and the domestic performance of mothers as well as the criterion of a ‘Good Mother’.",[],{"_key":22444,"_type":219,"children":22445,"level":2178,"listItem":2179,"markDefs":22450,"style":232},"2afd3c91c020",[22446],{"_key":22447,"_type":223,"marks":22448,"text":22449},"8d15edce0aab",[],"Raúl Hott, artist/architect (Santiago), responds with “Total Body”, an invitation to understand radiance, experience new ways of relating to affect, affection, and interact with all living beings, and reconnect with our planet.",[],{"_key":22452,"_type":219,"children":22453,"level":2178,"listItem":2179,"markDefs":22458,"style":232},"c1968a6a2877",[22454],{"_key":22455,"_type":223,"marks":22456,"text":22457},"d1e5ac665606",[],"Shahd Omar, somatic practitioner/architect (Cairo), responded with “Embodied Encounters”, a playful attempt to redefine consent as the process of establishing agreements, and how to communicate it beyond verbal exchanges.",[],{"_key":22460,"_type":219,"children":22461,"markDefs":22466,"style":232},"4ce6dae70a9a",[22462],{"_key":22463,"_type":223,"marks":22464,"text":22465},"12359db94bef",[],"We are exploring and testing all games and exercises. 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In 2024, she was appointed Deputy Director.",[],{"_key":22618,"_type":219,"children":22619,"markDefs":22624,"style":232},"3442c2eecba1",[22620],{"_key":22621,"_type":223,"marks":22622,"text":22623},"4812089ce313",[],"Amy Gowen is a writer, editor, and researcher, originally from Hereford, UK, now based in Rotterdam, NL.",[],{"_key":22626,"_type":219,"children":22627,"markDefs":22632,"style":232},"f5c882b06aeb",[22628],{"_key":22629,"_type":223,"marks":22630,"text":22631},"b94e5fc8b08f",[],"Her work, which takes shape and form through various forms of publishing, including: writing, radio, editing, and curating, uses the frameworks of commoning, self-organised practices, and alternative ways of working at its core.",[],{"_key":22634,"_type":219,"children":22635,"markDefs":22640,"style":232},"1909ad0deff3",[22636],{"_key":22637,"_type":223,"marks":22638,"text":22639},"56cfceab7073",[],"As part of her role at SoC she tends to the ‘Making Public’ programme trajectory, translating the processes and practices of the SoC programme into public outputs and publishing instances. She is also Editor-in-Chief of the annual publication ISSUES, and is the programme lead for the annual SoC Assembly which places the practices and processes of SoC into a wider context in collaboration with leading practitioners and thinkers across the fields of alternative education, self-organised practices, commoning, and beyond.",[],{"_key":22642,"_type":219,"children":22643,"markDefs":22664,"style":232},"66372d081c06",[22644,22648,22652,22656,22660],{"_key":22645,"_type":223,"marks":22646,"text":22647},"996b37a6cef90",[],"Outside of SoC, Amy is co-founder of the commons-based publishing project ",{"_key":22649,"_type":223,"marks":22650,"text":22651},"996b37a6cef91",[1559],"HumDrumPress",{"_key":22653,"_type":223,"marks":22654,"text":22655},"996b37a6cef92",[]," (Rotterdam). She hosts the monthly radio show, ",{"_key":22657,"_type":223,"marks":22658,"text":22659},"996b37a6cef93",[1559],"Off Margin",{"_key":22661,"_type":223,"marks":22662,"text":22663},"996b37a6cef94",[],", on Worm Radio about text that moves off the page, and is part of the core programming team for the International Community Arts Festival (ICAF), Rotterdam.",[],{"alt":22666,"asset":22667},"Amy Gowen",{"_id":22668,"height":22669,"orientation":1474,"ratio":22670,"url":22671,"width":22672},"image-528ff05dbd62025637ad2f4bdcd44111fb4782fc-1179x770-jpg",770,1.5311688311688312,"https://cdn.sanity.io/images/eodip22e/production/528ff05dbd62025637ad2f4bdcd44111fb4782fc-1179x770.jpg",1179,{"filterYear":22674},[22675,22676,22677,22678,22679,22680],{"_id":125,"title":128},{"_id":120,"title":123},{"_id":115,"title":118},{"_id":110,"title":113},{"_id":105,"title":108},{"_id":98,"title":102},[22682,22684,22685],{"_type":1138,"label":1142,"url":22683},"https://www.instagram.com/amygow/",{"_type":1138,"label":22651,"url":22539},{"_type":1138,"label":22686,"url":22687},"HumDrumPress Instagram","https://www.instagram.com/humdrum_press/",{"locations":22689,"other":22692},[22690],{"_id":331,"_type":308,"seo":7,"slug":22691,"title":334},{"_type":9,"current":333},[22693],{"_key":22694,"_type":219,"children":22695,"markDefs":22700,"style":232},"73bf92e0de5e",[22696],{"_key":22697,"_type":223,"marks":22698,"text":22699},"6d86841cb213",[],"Living in Rotterdam",[],[22702,127,122,117,112,107,101],"amy gowen",{"_type":9,"current":22704},"amy-gowen",{"alt":22706,"asset":22707},"School of Commons - Humdrum Press",{"_id":22708,"height":22709,"orientation":1129,"ratio":22710,"url":22711,"width":1128},"image-6f9724b7bafbc09a8071bff8fc08adb26f43c03c-800x1067-jpg",1067,0.7497656982193065,"https://cdn.sanity.io/images/eodip22e/production/6f9724b7bafbc09a8071bff8fc08adb26f43c03c-800x1067.jpg",{"filterCategory":22713,"filterLocation":22720,"filterYear":22722},[22714,22715,22716,22717,22718,22719],{"_id":810,"title":813},{"_id":695,"title":698},{"_id":510,"title":513},{"_id":795,"title":798},{"_id":405,"title":408},{"_id":800,"title":803},[22721],{"_id":331,"title":334},[22723],{"_id":120,"title":123},[],{"locations":22726,"other":7},[22727],{"_id":331,"_type":308,"seo":7,"slug":22728,"title":334},{"_type":9,"current":333},[22730],{"_type":1625,"settings":7,"text":22731},[22732,22740,22748,22764],{"_key":22733,"_type":219,"children":22734,"markDefs":22739,"style":232},"143920da46d4",[22735],{"_key":22736,"_type":223,"marks":22737,"text":22738},"d984c5425bea0",[],"HumDrum Press is a soon-to-be experimental publishing imprint and expanded publishing practice that works, through collaborative means, to question the boundaries of “publishing” – publishing here understood as praxis, methodology, physical outcome, artistic & design practice, and research discipline – and experiment with developing more horizontal, sustainable, and public models of publishing. In doing so, HumDrum Press wishes to explore new, connected ways of documenting and disseminating voices, ideas, and contexts, and better understand the role of publishing and publisher within current political, economic, and ecological climates.",[],{"_key":22741,"_type":219,"children":22742,"markDefs":22747,"style":232},"339ecba74c86",[22743],{"_key":22744,"_type":223,"marks":22745,"text":22746},"2cd7672c75410",[],"Though the printed pamphlet is our preferred form for publishing, we remain eager and interested in understanding publishing through a manifold of diverse formats and communication types, including, but not limited to: essay, novella, manual, manifesto, letter, blueprint, poetry, photography, illustration, performance, conversation, sketch, installation and more, and as individual, collective, or accumulative publishing instances.",[],{"_key":22749,"_type":219,"children":22750,"markDefs":22763,"style":232},"860d3397d5d4",[22751,22755,22759],{"_key":22752,"_type":223,"marks":22753,"text":22754},"32a1eb1f6b0d0",[],"At the heart of HumDrum Press is the understanding of publishing as a commons, and publishing as public, or community, good. The imprint is therefore shaped and shared by our network of collaborating individuals, organizations, and institutions. Our aim is to build and maintain a publishing ",{"_key":22756,"_type":223,"marks":22757,"text":22758},"32a1eb1f6b0d1",[1559],"home",{"_key":22760,"_type":223,"marks":22761,"text":22762},"32a1eb1f6b0d2",[]," of such networks and knowledges, from both temporary and longer-term collaborators and partners to create a supportive, sustainable print framework and accompanying series of live programmed events.",[],{"_key":22765,"_type":219,"children":22766,"markDefs":22771,"style":232},"accc30db0012",[22767],{"_key":22768,"_type":223,"marks":22769,"text":22770},"e73a909e55990",[],"Through the work of the core HumDrum team, in partnership with our expanded network of friends and collaborators, we seek to activate live events, visual communication, the written form, and subscription-based formats to reimagine the artistic and societal role and value of printed press.",[],[22773,122,333,22553,22589,22702,22774,9256,697,1789,797,407,13549],"humdrum press","humdrum press is a soon-to-be experimental publishing imprint and expanded publishing practice that works, through collaborative means, to question the boundaries of “publishing” – publishing here understood as praxis, methodology, physical outcome, artistic & design practice, and research discipline – and experiment with developing more horizontal, sustainable, and public models of publishing. in doing so, humdrum press wishes to explore new, connected ways of documenting and disseminating voices, ideas, and contexts, and better understand the role of publishing and publisher within current political, economic, and ecological climates.\n\nthough the printed pamphlet is our preferred form for publishing, we remain eager and interested in understanding publishing through a manifold of diverse formats and communication types, including, but not limited to: essay, novella, manual, manifesto, letter, blueprint, poetry, photography, illustration, performance, conversation, sketch, installation and more, and as individual, collective, or accumulative publishing instances.\n\nat the heart of humdrum press is the understanding of publishing as a commons, and publishing as public, or community, good. the imprint is therefore shaped and shared by our network of collaborating individuals, organizations, and institutions. our aim is to build and maintain a publishing home of such networks and knowledges, from both temporary and longer-term collaborators and partners to create a supportive, sustainable print framework and accompanying series of live programmed events.\n\nthrough the work of the core humdrum team, in partnership with our expanded network of friends and collaborators, we seek to activate live events, visual communication, the written form, and subscription-based formats to reimagine the artistic and societal role and value of printed press.",{"_type":9,"current":22776},"humdrum-press",{"_id":22778,"_type":1027,"categories":22779,"credits":22786,"featuredImage":22843,"filterables":22846,"footnotes":22855,"locations":22856,"logbook":7,"pageBuilder":22862,"researchQuestion":23061,"researchQuestions":7,"searchables":23074,"seo":7,"slug":23076,"title":22823,"year":123},"429b789a-aebb-4346-951d-18f9b96d804a",[22780,22783],{"_id":555,"_type":362,"colorPrimary":22781,"seo":7,"slug":22782,"title":558},{"label":1031,"value":4977},{"_type":9,"current":557},{"_id":695,"_type":362,"colorPrimary":22784,"seo":7,"slug":22785,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":7,"profiles":22787},[22788],{"_id":22789,"_type":1078,"activeYears":22790,"bio":22793,"bioShort":22821,"featuredImage":22822,"filterables":22827,"links":22830,"locations":22833,"searchables":22839,"seo":7,"slug":22841,"title":22823},"2859bf62-bb57-4032-b227-fb12f6c1cf37",[22791],{"_id":120,"_type":99,"seo":7,"slug":22792,"title":123},{"_type":9,"current":122},[22794,22802],{"_key":22795,"_type":219,"children":22796,"markDefs":22801,"style":232},"5d9a6c2a8aa7",[22797],{"_key":22798,"_type":223,"marks":22799,"text":22800},"faccc9616ff40",[],"Distances between us are far, but our connections are close, bonded by trust in facing together the unknown. We reach out from our past study of bioacoustics and from our more recent acoustic awareness that stretches from our own private environments to public open spaces.",[],{"_key":22803,"_type":219,"children":22804,"markDefs":22818,"style":232},"25edd69ae585",[22805,22809,22814],{"_key":22806,"_type":223,"marks":22807,"text":22808},"3e190a9b16d10",[],"Just Listening is made up of Viviana Porras, ",{"_key":22810,"_type":223,"marks":22811,"text":22813},"cb9269b88ba6",[22812],"c0f6facdb6a1","Leonardo Salgado",{"_key":22815,"_type":223,"marks":22816,"text":22817},"c696b058a3af",[],", Karina Montero, Mark Gillingham and Lea Spelzhausen",[22819],{"_key":22812,"_type":249,"blank":250,"href":22820},"https://www.instagram.com/imagensuburbio/","Just Listening unites naturalists, biologists, acoustic and performing artists based in San José (Costa Rica), Sagarejo (Georgia), Wendland (Germany) and Madrid (Spain). ",{"alt":22823,"asset":22824},"Just Listening",{"_id":22825,"height":2834,"orientation":1474,"ratio":3344,"url":22826,"width":12654},"image-41e4d8d5e77eae2e92e1d07377b06afe338b74c9-2560x1920-jpg","https://cdn.sanity.io/images/eodip22e/production/41e4d8d5e77eae2e92e1d07377b06afe338b74c9-2560x1920.jpg",{"filterYear":22828},[22829],{"_id":120,"title":123},[22831],{"_type":1138,"label":9398,"url":22832},"https://soundcloud.com/just-listening-990130151",{"locations":22834,"other":7},[22835,22837],{"_id":331,"_type":308,"seo":7,"slug":22836,"title":334},{"_type":9,"current":333},{"_id":346,"_type":308,"seo":7,"slug":22838,"title":349},{"_type":9,"current":348},[22840,122],"just listening",{"_type":9,"current":22842},"just-listening",{"alt":22844,"asset":22845},"School of Commons - Just Listening",{"_id":22825,"height":2834,"orientation":1474,"ratio":3344,"url":22826,"width":12654},{"filterCategory":22847,"filterLocation":22850,"filterYear":22853},[22848,22849],{"_id":555,"title":558},{"_id":695,"title":698},[22851,22852],{"_id":321,"title":324},{"_id":331,"title":334},[22854],{"_id":120,"title":123},[],{"locations":22857,"other":7},[22858,22860],{"_id":321,"_type":308,"seo":7,"slug":22859,"title":324},{"_type":9,"current":323},{"_id":331,"_type":308,"seo":7,"slug":22861,"title":334},{"_type":9,"current":333},[22863,23059],{"_type":1625,"settings":7,"text":22864},[22865,22873,22881,22889,22897,22905,22913,22920,22928,22936,22944,22955,22963,22971,22979,22987,22995,23003,23011,23019,23027,23035,23043,23051],{"_key":22866,"_type":219,"children":22867,"markDefs":22872,"style":232},"4128040a2a76",[22868],{"_key":22869,"_type":223,"marks":22870,"text":22871},"5d8226bcbea9",[1559],"Dans quelque cent ans, j’ai confiance, le monde sera large.",[],{"_key":22874,"_type":219,"children":22875,"markDefs":22880,"style":232},"a2c4d0effaeb",[22876],{"_key":22877,"_type":223,"marks":22878,"text":22879},"818cc23ab3ad",[1559],"Enfin! On communiquera avec les animaux, on leur parlera.",[],{"_key":22882,"_type":219,"children":22883,"markDefs":22888,"style":232},"75d90e1eb108",[22884],{"_key":22885,"_type":223,"marks":22886,"text":22887},"6f379d9254de",[1559],"Courts d’esprit ceux qui ne voient point ce mouvement général,",[],{"_key":22890,"_type":219,"children":22891,"markDefs":22896,"style":232},"dca46a694045",[22892],{"_key":22893,"_type":223,"marks":22894,"text":22895},"feac9a03a113",[1559],"la signification de plusieurs pointes scientifiques et paraphysiques dans cette direction.",[],{"_key":22898,"_type":219,"children":22899,"markDefs":22904,"style":232},"353a73c729bc",[22900],{"_key":22901,"_type":223,"marks":22902,"text":22903},"cf03eebed423",[1559],"On se demandera alors comment on a pu subsister si longtemps ce monstrueux trou dans la civilisation.",[],{"_key":22906,"_type":219,"children":22907,"markDefs":22912,"style":232},"d064f7871fc3",[22908],{"_key":22909,"_type":223,"marks":22910,"text":22911},"83157b6d48d5",[],"– Henri Michaux",[],{"_key":22914,"_type":219,"children":22915,"markDefs":22919,"style":232},"019351d7f191",[22916],{"_key":22917,"_type":223,"marks":22918,"text":1405},"5c0362db9e6c",[],[],{"_key":22921,"_type":219,"children":22922,"markDefs":22927,"style":232},"da4c67b93236",[22923],{"_key":22924,"_type":223,"marks":22925,"text":22926},"cb9bc1250862",[],"All living things are immersed in a landscape of sound [soundscape] that profoundly impacts interactions with(in) themselves and with their surrounding environment. Intriguingly, the wide diversity in the sources of sound is amplified by the diversity of ways in which it can be perceived. Regardless of how and who perceives sound, whether rural or urban, the rapid pace of our growth oriented society has shifted the balance between the “natural” and “artificial” sounds. This shift in balance is perceived by all forms of life, in mysterious and unique ways.",[],{"_key":22929,"_type":219,"children":22930,"markDefs":22935,"style":232},"66e7c724c706",[22931],{"_key":22932,"_type":223,"marks":22933,"text":22934},"3be257057e1c",[],"By capturing and reshaping elements of the soundscape, our project aims to expand and focus our attention on the conscious act of listening. To do so, we search answers for these questions: Through the process of exploring the diversity of sounds around us, can we improve our awareness of the complex web of acoustic elements of our environments and enhance our connection with the world we live in? Can we merge the scientific process that led us to explore the field of bioacoustics with the process of artistic research and creation?",[],{"_key":22937,"_type":219,"children":22938,"markDefs":22943,"style":232},"c396b4aa4b29",[22939],{"_key":22940,"_type":223,"marks":22941,"text":22942},"0f952ace7ec9",[],"Our project takes an experimental approach in which we will sample, dissect, and distort sound from our past and our present. From the past, we will experiment with sound recordings of bird and bat acoustic signals taken by some of us in the field as students of nature (recordings made 8-30 years ago). From our present, we are open to listen to our surroundings through different practices:",[],{"_key":22945,"_type":219,"children":22946,"markDefs":22954,"style":232},"c6d02a1bfa76",[22947,22950],{"_key":22948,"_type":223,"marks":22949,"text":22823},"2c5282c75b3b",[1559],{"_key":22951,"_type":223,"marks":22952,"text":22953},"fde4eb68f94f",[]," emerges as a need/desire for listening.",[],{"_key":22956,"_type":219,"children":22957,"markDefs":22962,"style":232},"54991e3e22b4",[22958],{"_key":22959,"_type":223,"marks":22960,"text":22961},"748816b35e80",[],"From this need we record…",[],{"_key":22964,"_type":219,"children":22965,"markDefs":22970,"style":232},"b441ddcdccd8",[22966],{"_key":22967,"_type":223,"marks":22968,"text":22969},"5d8fd176bc22",[],"From these recordings we re-listen…",[],{"_key":22972,"_type":219,"children":22973,"markDefs":22978,"style":232},"cc4aa62ccc92",[22974],{"_key":22975,"_type":223,"marks":22976,"text":22977},"d684f2d7cc04",[],"From these acts of re-listening (digging slowly) we perceive…",[],{"_key":22980,"_type":219,"children":22981,"markDefs":22986,"style":232},"5b95a579d340",[22982],{"_key":22983,"_type":223,"marks":22984,"text":22985},"769d563a25ec",[],"And, from this perception we try to “translate” by reshaping and molding into other forms …",[],{"_key":22988,"_type":219,"children":22989,"markDefs":22994,"style":232},"79d0d9faddaa",[22990],{"_key":22991,"_type":223,"marks":22992,"text":22993},"6b70e438dc9e",[],"And keep learning, and needing, and desiring… so that finally, we can create an open space and invite people to engage in the act of just listening.",[],{"_key":22996,"_type":219,"children":22997,"markDefs":23002,"style":232},"2bab9dac8270",[22998],{"_key":22999,"_type":223,"marks":23000,"text":23001},"3823c9f9f209",[],"From the description of a recording collection “Silent House”",[],{"_key":23004,"_type":219,"children":23005,"markDefs":23010,"style":232},"93a8e06ea0e0",[23006],{"_key":23007,"_type":223,"marks":23008,"text":23009},"9626a4b09b3b",[],"07/01/2022",[],{"_key":23012,"_type":219,"children":23013,"markDefs":23018,"style":232},"de5bd370714d",[23014],{"_key":23015,"_type":223,"marks":23016,"text":23017},"15752c6770b5",[1559],"No silence is absolute.",[],{"_key":23020,"_type":219,"children":23021,"markDefs":23026,"style":232},"ed8e1516dfa4",[23022],{"_key":23023,"_type":223,"marks":23024,"text":23025},"dbc207921a35",[1559],"I spent a day in a silent house.",[],{"_key":23028,"_type":219,"children":23029,"markDefs":23034,"style":232},"b3d7e6057c29",[23030],{"_key":23031,"_type":223,"marks":23032,"text":23033},"9d67a918e975",[1559],"There were some sounds I heard, at least, while I was recording.",[],{"_key":23036,"_type":219,"children":23037,"markDefs":23042,"style":232},"7d714d7ca6f9",[23038],{"_key":23039,"_type":223,"marks":23040,"text":23041},"ddb394ad385a",[1559],"What about the rest of the time? Well, I was pretty much unaware of them.",[],{"_key":23044,"_type":219,"children":23045,"markDefs":23050,"style":232},"e46874527e09",[23046],{"_key":23047,"_type":223,"marks":23048,"text":23049},"7e45fc00c6bb",[1559],"Why?",[],{"_key":23052,"_type":219,"children":23053,"markDefs":23058,"style":232},"d0578393fbc4",[23054],{"_key":23055,"_type":223,"marks":23056,"text":23057},"97c010259ff7",[1559],"Because I was not listening.",[],{"_type":8326,"caption":7,"embedCode":23060},"\u003Ciframe width=\"100%\" height=\"300\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1393729774&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true\">\u003C/iframe>\u003Cdiv style=\"font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;\">\u003Ca href=\"https://soundcloud.com/just-listening-990130151\" title=\"Just Listening\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\">Just Listening\u003C/a> · \u003Ca href=\"https://soundcloud.com/just-listening-990130151/rainbowcows\" title=\"RainbowCows\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\">RainbowCows\u003C/a>\u003C/div>",[23062],{"_key":23063,"_type":219,"children":23064,"markDefs":23073,"style":232},"d482ff0e9e33",[23065,23069],{"_key":23066,"_type":223,"marks":23067,"text":23068},"b47fbd370ea60",[1559],"What is the sound of one hand clapping? — ",{"_key":23070,"_type":223,"marks":23071,"text":23072},"919412a2372b",[],"A Zen Koan",[],[22840,122,4694,333,22840,23075,557,697],"dans quelque cent ans, j’ai confiance, le monde sera large.\n\nenfin! on communiquera avec les animaux, on leur parlera.\n\ncourts d’esprit ceux qui ne voient point ce mouvement général,\n\nla signification de plusieurs pointes scientifiques et paraphysiques dans cette direction.\n\non se demandera alors comment on a pu subsister si longtemps ce monstrueux trou dans la civilisation.\n\n– henri michaux\n\n\n\nall living things are immersed in a landscape of sound [soundscape] that profoundly impacts interactions with(in) themselves and with their surrounding environment. intriguingly, the wide diversity in the sources of sound is amplified by the diversity of ways in which it can be perceived. regardless of how and who perceives sound, whether rural or urban, the rapid pace of our growth oriented society has shifted the balance between the “natural” and “artificial” sounds. this shift in balance is perceived by all forms of life, in mysterious and unique ways.\n\nby capturing and reshaping elements of the soundscape, our project aims to expand and focus our attention on the conscious act of listening. to do so, we search answers for these questions: through the process of exploring the diversity of sounds around us, can we improve our awareness of the complex web of acoustic elements of our environments and enhance our connection with the world we live in? can we merge the scientific process that led us to explore the field of bioacoustics with the process of artistic research and creation?\n\nour project takes an experimental approach in which we will sample, dissect, and distort sound from our past and our present. from the past, we will experiment with sound recordings of bird and bat acoustic signals taken by some of us in the field as students of nature (recordings made 8-30 years ago). from our present, we are open to listen to our surroundings through different practices:\n\njust listening emerges as a need/desire for listening.\n\nfrom this need we record…\n\nfrom these recordings we re-listen…\n\nfrom these acts of re-listening (digging slowly) we perceive…\n\nand, from this perception we try to “translate” by reshaping and molding into other forms …\n\nand keep learning, and needing, and desiring… so that finally, we can create an open space and invite people to engage in the act of just listening.\n\nfrom the description of a recording collection “silent house”\n\n07/01/2022\n\nno silence is absolute.\n\ni spent a day in a silent house.\n\nthere were some sounds i heard, at least, while i was recording.\n\nwhat about the rest of the time? well, i was pretty much unaware of them.\n\nwhy?\n\nbecause i was not listening.",{"_type":9,"current":22842},{"_id":23078,"_type":1027,"categories":23079,"credits":23086,"featuredImage":23131,"filterables":23139,"footnotes":23147,"locations":23148,"logbook":7,"pageBuilder":23152,"researchQuestion":23200,"researchQuestions":7,"searchables":23232,"seo":7,"slug":23235,"title":23132,"year":123},"60a444aa-c372-4d81-8d65-998a48883180",[23080,23083],{"_id":720,"_type":362,"colorPrimary":23081,"seo":7,"slug":23082,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"_id":725,"_type":362,"colorPrimary":23084,"seo":7,"slug":23085,"title":728},{"label":1031,"value":16612},{"_type":9,"current":727},{"other":7,"profiles":23087},[23088],{"_id":23089,"_type":1078,"activeYears":23090,"bio":23093,"bioShort":7,"featuredImage":23102,"filterables":23107,"links":23110,"locations":23115,"searchables":23127,"seo":7,"slug":23129,"title":23103},"64aacf6d-d4eb-4469-b026-6ecfbb8359aa",[23091],{"_id":120,"_type":99,"seo":7,"slug":23092,"title":123},{"_type":9,"current":122},[23094],{"_key":23095,"_type":219,"children":23096,"markDefs":23101,"style":232},"8bc374e477f7",[23097],{"_key":23098,"_type":223,"marks":23099,"text":23100},"020d8cd0bc9f",[],"I (she/her) am a white American-Canadian artist. As an artist, I am concerned with how my work emerges in relation to space, histories, and other people, and how to maintain an awareness and acknowledgement of these relations. I have a situated practice both materially and conceptually; I work with what I am in close vicinity to in order to develop a dialogue from my current position historically, geographically, and economically. I am conscious of my role as a maker in a context of excess, and use capitalist culture's flotsam and jetsam to create work that radically reflects a dependency on the present.",[],{"alt":23103,"asset":23104},"Lili Huston-Herterich",{"_id":23105,"height":4056,"orientation":1129,"ratio":2920,"url":23106,"width":4058},"image-bd7beb82e82b5ae5531713c5685d4476a1a7fcb0-1200x1600-jpg","https://cdn.sanity.io/images/eodip22e/production/bd7beb82e82b5ae5531713c5685d4476a1a7fcb0-1200x1600.jpg",{"filterYear":23108},[23109],{"_id":120,"title":123},[23111,23113],{"_type":1138,"label":1139,"url":23112},"https://www.lilihustonherterich.com/about.php",{"_type":1138,"label":1142,"url":23114},"https://www.instagram.com/rightgrammar/",{"locations":23116,"other":23119},[23117],{"_id":331,"_type":308,"seo":7,"slug":23118,"title":334},{"_type":9,"current":333},[23120],{"_key":23121,"_type":219,"children":23122,"markDefs":23126,"style":232},"23021fbb87fd",[23123],{"_key":23124,"_type":223,"marks":23125,"text":21642},"ae485360ff9d0",[],[],[23128,122],"lili huston-herterich",{"_type":9,"current":23130},"lili-huston-herterich",{"alt":23132,"asset":23133},"Ongoing Manifesto of Radical Dependency",{"_id":23134,"height":23135,"orientation":1129,"ratio":23136,"url":23137,"width":23138},"image-02839cf958efca2524511d893352114b9c72af70-2432x3647-png",3647,0.6668494653139567,"https://cdn.sanity.io/images/eodip22e/production/02839cf958efca2524511d893352114b9c72af70-2432x3647.png",2432,{"filterCategory":23140,"filterLocation":23143,"filterYear":23145},[23141,23142],{"_id":720,"title":723},{"_id":725,"title":728},[23144],{"_id":331,"title":334},[23146],{"_id":120,"title":123},[],{"locations":23149,"other":7},[23150],{"_id":331,"_type":308,"seo":7,"slug":23151,"title":334},{"_type":9,"current":333},[23153],{"_type":1625,"settings":7,"text":23154},[23155,23166],{"_key":23156,"_type":219,"children":23157,"markDefs":23165,"style":232},"70e6af604c1f",[23158,23161],{"_key":23159,"_type":223,"marks":23160,"text":23132},"519a40dc32540",[1559],{"_key":23162,"_type":223,"marks":23163,"text":23164},"519a40dc32541",[]," is a project that didn’t start with School of Commons, but is rather a continuation of a long process of thinking, collaborating, and doing alongside artists, researchers, and other collaborators. “Radical Dependency” is a made up term that will hopefully lead to more made up terms. The SoC limb of this project project will begin, or continue, with defining what “Radical Dependency” is or can be. This research action is a response to the lonely illusion of an untethered individual, enforced by neoliberal mantras for independent labour and success with an origin in colonial exploitation and societal oppression. Radical Dependency responds: no one works alone, and no work is produced solely by one.",[],{"_key":23167,"_type":219,"children":23168,"markDefs":23197,"style":232},"1e3a7c24c6af",[23169,23172,23176,23181,23185,23189,23193],{"_key":23170,"_type":223,"marks":23171,"text":23132},"99e5286b3cb60",[1559],{"_key":23173,"_type":223,"marks":23174,"text":23175},"99e5286b3cb61",[]," will manifest in public conversations and collective exercises (hosted both digitally and virtually, and communicated via School of Commons and ",{"_key":23177,"_type":223,"marks":23178,"text":23180},"99e5286b3cb62",[23179],"42874b8020b5","Available & The Rat",{"_key":23182,"_type":223,"marks":23183,"text":23184},"99e5286b3cb63",[],", a project space in Rotterdam) that ask: ",{"_key":23186,"_type":223,"marks":23187,"text":23188},"99e5286b3cb64",[1559],"How can lineages of information be held alternatively to pre-imposed Western modes of archival and citational systems? What collective research methods can move towards transparent revision and accumulation, and how can they shape new forms of living archives? How can methods of publishing maintain the potential for revision, addition, and reclamation? ",{"_key":23190,"_type":223,"marks":23191,"text":23192},"99e5286b3cb65",[],"and, ",{"_key":23194,"_type":223,"marks":23195,"text":23196},"99e5286b3cb66",[1559],"How can an eternally “ongoing work” be published?",[23198],{"_key":23179,"_type":249,"href":23199},"http://www.availableandtherat.com/",[23201,23209,23217,23225],{"_key":23202,"_type":219,"children":23203,"markDefs":23208,"style":232},"f529a30f1b8d",[23204],{"_key":23205,"_type":223,"marks":23206,"text":23207},"2e1d2e69f390",[],"How can lineages of information be held alternatively to pre-imposed Western modes of archival and citational systems? ",[],{"_key":23210,"_type":219,"children":23211,"markDefs":23216,"style":232},"e25be2505a77",[23212],{"_key":23213,"_type":223,"marks":23214,"text":23215},"56af09dbebb3",[],"What collective research methods can move towards transparent revision and accumulation, and how can they shape new forms of living archives? ",[],{"_key":23218,"_type":219,"children":23219,"markDefs":23224,"style":232},"9f7c19e9dd18",[23220],{"_key":23221,"_type":223,"marks":23222,"text":23223},"7a3071fe4ad3",[],"How can methods of publishing maintain the potential for revision, addition, and reclamation? ",[],{"_key":23226,"_type":219,"children":23227,"markDefs":23231,"style":232},"3aea3238c895",[23228],{"_key":23229,"_type":223,"marks":23230,"text":23196},"5bd1677860fd",[],[],[23233,122,333,23128,23234,722,727],"ongoing manifesto of radical dependency","ongoing manifesto of radical dependency is a project that didn’t start with school of commons, but is rather a continuation of a long process of thinking, collaborating, and doing alongside artists, researchers, and other collaborators. “radical dependency” is a made up term that will hopefully lead to more made up terms. the soc limb of this project project will begin, or continue, with defining what “radical dependency” is or can be. this research action is a response to the lonely illusion of an untethered individual, enforced by neoliberal mantras for independent labour and success with an origin in colonial exploitation and societal oppression. radical dependency responds: no one works alone, and no work is produced solely by one.\n\nongoing manifesto of radical dependency will manifest in public conversations and collective exercises (hosted both digitally and virtually, and communicated via school of commons and available & the rat, a project space in rotterdam) that ask: how can lineages of information be held alternatively to pre-imposed western modes of archival and citational systems? what collective research methods can move towards transparent revision and accumulation, and how can they shape new forms of living archives? how can methods of publishing maintain the potential for revision, addition, and reclamation? and, how can an eternally “ongoing work” be published?",{"_type":9,"current":23236},"ongoing-manifesto-of-radical-dependency",{"_id":23238,"_type":1027,"categories":23239,"credits":23246,"featuredImage":23405,"filterables":23410,"footnotes":23418,"locations":23419,"logbook":7,"pageBuilder":23432,"researchQuestion":23451,"researchQuestions":7,"searchables":23476,"seo":7,"slug":23480,"title":23482,"year":123},"5cfbdf48-227e-41d4-ae72-2a4e610a72ee",[23240,23243],{"_id":695,"_type":362,"colorPrimary":23241,"seo":7,"slug":23242,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"_id":885,"_type":362,"colorPrimary":23244,"seo":7,"slug":23245,"title":888},{"label":1031,"value":6249},{"_type":9,"current":887},{"other":7,"profiles":23247},[23248,23294,23338,23372],{"_id":23249,"_type":1078,"activeYears":23250,"bio":23253,"bioShort":23262,"featuredImage":23263,"filterables":23269,"links":23272,"locations":23277,"searchables":23290,"seo":7,"slug":23292,"title":23264},"d518ee78-0449-48cd-8ac8-c39c4273431a",[23251],{"_id":120,"_type":99,"seo":7,"slug":23252,"title":123},{"_type":9,"current":122},[23254],{"_key":23255,"_type":219,"children":23256,"markDefs":23261,"style":232},"2655cc3b572a",[23257],{"_key":23258,"_type":223,"marks":23259,"text":23260},"d6594a88650a0",[],"We emerged from the common desire to investigate the role of spatial practitioners in their contemporary ecological and social responsibilities. In proposing work methodologies as a model of internal and external collaboration, PRC locates spatial practice at the intersection of several creative disciplines. Currently, our topics of reflection address culture as a means for regaining control of public commons; empathy and ecology as foundational environments; decentralising and opening up access to spatial discourse; addressing inequality and discrimination in both the origins and effects of creative labour; finding responsibility for the virtual realm, as much as the physical one.",[],"A Pan-European spatial agency founded in 2020.",{"alt":23264,"asset":23265},"Panta Rhei Collaborative",{"_id":23266,"height":23267,"orientation":7818,"ratio":2178,"url":23268,"width":23267},"image-d761e7ab3d451e7eedd8b5160dc37f73ae457196-225x225-jpg",225,"https://cdn.sanity.io/images/eodip22e/production/d761e7ab3d451e7eedd8b5160dc37f73ae457196-225x225.jpg",{"filterYear":23270},[23271],{"_id":120,"title":123},[23273,23275],{"_type":1138,"label":1139,"url":23274},"https://www.pantarheicollaborative.eu/",{"_type":1138,"label":1142,"url":23276},"https://www.instagram.com/pantarheicollaborative/",{"locations":23278,"other":23281},[23279],{"_id":331,"_type":308,"seo":7,"slug":23280,"title":334},{"_type":9,"current":333},[23282],{"_key":23283,"_type":219,"children":23284,"markDefs":23289,"style":232},"bbeab8d1989a",[23285],{"_key":23286,"_type":223,"marks":23287,"text":23288},"f710fad7c0290",[],"Currently based in Berlin, London and Zurich",[],[23291,122],"panta rhei collaborative",{"_type":9,"current":23293},"panta-rhei-collaborative",{"_id":23295,"_type":1078,"activeYears":23296,"bio":23299,"bioShort":23308,"featuredImage":23309,"filterables":23315,"links":23318,"locations":23321,"searchables":23334,"seo":7,"slug":23336,"title":23310},"2be332b8-60a3-40ab-80fc-caf025eb84f0",[23297],{"_id":120,"_type":99,"seo":7,"slug":23298,"title":123},{"_type":9,"current":122},[23300],{"_key":23301,"_type":219,"children":23302,"markDefs":23307,"style":232},"f294a3242083",[23303],{"_key":23304,"_type":223,"marks":23305,"text":23306},"5988b6e9f95c0",[],"Studied at Munster School of Architecture, Accademia di Architettura in Mendrisio and ETH Zürich and was trained as an architect and researcher at HHF Architects, Herzog & de Meuron and OMA. Currently he is active in art and architecture education and was elected to the advisory board of the art association Westfälischer Kunstverein in 2015.",[],"Architect",{"alt":23310,"asset":23311},"Bene Wahlbrink",{"_id":23312,"height":23313,"orientation":7818,"ratio":2178,"url":23314,"width":23313},"image-7df765864cbc2497ea4e4fdeec7334165fc0e925-2088x2088-jpg",2088,"https://cdn.sanity.io/images/eodip22e/production/7df765864cbc2497ea4e4fdeec7334165fc0e925-2088x2088.jpg",{"filterYear":23316},[23317],{"_id":120,"title":123},[23319],{"_type":1138,"label":1139,"url":23320},"https://www.pantarheicollaborative.eu/about",{"locations":23322,"other":23325},[23323],{"_id":331,"_type":308,"seo":7,"slug":23324,"title":334},{"_type":9,"current":333},[23326],{"_key":23327,"_type":219,"children":23328,"markDefs":23333,"style":232},"7bf793df81a4",[23329],{"_key":23330,"_type":223,"marks":23331,"text":23332},"54111f4e5e02",[],"Based in Switzerland and Germany",[],[23335,122],"bene wahlbrink",{"_type":9,"current":23337},"bene-wahlbrink",{"_id":23339,"_type":1078,"activeYears":23340,"bio":23343,"bioShort":23308,"featuredImage":23352,"filterables":23359,"links":23362,"locations":23364,"searchables":23368,"seo":7,"slug":23370,"title":23353},"09caf875-0208-43cf-9577-c3499f661398",[23341],{"_id":120,"_type":99,"seo":7,"slug":23342,"title":123},{"_type":9,"current":122},[23344],{"_key":23345,"_type":219,"children":23346,"markDefs":23351,"style":232},"ec8d66e70a3c",[23347],{"_key":23348,"_type":223,"marks":23349,"text":23350},"393c47ab4abd0",[],"Studied Architecture at The Glasgow School of Art and Accademia di Architettura in Mendrisio. He has worked for Rahbaran Hürzeler in Basel and for Piercy & Company in London, and is currently working for Witherford Watson Mann Architects in London. He has been a guest critic at the Glasgow School of Art.",[],{"alt":23353,"asset":23354},"Eugenio Cappuccio",{"_id":23355,"height":23356,"orientation":1129,"ratio":23357,"url":23358,"width":4853},"image-944ddff8739f6aa179e8fe3b3693048df990f1e7-1536x2074-jpg",2074,0.7405978784956606,"https://cdn.sanity.io/images/eodip22e/production/944ddff8739f6aa179e8fe3b3693048df990f1e7-1536x2074.jpg",{"filterYear":23360},[23361],{"_id":120,"title":123},[23363],{"_type":1138,"label":1139,"url":23320},{"locations":23365,"other":7},[23366],{"_id":331,"_type":308,"seo":7,"slug":23367,"title":334},{"_type":9,"current":333},[23369,122],"eugenio cappuccio",{"_type":9,"current":23371},"eugenio-cappuccio",{"_id":23373,"_type":1078,"activeYears":23374,"bio":23377,"bioShort":23386,"featuredImage":23387,"filterables":23392,"links":23395,"locations":23397,"searchables":23401,"seo":7,"slug":23403,"title":23388},"21beeddc-20e0-4756-92e5-df9c0ddf6803",[23375],{"_id":120,"_type":99,"seo":7,"slug":23376,"title":123},{"_type":9,"current":122},[23378],{"_key":23379,"_type":219,"children":23380,"markDefs":23385,"style":232},"fc604f6c8969",[23381],{"_key":23382,"_type":223,"marks":23383,"text":23384},"06d7af4e0b3d",[],"Julius studied Architecture, Regional Studies in Asia/Africa and Urban Design at the Technical University of Munich, Accademia di Architettura Mendrisio, Humboldt-Universität zu Berlin and Technical University of Berlin. He has worked for ARCH+ and teleinternetcafe in Munich and Berlin, amongst others. Currently, he is part of the DFG/AHRC-funded research project Architecture after Architecture: Spatial Practice in the Face of Climate Emergency between London, Braunschweig and Berlin.",[],"Architect.",{"alt":23388,"asset":23389},"Julius Grambow",{"_id":23390,"height":12654,"orientation":1129,"ratio":2920,"url":23391,"width":2834},"image-84bab6f70ee0f739a5750d61d4bbba3f20bfea00-1920x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/84bab6f70ee0f739a5750d61d4bbba3f20bfea00-1920x2560.jpg",{"filterYear":23393},[23394],{"_id":120,"title":123},[23396],{"_type":1138,"label":1139,"url":23274},{"locations":23398,"other":7},[23399],{"_id":331,"_type":308,"seo":7,"slug":23400,"title":334},{"_type":9,"current":333},[23402,122],"julius grambow",{"_type":9,"current":23404},"julius-grambow",{"alt":23406,"asset":23407},"Panta Rhei Collaborative - Floating University 2021",{"_id":23408,"height":12654,"orientation":7818,"ratio":2178,"url":23409,"width":12654},"image-a101095475906b995fb64b86b2040a1982b542f6-2560x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/a101095475906b995fb64b86b2040a1982b542f6-2560x2560.jpg",{"filterCategory":23411,"filterLocation":23414,"filterYear":23416},[23412,23413],{"_id":695,"title":698},{"_id":885,"title":888},[23415],{"_id":331,"title":334},[23417],{"_id":120,"title":123},[],{"locations":23420,"other":23423},[23421],{"_id":331,"_type":308,"seo":7,"slug":23422,"title":334},{"_type":9,"current":333},[23424],{"_key":23425,"_type":219,"children":23426,"markDefs":23431,"style":232},"43eaeb72f5a5",[23427],{"_key":23428,"_type":223,"marks":23429,"text":23430},"e9b5665d4adf",[],"Zurich, London and Berlin are three cities with very specific relationships to their waterways. ",[],[23433],{"_type":1625,"settings":7,"text":23434},[23435,23443],{"_key":23436,"_type":219,"children":23437,"markDefs":23442,"style":232},"0c9d6d48a477",[23438],{"_key":23439,"_type":223,"marks":23440,"text":23441},"40a1230b4702",[],"On 14th February 2019, citizens in the canton of Zurich voted 54.6% against the privatisation of its water management. Although a victory for direct democracy, this slight majority demonstrates the increasing threat that is posed to water access in the city, and its undeniable role within the immediate future of the Anthropocene. How can we address the inequalities to the global distribution of commons, and more specifically water?",[],{"_key":23444,"_type":219,"children":23445,"markDefs":23450,"style":232},"a38270982367",[23446],{"_key":23447,"_type":223,"marks":23448,"text":23449},"a80675c99fae",[],"The aim of this proposal is to start from these three cities as our personal backgrounds, to understand the access to water as a common good within other urban contexts. Utilising a collaborative methodology that focuses on process rather than product, we propose to investigate water use through three lenses: Infrastructure, Energy and Climate, and the Social-Spatial.",[],[23452,23460,23468],{"_key":23453,"_type":219,"children":23454,"markDefs":23459,"style":232},"4c16935aa693",[23455],{"_key":23456,"_type":223,"marks":23457,"text":23458},"188d8289c37c0",[],"How can we address the inequalities to the global distribution of commons, and more specifically water?",[],{"_key":23461,"_type":219,"children":23462,"markDefs":23467,"style":232},"c403e6360d8e",[23463],{"_key":23464,"_type":223,"marks":23465,"text":23466},"5df8278ae46d",[],"How can we overcome the binaries between designers, facilitators and users? ",[],{"_key":23469,"_type":219,"children":23470,"markDefs":23475,"style":232},"3b0b3655f896",[23471],{"_key":23472,"_type":223,"marks":23473,"text":23474},"dda96acdc4d0",[],"In what ways can we sensitise urban environments for new ways of commoning water?",[],[23477,122,333,23478,23291,23335,23369,23402,23479,697,6486],"raising water-wareness – (re)commoning the urban aquatic","zurich, london and berlin are three cities with very specific relationships to their waterways. ","on 14th february 2019, citizens in the canton of zurich voted 54.6% against the privatisation of its water management. although a victory for direct democracy, this slight majority demonstrates the increasing threat that is posed to water access in the city, and its undeniable role within the immediate future of the anthropocene. how can we address the inequalities to the global distribution of commons, and more specifically water?\n\nthe aim of this proposal is to start from these three cities as our personal backgrounds, to understand the access to water as a common good within other urban contexts. utilising a collaborative methodology that focuses on process rather than product, we propose to investigate water use through three lenses: infrastructure, energy and climate, and the social-spatial.",{"_type":9,"current":23481},"raising-water-wareness-re-commoning-the-urban-aquatic","Raising Water-Wareness – (Re)Commoning the Urban Aquatic",{"_id":23484,"_type":1027,"categories":23485,"credits":23509,"featuredImage":23576,"filterables":23583,"footnotes":23596,"locations":23597,"logbook":7,"pageBuilder":23610,"researchQuestion":23652,"researchQuestions":7,"searchables":23677,"seo":7,"slug":23682,"title":23684,"year":123},"b74fcb12-0b51-4912-a267-daa8057848b3",[23486,23489,23492,23495,23498,23502,23506],{"_id":805,"_type":362,"colorPrimary":23487,"seo":7,"slug":23488,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"_id":385,"_type":362,"colorPrimary":23490,"seo":7,"slug":23491,"title":388},{"label":1031,"value":18915},{"_type":9,"current":387},{"_id":595,"_type":362,"colorPrimary":23493,"seo":7,"slug":23494,"title":598},{"label":1031,"value":12628},{"_type":9,"current":597},{"_id":410,"_type":362,"colorPrimary":23496,"seo":7,"slug":23497,"title":413},{"label":1031,"value":1036},{"_type":9,"current":412},{"_id":640,"_type":362,"colorPrimary":23499,"seo":7,"slug":23501,"title":643},{"label":1031,"value":23500},"#00cd00",{"_type":9,"current":642},{"_id":540,"_type":362,"colorPrimary":23503,"seo":7,"slug":23505,"title":543},{"label":1031,"value":23504},"#fff064",{"_type":9,"current":542},{"_id":900,"_type":362,"colorPrimary":23507,"seo":7,"slug":23508,"title":903},{"label":1031,"value":4987},{"_type":9,"current":902},{"other":7,"profiles":23510},[23511,23543],{"_id":18277,"_type":1078,"activeYears":23512,"bio":23517,"bioShort":18292,"featuredImage":23523,"filterables":23525,"links":23529,"locations":23531,"searchables":23541,"seo":7,"slug":23542,"title":18294},[23513,23515],{"_id":120,"_type":99,"seo":7,"slug":23514,"title":123},{"_type":9,"current":122},{"_id":115,"_type":99,"seo":7,"slug":23516,"title":118},{"_type":9,"current":117},[23518],{"_key":18285,"_type":219,"children":23519,"markDefs":23522,"style":232},[23520],{"_key":18288,"_type":223,"marks":23521,"text":18290},[],[],{"alt":18294,"asset":23524},{"_id":18296,"height":2394,"orientation":1129,"ratio":18297,"url":18298,"width":18299},{"filterYear":23526},[23527,23528],{"_id":120,"title":123},{"_id":115,"title":118},[23530],{"_type":1138,"label":1142,"url":18306},{"locations":23532,"other":23535},[23533],{"_id":331,"_type":308,"seo":7,"slug":23534,"title":334},{"_type":9,"current":333},[23536],{"_key":18313,"_type":219,"children":23537,"markDefs":23540,"style":232},[23538],{"_key":18316,"_type":223,"marks":23539,"text":18318},[],[],[18321,122,117],{"_type":9,"current":18323},{"_id":23544,"_type":1078,"activeYears":23545,"bio":23548,"bioShort":23557,"featuredImage":23558,"filterables":23565,"links":7,"locations":23568,"searchables":23572,"seo":7,"slug":23574,"title":23559},"c97f3e18-31c3-4d57-831f-6a6153328b52",[23546],{"_id":125,"_type":99,"seo":7,"slug":23547,"title":128},{"_type":9,"current":127},[23549],{"_key":23550,"_type":219,"children":23551,"markDefs":23556,"style":232},"9244d206ad43",[23552],{"_key":23553,"_type":223,"marks":23554,"text":23555},"4559cd75e0540",[],"She has played with orchestral and chamber music groups in the most important Italian theatres and has distinguished herself by winning national and international prizes, as well as important auditions organised by institutions of the calibre of the Perosi Academy in Biella, the Chigiana Academy in Siena, the Gustav Mahler Academy and the Academy of the Teatro alla Scala in Milan. With La Scala, he has toured the famous theatre and abroad, such as when he performed in front of the highest state officials at EXPO 2021 in Dubai. In 2022 he won an audition to become a member of the Gustav Mahler Jugend Orchestra. In between her international concert career and her master's degree in attainment at the Zürcher Hochschule der Künste in Zurich, Sofia Goetz has also turned her attention to research, winning a competition from the School of Commons association in Zurich for a research project in the arts.",[],"Sofia began studying the violin at the age of three thanks to the Suzuki method. Her studies led her to obtain a master's degree in violin at the Conservatorio G. Verdi in Milan, with top marks, honours and an honourable mention. ",{"alt":23559,"asset":23560},"Sofia Goetz",{"_id":23561,"height":23562,"orientation":1474,"ratio":23563,"url":23564,"width":12654},"image-1f7b252edaa1b54fa011bc4c01c0e4f27b3f5d78-2560x1551-jpg",1551,1.6505480335267568,"https://cdn.sanity.io/images/eodip22e/production/1f7b252edaa1b54fa011bc4c01c0e4f27b3f5d78-2560x1551.jpg",{"filterYear":23566},[23567],{"_id":125,"title":128},{"locations":23569,"other":7},[23570],{"_id":331,"_type":308,"seo":7,"slug":23571,"title":334},{"_type":9,"current":333},[23573,127],"sofia goetz",{"_type":9,"current":23575},"sofia-goetz",{"alt":23577,"asset":23578},"School of Commons - The Listening Tension",{"_id":23579,"height":23580,"orientation":1474,"ratio":23581,"url":23582,"width":2394},"image-f02de611755478d3d780b80912228f779bf3650d-1280x622-jpg",622,2.057877813504823,"https://cdn.sanity.io/images/eodip22e/production/f02de611755478d3d780b80912228f779bf3650d-1280x622.jpg",{"filterCategory":23584,"filterLocation":23592,"filterYear":23594},[23585,23586,23587,23588,23589,23590,23591],{"_id":805,"title":808},{"_id":385,"title":388},{"_id":595,"title":598},{"_id":410,"title":413},{"_id":640,"title":643},{"_id":540,"title":543},{"_id":900,"title":903},[23593],{"_id":331,"title":334},[23595],{"_id":120,"title":123},[],{"locations":23598,"other":23601},[23599],{"_id":331,"_type":308,"seo":7,"slug":23600,"title":334},{"_type":9,"current":333},[23602],{"_key":23603,"_type":219,"children":23604,"markDefs":23609,"style":232},"0f3b6f95530b",[23605],{"_key":23606,"_type":223,"marks":23607,"text":23608},"7455949e562e0",[],"Sofia Goetz & Riccardo Acciarino, Performers with the willingness to innovate the academic music scene. They achieved academic degrees with top marks and honours, winning international awards, recording with importantrecord labels and collaborating with leading orchestras and ensembles; an international concert career in a wide variety of musical fields, that led them to meet and share an interest in artistic research with practical application. They founded the duoCup of Coffee producing events and music for tv series, with the aim of abandoning all genre prejudices in music, taking the listener by the hand through combinations they did not think could coexist",[],[23611],{"_type":1625,"settings":7,"text":23612},[23613,23621,23628,23636,23644],{"_key":23614,"_type":219,"children":23615,"markDefs":23620,"style":232},"01d3ac3c58bc",[23616],{"_key":23617,"_type":223,"marks":23618,"text":23619},"a612d440f0be",[],"In a society where the musical product is diversified to the point of dispersing the interest of the audience, as performers we feel the need to design more inclusive and innovative shows, focusing on the concentration and attention required to the people, the role of the musician, the musical choices and the variety of interpretation.",[],{"_key":23622,"_type":219,"children":23623,"markDefs":23627,"style":232},"954a3d879f11",[23624],{"_key":23625,"_type":223,"marks":23626,"text":23619},"01b951d069b0",[],[],{"_key":23629,"_type":219,"children":23630,"markDefs":23635,"style":232},"2decf45de369",[23631],{"_key":23632,"_type":223,"marks":23633,"text":23634},"f3726285f6b4",[],"The application of the research take place on different levels: the study of perception in the psychological, social and musical fields; the historical-geographical contextualisation of the musical programmes of relevant institutions; the practical application with live performances centred on unconventional musical choices; the involvement of musical realities that already implement diversified proposals, with the consequent perception analysis of audience and ‘insiders’.",[],{"_key":23637,"_type":219,"children":23638,"markDefs":23643,"style":232},"fe6617a9a0ff",[23639],{"_key":23640,"_type":223,"marks":23641,"text":23642},"0724d38e462d",[],"The aim is to find a malleable performance practice for every occasion, which can allow several musical genres to coexist in the same performance, without simply juxtaposing them. A praxis that contemplates the impact of each performance on the listener. We want to move away from the very idea of ‘genre’, which outlines a closed and non-inclusive concept, fighting closure in favour of discovery and encouraging open-mindedness, the basis of our artistic ideal.",[],{"_key":23645,"_type":219,"children":23646,"markDefs":23651,"style":232},"85d73de1b7b8",[23647],{"_key":23648,"_type":223,"marks":23649,"text":23650},"7dc3c84c2e68",[],"The knowledge acquired will be disseminated among ‘insiders’ and thanks to the European channels that are supporting us (SoC Zürich, Zürcher Hoschule Der Künste, Orpheus Institute Ghent, Consvervatorio of Milano, Conservatorio of Firenze), the project is taking on an international and intercultural scope, which is necessary for modern, functional and innovative research.",[],[23653,23661,23669],{"_key":23654,"_type":219,"children":23655,"markDefs":23660,"style":232},"86d839dacb48",[23656],{"_key":23657,"_type":223,"marks":23658,"text":23659},"00f9385260070",[],"How do the elements that make up a performance influence audience concentration?",[],{"_key":23662,"_type":219,"children":23663,"markDefs":23668,"style":232},"49fba932d8e2",[23664],{"_key":23665,"_type":223,"marks":23666,"text":23667},"e4f915bcb8cb0",[],"When we choose a concert programme, do we consider listening tension?",[],{"_key":23670,"_type":219,"children":23671,"markDefs":23676,"style":232},"0a28ab9238c6",[23672],{"_key":23673,"_type":223,"marks":23674,"text":23675},"6a9f0f3cd0f40",[],"How can we exploit the properties of contrasting genres to design more engaging events?",[],[23678,122,333,23679,18321,23573,23680,807,19494,597,1783,642,23681,5228],"the listening tension","sofia goetz & riccardo acciarino, performers with the willingness to innovate the academic music scene. they achieved academic degrees with top marks and honours, winning international awards, recording with importantrecord labels and collaborating with leading orchestras and ensembles; an international concert career in a wide variety of musical fields, that led them to meet and share an interest in artistic research with practical application. they founded the duocup of coffee producing events and music for tv series, with the aim of abandoning all genre prejudices in music, taking the listener by the hand through combinations they did not think could coexist","in a society where the musical product is diversified to the point of dispersing the interest of the audience, as performers we feel the need to design more inclusive and innovative shows, focusing on the concentration and attention required to the people, the role of the musician, the musical choices and the variety of interpretation.\n\nin a society where the musical product is diversified to the point of dispersing the interest of the audience, as performers we feel the need to design more inclusive and innovative shows, focusing on the concentration and attention required to the people, the role of the musician, the musical choices and the variety of interpretation.\n\nthe application of the research take place on different levels: the study of perception in the psychological, social and musical fields; the historical-geographical contextualisation of the musical programmes of relevant institutions; the practical application with live performances centred on unconventional musical choices; the involvement of musical realities that already implement diversified proposals, with the consequent perception analysis of audience and ‘insiders’.\n\nthe aim is to find a malleable performance practice for every occasion, which can allow several musical genres to coexist in the same performance, without simply juxtaposing them. a praxis that contemplates the impact of each performance on the listener. we want to move away from the very idea of ‘genre’, which outlines a closed and non-inclusive concept, fighting closure in favour of discovery and encouraging open-mindedness, the basis of our artistic ideal.\n\nthe knowledge acquired will be disseminated among ‘insiders’ and thanks to the european channels that are supporting us (soc zürich, zürcher hoschule der künste, orpheus institute ghent, consvervatorio of milano, conservatorio of firenze), the project is taking on an international and intercultural scope, which is necessary for modern, functional and innovative research.","document study",{"_type":9,"current":23683},"the-listening-tension","The Listening Tension",{"_id":23686,"_type":1027,"categories":23687,"credits":23700,"featuredImage":23842,"filterables":23849,"footnotes":23860,"locations":23861,"logbook":7,"pageBuilder":23867,"researchQuestion":7,"researchQuestions":7,"searchables":23894,"seo":7,"slug":23897,"title":23899,"year":123},"b7ad11e9-43d2-43b0-a63f-8493c2227024",[23688,23691,23694,23697],{"_id":695,"_type":362,"colorPrimary":23689,"seo":7,"slug":23690,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"_id":385,"_type":362,"colorPrimary":23692,"seo":7,"slug":23693,"title":388},{"label":1031,"value":18915},{"_type":9,"current":387},{"_id":410,"_type":362,"colorPrimary":23695,"seo":7,"slug":23696,"title":413},{"label":1031,"value":1036},{"_type":9,"current":412},{"_id":795,"_type":362,"colorPrimary":23698,"seo":7,"slug":23699,"title":798},{"label":1031,"value":1805},{"_type":9,"current":797},{"other":7,"profiles":23701},[23702,23741,23770,23809],{"_id":23703,"_type":1078,"activeYears":23704,"bio":23707,"bioShort":23716,"featuredImage":7,"filterables":23717,"links":23720,"locations":23723,"searchables":23736,"seo":7,"slug":23738,"title":23740},"a6c48c1c-6165-4751-b58a-134dbad9fd8b",[23705],{"_id":120,"_type":99,"seo":7,"slug":23706,"title":123},{"_type":9,"current":122},[23708],{"_key":23709,"_type":219,"children":23710,"markDefs":23715,"style":232},"dd257a15b17e",[23711],{"_key":23712,"_type":223,"marks":23713,"text":23714},"005c0425b7220",[],"Starting dancing in her early childhood, she began her professional ballet formation in Milan at the age of 13, to then move to London where she graduated with a BA (Hons) from Central School of Ballet. She then ventured into the contemporary dance field by studying in Israel and Sicily and in workshops around Europe. In September 2021, she began a Masters' degree in Choreography at ZHDK.",[],"Maria, born in Northern Italy in 1998, is a contemporary dancer and choreographer. ",{"filterYear":23718},[23719],{"_id":120,"title":123},[23721],{"_type":1138,"label":1142,"url":23722},"https://www.instagram.com/mari_dicenere/",{"locations":23724,"other":23727},[23725],{"_id":331,"_type":308,"seo":7,"slug":23726,"title":334},{"_type":9,"current":333},[23728],{"_key":23729,"_type":219,"children":23730,"markDefs":23735,"style":232},"dccf8dee3469",[23731],{"_key":23732,"_type":223,"marks":23733,"text":23734},"79185a6ef1ad",[],"Currently based in Zurich",[],[23737,122],"maria combi",{"_type":9,"current":23739},"maria-combi","Maria Combi",{"_id":23742,"_type":1078,"activeYears":23743,"bio":23746,"bioShort":23754,"featuredImage":7,"filterables":23755,"links":23758,"locations":23761,"searchables":23765,"seo":7,"slug":23767,"title":23769},"5676de6c-0b0c-4070-bdcb-59e76b68ef99",[23744],{"_id":120,"_type":99,"seo":7,"slug":23745,"title":123},{"_type":9,"current":122},[23747],{"_key":23748,"_type":219,"children":23749,"markDefs":23753,"style":232},"670671f665a6",[23750],{"_key":23751,"_type":223,"marks":23752,"text":12647},"7ccedd385c6b0",[],[],"Mauritian, living the past 12 years around Europe where she developed her dancing career. She is now following the Master teaching and coaching dance to professional course at the Zhdk.",{"filterYear":23756},[23757],{"_id":120,"title":123},[23759],{"_type":1138,"label":1142,"url":23760},"https://www.instagram.com/clarathie/",{"locations":23762,"other":7},[23763],{"_id":331,"_type":308,"seo":7,"slug":23764,"title":334},{"_type":9,"current":333},[23766,122],"clara thierry",{"_type":9,"current":23768},"clara-thierry","Clara Thierry",{"_id":23771,"_type":1078,"activeYears":23772,"bio":23775,"bioShort":23784,"featuredImage":7,"filterables":23785,"links":23788,"locations":23791,"searchables":23804,"seo":7,"slug":23806,"title":23808},"7e529498-809b-46f4-a8da-c5f9f63d818c",[23773],{"_id":120,"_type":99,"seo":7,"slug":23774,"title":123},{"_type":9,"current":122},[23776],{"_key":23777,"_type":219,"children":23778,"markDefs":23783,"style":232},"bcc997eeb498",[23779],{"_key":23780,"_type":223,"marks":23781,"text":23782},"2163377be8a00",[],"Rebeka started her professional dance education in Hungary. Later on, she continued her education at the Music and Arts University of the City of Vienna where she graduated with a Bachelor of Arts in June 2017. She joined Zfinmalta National dance company under the artistic direction of Paolo Mangiola and Tanzcompagnie Volkstheater Rostock under the artistic direction of Katja Taranu. Rebeka had the opportunity to work with renowned choreographers such as Jose Agudo, Esther Balfe, Saju Hari, Mavin Khoo, Emmanuel Obeya, Georg Reischl. She currently studies MA in Choreography at ZhdK and follows her own creative direction.",[],"Rebeka started her professional dance education.",{"filterYear":23786},[23787],{"_id":120,"title":123},[23789],{"_type":1138,"label":1142,"url":23790},"https://www.instagram.com/rebeka_mondovics/",{"locations":23792,"other":23795},[23793],{"_id":331,"_type":308,"seo":7,"slug":23794,"title":334},{"_type":9,"current":333},[23796],{"_key":23797,"_type":219,"children":23798,"markDefs":23803,"style":232},"de435cdc6e69",[23799],{"_key":23800,"_type":223,"marks":23801,"text":23802},"27e758581e9c0",[],"Currently based in Zürich",[],[23805,122],"rebeka mondovics",{"_type":9,"current":23807},"rebeka-mondovics","Rebeka Mondovics",{"_id":12374,"_type":1078,"activeYears":23810,"bio":23817,"bioShort":12391,"featuredImage":7,"filterables":23823,"links":23828,"locations":23830,"searchables":23840,"seo":7,"slug":23841,"title":12416},[23811,23813,23815],{"_id":120,"_type":99,"seo":7,"slug":23812,"title":123},{"_type":9,"current":122},{"_id":115,"_type":99,"seo":7,"slug":23814,"title":118},{"_type":9,"current":117},{"_id":110,"_type":99,"seo":7,"slug":23816,"title":113},{"_type":9,"current":112},[23818],{"_key":12384,"_type":219,"children":23819,"markDefs":23822,"style":232},[23820],{"_key":12387,"_type":223,"marks":23821,"text":12389},[],[],{"filterYear":23824},[23825,23826,23827],{"_id":120,"title":123},{"_id":115,"title":118},{"_id":110,"title":113},[23829],{"_type":1138,"label":1142,"url":12399},{"locations":23831,"other":23834},[23832],{"_id":331,"_type":308,"seo":7,"slug":23833,"title":334},{"_type":9,"current":333},[23835],{"_key":12406,"_type":219,"children":23836,"markDefs":23839,"style":232},[23837],{"_key":12409,"_type":223,"marks":23838,"text":12166},[],[],[12413,122,117,112],{"_type":9,"current":12415},{"alt":23843,"asset":23844},"School of Commons - The Street Games Of Our Childhood",{"_id":23845,"height":23846,"orientation":1474,"ratio":23847,"url":23848,"width":4360},"image-afc1b6fbbcf7c0e456a0b5e1b7530dc20a0dbf9f-2880x1454-png",1454,1.9807427785419531,"https://cdn.sanity.io/images/eodip22e/production/afc1b6fbbcf7c0e456a0b5e1b7530dc20a0dbf9f-2880x1454.png",{"filterCategory":23850,"filterLocation":23855,"filterYear":23858},[23851,23852,23853,23854],{"_id":695,"title":698},{"_id":385,"title":388},{"_id":410,"title":413},{"_id":795,"title":798},[23856,23857],{"_id":331,"title":334},{"_id":316,"title":319},[23859],{"_id":120,"title":123},[],{"locations":23862,"other":7},[23863,23865],{"_id":331,"_type":308,"seo":7,"slug":23864,"title":334},{"_type":9,"current":333},{"_id":316,"_type":308,"seo":7,"slug":23866,"title":319},{"_type":9,"current":318},[23868],{"_type":1625,"settings":7,"text":23869},[23870,23878,23886],{"_key":23871,"_type":219,"children":23872,"markDefs":23877,"style":232},"c57498b16322",[23873],{"_key":23874,"_type":223,"marks":23875,"text":23876},"8d8e3b03fd90",[],"Traditional street games, which have been handed down from generation to generation for centuries, have a crucial place in urban and social memory. These games are played with handmade toys made of materials such as mud, bone, wood, stone, cardboard, waste industrial material, etc. Street games play a big role in the physical, mental and social development of children. At the same time, it doesn’t only increase children’s creativity, environmental and material knowledge but also enables the practices of a strong relationship between elder and younger generations. However, it seems that this historical and cultural transmission has been interrupted in our era. As the function of the street changes and its publicity decreases in our modern cities, street games are also on the verge of disappearing.",[],{"_key":23879,"_type":219,"children":23880,"markDefs":23885,"style":232},"1ad9bfe4e0e1",[23881],{"_key":23882,"_type":223,"marks":23883,"text":23884},"374a87e3d8d3",[],"The Project Street Games of Our Childhood approaches street games from a different perspective and reveals their capacity to inspire artistic works. It carries the multidimensional structures of these games, consisting of movement, sound, material, body and space relations, to performance arts. The Street Games of Our Childhood is a research project aiming to develop a unique method of transmission. It creates compositions by abstracting movements, sounds, emotions, and spatial relations by analyzing street games belonging to different cultures. Thus, the project puts the street games in an artistic field, highlighting their importance in social and urban memory and their cultural values. In addition, it is an archival work as it provides documentation of street games in a way.",[],{"_key":23887,"_type":219,"children":23888,"markDefs":23893,"style":232},"ddaa789b1d16",[23889],{"_key":23890,"_type":223,"marks":23891,"text":23892},"092bb243d582",[],"As a result of the research, the work produced collectively will be presented in different mediums such as performance, video, and photography.",[],[23895,122,333,318,23737,23766,23805,12413,23896,697,19494,1783,797],"the street games of our childhood","traditional street games, which have been handed down from generation to generation for centuries, have a crucial place in urban and social memory. these games are played with handmade toys made of materials such as mud, bone, wood, stone, cardboard, waste industrial material, etc. street games play a big role in the physical, mental and social development of children. at the same time, it doesn’t only increase children’s creativity, environmental and material knowledge but also enables the practices of a strong relationship between elder and younger generations. however, it seems that this historical and cultural transmission has been interrupted in our era. as the function of the street changes and its publicity decreases in our modern cities, street games are also on the verge of disappearing.\n\nthe project street games of our childhood approaches street games from a different perspective and reveals their capacity to inspire artistic works. it carries the multidimensional structures of these games, consisting of movement, sound, material, body and space relations, to performance arts. the street games of our childhood is a research project aiming to develop a unique method of transmission. it creates compositions by abstracting movements, sounds, emotions, and spatial relations by analyzing street games belonging to different cultures. thus, the project puts the street games in an artistic field, highlighting their importance in social and urban memory and their cultural values. in addition, it is an archival work as it provides documentation of street games in a way.\n\nas a result of the research, the work produced collectively will be presented in different mediums such as performance, video, and photography.",{"_type":9,"current":23898},"the-street-games-of-our-childhood","The Street Games Of Our Childhood",{"_id":23901,"_type":1027,"categories":23902,"credits":23912,"featuredImage":23948,"filterables":23955,"footnotes":23964,"locations":24041,"logbook":7,"pageBuilder":24045,"researchQuestion":24152,"researchQuestions":7,"searchables":24182,"seo":7,"slug":24185,"title":24187,"year":123},"0f003a11-e9e3-439a-b51a-102bcf3e0b18",[23903,23906,23909],{"_id":805,"_type":362,"colorPrimary":23904,"seo":7,"slug":23905,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"_id":430,"_type":362,"colorPrimary":23907,"seo":7,"slug":23908,"title":433},{"label":1031,"value":5251},{"_type":9,"current":432},{"_id":1009,"_type":362,"colorPrimary":23910,"seo":7,"slug":23911,"title":1012},{"label":1031,"value":2658},{"_type":9,"current":1011},{"other":7,"profiles":23913},[23914],{"_id":23915,"_type":1078,"activeYears":23916,"bio":23919,"bioShort":23928,"featuredImage":23929,"filterables":23937,"links":7,"locations":23940,"searchables":23944,"seo":7,"slug":23946,"title":23930},"283233a9-7fb7-4a08-b692-58f3cfbbebac",[23917],{"_id":120,"_type":99,"seo":7,"slug":23918,"title":123},{"_type":9,"current":122},[23920],{"_key":23921,"_type":219,"children":23922,"markDefs":23927,"style":232},"213de52a7d84",[23923],{"_key":23924,"_type":223,"marks":23925,"text":23926},"7200db4ca0b40",[],"Her realm of inquiry colludes around the logic of power and its distribution across social life. Their previous research has considered this through phenomena such as disappearance and iconoclasm, bull fighting, competition as the dominant organising principle of late stage capitalism, and the desktop, amongst other things.",[],"Rebecca is a social researcher and writer. They graduated from Glasgow School of Art in 2019 and have since been working in the third sector. 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In this context, of competition, fragmentation, the auto-cannibalistic ouroboros of capitalist production – knowledge is power, or rather the pursuit of power, and power is a ‘",{"_key":24064,"_type":223,"marks":24065,"text":24066},"19623b3f4cb7",[23995],"conception…of the desirable",{"_key":24068,"_type":223,"marks":24069,"text":24070},"de85f6381342",[],"’; the baseline value by which all economic activity measures itself. In turn, economic valuation becomes a process of measurement based on the abstraction of the unquantifiable into a perfect field. It is the flattening and universalising of all things made available to exchange projected into a ‘",{"_key":24072,"_type":223,"marks":24073,"text":24074},"dc8c384eb21a",[24024],"future that never arrives",{"_key":24076,"_type":223,"marks":24077,"text":24078},"12a81f6a1b58",[],"’.",[24080,24101,24121],{"_key":23966,"_type":24081,"allFootnotes":24082,"footnoteText":24086,"markKey":23966},"footnoteLink",[24083,24084,24085],{"_key":23966},{"_key":23995},{"_key":24024},[24087],{"_key":23969,"_type":219,"children":24088,"markDefs":24099,"style":232},[24089,24091,24093,24095,24097],{"_key":23972,"_type":223,"marks":24090,"text":23974},[],{"_key":23976,"_type":223,"marks":24092,"text":23978},[1559],{"_key":23980,"_type":223,"marks":24094,"text":23982},[],{"_key":23984,"_type":223,"marks":24096,"text":23987},[23986],{"_key":23989,"_type":223,"marks":24098,"text":23991},[],[24100],{"_key":23986,"_type":249,"href":23987},{"_key":23995,"_type":24081,"allFootnotes":24102,"footnoteText":24106,"markKey":23995},[24103,24104,24105],{"_key":23966},{"_key":23995},{"_key":24024},[24107],{"_key":23998,"_type":219,"children":24108,"markDefs":24119,"style":232},[24109,24111,24113,24115,24117],{"_key":24001,"_type":223,"marks":24110,"text":24003},[],{"_key":24005,"_type":223,"marks":24112,"text":24007},[1559],{"_key":24009,"_type":223,"marks":24114,"text":24011},[],{"_key":24013,"_type":223,"marks":24116,"text":24016},[24015],{"_key":24018,"_type":223,"marks":24118,"text":24020},[],[24120],{"_key":24015,"_type":249,"href":24016},{"_key":24024,"_type":24081,"allFootnotes":24122,"footnoteText":24126,"markKey":24024},[24123,24124,24125],{"_key":23966},{"_key":23995},{"_key":24024},[24127],{"_key":24027,"_type":219,"children":24128,"markDefs":24135,"style":232},[24129,24131,24133],{"_key":24030,"_type":223,"marks":24130,"text":23974},[],{"_key":24033,"_type":223,"marks":24132,"text":24035},[1559],{"_key":24037,"_type":223,"marks":24134,"text":24039},[],[],{"_key":24137,"_type":219,"children":24138,"markDefs":24143,"style":232},"cba76b76010a",[24139],{"_key":24140,"_type":223,"marks":24141,"text":24142},"99fad39b1af5",[],"The implication is that knowledge and value co-constitute each other. Choices are made about what is to be valued – ‘…what is to be counted, visible and present’ – what knowledges have the time and space to be excavated and cared for. In turn, what is already known influences these choices about what is to be valued.",[],{"_key":24145,"_type":219,"children":24146,"markDefs":24151,"style":232},"1f56eb049c60",[24147],{"_key":24148,"_type":223,"marks":24149,"text":24150},"eaa8ee2b5892",[],"The arrangement of knowledge and value in relation to one another is not as monolithic structures but dynamic processes which must be understood in terms relevant to their social context.",[],[24153,24161,24169,24175],{"_key":24154,"_type":219,"children":24155,"markDefs":24160,"style":232},"81e7d207b718",[24156],{"_key":24157,"_type":223,"marks":24158,"text":24159},"f20247360478",[],"What kind of knowledge is desirable, or valuable under the rubric of capitalist expansion? ",[],{"_key":24162,"_type":219,"children":24163,"markDefs":24168,"style":232},"ea6184f9c3d2",[24164],{"_key":24165,"_type":223,"marks":24166,"text":24167},"17dd74a9e991",[],"Historical growth analysis, trade data, labour market statistics, speculative futures? ",[],{"_key":24170,"_type":219,"children":24171,"markDefs":24174,"style":232},"81e7d207b718_deduped_1",[24172],{"_key":24157,"_type":223,"marks":24173,"text":24159},[],[],{"_key":24176,"_type":219,"children":24177,"markDefs":24181,"style":232},"a03407fc3b17",[24178],{"_key":24179,"_type":223,"marks":24180,"text":24167},"7d35d29ad065",[],[],[24183,122,333,23945,24184,807,5640,1011],"values of commons and capital","all these measurements seek to aid the economy in the production and predictions of growth – which is to say the creative ‘production of sameness’. in this context, of competition, fragmentation, the auto-cannibalistic ouroboros of capitalist production – knowledge is power, or rather the pursuit of power, and power is a ‘conception…of the desirable’; the baseline value by which all economic activity measures itself. in turn, economic valuation becomes a process of measurement based on the abstraction of the unquantifiable into a perfect field. it is the flattening and universalising of all things made available to exchange projected into a ‘future that never arrives’.\n\nthe implication is that knowledge and value co-constitute each other. choices are made about what is to be valued – ‘…what is to be counted, visible and present’ – what knowledges have the time and space to be excavated and cared for. in turn, what is already known influences these choices about what is to be valued.\n\nthe arrangement of knowledge and value in relation to one another is not as monolithic structures but dynamic processes which must be understood in terms relevant to their social context.",{"_type":9,"current":24186},"values-of-commons-and-capital","Values of Commons and Capital",{"_id":24189,"_type":1027,"categories":24190,"credits":24246,"featuredImage":24288,"filterables":24295,"footnotes":24315,"locations":24316,"logbook":7,"pageBuilder":24320,"researchQuestion":7,"researchQuestions":7,"searchables":24355,"seo":7,"slug":24371,"title":24373,"year":123},"1d62165d-b5a0-4086-9a31-3e02932aea16",[24191,24194,24198,24202,24206,24210,24214,24218,24222,24226,24230,24234,24238,24242],{"_id":720,"_type":362,"colorPrimary":24192,"seo":7,"slug":24193,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"_id":935,"_type":362,"colorPrimary":24195,"seo":7,"slug":24197,"title":938},{"label":1031,"value":24196},"#96ffff",{"_type":9,"current":937},{"_id":970,"_type":362,"colorPrimary":24199,"seo":7,"slug":24201,"title":973},{"label":1031,"value":24200},"#0041ff",{"_type":9,"current":972},{"_id":950,"_type":362,"colorPrimary":24203,"seo":7,"slug":24205,"title":953},{"label":1031,"value":24204},"#007dff",{"_type":9,"current":952},{"_id":920,"_type":362,"colorPrimary":24207,"seo":7,"slug":24209,"title":923},{"label":1031,"value":24208},"#00a5ff",{"_type":9,"current":922},{"_id":915,"_type":362,"colorPrimary":24211,"seo":7,"slug":24213,"title":918},{"label":1031,"value":24212},"#00b9ff",{"_type":9,"current":917},{"_id":910,"_type":362,"colorPrimary":24215,"seo":7,"slug":24217,"title":913},{"label":1031,"value":24216},"#00cdff",{"_type":9,"current":912},{"_id":940,"_type":362,"colorPrimary":24219,"seo":7,"slug":24221,"title":943},{"label":1031,"value":24220},"#00ffeb",{"_type":9,"current":942},{"_id":960,"_type":362,"colorPrimary":24223,"seo":7,"slug":24225,"title":963},{"label":1031,"value":24224},"#00ffff",{"_type":9,"current":962},{"_id":855,"_type":362,"colorPrimary":24227,"seo":7,"slug":24229,"title":858},{"label":1031,"value":24228},"#00f5ff",{"_type":9,"current":857},{"_id":945,"_type":362,"colorPrimary":24231,"seo":7,"slug":24233,"title":948},{"label":1031,"value":24232},"#00e1ff",{"_type":9,"current":947},{"_id":965,"_type":362,"colorPrimary":24235,"seo":7,"slug":24237,"title":968},{"label":1031,"value":24236},"#f0ffff",{"_type":9,"current":967},{"_id":930,"_type":362,"colorPrimary":24239,"seo":7,"slug":24241,"title":933},{"label":1031,"value":24240},"#c8ffff",{"_type":9,"current":932},{"_id":925,"_type":362,"colorPrimary":24243,"seo":7,"slug":24245,"title":928},{"label":1031,"value":24244},"#dcffff",{"_type":9,"current":927},{"other":7,"profiles":24247},[24248],{"_id":24249,"_type":1078,"activeYears":24250,"bio":24253,"bioShort":24262,"featuredImage":24263,"filterables":24271,"links":7,"locations":24274,"searchables":24284,"seo":7,"slug":24286,"title":24264},"8c09cfba-3123-4e0f-b505-a3379d9dc9e8",[24251],{"_id":120,"_type":99,"seo":7,"slug":24252,"title":123},{"_type":9,"current":122},[24254],{"_key":24255,"_type":219,"children":24256,"markDefs":24261,"style":232},"6d6aa904d44e",[24257],{"_key":24258,"_type":223,"marks":24259,"text":24260},"b782bb78eaa30",[],"She is pursuing a PhD in practice-based artistic research (ZHdK-Linz) with a special focus on Teleportation & Transformation through Storytelling and Technology. She is a research associate in MA Transdisziplinarität of the ZHdK. Born in Crete, grew up in Athens she studied Sociology (BSc), Cultural Management (MSc) at the Departments of Sociology and Media & Communication respectively, both in Panteion University for Social & Political Science, Athens. Additionally she studied Greek and English/American poetry and dance.",[],"Working across and through a number of art practices (literature, poetry & storytelling, performance, installation). ",{"alt":24264,"asset":24265},"Eirini Sourgiadaki",{"_id":24266,"height":24267,"orientation":1129,"ratio":24268,"url":24269,"width":24270},"image-25f0572975867a1598dc9cb606e8d60aab8c3a0c-1243x1566-jpg",1566,0.7937420178799489,"https://cdn.sanity.io/images/eodip22e/production/25f0572975867a1598dc9cb606e8d60aab8c3a0c-1243x1566.jpg",1243,{"filterYear":24272},[24273],{"_id":120,"title":123},{"locations":7,"other":24275},[24276],{"_key":24277,"_type":219,"children":24278,"markDefs":24283,"style":232},"f95ba95fa0fb",[24279],{"_key":24280,"_type":223,"marks":24281,"text":24282},"1498658a65fd",[],"Living between Zurich and Athens",[],[24285,122],"eirini sourgiadaki",{"_type":9,"current":24287},"eirini-sourgiadaki",{"alt":24289,"asset":24290},"School of Commons - Warmups and Cooldowns",{"_id":24291,"height":24292,"orientation":1129,"ratio":24293,"url":24294,"width":12657},"image-78d59c1c7867b28e91602875d63486a0e24ba285-1707x1936-jpg",1936,0.8817148760330579,"https://cdn.sanity.io/images/eodip22e/production/78d59c1c7867b28e91602875d63486a0e24ba285-1707x1936.jpg",{"filterCategory":24296,"filterLocation":24311,"filterYear":24313},[24297,24298,24299,24300,24301,24302,24303,24304,24305,24306,24307,24308,24309,24310],{"_id":720,"title":723},{"_id":935,"title":938},{"_id":970,"title":973},{"_id":950,"title":953},{"_id":920,"title":923},{"_id":915,"title":918},{"_id":910,"title":913},{"_id":940,"title":943},{"_id":960,"title":963},{"_id":855,"title":858},{"_id":945,"title":948},{"_id":965,"title":968},{"_id":930,"title":933},{"_id":925,"title":928},[24312],{"_id":331,"title":334},[24314],{"_id":120,"title":123},[],{"locations":24317,"other":7},[24318],{"_id":331,"_type":308,"seo":7,"slug":24319,"title":334},{"_type":9,"current":333},[24321],{"_type":1625,"settings":7,"text":24322},[24323,24331,24339,24347],{"_key":24324,"_type":219,"children":24325,"markDefs":24330,"style":232},"c01f8c635dc5",[24326],{"_key":24327,"_type":223,"marks":24328,"text":24329},"66a89ca5b9a8",[],"The project responds to the necessity to claim time and space within and beyond the curriculum. Imagine an intro and an outro, a foreword and a conclusion, a prologue and an epilogue that occurs smoothly and effortlessly during our time in the class, in the studio, in the atelier, the rehearsal room, our desk. We owe that time and that space to allow ourselves to slow down, to share not only artistic practices and interests, but also sensory experience and others’ ways of knowledge. Such needs have -in my view- become more vital after the viral outbreak and in the aftermath, we are still dealing with them.",[],{"_key":24332,"_type":219,"children":24333,"markDefs":24338,"style":232},"030530f4afb1",[24334],{"_key":24335,"_type":223,"marks":24336,"text":24337},"0c65b37a859c",[],"The first steps of the proposed project to start its formulation into practice, has been selected to be supported by VERSO in 2021. The goal was to create a depository of short warm-up sessions that can be used by anyone in means of their artistic practice (a small number of contributions can be found here https://blog.trans.zhdk.ch/practice/transdisciplinary-warm-ups-repository/). The objective now, through the SoC, is to take a step further, to create a sharing and inspiration platform for students and practitioners. For this reason, I would be eager to work together within small group of interested persons, and also extend the project with an additional cool-downs collection.",[],{"_key":24340,"_type":219,"children":24341,"markDefs":24346,"style":232},"5e69cd34d748",[24342],{"_key":24343,"_type":223,"marks":24344,"text":24345},"22a54b470251",[],"By framing thermal metaphors and properties related to temperature and physics, the concept of warmups and cool-downs is a simple and essential engagement of the body in one’s everyday practice. The regular contribution by participants fosters exchange, feedback and evolution of the short-format artefacts, with an open-end character and an yet-undefined and unfinished-research focus.",[],{"_key":24348,"_type":219,"children":24349,"markDefs":24354,"style":232},"29b081b005d3",[24350],{"_key":24351,"_type":223,"marks":24352,"text":24353},"3911f9420bbf",[],"We will be working with ideas for short warm-ups and cool-downs, that could have an artistic character and they should be non-exclusive, open to a wider audience (meaning not explicitly related to the institution) to use individually or in group; ie meditation, breathing exercises, storytelling, music exercises, singing, movement instructions, walking, dancing, hypnosis, any kind of improvisation and experimental tryout proposals, instructions to handcrafts or no instructions at all. The only requirement is that they provide a frame and an abstract-or-systematic potentiality for poiesis (making, creating) in a broader sense.",[],[24356,122,333,24285,24357,722,24358,24359,24360,24361,24362,24363,24364,24365,24366,24367,24368,24369,24370],"warmups and cooldowns","the project responds to the necessity to claim time and space within and beyond the curriculum. imagine an intro and an outro, a foreword and a conclusion, a prologue and an epilogue that occurs smoothly and effortlessly during our time in the class, in the studio, in the atelier, the rehearsal room, our desk. we owe that time and that space to allow ourselves to slow down, to share not only artistic practices and interests, but also sensory experience and others’ ways of knowledge. such needs have -in my view- become more vital after the viral outbreak and in the aftermath, we are still dealing with them.\n\nthe first steps of the proposed project to start its formulation into practice, has been selected to be supported by verso in 2021. the goal was to create a depository of short warm-up sessions that can be used by anyone in means of their artistic practice (a small number of contributions can be found here https://blog.trans.zhdk.ch/practice/transdisciplinary-warm-ups-repository/). the objective now, through the soc, is to take a step further, to create a sharing and inspiration platform for students and practitioners. for this reason, i would be eager to work together within small group of interested persons, and also extend the project with an additional cool-downs collection.\n\nby framing thermal metaphors and properties related to temperature and physics, the concept of warmups and cool-downs is a simple and essential engagement of the body in one’s everyday practice. the regular contribution by participants fosters exchange, feedback and evolution of the short-format artefacts, with an open-end character and an yet-undefined and unfinished-research focus.\n\nwe will be working with ideas for short warm-ups and cool-downs, that could have an artistic character and they should be non-exclusive, open to a wider audience (meaning not explicitly related to the institution) to use individually or in group; ie meditation, breathing exercises, storytelling, music exercises, singing, movement instructions, walking, dancing, hypnosis, any kind of improvisation and experimental tryout proposals, instructions to handcrafts or no instructions at all. the only requirement is that they provide a frame and an abstract-or-systematic potentiality for poiesis (making, creating) in a broader sense.","the dog days are over* warmup","the wordplay warmup","the noisy playtime warmup","the chewing gum hum","the bach warmup","the asemic writers club warmup","the heartbeat warmup / cooldown","the slug warmup / cooldown","serendipity strikes warmup","the interoception warmup / cooldown","the studio warmup / cooldown","the corp-o-rate setting collection","the clarinet concert warmup",{"_type":9,"current":24372},"warmups-and-cooldowns","Warmups and Cooldowns",{"_id":24375,"_type":1027,"categories":24376,"credits":24380,"featuredImage":24440,"filterables":24446,"footnotes":24453,"locations":24472,"logbook":7,"pageBuilder":24476,"researchQuestion":24535,"researchQuestions":7,"searchables":24552,"seo":7,"slug":24556,"title":24558,"year":123},"d1c3e9d1-409c-4281-8bbc-ffabec8495e0",[24377],{"_id":695,"_type":362,"colorPrimary":24378,"seo":7,"slug":24379,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":24381,"profiles":24393},[24382],{"_key":24383,"_type":219,"children":24384,"markDefs":24390,"style":232},"754b83a3e7a3",[24385],{"_key":24386,"_type":223,"marks":24387,"text":24389},"6a12c23bcba80",[24388],"c0f513cb222d","Strange Field & Friends of The Pipe Factory",[24391],{"_key":24388,"_type":249,"href":24392},"https://www.strangefield.org/",[24394],{"_id":24395,"_type":1078,"activeYears":24396,"bio":24399,"bioShort":24408,"featuredImage":24409,"filterables":24416,"links":24419,"locations":24423,"searchables":24436,"seo":7,"slug":24438,"title":24410},"51210365-a26e-40ab-929a-ce716424484f",[24397],{"_id":120,"_type":99,"seo":7,"slug":24398,"title":123},{"_type":9,"current":122},[24400],{"_key":24401,"_type":219,"children":24402,"markDefs":24407,"style":232},"b4beb9614374",[24403],{"_key":24404,"_type":223,"marks":24405,"text":24406},"ed7cb27ab0970",[],"She co-founded projects including Free Association Glasgow, The Pipe Factory, Temporary Art School and was Lead Artist in establishing the young people’s programme at the Fruitmarket Gallery. She was shortlisted for The White Review Poet’s Prize and has been published by Gutter, Dancing Girl Press and Adjacent Pineapple. Beth is a Doctoral candidate at Edinburgh College of Art where she teaches Contemporary Art & Open Learning and works as a Lecturer in Studio Practice at Forth Valley College.",[],"Beth makes sculpture, performances, projects and texts. Her most recent work uses hybrid forms of poetry and performance alongside public projects that explore how individuals and communities shape and are shaped by capitalism and the commons.",{"alt":24410,"asset":24411},"Beth Dynowski",{"_id":24412,"height":12654,"orientation":1129,"ratio":24413,"url":24414,"width":24415},"image-781b7fcbcd600117e18f2e726c2fc8d892a787b2-2262x2560-jpg",0.88359375,"https://cdn.sanity.io/images/eodip22e/production/781b7fcbcd600117e18f2e726c2fc8d892a787b2-2262x2560.jpg",2262,{"filterYear":24417},[24418],{"_id":120,"title":123},[24420,24422],{"_type":1138,"label":1139,"url":24421},"http://www.bethdynowski.com/",{"_type":1138,"label":24389,"url":24392},{"locations":24424,"other":24427},[24425],{"_id":331,"_type":308,"seo":7,"slug":24426,"title":334},{"_type":9,"current":333},[24428],{"_key":24429,"_type":219,"children":24430,"markDefs":24435,"style":232},"554bc52b36d1",[24431],{"_key":24432,"_type":223,"marks":24433,"text":24434},"9b05385a6a5c",[],"Based in Glasgow, Scotland",[],[24437,122],"beth dynowski",{"_type":9,"current":24439},"beth-dynowski",{"alt":24441,"asset":24442},"School of Commons - What does open learning look like here?",{"_id":24443,"height":24444,"orientation":7818,"ratio":2178,"url":24445,"width":24444},"image-911fc9dd26a9722a44c8f09593074c1347b9cdb0-619x619-jpg",619,"https://cdn.sanity.io/images/eodip22e/production/911fc9dd26a9722a44c8f09593074c1347b9cdb0-619x619.jpg",{"filterCategory":24447,"filterLocation":24449,"filterYear":24451},[24448],{"_id":695,"title":698},[24450],{"_id":331,"title":334},[24452],{"_id":120,"title":123},[24454],{"_key":24455,"footnoteText":24456},"855374c7c824",[24457],{"_key":24458,"_type":219,"children":24459,"markDefs":24469,"style":232},"096741e6615a",[24460,24465],{"_key":24461,"_type":223,"marks":24462,"text":24464},"c4897087820d",[24463],"13f0c5ec6875","John Beck and Matthew Cornford",{"_key":24466,"_type":223,"marks":24467,"text":24468},"af73468eef00",[],"  ",[24470],{"_key":24463,"_type":249,"href":24471},"https://thenewartgallerywalsall.org.uk/exhibition/the-art-schools-of-the-west-midlands/",{"locations":24473,"other":7},[24474],{"_id":331,"_type":308,"seo":7,"slug":24475,"title":334},{"_type":9,"current":333},[24477],{"_type":1625,"settings":7,"text":24478},[24479,24503,24519,24527],{"_key":24480,"_type":219,"children":24481,"markDefs":24490,"style":232},"6d418c31334f",[24482,24486],{"_key":24483,"_type":223,"marks":24484,"text":24485},"cdd1964947c9",[24455],"Artist John Beck and sociologist Matthew Cornford have been tracking down and photographing the sites of British art schools for around five years. While many towns in the UK used to have a dedicated art school, now there are only a handful left; most of the buildings have been repurposed or, in some cases, demolished.",{"_key":24487,"_type":223,"marks":24488,"text":24489},"e88c4445d6d6",[],"[1] They trace a gradual move from local thriving bodies of people producing and sharing their own culture, to the corporatisation of education and what they term the growth of ‘culture sheds’ – art centres and organisations situated in communities in the name of regeneration. These shift the dynamic from self-determined culture to a hierarchical management of the arts and culture, where organisations compete with one another for funding to ‘engage’ with audiences and participants, i.e. consumers of culture. This project wants to look at how to shift this paradigm, to work with those who wish to self-determine what learning and cultural production looks like in the area.",[24491],{"_key":24455,"_type":24081,"allFootnotes":24492,"footnoteText":24494,"markKey":24455},[24493],{"_key":24455},[24495],{"_key":24458,"_type":219,"children":24496,"markDefs":24501,"style":232},[24497,24499],{"_key":24461,"_type":223,"marks":24498,"text":24464},[24463],{"_key":24466,"_type":223,"marks":24500,"text":24468},[],[24502],{"_key":24463,"_type":249,"href":24471},{"_key":24504,"_type":219,"children":24505,"markDefs":24518,"style":232},"2eae968d8409",[24506,24510,24514],{"_key":24507,"_type":223,"marks":24508,"text":24509},"910d7764f5ea",[],"The live context for this research is a building recently bought by a group of organisations from a private landlord to protect it as a space for public use in an area which has been subject to several regeneration strategies and gentrification in Glasgow, Scotland. It is a site where class, intersecting inequalities and both aligned and incompatible interests meet. From this site we are asking what would a",{"_key":24511,"_type":223,"marks":24512,"text":24513},"9f172fc9bd90",[225]," local, porous space for open learning in the arts and culture look like here?",{"_key":24515,"_type":223,"marks":24516,"text":24517},"0d3d99cdf5f5",[]," How can we spaces for self-determined learning and cultural production be supported within the given infrastructure, what is working, what’s not working, and how might it change?",[],{"_key":24520,"_type":219,"children":24521,"markDefs":24526,"style":232},"74e6aa52f0e0",[24522],{"_key":24523,"_type":223,"marks":24524,"text":24525},"ffde6332b997",[],"A reference point for this project and research is the Worker’s Stories Project, who during lockdown in 2020 – 2021, along with the Workers Education Association delivered arts workshops for those working throughout the pandemic. The outcome and sharing event of this project gave a clear call a much more diverse range of cultural production in Glasgow to be platformed and supported that allows for people to make their own work, be given the space and time to do so and for it to be celebrated and supported by our public institutions. 1 in 5 of those who apply for art schools in the UK gain entry, leaving 4 in 5 with enormous potential and desire to create but nowhere to go. This statistically disproportionately affects PT adult learners, neurodiverse students, those who do not hold formal qualifications, those with caring responsibilities and those from lower socio-economic backgrounds. This issue is persistent but so far unaddressed locally, nationally and internationally.",[],{"_key":24528,"_type":219,"children":24529,"markDefs":24534,"style":232},"d545b856aece",[24530],{"_key":24531,"_type":223,"marks":24532,"text":24533},"52265d547952",[],"The aim of this research is to have a laser focus on a local context to generate knowledge and working models to contribute to the wider culture of commons based, open educational pedagogies. Working with SoC to critically reflect and share with those working on aligned projects would provide a much needed wider community to expand on current methods, approaches, networks and knowledge. We would share our knowledge via both local and digital OER’s throughout March – Dec in a timetabled session of events situated in the locale but connected digitally to those working across Europe.",[],[24536,24544],{"_key":24537,"_type":219,"children":24538,"markDefs":24543,"style":232},"f0d1f35d38dd",[24539],{"_key":24540,"_type":223,"marks":24541,"text":24542},"ef7029f56a31",[],"What would a local, porous space for open learning in the arts and culture look like here? ",[],{"_key":24545,"_type":219,"children":24546,"markDefs":24551,"style":232},"b4831a819bfe",[24547],{"_key":24548,"_type":223,"marks":24549,"text":24550},"2aeb71507242",[],"How can we spaces for self-determined learning and cultural production be supported within the given infrastructure, what is working, what’s not working, and how might it change?",[],[24553,122,333,24437,24554,24555,697],"what does open learning look like here?","strange field & friends of the pipe factory","artist john beck and sociologist matthew cornford have been tracking down and photographing the sites of british art schools for around five years. while many towns in the uk used to have a dedicated art school, now there are only a handful left; most of the buildings have been repurposed or, in some cases, demolished.[1] they trace a gradual move from local thriving bodies of people producing and sharing their own culture, to the corporatisation of education and what they term the growth of ‘culture sheds’ – art centres and organisations situated in communities in the name of regeneration. these shift the dynamic from self-determined culture to a hierarchical management of the arts and culture, where organisations compete with one another for funding to ‘engage’ with audiences and participants, i.e. consumers of culture. this project wants to look at how to shift this paradigm, to work with those who wish to self-determine what learning and cultural production looks like in the area.\n\nthe live context for this research is a building recently bought by a group of organisations from a private landlord to protect it as a space for public use in an area which has been subject to several regeneration strategies and gentrification in glasgow, scotland. it is a site where class, intersecting inequalities and both aligned and incompatible interests meet. from this site we are asking what would a local, porous space for open learning in the arts and culture look like here? how can we spaces for self-determined learning and cultural production be supported within the given infrastructure, what is working, what’s not working, and how might it change?\n\na reference point for this project and research is the worker’s stories project, who during lockdown in 2020 – 2021, along with the workers education association delivered arts workshops for those working throughout the pandemic. the outcome and sharing event of this project gave a clear call a much more diverse range of cultural production in glasgow to be platformed and supported that allows for people to make their own work, be given the space and time to do so and for it to be celebrated and supported by our public institutions. 1 in 5 of those who apply for art schools in the uk gain entry, leaving 4 in 5 with enormous potential and desire to create but nowhere to go. this statistically disproportionately affects pt adult learners, neurodiverse students, those who do not hold formal qualifications, those with caring responsibilities and those from lower socio-economic backgrounds. this issue is persistent but so far unaddressed locally, nationally and internationally.\n\nthe aim of this research is to have a laser focus on a local context to generate knowledge and working models to contribute to the wider culture of commons based, open educational pedagogies. working with soc to critically reflect and share with those working on aligned projects would provide a much needed wider community to expand on current methods, approaches, networks and knowledge. we would share our knowledge via both local and digital oer’s throughout march – dec in a timetabled session of events situated in the locale but connected digitally to those working across europe.",{"_type":9,"current":24557},"what-does-open-learning-look-like-here","What does open learning look like here?",{"_id":24560,"_type":1027,"categories":24561,"credits":24565,"featuredImage":24610,"filterables":24615,"footnotes":24622,"locations":24623,"logbook":7,"pageBuilder":24627,"researchQuestion":7,"researchQuestions":7,"searchables":24668,"seo":7,"slug":24670,"title":24636,"year":123},"d1da8881-c161-47b7-8a11-be4b52a0c3ad",[24562],{"_id":805,"_type":362,"colorPrimary":24563,"seo":7,"slug":24564,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"other":7,"profiles":24566},[24567],{"_id":24568,"_type":1078,"activeYears":24569,"bio":24574,"bioShort":24583,"featuredImage":24584,"filterables":24591,"links":24595,"locations":24600,"searchables":24606,"seo":7,"slug":24608,"title":24585},"eacbf85e-b9bb-4522-8e9e-9dfbfc6c3fd2",[24570,24572],{"_id":125,"_type":99,"seo":7,"slug":24571,"title":128},{"_type":9,"current":127},{"_id":120,"_type":99,"seo":7,"slug":24573,"title":123},{"_type":9,"current":122},[24575],{"_key":24576,"_type":219,"children":24577,"markDefs":24582,"style":232},"98d9d3eacaff",[24578],{"_key":24579,"_type":223,"marks":24580,"text":24581},"aafe586633eb0",[],"She focuses on the notions of familiarity, repetition and categorisation, and the influence of bureaucratic infrastructures on our relationship with movement, freedom and language. She is interested in collaborative modes of working that initiate dialogues about precarious living and working conditions in the art worlds.",[],"Betül Aksu (b. 1990, Izmir) is an artist who explores how boundaries appear in everyday life. ",{"alt":24585,"asset":24586},"Betül Aksu",{"_id":24587,"height":24588,"orientation":1474,"ratio":24589,"url":24590,"width":12654},"image-d422a5ee4e19b4b40f314b33e7a9ad1874c84d83-2560x2557-jpg",2557,1.0011732499022292,"https://cdn.sanity.io/images/eodip22e/production/d422a5ee4e19b4b40f314b33e7a9ad1874c84d83-2560x2557.jpg",{"filterYear":24592},[24593,24594],{"_id":125,"title":128},{"_id":120,"title":123},[24596,24598],{"_type":1138,"label":1139,"url":24597},"https://betulaksu.com/",{"_type":1138,"label":1142,"url":24599},"https://www.instagram.com/betulaksu",{"locations":24601,"other":7},[24602,24604],{"_id":331,"_type":308,"seo":7,"slug":24603,"title":334},{"_type":9,"current":333},{"_id":316,"_type":308,"seo":7,"slug":24605,"title":319},{"_type":9,"current":318},[24607,127,122],"betül aksu",{"_type":9,"current":24609},"betuel-aksu",{"alt":24611,"asset":24612},"School of Commons - officialese",{"_id":24613,"height":2834,"orientation":1474,"ratio":3344,"url":24614,"width":12654},"image-61472b48173da728a789831f4a717760d3331b06-2560x1920-jpg","https://cdn.sanity.io/images/eodip22e/production/61472b48173da728a789831f4a717760d3331b06-2560x1920.jpg",{"filterCategory":24616,"filterLocation":24618,"filterYear":24620},[24617],{"_id":805,"title":808},[24619],{"_id":331,"title":334},[24621],{"_id":120,"title":123},[],{"locations":24624,"other":7},[24625],{"_id":331,"_type":308,"seo":7,"slug":24626,"title":334},{"_type":9,"current":333},[24628],{"_type":1625,"settings":7,"text":24629},[24630,24642],{"_key":24631,"_type":219,"children":24632,"markDefs":24641,"style":232},"cd606f873275",[24633,24637],{"_key":24634,"_type":223,"marks":24635,"text":24636},"8cf55af2d6b3",[1559],"officialese",{"_key":24638,"_type":223,"marks":24639,"text":24640},"a854ba55f64d",[]," explores the ways in which official languages become a tool to protect the ways things are. The work looks at how official languages create violence, assimilate and discriminate against the speakers of non-official languages. The installation presents a work-in-progress research based on real and fictional uses of official languages, in state and social level, in and outside the artworlds.",[],{"_key":24643,"_type":219,"children":24644,"markDefs":24665,"style":232},"4a1315289de5",[24645,24649,24652,24656,24661],{"_key":24646,"_type":223,"marks":24647,"text":24648},"6aae4e748457",[],"The installation at Kunstraum ZHDK will present notes, readings, annotations and images from the ",{"_key":24650,"_type":223,"marks":24651,"text":24636},"a6feed49b2d2",[1559],{"_key":24653,"_type":223,"marks":24654,"text":24655},"e20ce95d3c0c",[]," lab and its collaborators. The documentation of the research and in-situ contributions will be presented online at ",{"_key":24657,"_type":223,"marks":24658,"text":24660},"ccf87feeee30",[24659],"21216e4805fc","betulaksu.com/officialese",{"_key":24662,"_type":223,"marks":24663,"text":24664},"4186582f5216",[]," as they happen between November 26th – December 6th, 2022. Following the exhibition, there will be a publication about the personal, anonymous and collective stories shared throughout the research.",[24666],{"_key":24659,"_type":249,"href":24667},"https://betulaksu.com/officialese",[24636,122,333,24607,24669,807],"officialese explores the ways in which official languages become a tool to protect the ways things are. the work looks at how official languages create violence, assimilate and discriminate against the speakers of non-official languages. the installation presents a work-in-progress research based on real and fictional uses of official languages, in state and social level, in and outside the artworlds.\n\nthe installation at kunstraum zhdk will present notes, readings, annotations and images from the officialese lab and its collaborators. the documentation of the research and in-situ contributions will be presented online at betulaksu.com/officialese as they happen between november 26th – december 6th, 2022. following the exhibition, there will be a publication about the personal, anonymous and collective stories shared throughout the research.",{"_type":9,"current":24636},{"_id":24672,"_type":1027,"categories":24673,"credits":24680,"featuredImage":24717,"filterables":24722,"footnotes":24731,"locations":24732,"logbook":7,"pageBuilder":24738,"researchQuestion":24813,"researchQuestions":24828,"searchables":24847,"seo":7,"slug":24852,"title":24854,"year":128},"e95a167c-e996-4eab-86c5-58dbc32afb45",[24674,24677],{"_id":720,"_type":362,"colorPrimary":24675,"seo":7,"slug":24676,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"_id":385,"_type":362,"colorPrimary":24678,"seo":7,"slug":24679,"title":388},{"label":1031,"value":18915},{"_type":9,"current":387},{"other":7,"profiles":24681},[24682],{"_id":24683,"_type":1078,"activeYears":24684,"bio":24687,"bioShort":7,"featuredImage":7,"filterables":24696,"links":7,"locations":24699,"searchables":24712,"seo":7,"slug":24714,"title":24716},"90609b03-e2a5-4aaf-be69-4b5b956fc228",[24685],{"_id":120,"_type":99,"seo":7,"slug":24686,"title":123},{"_type":9,"current":122},[24688],{"_key":24689,"_type":219,"children":24690,"markDefs":24695,"style":232},"a4d455c185d2",[24691],{"_key":24692,"_type":223,"marks":24693,"text":24694},"2415f54ff3230",[],"Isabella is an artist/teacher. Her research contemplates industrial production’s influence over memories, the materialization of affection on consumption goods, and the civic function of (art) object",[],{"filterYear":24697},[24698],{"_id":120,"title":123},{"locations":24700,"other":24703},[24701],{"_id":346,"_type":308,"seo":7,"slug":24702,"title":349},{"_type":9,"current":348},[24704],{"_key":24705,"_type":219,"children":24706,"markDefs":24711,"style":232},"9416f117235d",[24707],{"_key":24708,"_type":223,"marks":24709,"text":24710},"d6f8170db78a",[],"Based in São Paulo, Brazil",[],[24713,122],"isabella bianchi",{"_type":9,"current":24715},"isabella-bianchi","Isabella Bianchi",{"alt":24718,"asset":24719},"School of Commons - (Art)Object",{"_id":24720,"height":12657,"orientation":1474,"ratio":13083,"url":24721,"width":12654},"image-c64fecbe8a878d55e008f40a23a90aca39627304-2560x1707-jpg","https://cdn.sanity.io/images/eodip22e/production/c64fecbe8a878d55e008f40a23a90aca39627304-2560x1707.jpg",{"filterCategory":24723,"filterLocation":24726,"filterYear":24729},[24724,24725],{"_id":720,"title":723},{"_id":385,"title":388},[24727,24728],{"_id":346,"title":349},{"_id":331,"title":334},[24730],{"_id":125,"title":128},[],{"locations":24733,"other":7},[24734,24736],{"_id":346,"_type":308,"seo":7,"slug":24735,"title":349},{"_type":9,"current":348},{"_id":331,"_type":308,"seo":7,"slug":24737,"title":334},{"_type":9,"current":333},[24739],{"_type":1625,"settings":7,"text":24740},[24741,24749,24757,24765,24773,24781,24789,24797,24805],{"_key":24742,"_type":219,"children":24743,"markDefs":24748,"style":232},"ca2dd12d1c30",[24744],{"_key":24745,"_type":223,"marks":24746,"text":24747},"6274235990b0",[],"We can learn a lot about our society by visually examining the objects that surround us. For instance, the materials they are made of can reveal a series of technological achievements and economic interests. Their function is related to social conventions and cultural heritage. Their shape and colour can place their existence in time.",[],{"_key":24750,"_type":219,"children":24751,"markDefs":24756,"style":232},"3099bafda3a7",[24752],{"_key":24753,"_type":223,"marks":24754,"text":24755},"cfbfdfa667c6",[],"When creating an art object, we have total control of all of its formal features. The shape we choose to give it is moulded by our individual experience and can reveal how we perceive ourselves as part of a specific social group.",[],{"_key":24758,"_type":219,"children":24759,"markDefs":24764,"style":232},"1bb50c11fafc",[24760],{"_key":24761,"_type":223,"marks":24762,"text":24763},"e5077c25613d",[],"Understanding that our ability to read and create a work of art is linked to our awareness of the impact of context in its aesthetic value enables us to explore everyday objects’ pedagogical potential for art education.",[],{"_key":24766,"_type":219,"children":24767,"markDefs":24772,"style":232},"4b42a1ff92dc",[24768],{"_key":24769,"_type":223,"marks":24770,"text":24771},"4205ceaf34bd",[],"For that purpose, we can ask ourselves the following questions:",[],{"_key":24774,"_type":219,"children":24775,"markDefs":24780,"style":232},"ca9aeb84c459",[24776],{"_key":24777,"_type":223,"marks":24778,"text":24779},"00c34a8fef6c",[],"How can we learn art through everyday objects?",[],{"_key":24782,"_type":219,"children":24783,"markDefs":24788,"style":232},"01c61f7ac32b",[24784],{"_key":24785,"_type":223,"marks":24786,"text":24787},"e7a5a93171c5",[],"How does creating (art) objects help us understand our social and political conditions?",[],{"_key":24790,"_type":219,"children":24791,"markDefs":24796,"style":232},"369e08dea102",[24792],{"_key":24793,"_type":223,"marks":24794,"text":24795},"68a8026582a9",[],"In his work, artist and educator Geof Oppenheimer proposes that formal value is social value. Inspired by his pedagogical practices, I will invite students to explore the presence of objects in our daily lives and consider how their appearances shape the imagery of our most intimate experiences.",[],{"_key":24798,"_type":219,"children":24799,"markDefs":24804,"style":232},"3ab389af545b",[24800],{"_key":24801,"_type":223,"marks":24802,"text":24803},"c41b302a556e",[],"By engaging in a series of activities designed to question certain social values, partakers of the lab will be asked to reflect upon the relationship between private feelings and consumption habits, thus creating (art) objects that embody their perception.",[],{"_key":24806,"_type":219,"children":24807,"markDefs":24812,"style":232},"389dec53955d",[24808],{"_key":24809,"_type":223,"marks":24810,"text":24811},"8393aead1be4",[],"Using familiar objects as a starting point for creative activity, I expect learners to get involved with theoretical questions more naturally and meaningfully. The work of other artists will be presented along the way to show alternative perspectives to similar issues. Following this approach, a more comprehensive path will be created to access contemporary art’s high level of conceptual complexity.",[],[24814,24821],{"_key":24815,"_type":219,"children":24816,"markDefs":24820,"style":232},"edf9dc301819",[24817],{"_key":24818,"_type":223,"marks":24819,"text":24779},"b449d6550386",[],[],{"_key":24822,"_type":219,"children":24823,"markDefs":24827,"style":232},"a3b1a407fb86",[24824],{"_key":24825,"_type":223,"marks":24826,"text":24787},"605296310e13",[],[],[24829,24838],{"_type":1733,"question":24830},[24831],{"_key":24832,"_type":219,"children":24833,"markDefs":24837,"style":232},"a29fa016fd9d",[24834],{"_key":24835,"_type":223,"marks":24836,"text":24779},"03ad0ae1e199",[],[],{"_type":1733,"question":24839},[24840],{"_key":24841,"_type":219,"children":24842,"markDefs":24846,"style":232},"c297a242b33e",[24843],{"_key":24844,"_type":223,"marks":24845,"text":24787},"fe592c1eefd7",[],[],[24848,127,24849,24850,8430,333,24713,24851,722,19494],"(art)object","how can we learn art through everyday objects?","how does creating (art) objects help us understand our social and political conditions?","we can learn a lot about our society by visually examining the objects that surround us. for instance, the materials they are made of can reveal a series of technological achievements and economic interests. their function is related to social conventions and cultural heritage. their shape and colour can place their existence in time.\n\nwhen creating an art object, we have total control of all of its formal features. the shape we choose to give it is moulded by our individual experience and can reveal how we perceive ourselves as part of a specific social group.\n\nunderstanding that our ability to read and create a work of art is linked to our awareness of the impact of context in its aesthetic value enables us to explore everyday objects’ pedagogical potential for art education.\n\nfor that purpose, we can ask ourselves the following questions:\n\nhow can we learn art through everyday objects?\n\nhow does creating (art) objects help us understand our social and political conditions?\n\nin his work, artist and educator geof oppenheimer proposes that formal value is social value. inspired by his pedagogical practices, i will invite students to explore the presence of objects in our daily lives and consider how their appearances shape the imagery of our most intimate experiences.\n\nby engaging in a series of activities designed to question certain social values, partakers of the lab will be asked to reflect upon the relationship between private feelings and consumption habits, thus creating (art) objects that embody their perception.\n\nusing familiar objects as a starting point for creative activity, i expect learners to get involved with theoretical questions more naturally and meaningfully. the work of other artists will be presented along the way to show alternative perspectives to similar issues. following this approach, a more comprehensive path will be created to access contemporary art’s high level of conceptual 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speaks about women and plants, about medicine and rituals, it cares about care and maintenance, it holds collectives memories and individual stories.",[],{"_key":24884,"_type":219,"children":24885,"markDefs":24890,"style":232},"d6b1201b2ceb",[24886],{"_key":24887,"_type":223,"marks":24888,"text":24889},"3203e2f3b1350",[],"PlanteSorcières is an attempt to reflect (on) our position, as women, (re)narrating the history of the women before us.",[],{"_key":24892,"_type":219,"children":24893,"markDefs":24898,"style":232},"df2afc045c31",[24894],{"_key":24895,"_type":223,"marks":24896,"text":24897},"4d02377b15410",[],"It speaks of a history of power, about a persecuted knowledge and forgotten voices.",[],{"_key":24900,"_type":219,"children":24901,"markDefs":24906,"style":232},"cbe86cf1018a",[24902],{"_key":24903,"_type":223,"marks":24904,"text":24905},"90b9705fc4b80",[],"It tells stories of relationships and encounters, moving through the present – from the past – giving possible views of the future.",[],"PlanteSorcières is an interdisciplinary long term project about the transmission of the knowledge as an act of resistance and the process of sharing as a way of 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herrera poblete",{"_type":9,"current":24952},"andrea-herrera-poblete","Andrea Herrera Poblete",{"_id":24955,"_type":1078,"activeYears":24956,"bio":24959,"bioShort":18686,"featuredImage":24967,"filterables":24973,"links":24976,"locations":24982,"searchables":24995,"seo":7,"slug":24997,"title":24968},"0e689757-aabc-46cc-b398-d442d3c95364",[24957],{"_id":125,"_type":99,"seo":7,"slug":24958,"title":128},{"_type":9,"current":127},[24960],{"_key":24961,"_type":219,"children":24962,"markDefs":24966,"style":232},"1e5b57925ef6",[24963],{"_key":24964,"_type":223,"marks":24965,"text":12647},"9fcb89e5ed56",[],[],{"alt":24968,"asset":24969},"Caterina Giansiracusa",{"_id":24970,"height":2584,"orientation":1129,"ratio":2395,"url":24971,"width":24972},"image-cb1855325f96e19f69124dc6c3d06f8b0f1568bb-2322x4128-jpg","https://cdn.sanity.io/images/eodip22e/production/cb1855325f96e19f69124dc6c3d06f8b0f1568bb-2322x4128.jpg",2322,{"filterYear":24974},[24975],{"_id":125,"title":128},[24977,24979,24980],{"_type":1138,"label":1139,"url":24978},"https://caterinagiansiracusa.wordpress.com/",{"_type":1138,"label":24909,"url":24920},{"_type":1138,"label":1142,"url":24981},"https://www.instagram.com/caterinagiansiracusa/",{"locations":24983,"other":24986},[24984],{"_id":331,"_type":308,"seo":7,"slug":24985,"title":334},{"_type":9,"current":333},[24987],{"_key":24988,"_type":219,"children":24989,"markDefs":24994,"style":232},"b3f9eb57353c",[24990],{"_key":24991,"_type":223,"marks":24992,"text":24993},"215f74b43876",[],"Currently she lives and works between Turin, Italy, and Sierre, Switzerland",[],[24996,127],"caterina giansiracusa",{"_type":9,"current":24998},"caterina-giansiracusa",{"_id":25000,"_type":1078,"activeYears":25001,"bio":25004,"bioShort":25013,"featuredImage":7,"filterables":25014,"links":7,"locations":25017,"searchables":25030,"seo":7,"slug":25032,"title":25034},"4af09b34-a7e8-43b9-a168-ea37612f1ac9",[25002],{"_id":120,"_type":99,"seo":7,"slug":25003,"title":123},{"_type":9,"current":122},[25005],{"_key":25006,"_type":219,"children":25007,"markDefs":25012,"style":232},"ef1ba66dc110",[25008],{"_key":25009,"_type":223,"marks":25010,"text":25011},"d24a052714f00",[],"She belongs to the movement of Las Guardianas del Territorio de Curarrehue, Council of Lonko and is co-founder of the Walüng Fair.",[],"Raquel is an intercultural educator and prominent leader of the Mapuche community “Manuel Marillanca” of Maichin LLafa (Araucanía, Chile). ",{"filterYear":25015},[25016],{"_id":120,"title":123},{"locations":25018,"other":25021},[25019],{"_id":346,"_type":308,"seo":7,"slug":25020,"title":349},{"_type":9,"current":348},[25022],{"_key":25023,"_type":219,"children":25024,"markDefs":25029,"style":232},"a3bdf98ed3cd",[25025],{"_key":25026,"_type":223,"marks":25027,"text":25028},"e4042b3c301e0",[],"Based in Curarrehue, Chile",[],[25031,122],"raquel marillanca loncopan",{"_type":9,"current":25033},"raquel-marillanca-loncopan","Raquel Marillanca Loncopan",{"alt":25036,"asset":25037},"A thousand times we will grow",{"_id":25038,"height":2831,"orientation":7818,"ratio":2178,"url":25039,"width":2831},"image-a6f855b63362d446c98ee3ac255bbb3a97cc3d9b-1080x1080-png","https://cdn.sanity.io/images/eodip22e/production/a6f855b63362d446c98ee3ac255bbb3a97cc3d9b-1080x1080.png",{"filterCategory":25041,"filterLocation":25045,"filterYear":25047},[25042,25043,25044],{"_id":555,"title":558},{"_id":695,"title":698},{"_id":405,"title":408},[25046],{"_id":331,"title":334},[25048],{"_id":125,"title":128},[],{"locations":25051,"other":7},[25052],{"_id":331,"_type":308,"seo":7,"slug":25053,"title":334},{"_type":9,"current":333},[25055,25061,25095,25098],{"_type":1621,"caption":7,"image":25056},{"alt":7,"asset":25057},{"_id":25058,"height":25059,"orientation":7818,"ratio":2178,"url":25060,"width":25059},"image-bd90b5b2b95b212cb06141d2b2a3bf461c8210bc-240x240-gif",240,"https://cdn.sanity.io/images/eodip22e/production/bd90b5b2b95b212cb06141d2b2a3bf461c8210bc-240x240.gif",{"_type":1625,"settings":7,"text":25062},[25063,25071,25079,25087],{"_key":25064,"_type":219,"children":25065,"markDefs":25070,"style":232},"4d180cd9fb50",[25066],{"_key":25067,"_type":223,"marks":25068,"text":25069},"a4b2a92494440",[],"Seed banks are banks in the sense of places of collection, protection and exchange, but they are also archives. They contain biological and genetic information and organic DNA, but they also contain stories, narratives and imaginary tools, so to be considered as memory containers.",[],{"_key":25072,"_type":219,"children":25073,"markDefs":25078,"style":232},"c3caa3a8df2f",[25074],{"_key":25075,"_type":223,"marks":25076,"text":25077},"1e6f2bd081e50",[],"The genetic material presented in them is intertwined and embedded with the stories of the plants to which it belongs, and with the stories of the people who created the collection and who take care of it.",[],{"_key":25080,"_type":219,"children":25081,"markDefs":25086,"style":232},"c6da86ec65c4",[25082],{"_key":25083,"_type":223,"marks":25084,"text":25085},"34b1c0e891830",[],"Seed banks are also tools to preserve life and the biological variety and to fight for food safety and food sovereignty, a space of resistance to capitalist transgenic biotechnologies. Groups of people around the world are organizing themself to create these spaces to save not only their lives and the ones of future generations but also cultures and traditions.",[],{"_key":25088,"_type":219,"children":25089,"markDefs":25094,"style":232},"280f6196a38e",[25090],{"_key":25091,"_type":223,"marks":25092,"text":25093},"4c5efb9dfa610",[],"With “A thousand times we will grow” we want to study how activities of gathering, preservation, maintenance and care are activated as resistance practices. We want to observe these strategies in different countries, focusing our attention on both self-managed granoteque and institutional bank seeds. Our field research will be moving between countries, following different groups who organized themselves to create self-managed seed banks to counteract the processes of destruction of biological variety and local traditions by multinationals.",[],{"_type":1621,"caption":7,"image":25096},{"alt":7,"asset":25097},{"_id":25038,"height":2831,"orientation":7818,"ratio":2178,"url":25039,"width":2831},{"_type":1625,"settings":7,"text":25099},[25100],{"_key":25101,"_type":219,"children":25102,"markDefs":25107,"style":232},"63fd60495e8b",[25103],{"_key":25104,"_type":223,"marks":25105,"text":25106},"777079fb66cc",[],"We are interested in investigating how care can be considered a practice of resistance and a defense strategy and how these practices can develop through alliances with the vegetal world. In doing this we would like to start from the stories carried by the seeds, but also contained in these special archives and brought there by people caring for them.",[],[25109,127,333,24926,24950,24996,25031,25110,25111,557,697,407],"a thousand times we will grow","seed banks are banks in the sense of places of collection, protection and exchange, but they are also archives. they contain biological and genetic information and organic dna, but they also contain stories, narratives and imaginary tools, so to be considered as memory containers.\n\nthe genetic material presented in them is intertwined and embedded with the stories of the plants to which it belongs, and with the stories of the people who created the collection and who take care of it.\n\nseed banks are also tools to preserve life and the biological variety and to fight for food safety and food sovereignty, a space of resistance to capitalist transgenic biotechnologies. groups of people around the world are organizing themself to create these spaces to save not only their lives and the ones of future generations but also cultures and traditions.\n\nwith “a thousand times we will grow” we want to study how activities of gathering, preservation, maintenance and care are activated as resistance practices. we want to observe these strategies in different countries, focusing our attention on both self-managed granoteque and institutional bank seeds. our field research will be moving between countries, following different groups who organized themselves to create self-managed seed banks to counteract the processes of destruction of biological variety and local traditions by multinationals.","we are interested in investigating how care can be considered a practice of resistance and a defense strategy and how these practices can develop through alliances with the vegetal world. in doing this we would like to start from the stories carried by the seeds, but also contained in these special archives and brought there by people caring for them.",{"_type":9,"current":25113},"a-thousand-times-we-will-grow",{"_id":25115,"_type":1027,"categories":25116,"credits":25123,"featuredImage":25150,"filterables":25158,"footnotes":25166,"locations":25167,"logbook":7,"pageBuilder":25171,"researchQuestion":7,"researchQuestions":7,"searchables":25183,"seo":7,"slug":25186,"title":25151,"year":128},"99f2cc5d-108f-474e-922d-1b476fb3f8c3",[25117,25120],{"_id":405,"_type":362,"colorPrimary":25118,"seo":7,"slug":25119,"title":408},{"label":1031,"value":5263},{"_type":9,"current":407},{"_id":805,"_type":362,"colorPrimary":25121,"seo":7,"slug":25122,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"other":7,"profiles":25124},[25125],{"_id":25126,"_type":1078,"activeYears":25127,"bio":25130,"bioShort":7,"featuredImage":7,"filterables":25138,"links":7,"locations":25141,"searchables":25145,"seo":7,"slug":25147,"title":25149},"ff8717cb-f7db-4549-ae19-22225aa3cda0",[25128],{"_id":125,"_type":99,"seo":7,"slug":25129,"title":128},{"_type":9,"current":127},[25131],{"_key":25132,"_type":219,"children":25133,"markDefs":25137,"style":232},"c68fd3f596ad",[25134],{"_key":25135,"_type":223,"marks":25136,"text":12647},"1ddb304f514f",[],[],{"filterYear":25139},[25140],{"_id":125,"title":128},{"locations":25142,"other":7},[25143],{"_id":331,"_type":308,"seo":7,"slug":25144,"title":334},{"_type":9,"current":333},[25146,127],"sid smith",{"_type":9,"current":25148},"sid-smith","Sid Smith",{"alt":25151,"asset":25152},"After Ending",{"_id":25153,"height":25154,"orientation":1474,"ratio":25155,"url":25156,"width":25157},"image-1a75a6e97ff4e221131721f669bd4bc14cc3a3e5-2204x1528-jpg",1528,1.442408376963351,"https://cdn.sanity.io/images/eodip22e/production/1a75a6e97ff4e221131721f669bd4bc14cc3a3e5-2204x1528.jpg",2204,{"filterCategory":25159,"filterLocation":25162,"filterYear":25164},[25160,25161],{"_id":405,"title":408},{"_id":805,"title":808},[25163],{"_id":331,"title":334},[25165],{"_id":125,"title":128},[],{"locations":25168,"other":7},[25169],{"_id":331,"_type":308,"seo":7,"slug":25170,"title":334},{"_type":9,"current":333},[25172],{"_type":1625,"settings":25173,"text":25174},{"textColumnCount":1627},[25175],{"_key":25176,"_type":219,"children":25177,"markDefs":25182,"style":232},"1d2f576ddce2",[25178],{"_key":25179,"_type":223,"marks":25180,"text":25181},"33fe37fd220d",[],"Wharram Percy is a deserted medieval village in North Yorkshire, England. The site has become the most archeologically explored site in Britain. Between 1950 and 1990 students, commercial archeologists and academics would descend upon the village for a three week excavation every July. The digs were not only a site of intensive research, but a rite of passage, an epistemological testing ground and a sizable undertaking of group authorship.",[],[25184,127,333,25146,25185,407,807],"after ending","wharram percy is a deserted medieval village in north yorkshire, england. the site has become the most archeologically explored site in britain. between 1950 and 1990 students, commercial archeologists and academics would descend upon the village for a three week excavation every july. the digs were not only a site of intensive research, but a rite of passage, an epistemological testing ground and a sizable undertaking of group authorship.",{"_type":9,"current":25187},"after-ending",{"_id":25189,"_type":1027,"categories":25190,"credits":25194,"featuredImage":25219,"filterables":25224,"footnotes":25229,"locations":7,"logbook":7,"pageBuilder":25230,"researchQuestion":25281,"researchQuestions":7,"searchables":25298,"seo":7,"slug":25301,"title":25303,"year":128},"392e4519-b2ee-44f9-b5cb-5fcacd3eaa63",[25191],{"_id":695,"_type":362,"colorPrimary":25192,"seo":7,"slug":25193,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":7,"profiles":25195},[25196],{"_id":25197,"_type":1078,"activeYears":25198,"bio":25201,"bioShort":25210,"featuredImage":7,"filterables":25211,"links":7,"locations":7,"searchables":25214,"seo":7,"slug":25216,"title":25218},"f70299d5-ffb2-4472-996e-a53433659c31",[25199],{"_id":125,"_type":99,"seo":7,"slug":25200,"title":128},{"_type":9,"current":127},[25202],{"_key":25203,"_type":219,"children":25204,"markDefs":25209,"style":232},"e91481aca791",[25205],{"_key":25206,"_type":223,"marks":25207,"text":25208},"4415b5c804a20",[],"They passed through institutions in the fields of geospheric and cosmic sciences and after our vanishing, the Entity will still be simultaneously teaching and acquiring knowledge",[],"Emerged as a teacher in times of imbalance – shortly before the Grand Standstill. ",{"filterYear":25212},[25213],{"_id":125,"title":128},[25215,127],"other than human entity",{"_type":9,"current":25217},"other-than-human-entity","Other Than Human Entity",{"alt":25220,"asset":25221},"School of Commons - All Life Is Interconnected",{"_id":25222,"height":2394,"orientation":1129,"ratio":2920,"url":25223,"width":4201},"image-8e235b1e074b24fa341c04b9c233b36450d72fa8-960x1280-jpg","https://cdn.sanity.io/images/eodip22e/production/8e235b1e074b24fa341c04b9c233b36450d72fa8-960x1280.jpg",{"filterCategory":25225,"filterLocation":7,"filterYear":25227},[25226],{"_id":695,"title":698},[25228],{"_id":125,"title":128},[],[25231],{"_type":1625,"settings":7,"text":25232},[25233,25241,25249,25257,25265,25273],{"_key":25234,"_type":219,"children":25235,"markDefs":25240,"style":232},"914cd27c1164",[25236],{"_key":25237,"_type":223,"marks":25238,"text":25239},"d3175f441711",[],"Fungi have many teachings to offer.\nA teaching of life and death.\nOf circularity. Of interconnectedness.\nOf developing strategies and tools of overcoming.\nThey teach us beauty in decay and the\nimportance of reprocessing.",[],{"_key":25242,"_type":219,"children":25243,"markDefs":25248,"style":232},"e46201331474",[25244],{"_key":25245,"_type":223,"marks":25246,"text":25247},"acfa4617986b",[],"They grow from rotten substance,\nin disturbed ecosystems\nand radioactive environments.",[],{"_key":25250,"_type":219,"children":25251,"markDefs":25256,"style":232},"bc25241d8104",[25252],{"_key":25253,"_type":223,"marks":25254,"text":25255},"8f568fc3650f",[],"How? and what if we understood how they do it?\nUs living in a capitalist, classist, oppressive system.\nAn imbalanced and lacking system.\nDon’t we need to know how they do it?",[],{"_key":25258,"_type":219,"children":25259,"markDefs":25264,"style":232},"efba429e0a48",[25260],{"_key":25261,"_type":223,"marks":25262,"text":25263},"86e53e9a48df",[],"Have we entered the Anthropocene or is it still the Holocene?\nWe don’t know and neither are we looking for an answer\nNevertheless",[],{"_key":25266,"_type":219,"children":25267,"markDefs":25272,"style":232},"c7df03931681",[25268],{"_key":25269,"_type":223,"marks":25270,"text":25271},"52e794fcbf45",[],"Other Than Human Entity is an attempt\nto take away from our importance,\nto shift from anthropocentric views\nand acknowledge\ndifferent strategies. ways of living, reproducing, multiplying, expanding, digesting, fighting, swallowing, communicating, interacting, birthing and passing.",[],{"_key":25274,"_type":219,"children":25275,"markDefs":25280,"style":232},"84bdad001c02",[25276],{"_key":25277,"_type":223,"marks":25278,"text":25279},"b948baf6d74d",[],"In order to understand and venerate\nthose ways of Otherness\nwe will be letting the mycelium run.\nIn our lab. It’s a small lab\nand most of the things were built by ourselves.\nThere’s a red curtain with yellow flowers covering the window\nwhich has to stay tilted.\nFresh air for the mushrooms.",[],[25282,25290],{"_key":25283,"_type":219,"children":25284,"markDefs":25289,"style":232},"a89ea4be937e",[25285],{"_key":25286,"_type":223,"marks":25287,"text":25288},"34d9daf814ef0",[],"How? and what if we understood how they do it?\n\nUs living in a capitalist, classist, oppressive system. An imbalanced and lacking system. Don’t we need to know how they do it?",[],{"_key":25291,"_type":219,"children":25292,"markDefs":25297,"style":232},"57b7adcf3632",[25293],{"_key":25294,"_type":223,"marks":25295,"text":25296},"5d174f1558860",[],"Have we entered the Anthropocene or is it still the Holocene?",[],[25299,127,25215,25300,697],"all life is interconnected","fungi have many teachings to offer.\na teaching of life and death.\nof circularity. of interconnectedness.\nof developing strategies and tools of overcoming.\nthey teach us beauty in decay and the\nimportance of reprocessing.\n\nthey grow from rotten substance,\nin disturbed ecosystems\nand radioactive environments.\n\nhow? and what if we understood how they do it?\nus living in a capitalist, classist, oppressive system.\nan imbalanced and lacking system.\ndon’t we need to know how they do it?\n\nhave we entered the anthropocene or is it still the holocene?\nwe don’t know and neither are we looking for an answer\nnevertheless\n\nother than human entity is an attempt\nto take away from our importance,\nto shift from anthropocentric views\nand acknowledge\ndifferent strategies. ways of living, reproducing, multiplying, expanding, digesting, fighting, swallowing, communicating, interacting, birthing and passing.\n\nin order to understand and venerate\nthose ways of otherness\nwe will be letting the mycelium run.\nin our lab. it’s a small lab\nand most of the things were built by ourselves.\nthere’s a red curtain with yellow flowers covering the window\nwhich has to stay tilted.\nfresh air for the mushrooms.",{"_type":9,"current":25302},"all-life-is-interconnected","All Life Is 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is the author of ",{"_key":25371,"_type":223,"marks":25372,"text":25374},"bcbd93fc8afe2",[25373],"cc6e543a522f","Offline Matters",{"_key":25376,"_type":223,"marks":25377,"text":25378},"bcbd93fc8afe3",[]," (Amsterdam: BIS Publishers, 2020) and founder of ",{"_key":25380,"_type":223,"marks":25381,"text":25383},"bcbd93fc8afe4",[25382],"dc3c72baf690","No Fun Magazine",{"_key":25385,"_type":223,"marks":25386,"text":25387},"bcbd93fc8afe5",[],". Her work explores chronic illness and illness narratives, the social effects of technology, pervasive ideologies around ‘work’ and productivity, and experimental forms of publishing.",[25389,25391],{"_key":25373,"_type":249,"href":25390},"https://offline-matters.com/",{"_key":25382,"_type":249,"href":25392},"http://nofunmag.substack.com/","Jess is a transdisciplinary writer, researcher, and artist from New Zealand. ",{"alt":25395,"asset":25396},"Jess Henderson, photograph by Yumna Al-Arashi",{"_id":25397,"height":3787,"orientation":1474,"ratio":25398,"url":25399,"width":25400},"image-cf8f7d085dd67672fa45af10e0da6bcad0d0751d-2045x1364-webp",1.499266862170088,"https://cdn.sanity.io/images/eodip22e/production/cf8f7d085dd67672fa45af10e0da6bcad0d0751d-2045x1364.webp",2045,{"filterYear":25402},[25403],{"_id":125,"title":128},[25405],{"_type":1138,"label":1139,"url":25406},"https://nofun.tips/about/",[25408,127],"jess henderson",{"_type":9,"current":25410},"jess-henderson","Jess Henderson",{"alt":25413,"asset":25414},"School of Commons - Band of Burnouts",{"_id":25415,"height":25416,"orientation":1474,"ratio":25417,"url":25418,"width":25419},"image-0090eb8b513e5734bbab89db92806034cb73bbd8-2158x1438-png",1438,1.5006954102920724,"https://cdn.sanity.io/images/eodip22e/production/0090eb8b513e5734bbab89db92806034cb73bbd8-2158x1438.png",2158,{"filterCategory":25421,"filterLocation":25437,"filterYear":25439},[25422,25423,25424,25425,25426,25427,25428,25429,25430,25431,25432,25433,25434,25435,25436],{"_id":805,"title":808},{"_id":860,"title":863},{"_id":710,"title":713},{"_id":640,"title":643},{"_id":430,"title":433},{"_id":500,"title":503},{"_id":670,"title":673},{"_id":635,"title":638},{"_id":595,"title":598},{"_id":400,"title":403},{"_id":410,"title":413},{"_id":900,"title":903},{"_id":490,"title":493},{"_id":610,"title":613},{"_id":520,"title":523},[25438],{"_id":331,"title":334},[25440],{"_id":125,"title":128},[],{"locations":25443,"other":7},[25444],{"_id":331,"_type":308,"seo":7,"slug":25445,"title":334},{"_type":9,"current":333},[25447,25457,25472,25513,25568,25628,25721],{"_type":1625,"settings":7,"text":25448},[25449],{"_key":25450,"_type":219,"children":25451,"markDefs":25456,"style":232},"33da8edc4cad",[25452],{"_key":25453,"_type":223,"marks":25454,"text":25455},"53b28e8cc57e0",[225],"The burnout has become a mass phenomenon. A category of complaint that feels utterly contemporary, and deeply correlated and illustrative of our current economic, ecological, political and social states of varying crises. The ‘malaise of our times’– so to say.",[],{"_type":1621,"caption":25458,"image":25467},[25459],{"_key":25460,"_type":219,"children":25461,"markDefs":25466,"style":232},"87e6a643c096",[25462],{"_key":25463,"_type":223,"marks":25464,"text":25465},"62733855a5d80",[],"Cecil Howard ‘Fatigue’ (1920-24). Edited.",[],{"alt":25465,"asset":25468},{"_id":25469,"height":25470,"orientation":1474,"ratio":13704,"url":25471,"width":4004},"image-508dffc8e6b1b43a71eab99a22b31af085ab3cf1-1024x724-png",724,"https://cdn.sanity.io/images/eodip22e/production/508dffc8e6b1b43a71eab99a22b31af085ab3cf1-1024x724.png",{"_type":1625,"settings":7,"text":25473},[25474,25505],{"_key":25475,"_type":219,"children":25476,"markDefs":25502,"style":232},"a9b1a27d4a59",[25477,25481,25485,25490,25494,25498],{"_key":25478,"_type":223,"marks":25479,"text":25480},"f7d6f1652abf",[1559],"Band of Burnouts ",{"_key":25482,"_type":223,"marks":25483,"text":25484},"647a62f23c1d",[],"undertakes a transdisciplinary study of the burnout in a multi-perspective, multi-voiced exploration of experiences. We are interested in accounting for the unaccounted details, considering the burnout as a collective rather than individual experience, and taking seriously ",{"_key":25486,"_type":223,"marks":25487,"text":25489},"3ebec5fc5f3c",[25488],"aefcd3f80cab","the body as a producer of knowledge",{"_key":25491,"_type":223,"marks":25492,"text":25493},"328338d9e8a0",[],". The mind and body sing in a chorus, sing in bodies with other bodies, acknowledging the plurality of ",{"_key":25495,"_type":223,"marks":25496,"text":25497},"8e5b66fc0684",[1559],"body",{"_key":25499,"_type":223,"marks":25500,"text":25501},"0d40324919a6",[],". There are no one-man-bands.",[25503],{"_key":25488,"_type":249,"href":25504},"https://absentpresence.persona.co/",{"_key":25506,"_type":219,"children":25507,"markDefs":25512,"style":232},"cbceb1d2756f",[25508],{"_key":25509,"_type":223,"marks":25510,"text":25511},"5cb8e50df7ed",[],"‘Band’ is both a noun and a verb. As a noun it can mean a group of people who share a common interest of feature, something that serves to join or hold things together, or a force that unites and ties. As a transitive verb it means to gather together, to bind, and intransitively is means to unite for a common purpose, to form a group to achieve a mutual objective.",[],{"_type":2894,"slides":25514},[25515,25522,25527,25535,25543,25548,25555,25560],{"_type":1621,"caption":7,"image":25516},{"alt":7,"asset":25517},{"_id":25518,"height":25519,"orientation":1474,"ratio":25520,"url":25521,"width":4629},"image-5da23437dbff763da0cc0769f1ddd4a1192f0adc-750x733-jpg",733,1.0231923601637107,"https://cdn.sanity.io/images/eodip22e/production/5da23437dbff763da0cc0769f1ddd4a1192f0adc-750x733.jpg",{"_type":1621,"caption":7,"image":25523},{"alt":7,"asset":25524},{"_id":25525,"height":12140,"orientation":7818,"ratio":2178,"url":25526,"width":12140},"image-db3fc202e3340bef1703e44fe3f9b4735f442c17-320x320-jpg","https://cdn.sanity.io/images/eodip22e/production/db3fc202e3340bef1703e44fe3f9b4735f442c17-320x320.jpg",{"_type":1621,"caption":7,"image":25528},{"alt":7,"asset":25529},{"_id":25530,"height":25531,"orientation":1474,"ratio":25532,"url":25533,"width":25534},"image-f9ef2bc2d10e46907439b7f21f9b0509b87936be-702x395-jpg",395,1.7772151898734176,"https://cdn.sanity.io/images/eodip22e/production/f9ef2bc2d10e46907439b7f21f9b0509b87936be-702x395.jpg",702,{"_type":1621,"caption":7,"image":25536},{"alt":7,"asset":25537},{"_id":25538,"height":25539,"orientation":1474,"ratio":25540,"url":25541,"width":25542},"image-f19a8cf94de5f676c236595c107552c96bbe2b7c-620x348-png",348,1.7816091954022988,"https://cdn.sanity.io/images/eodip22e/production/f19a8cf94de5f676c236595c107552c96bbe2b7c-620x348.png",620,{"_type":1621,"caption":7,"image":25544},{"alt":7,"asset":25545},{"_id":25546,"height":10805,"orientation":1474,"ratio":2585,"url":25547,"width":7308},"image-838fc3960b9c1973f9baf1bf1dd2d0e14ab318b6-1500x1000-png","https://cdn.sanity.io/images/eodip22e/production/838fc3960b9c1973f9baf1bf1dd2d0e14ab318b6-1500x1000.png",{"_type":1621,"caption":7,"image":25549},{"alt":7,"asset":25550},{"_id":25551,"height":25552,"orientation":1474,"ratio":25553,"url":25554,"width":1132},"image-0affe6c14c17aa2d3911426c44a5783bf0876b94-480x359-jpg",359,1.3370473537604457,"https://cdn.sanity.io/images/eodip22e/production/0affe6c14c17aa2d3911426c44a5783bf0876b94-480x359.jpg",{"_type":1621,"caption":7,"image":25556},{"alt":7,"asset":25557},{"_id":25558,"height":23267,"orientation":7818,"ratio":2178,"url":25559,"width":23267},"image-3f0f6fd23fdcb04354c29ab6507a939f23af4cdd-225x225-jpg","https://cdn.sanity.io/images/eodip22e/production/3f0f6fd23fdcb04354c29ab6507a939f23af4cdd-225x225.jpg",{"_type":1621,"caption":7,"image":25561},{"alt":7,"asset":25562},{"_id":25563,"height":25564,"orientation":1474,"ratio":25565,"url":25566,"width":25567},"image-83e1ec56e4872e9484a4845bbfc62d087e9441a2-651x383-jpg",383,1.6997389033942558,"https://cdn.sanity.io/images/eodip22e/production/83e1ec56e4872e9484a4845bbfc62d087e9441a2-651x383.jpg",651,{"_type":1625,"settings":7,"text":25569},[25570,25594,25613,25620],{"_key":25571,"_type":219,"children":25572,"markDefs":25593,"style":232},"8efb9ce903eb",[25573,25577,25581,25585,25589],{"_key":25574,"_type":223,"marks":25575,"text":25576},"090646be0d010",[],"This ",{"_key":25578,"_type":223,"marks":25579,"text":25580},"090646be0d011",[1559],"Band of Burnouts",{"_key":25582,"_type":223,"marks":25583,"text":25584},"090646be0d012",[]," bosoms all these meanings. We come together, ",{"_key":25586,"_type":223,"marks":25587,"text":25588},"090646be0d013",[1559],"band together,",{"_key":25590,"_type":223,"marks":25591,"text":25592},"090646be0d014",[]," to share, hear, and learn, the stories of burnouts, holding interest in the potentiality of illness narratives for collective healing and understanding, as ways of making sense (nonsense included). It is said that ‘Narrative helps us to make sense of the new life that now has to accommodate an uninvited guest.’\n",[],{"_key":25595,"_type":219,"children":25596,"markDefs":25612,"style":232},"18d2db2055e6",[25597,25601,25604,25608],{"_key":25598,"_type":223,"marks":25599,"text":25600},"3746401c969a0",[1559],"In the dead of the night I have these dreams",{"_key":25602,"_type":223,"marks":25603,"text":4778},"3746401c969a1",[],{"_key":25605,"_type":223,"marks":25606,"text":25607},"3746401c969a2",[1559],"What’ll happen to me? Will I burn out?",{"_key":25609,"_type":223,"marks":25610,"text":25611},"3746401c969a3",[],"\n– Kid Cudi, Sad People (2020)",[],{"_key":25614,"_type":219,"children":25615,"markDefs":25619,"style":232},"10a63a288c60",[25616],{"_key":25617,"_type":223,"marks":25618,"text":1405},"175e5017282b0",[],[],{"_key":25621,"_type":219,"children":25622,"markDefs":25627,"style":232},"a873fedab002",[25623],{"_key":25624,"_type":223,"marks":25625,"text":25626},"f6556a43ffef0",[],"If the burnout was not a pandemic itself before, the circumstances of COVID-19 have enhanced its spread, intensity, and rate of occurrences. Despite becoming common phrase and common experience, still limited understanding exists as to what the burnout is. Together we ask, what is the burnout and how is it experienced? How does it differ from historical forms of extreme tiredness, and what are its particular manifestations?",[],{"_type":1625,"settings":7,"text":25629},[25630,25638,25654,25662,25678,25698,25706],{"_key":25631,"_type":219,"children":25632,"markDefs":25637,"style":232},"c0b74bf5dba3",[25633],{"_key":25634,"_type":223,"marks":25635,"text":25636},"6aa97dc4fd0e0",[225],"On Illness Narratives",[],{"_key":25639,"_type":219,"children":25640,"markDefs":25653,"style":232},"c4d0b5147ce6",[25641,25645,25649],{"_key":25642,"_type":223,"marks":25643,"text":25644},"0a4e483a65920",[],"In their book, ",{"_key":25646,"_type":223,"marks":25647,"text":25648},"0a4e483a65921",[1559],"Health, Illness and Culture: Broken Narratives",{"_key":25650,"_type":223,"marks":25651,"text":25652},"0a4e483a65922",[]," (Routledge: 2008), Lars-Christer Hydén and ‎Jens Brockmeier explain how, “Some illness stories are told with full voice. They are articulate and the listener is caught in a narrative web… Often however, especially in contexts of real life and real illness, stories are not that developed. They are undecided, fragmented, broken, narrated by voices struggling to find words toward meaning and communication. These stories have been given less attention…”",[],{"_key":25655,"_type":219,"children":25656,"markDefs":25661,"style":232},"3adbe222a4b5",[25657],{"_key":25658,"_type":223,"marks":25659,"text":25660},"333f7dc4bc110",[],"‘I know the feeling now, when I can’t spin a sentence, & sit mumbling & turning; & nothing flits by my brain which is as a blank window. So I… go to bed… Very useless. No atmosphere round me. No words. Very apprehensive.’",[],{"_key":25663,"_type":219,"children":25664,"markDefs":25677,"style":232},"90e426701244",[25665,25669,25673],{"_key":25666,"_type":223,"marks":25667,"text":25668},"029b8f8780ca0",[],"– ",{"_key":25670,"_type":223,"marks":25671,"text":25672},"029b8f8780ca1",[1559],"On Being Ill ",{"_key":25674,"_type":223,"marks":25675,"text":25676},"029b8f8780ca2",[],"by Virginia Woolf (1926)",[],{"_key":25679,"_type":219,"children":25680,"markDefs":25697,"style":232},"e2c5cc68f519",[25681,25685,25689,25693],{"_key":25682,"_type":223,"marks":25683,"text":25684},"204edb5e0fd00",[1559],"Band of Burnout",{"_key":25686,"_type":223,"marks":25687,"text":25688},"204edb5e0fd01",[]," listens, shares, collects, tells, hears and holds space for the undecided, the fragmented and the broken, as much as it does for the coherent and the translated. We challenge the implication that the meaning of narrator must mean ",{"_key":25690,"_type":223,"marks":25691,"text":25692},"204edb5e0fd02",[1559],"to know.",{"_key":25694,"_type":223,"marks":25695,"text":25696},"204edb5e0fd03",[]," We accept and love that sometimes, we just don’t.",[],{"_key":25699,"_type":219,"children":25700,"markDefs":25705,"style":232},"c31f40d57cfd",[25701],{"_key":25702,"_type":223,"marks":25703,"text":25704},"97537277efdb0",[225],"‘Illness narratives offer a unique window on how a disease, a disability, or a trauma is lived by feeling and suffering human beings, with all its consequences for their mental, physical, and everyday life. And studying illness narratives opens up a nonreductionist, holistic perspective on how we cope with illness and suffering in still another way. It allows us to tackle questions about how, or how well, we listen to these stories as relatives and cosufferers, professionals, and researchers, and what we make of them.’",[],{"_key":25707,"_type":219,"children":25708,"markDefs":25720,"style":232},"21f84ad6c000",[25709,25713,25716],{"_key":25710,"_type":223,"marks":25711,"text":25712},"3eeeda07b3ee0",[],"Through intersections of disability studies, embodiment theory and philosophy, somatic practices, contributor-driven interventions, transdisciplinary narratives, aesthetic explorations (including DIY/DIO experiments, zines and underground publications, punk feminist craft & hobbies, amateur graphic design, mail art, and crazy publishing) and a general interest in pulling the middle finger at the wellness industrial complex and ideologies of productivity, self-optimisation, and ableist norms in relation to time and work… all of this comes together in the research lab ",{"_key":25714,"_type":223,"marks":25715,"text":25580},"3eeeda07b3ee1",[1559],{"_key":25717,"_type":223,"marks":25718,"text":25719},"3eeeda07b3ee2",[],".*",[],{"_type":2894,"slides":25722},[25723,25730,25736],{"_type":1621,"caption":7,"image":25724},{"alt":7,"asset":25725},{"_id":25726,"height":14980,"orientation":1129,"ratio":25727,"url":25728,"width":25729},"image-987b3be5c6425c378f4853591aab2d253661c8f1-441x640-jpg",0.6890625,"https://cdn.sanity.io/images/eodip22e/production/987b3be5c6425c378f4853591aab2d253661c8f1-441x640.jpg",441,{"_type":1621,"caption":7,"image":25731},{"alt":7,"asset":25732},{"_id":25733,"height":5679,"orientation":1474,"ratio":25734,"url":25735,"width":14980},"image-e2fe0a0b079a649b1b732e6da24820417e7fdaa9-640x512-jpg",1.25,"https://cdn.sanity.io/images/eodip22e/production/e2fe0a0b079a649b1b732e6da24820417e7fdaa9-640x512.jpg",{"_type":1621,"caption":25737,"image":25746},[25738],{"_key":25739,"_type":219,"children":25740,"markDefs":25745,"style":232},"cc1072bdd00c",[25741],{"_key":25742,"_type":223,"marks":25743,"text":25744},"6fd9fe844c380",[],"Cecil Howard, 'Fatigue' (1920-24)",[],{"alt":25744,"asset":25747},{"_id":25748,"height":25749,"orientation":1129,"ratio":25750,"url":25751,"width":25752},"image-6eadba8ed175cce612a53f915172fad13f6ccae2-475x574-jpg",574,0.8275261324041812,"https://cdn.sanity.io/images/eodip22e/production/6eadba8ed175cce612a53f915172fad13f6ccae2-475x574.jpg",475,[25754,25762],{"_key":25755,"_type":219,"children":25756,"markDefs":25761,"style":232},"4dba3c20a103",[25757],{"_key":25758,"_type":223,"marks":25759,"text":25760},"60b19ced46990",[],"What is the burnout and how is it experienced? ",[],{"_key":25763,"_type":219,"children":25764,"markDefs":25769,"style":232},"e412744023ab",[25765],{"_key":25766,"_type":223,"marks":25767,"text":25768},"61b8ada58bce",[],"How does it differ from historical forms of extreme tiredness, and what are its particular manifestations?",[],[25771,127,333,25408,25772,25773,25774,25775,807,25776,10689,642,5640,14134,25777,25778,597,402,1783,5228,492,19487,7486],"band of burnouts","the burnout has become a mass phenomenon. a category of complaint that feels utterly contemporary, and deeply correlated and illustrative of our current economic, ecological, political and social states of varying crises. the ‘malaise of our times’– so to say.","band of burnouts undertakes a transdisciplinary study of the burnout in a multi-perspective, multi-voiced exploration of experiences. we are interested in accounting for the unaccounted details, considering the burnout as a collective rather than individual experience, and taking seriously the body as a producer of knowledge. the mind and body sing in a chorus, sing in bodies with other bodies, acknowledging the plurality of body. there are no one-man-bands.\n\n‘band’ is both a noun and a verb. as a noun it can mean a group of people who share a common interest of feature, something that serves to join or hold things together, or a force that unites and ties. as a transitive verb it means to gather together, to bind, and intransitively is means to unite for a common purpose, to form a group to achieve a mutual objective.","this band of burnouts bosoms all these meanings. we come together, band together, to share, hear, and learn, the stories of burnouts, holding interest in the potentiality of illness narratives for collective healing and understanding, as ways of making sense (nonsense included). it is said that ‘narrative helps us to make sense of the new life that now has to accommodate an uninvited guest.’\n\n\nin the dead of the night i have these dreams\nwhat’ll happen to me? will i burn out?\n– kid cudi, sad people (2020)\n\n\n\nif the burnout was not a pandemic itself before, the circumstances of covid-19 have enhanced its spread, intensity, and rate of occurrences. despite becoming common phrase and common experience, still limited understanding exists as to what the burnout is. together we ask, what is the burnout and how is it experienced? how does it differ from historical forms of extreme tiredness, and what are its particular manifestations?","on illness narratives\n\nin their book, health, illness and culture: broken narratives (routledge: 2008), lars-christer hydén and ‎jens brockmeier explain how, “some illness stories are told with full voice. they are articulate and the listener is caught in a narrative web… often however, especially in contexts of real life and real illness, stories are not that developed. they are undecided, fragmented, broken, narrated by voices struggling to find words toward meaning and communication. these stories have been given less attention…”\n\n‘i know the feeling now, when i can’t spin a sentence, & sit mumbling & turning; & nothing flits by my brain which is as a blank window. so i… go to bed… very useless. no atmosphere round me. no words. very apprehensive.’\n\n– on being ill by virginia woolf (1926)\n\nband of burnout listens, shares, collects, tells, hears and holds space for the undecided, the fragmented and the broken, as much as it does for the coherent and the translated. we challenge the implication that the meaning of narrator must mean to know. we accept and love that sometimes, we just don’t.\n\n‘illness narratives offer a unique window on how a disease, a disability, or a trauma is lived by feeling and suffering human beings, with all its consequences for their mental, physical, and everyday life. and studying illness narratives opens up a nonreductionist, holistic perspective on how we cope with illness and suffering in still another way. it allows us to tackle questions about how, or how well, we listen to these stories as relatives and cosufferers, professionals, and researchers, and what we make of them.’\n\nthrough intersections of disability studies, embodiment theory and philosophy, somatic practices, contributor-driven interventions, transdisciplinary narratives, aesthetic explorations (including diy/dio experiments, zines and underground publications, punk feminist craft & hobbies, amateur graphic design, mail art, and crazy publishing) and a general interest in pulling the middle finger at the wellness industrial complex and ideologies of productivity, self-optimisation, and ableist norms in relation to time and work… all of this comes together in the research lab band of burnouts.*","sick time, sleepy time, crip time","i is for impasse","guilt & shame",{"_type":9,"current":25780},"band-of-burnouts",{"_id":25782,"_type":1027,"categories":25783,"credits":25793,"featuredImage":25862,"filterables":25869,"footnotes":25878,"locations":25879,"logbook":7,"pageBuilder":25883,"researchQuestion":25983,"researchQuestions":7,"searchables":25998,"seo":7,"slug":26001,"title":26003,"year":128},"36a623a5-7e09-4165-8077-d3fbad16228b",[25784,25787,25790],{"_id":810,"_type":362,"colorPrimary":25785,"seo":7,"slug":25786,"title":813},{"label":1031,"value":8792},{"_type":9,"current":812},{"_id":1009,"_type":362,"colorPrimary":25788,"seo":7,"slug":25789,"title":1012},{"label":1031,"value":2658},{"_type":9,"current":1011},{"_id":720,"_type":362,"colorPrimary":25791,"seo":7,"slug":25792,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"other":7,"profiles":25794},[25795],{"_id":25796,"_type":1078,"activeYears":25797,"bio":25800,"bioShort":25827,"featuredImage":25828,"filterables":25835,"links":25838,"locations":25844,"searchables":25857,"seo":7,"slug":25859,"title":25861},"2ced626a-3a73-4ba5-bbc7-8564e079ae9e",[25798],{"_id":125,"_type":99,"seo":7,"slug":25799,"title":128},{"_type":9,"current":127},[25801,25820],{"_key":25802,"_type":219,"children":25803,"markDefs":25817,"style":232},"d89d2f3b578e",[25804,25808,25813],{"_key":25805,"_type":223,"marks":25806,"text":25807},"a0d3733488210",[],"With a background in theater and further education in audiovisual media, performance, critical theory and game design, her artistic practice is marked by a synthesis of different disciplines and perspectives. Her work explores collective worldbuilding, critical empathy, digital commoning and enabling structures. In her ",{"_key":25809,"_type":223,"marks":25810,"text":25812},"a0d3733488214",[25811],"73fc6d2dfa14","research",{"_key":25814,"_type":223,"marks":25815,"text":25816},"a0d3733488215",[]," she develops and assesses Remote Live Game Play, a hybridization of online gaming and performance. Carina is a co-founder of 0ct0p0s.net, a research site for collective and interactive narration.",[25818],{"_key":25811,"_type":249,"href":25819},"https://www.luca-arts.be/nl/carina-erdmanndistant-bodies-and-accomplices-rethinking-the-interaction-between-player-and-avatar",{"_key":25821,"_type":219,"children":25822,"markDefs":25826,"style":232},"b45715b00201",[25823],{"_key":25824,"_type":223,"marks":25825,"text":4778},"d2cf14971c600",[],[],"Carina works as multimedia artist, PhD researcher and mentor at LUCA School of Arts. ",{"alt":25829,"asset":25830},"Carina-Erdmann_Photograph-by-Nikolas-Brummer",{"_id":25831,"height":25832,"orientation":1474,"ratio":25833,"url":25834,"width":7308},"image-cd0f3eb337264e6f7a6ac58eff8d013517f649b8-1500x1398-jpg",1398,1.0729613733905579,"https://cdn.sanity.io/images/eodip22e/production/cd0f3eb337264e6f7a6ac58eff8d013517f649b8-1500x1398.jpg",{"filterYear":25836},[25837],{"_id":125,"title":128},[25839,25841],{"_type":1138,"label":1139,"url":25840},"https://carinaerdmann.com/",{"_type":1138,"label":25842,"url":25843},"0ct0p0s","https://0ct0p0s.net/",{"locations":25845,"other":25848},[25846],{"_id":331,"_type":308,"seo":7,"slug":25847,"title":334},{"_type":9,"current":333},[25849],{"_key":25850,"_type":219,"children":25851,"markDefs":25856,"style":232},"bf49936ccf6d",[25852],{"_key":25853,"_type":223,"marks":25854,"text":25855},"7226e088c482",[],"Based in Berlin and Brussels",[],[25858,127],"carina erdmann",{"_type":9,"current":25860},"carina-erdmann","Carina Erdmann",{"alt":25863,"asset":25864},"Conspiratorial Bleed Exercises in Collective Worlding",{"_id":25865,"height":16235,"orientation":1474,"ratio":25866,"url":25867,"width":25868},"image-6da073817971d45ff7e900efe57dc580b11f38e5-830x828-jpg",1.002415458937198,"https://cdn.sanity.io/images/eodip22e/production/6da073817971d45ff7e900efe57dc580b11f38e5-830x828.jpg",830,{"filterCategory":25870,"filterLocation":25874,"filterYear":25876},[25871,25872,25873],{"_id":810,"title":813},{"_id":1009,"title":1012},{"_id":720,"title":723},[25875],{"_id":331,"title":334},[25877],{"_id":125,"title":128},[],{"locations":25880,"other":7},[25881],{"_id":331,"_type":308,"seo":7,"slug":25882,"title":334},{"_type":9,"current":333},[25884],{"_type":1625,"settings":7,"text":25885},[25886,25898,25906,25921,25929,25943,25951,25959,25967,25975],{"_key":25887,"_type":219,"children":25888,"markDefs":25897,"style":232},"d2878df41b58",[25889,25893],{"_key":25890,"_type":223,"marks":25891,"text":25892},"e66403959c4f",[225],"Exercises in Collective Worlding",{"_key":25894,"_type":223,"marks":25895,"text":25896},"bda9a4bb299b",[],"\n\nThe research begins with attempts at dissolving the illusion of a ‘common world’, that appears already co-opted by satisfying hegemonial claims for (its) order. Taking the underlying theory of multiple worlds1 as a point of departure, it aims to develop and assess different exercises in Collective Worlding through methodologies of Dreaming, Storytelling, Gaming and Dialoguing.",[],{"_key":25899,"_type":219,"children":25900,"markDefs":25905,"style":232},"d214210ddda1",[25901],{"_key":25902,"_type":223,"marks":25903,"text":25904},"ce47bf30c31f",[],"The development of those methods builds on and extends the ongoing research project DISTANT BODIES AND ACCOMPLICES that explores the hybridization of online game play and performance. The MAPP project will focus on developing interactive narrative formats that evoke a conspiratorial attitude and experiences of bleed. ‘Conspiratorial’ gameplay engages players without automatically antagonizing them. They col-lude, which means they play together, against the game itself, which makes them Accomplices. The notion of the Accomplice is similar to that of the trickster but it implies a relatedness. Their belonging is not necessarily based on likeness or next of kin but bound by a common goal. ‘Bleed ’ is a term used in LARP (Live Action Role Play) to describe the grey zone between fiction and reality, where the border between player and character dissolves.2 The research is committed to show the fragility of that boundary and to understand collective dynamics in the construction of fiction and reality.",[],{"_key":25907,"_type":219,"children":25908,"markDefs":25920,"style":232},"f24d6480ab08",[25909,25913,25916],{"_key":25910,"_type":223,"marks":25911,"text":25912},"bc99d58afd0c",[225],"What can we learn from the collective fictions that our mind produces?",{"_key":25914,"_type":223,"marks":25915,"text":4778},"6e98ffd5a824",[],{"_key":25917,"_type":223,"marks":25918,"text":25919},"d79599ae7a7d",[225],"From the choices we make playing in them?",[],{"_key":25922,"_type":219,"children":25923,"markDefs":25928,"style":232},"b52ca62a7284",[25924],{"_key":25925,"_type":223,"marks":25926,"text":25927},"d778f2ec775f",[],"‘Conspiratorial Bleed’ fosters the mutual acknowledgement of colliding worlds and yet the willful temporary crafting and inhibiting of common space. This also happens in games in which the creation and negotiation of a shared gamespace become central, despite being in physically or mentally distant places. There are different ideas of what the activity of worlding3 pertains. It ranges from the imagination and fostering of fantastical cosmologies, utopias or futures you can believe in4 to the construction of new reality systems or the active forging of functional systemic alternatives.5",[],{"_key":25930,"_type":219,"children":25931,"markDefs":25940,"style":232},"3f8b6d561e68",[25932,25937],{"_key":25933,"_type":223,"marks":25934,"text":25936},"2955d4f97b7c",[25935],"404ebf68c829","www.0ct0p0s.net",{"_key":25938,"_type":223,"marks":25939,"text":4778},"307f0d16df7b",[],[25941],{"_key":25935,"_type":249,"href":25942},"http://www.0ct0p0s.net/",{"_key":25944,"_type":219,"children":25945,"markDefs":25950,"style":232},"062614431dc2",[25946],{"_key":25947,"_type":223,"marks":25948,"text":25949},"298d6ed69c3a",[],"1 In Ways of Worldmaking (1978) Nelson Goodman already performs the ontological turn away from a dualist approach of ‘Many worldviews, only one world’ to the idea of multiple worlds.",[],{"_key":25952,"_type":219,"children":25953,"markDefs":25958,"style":232},"5c72b0911fa8",[25954],{"_key":25955,"_type":223,"marks":25956,"text":25957},"de10d9d6616f",[],"2 Omsk Social Club, a “futuristically political”, [i.e. unrealistic] immersive action group discuss the use of ‘bleed’ in their work. (2019)",[],{"_key":25960,"_type":219,"children":25961,"markDefs":25966,"style":232},"a489204f3771",[25962],{"_key":25963,"_type":223,"marks":25964,"text":25965},"75375ece275a",[],"3 In his talk “The End of the World(s)” (2020) Federico Campagna stresses that there is no world. There is only the activity of ‘making world’, which he describes as aesthetic and axiomatic.",[],{"_key":25968,"_type":219,"children":25969,"markDefs":25974,"style":232},"34c31dec00ca",[25970],{"_key":25971,"_type":223,"marks":25972,"text":25973},"47b9892b4c28",[],"4 In the “Emissary’s Guide to Worlding” (2018) Ian Cheng describes Worlding as creating futures you can believe in and outlines a path for making Worlds that can cross the threshold of imagination into aliveness.",[],{"_key":25976,"_type":219,"children":25977,"markDefs":25982,"style":232},"ae5a74f0f634",[25978],{"_key":25979,"_type":223,"marks":25980,"text":25981},"9bf2b83d5ae6",[],"5 Gerta Roelvink “Building Dignified Worlds” (2016)examines how contemporary collectives are designing alternative economies.",[],[25984,25991],{"_key":25985,"_type":219,"children":25986,"markDefs":25990,"style":232},"fa4f729cc01f",[25987],{"_key":25988,"_type":223,"marks":25989,"text":25912},"fc7d6b309ab0",[],[],{"_key":25992,"_type":219,"children":25993,"markDefs":25997,"style":232},"0b74ff292546",[25994],{"_key":25995,"_type":223,"marks":25996,"text":25919},"b50498642de3",[],[],[25999,127,333,25858,26000,9256,1011,722],"conspiratorial bleed","exercises in collective worlding\n\nthe research begins with attempts at dissolving the illusion of a ‘common world’, that appears already co-opted by satisfying hegemonial claims for (its) order. taking the underlying theory of multiple worlds1 as a point of departure, it aims to develop and assess different exercises in collective worlding through methodologies of dreaming, storytelling, gaming and dialoguing.\n\nthe development of those methods builds on and extends the ongoing research project distant bodies and accomplices that explores the hybridization of online game play and performance. the mapp project will focus on developing interactive narrative formats that evoke a conspiratorial attitude and experiences of bleed. ‘conspiratorial’ gameplay engages players without automatically antagonizing them. they col-lude, which means they play together, against the game itself, which makes them accomplices. the notion of the accomplice is similar to that of the trickster but it implies a relatedness. their belonging is not necessarily based on likeness or next of kin but bound by a common goal. ‘bleed ’ is a term used in larp (live action role play) to describe the grey zone between fiction and reality, where the border between player and character dissolves.2 the research is committed to show the fragility of that boundary and to understand collective dynamics in the construction of fiction and reality.\n\nwhat can we learn from the collective fictions that our mind produces?\nfrom the choices we make playing in them?\n\n‘conspiratorial bleed’ fosters the mutual acknowledgement of colliding worlds and yet the willful temporary crafting and inhibiting of common space. this also happens in games in which the creation and negotiation of a shared gamespace become central, despite being in physically or mentally distant places. there are different ideas of what the activity of worlding3 pertains. it ranges from the imagination and fostering of fantastical cosmologies, utopias or futures you can believe in4 to the construction of new reality systems or the active forging of functional systemic alternatives.5\n\nwww.0ct0p0s.net\n\n\n1 in ways of worldmaking (1978) nelson goodman already performs the ontological turn away from a dualist approach of ‘many worldviews, only one world’ to the idea of multiple worlds.\n\n2 omsk social club, a “futuristically political”, [i.e. unrealistic] immersive action group discuss the use of ‘bleed’ in their work. (2019)\n\n3 in his talk “the end of the world(s)” (2020) federico campagna stresses that there is no world. there is only the activity of ‘making world’, which he describes as aesthetic and axiomatic.\n\n4 in the “emissary’s guide to worlding” (2018) ian cheng describes worlding as creating futures you can believe in and outlines a path for making worlds that can cross the threshold of imagination into aliveness.\n\n5 gerta roelvink “building dignified worlds” (2016)examines how contemporary collectives are designing alternative economies.",{"_type":9,"current":26002},"conspiratorial-bleed","Conspiratorial Bleed",{"_id":26005,"_type":1027,"categories":26006,"credits":26022,"featuredImage":26053,"filterables":26059,"footnotes":26071,"locations":26072,"logbook":26078,"pageBuilder":26109,"researchQuestion":26234,"researchQuestions":7,"searchables":26243,"seo":7,"slug":26247,"title":26249,"year":128},"0a674279-19e1-41fd-9464-5d920f15ea11",[26007,26010,26013,26016,26019],{"_id":810,"_type":362,"colorPrimary":26008,"seo":7,"slug":26009,"title":813},{"label":1031,"value":8792},{"_type":9,"current":812},{"_id":405,"_type":362,"colorPrimary":26011,"seo":7,"slug":26012,"title":408},{"label":1031,"value":5263},{"_type":9,"current":407},{"_id":540,"_type":362,"colorPrimary":26014,"seo":7,"slug":26015,"title":543},{"label":1031,"value":23504},{"_type":9,"current":542},{"_id":795,"_type":362,"colorPrimary":26017,"seo":7,"slug":26018,"title":798},{"label":1031,"value":1805},{"_type":9,"current":797},{"_id":805,"_type":362,"colorPrimary":26020,"seo":7,"slug":26021,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"other":7,"profiles":26023},[26024],{"_id":24568,"_type":1078,"activeYears":26025,"bio":26030,"bioShort":24583,"featuredImage":26036,"filterables":26038,"links":26042,"locations":26045,"searchables":26051,"seo":7,"slug":26052,"title":24585},[26026,26028],{"_id":125,"_type":99,"seo":7,"slug":26027,"title":128},{"_type":9,"current":127},{"_id":120,"_type":99,"seo":7,"slug":26029,"title":123},{"_type":9,"current":122},[26031],{"_key":24576,"_type":219,"children":26032,"markDefs":26035,"style":232},[26033],{"_key":24579,"_type":223,"marks":26034,"text":24581},[],[],{"alt":24585,"asset":26037},{"_id":24587,"height":24588,"orientation":1474,"ratio":24589,"url":24590,"width":12654},{"filterYear":26039},[26040,26041],{"_id":125,"title":128},{"_id":120,"title":123},[26043,26044],{"_type":1138,"label":1139,"url":24597},{"_type":1138,"label":1142,"url":24599},{"locations":26046,"other":7},[26047,26049],{"_id":331,"_type":308,"seo":7,"slug":26048,"title":334},{"_type":9,"current":333},{"_id":316,"_type":308,"seo":7,"slug":26050,"title":319},{"_type":9,"current":318},[24607,127,122],{"_type":9,"current":24609},{"alt":26054,"asset":26055},"School of Commons - Eligibility Criteria (and beyond)",{"_id":26056,"height":26057,"orientation":7818,"ratio":2178,"url":26058,"width":26057},"image-c1c231f5c8a92d08ab757b6bd6d3ae5b6c42eb41-2331x2331-jpg",2331,"https://cdn.sanity.io/images/eodip22e/production/c1c231f5c8a92d08ab757b6bd6d3ae5b6c42eb41-2331x2331.jpg",{"filterCategory":26060,"filterLocation":26066,"filterYear":26069},[26061,26062,26063,26064,26065],{"_id":810,"title":813},{"_id":405,"title":408},{"_id":540,"title":543},{"_id":795,"title":798},{"_id":805,"title":808},[26067,26068],{"_id":331,"title":334},{"_id":316,"title":319},[26070],{"_id":125,"title":128},[],{"locations":26073,"other":7},[26074,26076],{"_id":331,"_type":308,"seo":7,"slug":26075,"title":334},{"_type":9,"current":333},{"_id":316,"_type":308,"seo":7,"slug":26077,"title":319},{"_type":9,"current":318},[26079,26087,26095],{"_key":26080,"_type":219,"children":26081,"markDefs":26086,"style":232},"b4160948268d",[26082],{"_key":26083,"_type":223,"marks":26084,"text":26085},"d104d3ea0ca1",[225],"Performance | Bureau of Commons",[],{"_key":26088,"_type":219,"children":26089,"markDefs":26094,"style":232},"4ebc4b04c644",[26090],{"_key":26091,"_type":223,"marks":26092,"text":26093},"b296ebe4e8b2",[225],"Collective Writing | Open open call",[],{"_key":26096,"_type":219,"children":26097,"markDefs":26106,"style":232},"403fe61650e3",[26098,26102],{"_key":26099,"_type":223,"marks":26100,"text":26101},"7f75702c7da70",[],"Bureau of Commons: ",{"_key":26103,"_type":223,"marks":26104,"text":2796},"314a33f8f1f5",[26105],"14808c883195",[26107],{"_key":26105,"_type":249,"blank":250,"href":26108},"https://betulaksu.com/Bureau-of-Commons",[26110,26127],{"_type":1621,"caption":26111,"image":26120},[26112],{"_key":26113,"_type":219,"children":26114,"markDefs":26119,"style":232},"14c7a90c9d39",[26115],{"_key":26116,"_type":223,"marks":26117,"text":26118},"0aa327a2e74c",[],"Betül Aksu. Bureau Of Commons, Zurich 2021",[],{"alt":26121,"asset":26122},"BetulAksu_BureauOfCommons_Zurich_2021",{"_id":26123,"height":26124,"orientation":1474,"ratio":26125,"url":26126,"width":12654},"image-5fa812b05c79c5d0cc52d09d3515c2246ad2f369-2560x1918-jpg",1918,1.3347236704900938,"https://cdn.sanity.io/images/eodip22e/production/5fa812b05c79c5d0cc52d09d3515c2246ad2f369-2560x1918.jpg",{"_type":1625,"settings":7,"text":26128},[26129,26156,26172,26180,26188,26195,26203,26210,26218,26226],{"_key":26130,"_type":219,"children":26131,"markDefs":26155,"style":232},"64cfedda6494",[26132,26136,26139,26143,26147,26151],{"_key":26133,"_type":223,"marks":26134,"text":26135},"3014268d6284",[1559],"The art world",{"_key":26137,"_type":223,"marks":26138,"text":1198},"dffbe175ce8d",[],{"_key":26140,"_type":223,"marks":26141,"text":26142},"621035477147",[1559],"systemic inequalities",{"_key":26144,"_type":223,"marks":26145,"text":26146},"adaedc3a7d77",[]," are phrases that go hand in hand, the former being highly visible and the latter not that much. Although Covid-19 pandemic gave us an adjective, ",{"_key":26148,"_type":223,"marks":26149,"text":26150},"efa0e0dcdf04",[1559],"unprecedented",{"_key":26152,"_type":223,"marks":26153,"text":26154},"8d66deb09174",[],", to define our time, our art world maintained its precedented requirements to determine who gets access to what. It is still very unlikely to read ‘anyone can apply’ to art open calls while we all memorized the sentence structure for who can apply: Artists of a certain-nationality, based in certain-places, younger than certain-years-old, and yes graduates of that certain-school, among other restrictions.",[],{"_key":26157,"_type":219,"children":26158,"markDefs":26171,"style":232},"d7c69cf0d46f",[26159,26163,26167],{"_key":26160,"_type":223,"marks":26161,"text":26162},"362f0bc2eedf",[],"This research questions who is neglected in the categorisation of eligibility criteria, and how this neglect affects the production of new art works. It explores how criteria reproduce oppression through bureaucracy and aims to start a dialogue between artists to re-examine eligibility criteria in art open calls. Throughout this research residency, I will have conversations with artists, discuss ",{"_key":26164,"_type":223,"marks":26165,"text":26166},"00027829993f",[1559],"eligibility",{"_key":26168,"_type":223,"marks":26169,"text":26170},"d2d502072805",[]," together, and collectively write for an open call that is open to all. Together we will also walk around intersecting subjects of eligibility as the discussions appear.",[],{"_key":26173,"_type":219,"children":26174,"markDefs":26179,"style":232},"a9816628001f",[26175],{"_key":26176,"_type":223,"marks":26177,"text":26178},"4da84043f469",[225],"Interview | Conversations with artists",[],{"_key":26181,"_type":219,"children":26182,"markDefs":26187,"style":232},"e619155ac796",[26183],{"_key":26184,"_type":223,"marks":26185,"text":26186},"278753a91e38",[],"This section involves semi-structured interviews and not-structured daily conversations with artists. I’ll explore how certain artistic productions were made possible or impossible as a result of eligibility criteria in art open calls, and how facing restrictions affected the creation of new works.",[],{"_key":26189,"_type":219,"children":26190,"markDefs":26194,"style":232},"409881876f27",[26191],{"_key":26192,"_type":223,"marks":26193,"text":26085},"a1dff23d2d7d",[225],[],{"_key":26196,"_type":219,"children":26197,"markDefs":26202,"style":232},"83a8448bda71",[26198],{"_key":26199,"_type":223,"marks":26200,"text":26201},"27ff3a995972",[],"For some artists, their eligibility to work is tied to the type of residence permit they hold. This section focuses on conversations around visa eligibility and how visa categorisation disrupts the lives of artists and their freedom of movement.",[],{"_key":26204,"_type":219,"children":26205,"markDefs":26209,"style":232},"383b95e9c536",[26206],{"_key":26207,"_type":223,"marks":26208,"text":26093},"fdcf3469300b",[225],[],{"_key":26211,"_type":219,"children":26212,"markDefs":26217,"style":232},"cd7a6322a601",[26213],{"_key":26214,"_type":223,"marks":26215,"text":26216},"f52e202f97b8",[],"This section involves a collaborative writing workshop to create an open call with one criterion in mind: anyone can apply. In the first half of the workshop, participants are given cues to think about who is neglected in the categorisation of eligibility criteria, and reflect on how this neglect affects the production of new art works. In the second half, participants collectively imagine what an open open call looks like, and write about which text should go in an inclusive open call.",[],{"_key":26219,"_type":219,"children":26220,"markDefs":26225,"style":232},"716624d3484d",[26221],{"_key":26222,"_type":223,"marks":26223,"text":26224},"1f37887cc960",[225],"Exhibition | The Open Call Wheel",[],{"_key":26227,"_type":219,"children":26228,"markDefs":26233,"style":232},"7af610d5bc4f",[26229],{"_key":26230,"_type":223,"marks":26231,"text":26232},"4cbd4d8c2f70",[],"This section will gather a collection of open calls written by artists and curators who prepared a utopic call with one criterion in mind: each open call must use an A4-size paper. These open calls are created to question the writing style used in art open calls, and to break that style to point out existing issues in current art open calls.",[],[26235],{"_key":26236,"_type":219,"children":26237,"markDefs":26242,"style":232},"61e6f61e5ad2",[26238],{"_key":26239,"_type":223,"marks":26240,"text":26241},"2394bc84484e0",[],"An ongoing research exploring the ways in which eligibility criteria create barriers in the lives of artists",[],[26244,127,26245,333,318,24607,26246,9256,407,23681,797,807],"eligibility criteria (and beyond)","performance | bureau of commons\n\ncollective writing | open open call\n\nbureau of commons: website","the art world and systemic inequalities are phrases that go hand in hand, the former being highly visible and the latter not that much. although covid-19 pandemic gave us an adjective, unprecedented, to define our time, our art world maintained its precedented requirements to determine who gets access to what. it is still very unlikely to read ‘anyone can apply’ to art open calls while we all memorized the sentence structure for who can apply: artists of a certain-nationality, based in certain-places, younger than certain-years-old, and yes graduates of that certain-school, among other restrictions.\n\nthis research questions who is neglected in the categorisation of eligibility criteria, and how this neglect affects the production of new art works. it explores how criteria reproduce oppression through bureaucracy and aims to start a dialogue between artists to re-examine eligibility criteria in art open calls. throughout this research residency, i will have conversations with artists, discuss eligibility together, and collectively write for an open call that is open to all. together we will also walk around intersecting subjects of eligibility as the discussions appear.\n\ninterview | conversations with artists\n\nthis section involves semi-structured interviews and not-structured daily conversations with artists. i’ll explore how certain artistic productions were made possible or impossible as a result of eligibility criteria in art open calls, and how facing restrictions affected the creation of new works.\n\nperformance | bureau of commons\n\nfor some artists, their eligibility to work is tied to the type of residence permit they hold. this section focuses on conversations around visa eligibility and how visa categorisation disrupts the lives of artists and their freedom of movement.\n\ncollective writing | open open call\n\nthis section involves a collaborative writing workshop to create an open call with one criterion in mind: anyone can apply. in the first half of the workshop, participants are given cues to think about who is neglected in the categorisation of eligibility criteria, and reflect on how this neglect affects the production of new art works. in the second half, participants collectively imagine what an open open call looks like, and write about which text should go in an inclusive 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Lee",{"_id":26346,"_type":1078,"activeYears":26347,"bio":26350,"bioShort":26367,"featuredImage":7,"filterables":26368,"links":26371,"locations":26375,"searchables":26379,"seo":7,"slug":26381,"title":26383},"b709e39c-f659-4056-a1f3-8ca75fa71a7c",[26348],{"_id":125,"_type":99,"seo":7,"slug":26349,"title":128},{"_type":9,"current":127},[26351,26359],{"_key":26352,"_type":219,"children":26353,"markDefs":26358,"style":232},"178a3121f260",[26354],{"_key":26355,"_type":223,"marks":26356,"text":26357},"99e81cc88eca0",[],"He works in collaborative projects consisting of scores, performances, texts and videos that attempt to realize ways of being together based in intimacy, hope and generosity. His research compliments this work through the development of methods for decentralized music creation.",[],{"_key":26360,"_type":219,"children":26361,"markDefs":26366,"style":232},"143502727ce1",[26362],{"_key":26363,"_type":223,"marks":26364,"text":26365},"6d169efaeea30",[],"As an organizer and educator, Gordon is committed to building accessible, inclusive and vital communities through art and music making. He holds a Master’s in Music Composition from the HKU Utrechts Conservatorium.",[],"Gordon H. Williams is an artist and musician creating work to study human conditions, with a focus on affect, perception and relation. ",{"filterYear":26369},[26370],{"_id":125,"title":128},[26372,26374],{"_type":1138,"label":1139,"url":26373},"https://www.gordonhwilliams.com/",{"_type":1138,"label":26286,"url":26287},{"locations":26376,"other":7},[26377],{"_id":331,"_type":308,"seo":7,"slug":26378,"title":334},{"_type":9,"current":333},[26380,127],"gordon h. williams",{"_type":9,"current":26382},"gordon-h-williams","Gordon H. Williams",{"_id":26385,"_type":1078,"activeYears":26386,"bio":26389,"bioShort":26397,"featuredImage":7,"filterables":26398,"links":26401,"locations":7,"searchables":26403,"seo":7,"slug":26405,"title":26407},"a89ca882-49ed-48c5-aeb5-cf83c56374b8",[26387],{"_id":125,"_type":99,"seo":7,"slug":26388,"title":128},{"_type":9,"current":127},[26390],{"_key":26391,"_type":219,"children":26392,"markDefs":26396,"style":232},"796a8c741fe7",[26393],{"_key":26394,"_type":223,"marks":26395,"text":12647},"551e8898958e",[],[],"Agustin is a Percussionist.",{"filterYear":26399},[26400],{"_id":125,"title":128},[26402],{"_type":1138,"label":26286,"url":26287},[26404,127],"agustin faundez rojas",{"_type":9,"current":26406},"agustin-faundez-rojas","Agustin Faundez Rojas",{"alt":26409,"asset":26410},"School of Commons - Fire is Scary: Translations Sound and Image",{"_id":26411,"height":26412,"orientation":1474,"ratio":26413,"url":26414,"width":2394},"image-3a60e70e1cf8fc2f19e50a4b7329afd66a8f41f9-1280x1008-jpg",1008,1.2698412698412698,"https://cdn.sanity.io/images/eodip22e/production/3a60e70e1cf8fc2f19e50a4b7329afd66a8f41f9-1280x1008.jpg",{"filterCategory":26416,"filterLocation":26420,"filterYear":26422},[26417,26418,26419],{"_id":695,"title":698},{"_id":385,"title":388},{"_id":535,"title":538},[26421],{"_id":331,"title":334},[26423],{"_id":125,"title":128},[],{"locations":26426,"other":7},[26427],{"_id":331,"_type":308,"seo":7,"slug":26428,"title":334},{"_type":9,"current":333},[26430,26447],{"_type":1621,"caption":26431,"image":26440},[26432],{"_key":26433,"_type":219,"children":26434,"markDefs":26439,"style":232},"90d1fc9fab83",[26435],{"_key":26436,"_type":223,"marks":26437,"text":26438},"53f1be833e570",[],"FiS Installation performance, Sol Enae Lee",[],{"alt":26441,"asset":26442},"FiS-Installationperformance-Sol",{"_id":26443,"height":2831,"orientation":1129,"ratio":26444,"url":26445,"width":26446},"image-15a220ac67b295a440e5468cd36aff6110179ddf-809x1080-jpg",0.7490740740740741,"https://cdn.sanity.io/images/eodip22e/production/15a220ac67b295a440e5468cd36aff6110179ddf-809x1080.jpg",809,{"_type":1625,"settings":7,"text":26448},[26449,26476,26491,26514,26530],{"_key":26450,"_type":219,"children":26451,"markDefs":26475,"style":232},"45818b261e67",[26452,26456,26460,26464,26467,26471],{"_key":26453,"_type":223,"marks":26454,"text":26455},"69d4988f15710",[1559],"Fire is Scary",{"_key":26457,"_type":223,"marks":26458,"text":26459},"69d4988f15711",[]," is a collaboration between artists Sol Enae Lee and Gordon H. Williams and musicians Agustin Faundez Rojas and Ariel Sin Yu Lee. The themes of this project are translation, ",{"_key":26461,"_type":223,"marks":26462,"text":26463},"69d4988f15712",[1559],"the",{"_key":26465,"_type":223,"marks":26466,"text":2066},"69d4988f15713",[],{"_key":26468,"_type":223,"marks":26469,"text":26470},"69d4988f15714",[1559],"borderlands",{"_key":26472,"_type":223,"marks":26473,"text":26474},"69d4988f15715",[]," (from Gloria E. Anzaldua- the experience of living between/across cultures) and learning to live in a damaged world.",[],{"_key":26477,"_type":219,"children":26478,"markDefs":26490,"style":232},"2a2a947d529c",[26479,26483,26486],{"_key":26480,"_type":223,"marks":26481,"text":26482},"ade6b343afd50",[],"Translation figures both literally and metaphorically in our work, starting from Sol Enae Lee’s texts, which inspired the music for ",{"_key":26484,"_type":223,"marks":26485,"text":26455},"ade6b343afd51",[1559],{"_key":26487,"_type":223,"marks":26488,"text":26489},"ade6b343afd52",[],". In our work, translation also plays a role as we move between the domains of visual art, design, music and text, as well as between our various cultural perspectives.",[],{"_key":26492,"_type":219,"children":26493,"markDefs":26513,"style":232},"f4edeae7cdee",[26494,26498,26502,26506,26509],{"_key":26495,"_type":223,"marks":26496,"text":26497},"d9bb82a61fc40",[],"The research project ",{"_key":26499,"_type":223,"marks":26500,"text":26501},"d9bb82a61fc41",[1559],"Fire is Scary: Translations of Sound and Image",{"_key":26503,"_type":223,"marks":26504,"text":26505},"d9bb82a61fc42",[]," is aimed at developing techniques of translation between sound and image, as an extension of ",{"_key":26507,"_type":223,"marks":26508,"text":26455},"d9bb82a61fc43",[1559],{"_key":26510,"_type":223,"marks":26511,"text":26512},"d9bb82a61fc44",[]," and as an investigation into how to share, present and transfer musical work (in particular the work that we have created together). This research will look at what is lost, distorted, and generated in the process of translation.",[],{"_key":26515,"_type":219,"children":26516,"markDefs":26529,"style":232},"7278a5d80c7f",[26517,26521,26525],{"_key":26518,"_type":223,"marks":26519,"text":26520},"8524439201910",[],"Accordingly the research questions for this project are ‘What is lost, distorted and generated in the translation between sound and image?’ and ‘How can the themes of translation, ",{"_key":26522,"_type":223,"marks":26523,"text":26524},"8524439201911",[1559],"the borderlands",{"_key":26526,"_type":223,"marks":26527,"text":26528},"8524439201912",[],", and living to live in a damaged world guide and shape the sharing, presentation and transfer of music?’",[],{"_key":26531,"_type":219,"children":26532,"markDefs":26537,"style":232},"fcc4cf87a056",[26533],{"_key":26534,"_type":223,"marks":26535,"text":26536},"ce8cc89836bf0",[],"This research will be presented in a publication containing various documentation from our collective work, including Sol’s lyrics, various translations, images of translated sound, newly composed images, writings and notations.",[],[26539,26547],{"_key":26540,"_type":219,"children":26541,"markDefs":26546,"style":232},"279b14fa1b35",[26542],{"_key":26543,"_type":223,"marks":26544,"text":26545},"f4320d61c84e",[],"What is lost, distorted and generated in the translation between sound and image?’ ",[],{"_key":26548,"_type":219,"children":26549,"markDefs":26560,"style":232},"5a75c047f833",[26550,26554,26557],{"_key":26551,"_type":223,"marks":26552,"text":26553},"ee7e1c8d0b22",[],"How can the themes of translation, ",{"_key":26555,"_type":223,"marks":26556,"text":26524},"2f1134fe8254",[1559],{"_key":26558,"_type":223,"marks":26559,"text":26528},"04a9cd6e453c",[],[],[26562,127,333,26301,26341,26380,26404,26563,697,19494,7484],"fire is scary: translations sound and image","fire is scary is a collaboration between artists sol enae lee and gordon h. williams and musicians agustin faundez rojas and ariel sin yu lee. the themes of this project are translation, the borderlands (from gloria e. anzaldua- the experience of living between/across cultures) and learning to live in a damaged world.\n\ntranslation figures both literally and metaphorically in our work, starting from sol enae lee’s texts, which inspired the music for fire is scary. in our work, translation also plays a role as we move between the domains of visual art, design, music and text, as well as between our various cultural perspectives.\n\nthe research project fire is scary: translations of sound and image is aimed at developing techniques of translation between sound and image, as an extension of fire is scary and as an investigation into how to share, present and transfer musical work (in particular the work that we have created together). this research will look at what is lost, distorted, and generated in the process of translation.\n\naccordingly the research questions for this project are ‘what is lost, distorted and generated in the translation between sound and image?’ and ‘how can the themes of translation, the borderlands, and living to live in a damaged world guide and shape the sharing, presentation and transfer of music?’\n\nthis research will be presented in a publication containing various documentation from our collective work, including sol’s lyrics, various translations, images of translated sound, newly composed images, writings and notations.",{"_type":9,"current":26565},"fire-is-scary-translations-sound-and-image","Fire is Scary: Translations Sound and Image",{"_id":26568,"_type":1027,"categories":26569,"credits":26585,"featuredImage":26661,"filterables":26668,"footnotes":26679,"locations":26680,"logbook":26684,"pageBuilder":26700,"researchQuestion":7,"researchQuestions":7,"searchables":26778,"seo":7,"slug":26782,"title":26749,"year":128},"b09028ab-8d30-4d4c-ad26-3fdaf147081d",[26570,26573,26576,26579,26582],{"_id":810,"_type":362,"colorPrimary":26571,"seo":7,"slug":26572,"title":813},{"label":1031,"value":8792},{"_type":9,"current":812},{"_id":550,"_type":362,"colorPrimary":26574,"seo":7,"slug":26575,"title":553},{"label":1031,"value":16303},{"_type":9,"current":552},{"_id":555,"_type":362,"colorPrimary":26577,"seo":7,"slug":26578,"title":558},{"label":1031,"value":4977},{"_type":9,"current":557},{"_id":505,"_type":362,"colorPrimary":26580,"seo":7,"slug":26581,"title":508},{"label":1031,"value":5270},{"_type":9,"current":507},{"_id":805,"_type":362,"colorPrimary":26583,"seo":7,"slug":26584,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"other":7,"profiles":26586},[26587],{"_id":22594,"_type":1078,"activeYears":26588,"bio":26601,"bioShort":22615,"featuredImage":26635,"filterables":26637,"links":26645,"locations":26649,"searchables":26659,"seo":7,"slug":26660,"title":22666},[26589,26591,26593,26595,26597,26599],{"_id":125,"_type":99,"seo":7,"slug":26590,"title":128},{"_type":9,"current":127},{"_id":120,"_type":99,"seo":7,"slug":26592,"title":123},{"_type":9,"current":122},{"_id":115,"_type":99,"seo":7,"slug":26594,"title":118},{"_type":9,"current":117},{"_id":110,"_type":99,"seo":7,"slug":26596,"title":113},{"_type":9,"current":112},{"_id":105,"_type":99,"seo":7,"slug":26598,"title":108},{"_type":9,"current":107},{"_id":98,"_type":99,"seo":7,"slug":26600,"title":102},{"_type":9,"current":101},[26602,26607,26612,26617,26622],{"_key":22610,"_type":219,"children":26603,"markDefs":26606,"style":232},[26604],{"_key":22613,"_type":223,"marks":26605,"text":22615},[],[],{"_key":22618,"_type":219,"children":26608,"markDefs":26611,"style":232},[26609],{"_key":22621,"_type":223,"marks":26610,"text":22623},[],[],{"_key":22626,"_type":219,"children":26613,"markDefs":26616,"style":232},[26614],{"_key":22629,"_type":223,"marks":26615,"text":22631},[],[],{"_key":22634,"_type":219,"children":26618,"markDefs":26621,"style":232},[26619],{"_key":22637,"_type":223,"marks":26620,"text":22639},[],[],{"_key":22642,"_type":219,"children":26623,"markDefs":26634,"style":232},[26624,26626,26628,26630,26632],{"_key":22645,"_type":223,"marks":26625,"text":22647},[],{"_key":22649,"_type":223,"marks":26627,"text":22651},[1559],{"_key":22653,"_type":223,"marks":26629,"text":22655},[],{"_key":22657,"_type":223,"marks":26631,"text":22659},[1559],{"_key":22661,"_type":223,"marks":26633,"text":22663},[],[],{"alt":22666,"asset":26636},{"_id":22668,"height":22669,"orientation":1474,"ratio":22670,"url":22671,"width":22672},{"filterYear":26638},[26639,26640,26641,26642,26643,26644],{"_id":125,"title":128},{"_id":120,"title":123},{"_id":115,"title":118},{"_id":110,"title":113},{"_id":105,"title":108},{"_id":98,"title":102},[26646,26647,26648],{"_type":1138,"label":1142,"url":22683},{"_type":1138,"label":22651,"url":22539},{"_type":1138,"label":22686,"url":22687},{"locations":26650,"other":26653},[26651],{"_id":331,"_type":308,"seo":7,"slug":26652,"title":334},{"_type":9,"current":333},[26654],{"_key":22694,"_type":219,"children":26655,"markDefs":26658,"style":232},[26656],{"_key":22697,"_type":223,"marks":26657,"text":22699},[],[],[22702,127,122,117,112,107,101],{"_type":9,"current":22704},{"alt":26662,"asset":26663},"School of Commons - Infrastructural Undercurrents",{"_id":26664,"height":12654,"orientation":1129,"ratio":26665,"url":26666,"width":26667},"image-cabf56a972c7bcb0643ff72096a417018e7cd111-1916x2560-jpg",0.7484375,"https://cdn.sanity.io/images/eodip22e/production/cabf56a972c7bcb0643ff72096a417018e7cd111-1916x2560.jpg",1916,{"filterCategory":26669,"filterLocation":26675,"filterYear":26677},[26670,26671,26672,26673,26674],{"_id":810,"title":813},{"_id":550,"title":553},{"_id":555,"title":558},{"_id":505,"title":508},{"_id":805,"title":808},[26676],{"_id":331,"title":334},[26678],{"_id":125,"title":128},[],{"locations":26681,"other":7},[26682],{"_id":331,"_type":308,"seo":7,"slug":26683,"title":334},{"_type":9,"current":333},[26685],{"_key":26686,"_type":219,"children":26687,"markDefs":26697,"style":232},"63d035f75b08",[26688,26692],{"_key":26689,"_type":223,"marks":26690,"text":26691},"5bd9cc4bb7c2",[],"Leiden Shorts: ",{"_key":26693,"_type":223,"marks":26694,"text":26696},"cce2e7b24d5c",[26695],"0cfc2c197371","The Infrastructural Biotope: A workshop on commoning, infrastructures, and making time and space for alternative ways and workings",[26698],{"_key":26695,"_type":249,"blank":250,"href":26699},"https://leidenshorts.nl/sideevent/workshop-the-infrastructural-biotope/",[26701],{"_type":1625,"settings":7,"text":26702},[26703,26711,26719,26727,26735,26743,26770],{"_key":26704,"_type":219,"children":26705,"markDefs":26710,"style":232},"7e2f6b0dbd7c",[26706],{"_key":26707,"_type":223,"marks":26708,"text":26709},"8ce93591a69a0",[],"The anatomy of an organisation is made up multiple and complex components, parts and layers. Despite the nuances and idiosyncrasies that make up individual organisations, each are united in their requirement to be supported by an assemblage of visible and invisible infrastructures.",[],{"_key":26712,"_type":219,"children":26713,"markDefs":26718,"style":232},"b31e73524151",[26714],{"_key":26715,"_type":223,"marks":26716,"text":26717},"a1bb457d346c0",[],"Visible infrastructures can be identified through tangible, or surface manifestations, such as the physical parameters of a space [be that physical or digital], the material assets situated within the space and the outputs organised, produced and presented.",[],{"_key":26720,"_type":219,"children":26721,"markDefs":26726,"style":232},"e52cafd23618",[26722],{"_key":26723,"_type":223,"marks":26724,"text":26725},"bebb298b98470",[],"Invisible infrastructures can be understood as the immaterial assets that form the guiding ethos of an organisation, such as conditions of representation and accountability, communication and support or collaboration and care.",[],{"_key":26728,"_type":219,"children":26729,"markDefs":26734,"style":232},"3da1ad05e38c",[26730],{"_key":26731,"_type":223,"marks":26732,"text":26733},"5d04fb527e070",[],"It is through the interweaving of these visible and invisible infrastructures that organizations are able to establish their functional and methodological foundations, regulate their malleable systems of operation and produce environments that are open, responsive and accessible. In doing so integrating practices of wellbeing and support that permeate throughout the organization and into their wider publics.",[],{"_key":26736,"_type":219,"children":26737,"markDefs":26742,"style":232},"a98fc2722001",[26738],{"_key":26739,"_type":223,"marks":26740,"text":26741},"1ff15952b1ef0",[],"This being said, an organisation’s identity, working operandi and conditions of safety and wellbeing are typically identified through visible means, particularly the condition of the space itself and the level and/or quality of its output. Therefore, despite it being very much in invisible infrastructures that we are able to enact conditions of intersectionality, accountability and inclusivity – in turn maintaining more sustainable spaces and methods of organising – these invisible infrastructures are often overlooked.",[],{"_key":26744,"_type":219,"children":26745,"markDefs":26769,"style":232},"6db2f34a9651",[26746,26750,26754,26758,26761,26765],{"_key":26747,"_type":223,"marks":26748,"text":26749},"d21ea8c688a80",[1559],"Infrastructural Undercurrents",{"_key":26751,"_type":223,"marks":26752,"text":26753},"d21ea8c688a81",[]," is a body of research that explores the invisible infrastructures that underpin arts organisations, and methods of organising through the lenses of ",{"_key":26755,"_type":223,"marks":26756,"text":26757},"d21ea8c688a82",[1559],"care, sociality, affect",{"_key":26759,"_type":223,"marks":26760,"text":1198},"d21ea8c688a83",[],{"_key":26762,"_type":223,"marks":26763,"text":26764},"d21ea8c688a84",[1559],"emotion",{"_key":26766,"_type":223,"marks":26767,"text":26768},"d21ea8c688a85",[],". The research will be undertaken through the dissecting of organisational anatomies, structures, methods and systems. Firstly, through the identification of key invisible infrastructural layers that form organisations and methods of (self)organising, before then focussing on a series of specialised lines of inquiry based on the theoretical lenses of affect theory, emotional infrastructure, social infrastructure and care methodologies, to understand how these conditions can firstly infiltrate, and then be reproduced within institutional settings.",[],{"_key":26771,"_type":219,"children":26772,"markDefs":26777,"style":232},"d0c2255ac7b2",[26773],{"_key":26774,"_type":223,"marks":26775,"text":26776},"9fc4c254ddcb0",[],"By taking inspiration and departing from the works, practices and thinking of key individual and collectives such as Kimi Hanaeur/Press Press, Shannon Finnegan/Anti-Stairs Club Lounge, Sascia Bailer, Sarah Ahmed, Nomeda & Gediminas Urbonas, Chloë Bass, Erik Klingenburg and Nataša Petrešin-Bachelez, this project will act as both an exploration and critical examination of invisible infrastructures within (self)organising anatomies. In doing so, it seeks to question how the conditions of care, affect, sociality and emotion can help to form the basis for more inclusive organisational models and methods of (self)organising.",[],[26779,127,26780,333,22702,26781,9256,16465,557,5642,807],"infrastructural undercurrents","leiden shorts: the infrastructural biotope: a workshop on commoning, infrastructures, and making time and space for alternative ways and workings","the anatomy of an organisation is made up multiple and complex components, parts and layers. despite the nuances and idiosyncrasies that make up individual organisations, each are united in their requirement to be supported by an assemblage of visible and invisible infrastructures.\n\nvisible infrastructures can be identified through tangible, or surface manifestations, such as the physical parameters of a space [be that physical or digital], the material assets situated within the space and the outputs organised, produced and presented.\n\ninvisible infrastructures can be understood as the immaterial assets that form the guiding ethos of an organisation, such as conditions of representation and accountability, communication and support or collaboration and care.\n\nit is through the interweaving of these visible and invisible infrastructures that organizations are able to establish their functional and methodological foundations, regulate their malleable systems of operation and produce environments that are open, responsive and accessible. in doing so integrating practices of wellbeing and support that permeate throughout the organization and into their wider publics.\n\nthis being said, an organisation’s identity, working operandi and conditions of safety and wellbeing are typically identified through visible means, particularly the condition of the space itself and the level and/or quality of its output. therefore, despite it being very much in invisible infrastructures that we are able to enact conditions of intersectionality, accountability and inclusivity – in turn maintaining more sustainable spaces and methods of organising – these invisible infrastructures are often overlooked.\n\ninfrastructural undercurrents is a body of research that explores the invisible infrastructures that underpin arts organisations, and methods of organising through the lenses of care, sociality, affect and emotion. the research will be undertaken through the dissecting of organisational anatomies, structures, methods and systems. firstly, through the identification of key invisible infrastructural layers that form organisations and methods of (self)organising, before then focussing on a series of specialised lines of inquiry based on the theoretical lenses of affect theory, emotional infrastructure, social infrastructure and care methodologies, to understand how these conditions can firstly infiltrate, and then be reproduced within institutional settings.\n\nby taking inspiration and departing from the works, practices and thinking of key individual and collectives such as kimi hanaeur/press press, shannon finnegan/anti-stairs club lounge, sascia bailer, sarah ahmed, nomeda & gediminas urbonas, chloë bass, erik klingenburg and nataša petrešin-bachelez, this project will act as both an exploration and critical examination of invisible infrastructures within (self)organising anatomies. in doing so, it seeks to question how the conditions of care, affect, sociality and emotion can help to form the basis for more inclusive organisational models and methods of (self)organising.",{"_type":9,"current":26783},"infrastructural-undercurrents",{"_id":26785,"_type":1027,"categories":26786,"credits":26790,"featuredImage":26955,"filterables":26960,"footnotes":26967,"locations":26968,"logbook":7,"pageBuilder":26972,"researchQuestion":26991,"researchQuestions":7,"searchables":27008,"seo":7,"slug":27011,"title":27013,"year":128},"da24c948-6365-46f0-8523-d11bd0f0173b",[26787],{"_id":695,"_type":362,"colorPrimary":26788,"seo":7,"slug":26789,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":7,"profiles":26791},[26792,26835,26880,26933],{"_id":26793,"_type":1078,"activeYears":26794,"bio":26797,"bioShort":26814,"featuredImage":7,"filterables":26815,"links":7,"locations":26818,"searchables":26830,"seo":7,"slug":26832,"title":26834},"c9321bf5-98f3-4aea-9839-c94d542c91cb",[26795],{"_id":125,"_type":99,"seo":7,"slug":26796,"title":128},{"_type":9,"current":127},[26798,26806],{"_key":26799,"_type":219,"children":26800,"markDefs":26805,"style":232},"62009b7bf57c",[26801],{"_key":26802,"_type":223,"marks":26803,"text":26804},"fc41cb14c2f3",[],"Nazaket (she/her) is an urbanist, researcher and project manager with a background intertwining between development cooperation, curation, placemaking and participatory planning.",[],{"_key":26807,"_type":219,"children":26808,"markDefs":26813,"style":232},"215fc483f604",[26809],{"_key":26810,"_type":223,"marks":26811,"text":26812},"bb281f5ecf10",[],"In the field of urbanism what really interests her is how the rapid scale urbanization and new development trends within it influence people’s daily lives and long-term well being. With her practice she is trying to understand how people can partake in the formation of the built and soft environment around them, how space is negotiated and in what way people can claim their right to the city.",[],"Nazaket (she/her) is an urbanist, researcher and project manager with a background intertwining between development cooperation, curation, placemaking and participatory planning. ",{"filterYear":26816},[26817],{"_id":125,"title":128},{"locations":26819,"other":26822},[26820],{"_id":331,"_type":308,"seo":7,"slug":26821,"title":334},{"_type":9,"current":333},[26823],{"_key":26824,"_type":219,"children":26825,"markDefs":26829,"style":232},"ff7a42f27cb4",[26826],{"_key":26827,"_type":223,"marks":26828,"text":15515},"27952138240a",[],[],[26831,127],"nazakat azimli",{"_type":9,"current":26833},"nazakat-azimli","Nazakat Azimli",{"_id":26836,"_type":1078,"activeYears":26837,"bio":26840,"bioShort":26849,"featuredImage":26850,"filterables":26857,"links":26860,"locations":26863,"searchables":26875,"seo":7,"slug":26877,"title":26879},"f8354cbb-c7d0-4608-ba6b-594973d281b4",[26838],{"_id":125,"_type":99,"seo":7,"slug":26839,"title":128},{"_type":9,"current":127},[26841],{"_key":26842,"_type":219,"children":26843,"markDefs":26848,"style":232},"e8c6f907f1a7",[26844],{"_key":26845,"_type":223,"marks":26846,"text":26847},"c631e80807020",[],"She completed her master’s degree in Integrated Design, in Dessau, Germany with the thesis topic exploring patriarchal roots of pictogram design. Since then, she was enrolled in several design research workshops, organized by a design platform, Futuress which deals with the politics of design.",[],"Muj is a designer and researcher with interests in collage, writing and community building.",{"alt":26851,"asset":26852},"Muj Abdulzade - From her ongoing research Corporate Aesthetics",{"_id":26853,"height":26854,"orientation":1129,"ratio":26855,"url":26856,"width":2831},"image-43eab75e055dbc7422ee1eb0aaaf9be2217363ea-1080x1230-jpg",1230,0.8780487804878049,"https://cdn.sanity.io/images/eodip22e/production/43eab75e055dbc7422ee1eb0aaaf9be2217363ea-1080x1230.jpg",{"filterYear":26858},[26859],{"_id":125,"title":128},[26861],{"_type":1138,"label":1139,"url":26862},"https://imujabd.com/",{"locations":26864,"other":26867},[26865],{"_id":331,"_type":308,"seo":7,"slug":26866,"title":334},{"_type":9,"current":333},[26868],{"_key":26869,"_type":219,"children":26870,"markDefs":26874,"style":232},"c026d90dd286",[26871],{"_key":26872,"_type":223,"marks":26873,"text":5697},"bd9edfa6119c0",[],[],[26876,127],"muj abdulzade",{"_type":9,"current":26878},"muj-abdulzade","Muj Abdulzade",{"_id":26881,"_type":1078,"activeYears":26882,"bio":26885,"bioShort":26892,"featuredImage":26902,"filterables":26910,"links":26913,"locations":26916,"searchables":26929,"seo":7,"slug":26931,"title":26903},"d60fc5cb-1c1a-4275-9224-7ebbd12495a2",[26883],{"_id":125,"_type":99,"seo":7,"slug":26884,"title":128},{"_type":9,"current":127},[26886,26894],{"_key":26887,"_type":219,"children":26888,"markDefs":26893,"style":232},"db5a2c897dad",[26889],{"_key":26890,"_type":223,"marks":26891,"text":26892},"9d204d251130",[],"Chiara holds a Master’s degree in Visual Cultures, Curating, and Contemporary Art from Aalto University and a Bachelor’s in Fashion from Pforzheim University.",[],{"_key":26895,"_type":219,"children":26896,"markDefs":26901,"style":232},"9bcf07f800b0",[26897],{"_key":26898,"_type":223,"marks":26899,"text":26900},"a15accb0a3ce",[],"She initially began her studies at ZHdK in Transdisciplinarity in the Arts and transferred to Aalto University to take the chance of their laboratory resources, allowing her to engage with the Blob on a more hands-on level. Her work explores the intersection of art and science, drawing from her background in design and performance. She has built a network of collaborations from Switzerland to Helsinki and Slovenia, including projects involving the slime mould. Besides she works as a costume designer in the performing arts, contributing to her diverse interests in contemporary culture.",[],{"alt":26903,"asset":26904},"Chiara Alissa Estivariz Lopez",{"_id":26905,"height":26906,"orientation":1474,"ratio":26907,"url":26908,"width":26909},"image-0395fdc6803e0cf57fc92805fd9db6472753b777-2979x2471-jpg",2471,1.2055847834884663,"https://cdn.sanity.io/images/eodip22e/production/0395fdc6803e0cf57fc92805fd9db6472753b777-2979x2471.jpg",2979,{"filterYear":26911},[26912],{"_id":125,"title":128},[26914],{"_type":1138,"label":1142,"url":26915},"https://www.instagram.com/ch_iaara/",{"locations":26917,"other":26920},[26918],{"_id":331,"_type":308,"seo":7,"slug":26919,"title":334},{"_type":9,"current":333},[26921],{"_key":26922,"_type":219,"children":26923,"markDefs":26928,"style":232},"1f83dbce9968",[26924],{"_key":26925,"_type":223,"marks":26926,"text":26927},"46122074df790",[],"Living in Iceland. Working between Finland, Germany, Iceland, Norway, Slovenia and Switzerland.",[],[26930,127],"chiara alissa estivariz lopez",{"_type":9,"current":26932},"chiara-alissa-estivariz-lopez",{"_id":26934,"_type":1078,"activeYears":26935,"bio":26938,"bioShort":26946,"featuredImage":7,"filterables":26947,"links":7,"locations":7,"searchables":26950,"seo":7,"slug":26952,"title":26954},"e9ac5c82-9536-4992-9812-ec6613586f0a",[26936],{"_id":125,"_type":99,"seo":7,"slug":26937,"title":128},{"_type":9,"current":127},[26939],{"_key":26940,"_type":219,"children":26941,"markDefs":26945,"style":232},"53079543a6fd",[26942],{"_key":26943,"_type":223,"marks":26944,"text":12647},"b7c0556928a60",[],[],"Siu Hei is a theatre director from Hong Kong, and currently studying his masters in dramaturgy in Zurich University of the Arts.",{"filterYear":26948},[26949],{"_id":125,"title":128},[26951,127],"siu hei",{"_type":9,"current":26953},"siu-hei","Siu Hei",{"alt":26956,"asset":26957},"School of Commons - Participating the Participatory",{"_id":26958,"height":4853,"orientation":1474,"ratio":24913,"url":26959,"width":12654},"image-f7d32b4f9d39e5666f549be01028d491cd31b8a7-2560x1536-jpg","https://cdn.sanity.io/images/eodip22e/production/f7d32b4f9d39e5666f549be01028d491cd31b8a7-2560x1536.jpg",{"filterCategory":26961,"filterLocation":26963,"filterYear":26965},[26962],{"_id":695,"title":698},[26964],{"_id":331,"title":334},[26966],{"_id":125,"title":128},[],{"locations":26969,"other":7},[26970],{"_id":331,"_type":308,"seo":7,"slug":26971,"title":334},{"_type":9,"current":333},[26973],{"_type":1625,"settings":7,"text":26974},[26975,26983],{"_key":26976,"_type":219,"children":26977,"markDefs":26982,"style":232},"769605a34d7d",[26978],{"_key":26979,"_type":223,"marks":26980,"text":26981},"3846ffeaa742",[],"Our research will seek to understand how researchers can benefit from the cross-cultural exchange, cross-disciplinary collaboration, decolonial and intersectional feminist pedagogies. Today many institutions foster and emphasize the importance of inclusive learning environments, but the question of how this inclusiveness is being manifested within their research practice remains largely unexplored. Participatory design of research seems to provide an answer across a variety of disciplines from academic research to community art projects. While many institutions share manuals on tools, methods, and techniques for participatory engagement with communities/subjects of study it remains a question how one could adopt techniques and methodologies he/she is used to working within the context of a given community. ",[],{"_key":26984,"_type":219,"children":26985,"markDefs":26990,"style":232},"9253036ab3a4",[26986],{"_key":26987,"_type":223,"marks":26988,"text":26989},"a63b6a6a1599",[],"So, the research process within this group will revolve around the meaning, power, and potential of different participation techniques to create a common space and ensure inclusiveness.",[],[26992,27000],{"_key":26993,"_type":219,"children":26994,"markDefs":26999,"style":232},"b9a732bd745a",[26995],{"_key":26996,"_type":223,"marks":26997,"text":26998},"39da425db8be0",[],"Is there such a thing as pre-research for participatory method design? If yes, what does this process entail? ",[],{"_key":27001,"_type":219,"children":27002,"markDefs":27007,"style":232},"ce48d3ac9238",[27003],{"_key":27004,"_type":223,"marks":27005,"text":27006},"3c2f03f2612f",[],"How a truly inclusive participatory research can make a room for the missing voices and narratives and reflect the multitude of diverse and diverging backgrounds?",[],[27009,127,333,26831,26876,26930,26951,27010,697],"participating the participatory","our research will seek to understand how researchers can benefit from the cross-cultural exchange, cross-disciplinary collaboration, decolonial and intersectional feminist pedagogies. today many institutions foster and emphasize the importance of inclusive learning environments, but the question of how this inclusiveness is being manifested within their research practice remains largely unexplored. participatory design of research seems to provide an answer across a variety of disciplines from academic research to community art projects. while many institutions share manuals on tools, methods, and techniques for participatory engagement with communities/subjects of study it remains a question how one could adopt techniques and methodologies he/she is used to working within the context of a given community. \n\nso, the research process within this group will revolve around the meaning, power, and potential of different participation techniques to create a common space and ensure inclusiveness.",{"_type":9,"current":27012},"participating-the-participatory","Participating the Participatory",{"_id":27015,"_type":1027,"categories":27016,"credits":27023,"featuredImage":27054,"filterables":27062,"footnotes":27070,"locations":27071,"logbook":7,"pageBuilder":27075,"researchQuestion":27433,"researchQuestions":7,"searchables":27449,"seo":7,"slug":27453,"title":27455,"year":128},"a22ab1ca-c2ef-4a14-a947-5db3fa530f3f",[27017,27020],{"_id":710,"_type":362,"colorPrimary":27018,"seo":7,"slug":27019,"title":713},{"label":1031,"value":10359},{"_type":9,"current":712},{"_id":805,"_type":362,"colorPrimary":27021,"seo":7,"slug":27022,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"other":7,"profiles":27024},[27025],{"_id":27026,"_type":1078,"activeYears":27027,"bio":27030,"bioShort":27038,"featuredImage":7,"filterables":27039,"links":27042,"locations":27045,"searchables":27049,"seo":7,"slug":27051,"title":27053},"8b1c789b-0a11-4f53-84ee-866bed75a2b5",[27028],{"_id":125,"_type":99,"seo":7,"slug":27029,"title":128},{"_type":9,"current":127},[27031],{"_key":27032,"_type":219,"children":27033,"markDefs":27037,"style":232},"0a192ce91036",[27034],{"_key":27035,"_type":223,"marks":27036,"text":12647},"a62e530aaf74",[],[],"Charlotte likes to zoom in too closely and is fascinated by stuff she finds online.",{"filterYear":27040},[27041],{"_id":125,"title":128},[27043],{"_type":1138,"label":1139,"url":27044},"https://charlottefriedli.com/",{"locations":27046,"other":7},[27047],{"_id":331,"_type":308,"seo":7,"slug":27048,"title":334},{"_type":9,"current":333},[27050,127],"charlotte friedli",{"_type":9,"current":27052},"charlotte-friedli","Charlotte Friedli",{"alt":27055,"asset":27056},"School of Commons -Profound Procrastination",{"_id":27057,"height":27058,"orientation":1129,"ratio":27059,"url":27060,"width":27061},"image-19fe0b275ae82fd169848fc5fca38a3d4ca6fce8-572x785-jpg",785,0.7286624203821656,"https://cdn.sanity.io/images/eodip22e/production/19fe0b275ae82fd169848fc5fca38a3d4ca6fce8-572x785.jpg",572,{"filterCategory":27063,"filterLocation":27066,"filterYear":27068},[27064,27065],{"_id":710,"title":713},{"_id":805,"title":808},[27067],{"_id":331,"title":334},[27069],{"_id":125,"title":128},[],{"locations":27072,"other":7},[27073],{"_id":331,"_type":308,"seo":7,"slug":27074,"title":334},{"_type":9,"current":333},[27076,27185,27259],{"_type":1625,"settings":7,"text":27077},[27078,27086,27094,27102,27147],{"_key":27079,"_type":219,"children":27080,"markDefs":27085,"style":232},"9b8884e946fb",[27081],{"_key":27082,"_type":223,"marks":27083,"text":27084},"9afa986b2af4",[],"The boundary between production and consumption is increasingly dissolving in current technological and cultural conditions. The meaning of producer and consumer is also changing. In what way are we productive when we post a meme or read an article or comment on it? Is scrolling on instagram and sharing our data, therefore generating money, equal to being productive? The shift in the classic user role redefines the understanding of the self, as a working self, as a productive self, as a consuming self. What value do my activities have?",[],{"_key":27087,"_type":219,"children":27088,"markDefs":27093,"style":232},"067c5b6aff5b",[27089],{"_key":27090,"_type":223,"marks":27091,"text":27092},"a825086316c5",[],"The economic and social pressure to be productive does not seem to be weakening. Instead, the phenomenon of procrastination, the postponement of pending tasks, has been receiving remarkable attention online and offline for several years. Procrastination is not a passive state, nor is it similar to indulgence. Talking and laughing about our procrastination only scratches the surface of a deeper question about working in our time, especially in creative or academic fields.",[],{"_key":27095,"_type":219,"children":27096,"markDefs":27101,"style":232},"b4744953bfde",[27097],{"_key":27098,"_type":223,"marks":27099,"text":27100},"65aef7a83ab8",[],"How do we make the distinction between high-value and low-value products and activities? To what extent do these categories even exist? How does our self-worth correlate with the value we place on the products we consume or produce?",[],{"_key":27103,"_type":219,"children":27104,"markDefs":27140,"style":232},"ddadbc5f038d",[27105,27109,27113,27118,27122,27127,27131,27136],{"_key":27106,"_type":223,"marks":27107,"text":27108},"be126aebee11",[1559,225],"“not reading bookclub”",{"_key":27110,"_type":223,"marks":27111,"text":27112},"f1beba4cf01e",[],"\nI developed an interest in how scientific theories are used on social media platforms. I observe an active community that engages online with texts and positions from standard works and communicates them in the form of memes. The humorous appropriation of sophisticated theories challenges the sovereignty of classic academic discourse and makes this knowledge available and shareable. Channels like ",{"_key":27114,"_type":223,"marks":27115,"text":27117},"ca559b1b4c0c",[27116],"bf2380286c6f","@ripannanicolesmith",{"_key":27119,"_type":223,"marks":27120,"text":27121},"9b86b0a39ee8",[]," on instagram and ",{"_key":27123,"_type":223,"marks":27124,"text":27126},"f333cfc62a53",[27125],"e29714aebb55","Contrapoints",{"_key":27128,"_type":223,"marks":27129,"text":27130},"3a2ebbd7ee4d",[]," on youtube maintain a decidedly critical stance toward the exclusivity of academic discourse. Other channels like ",{"_key":27132,"_type":223,"marks":27133,"text":27135},"9e0a447afb2d",[27134],"3750b560aa79","@booksididnt",{"_key":27137,"_type":223,"marks":27138,"text":27139},"c15507f1bedf",[]," humorously question the necessity of reading original texts at all. This stimulates interesting discussions about the position of science, the role of researchers and the accessibility of scientific texts.",[27141,27143,27145],{"_key":27116,"_type":249,"href":27142},"https://www.instagram.com/ripannanicolesmith/",{"_key":27125,"_type":249,"href":27144},"https://www.youtube.com/user/ContraPoints",{"_key":27134,"_type":249,"href":27146},"https://www.instagram.com/booksididnt/",{"_key":27148,"_type":219,"children":27149,"markDefs":27180,"style":232},"b4d1d689204e",[27150,27154,27158,27162,27167,27171,27176],{"_key":27151,"_type":223,"marks":27152,"text":27153},"ca249e01a529",[],"\nWith the @intraactions project I engage with the text ",{"_key":27155,"_type":223,"marks":27156,"text":27157},"99f5e7bf0091",[1559],"On Touching – The Inhumane That Therefore I Am",{"_key":27159,"_type":223,"marks":27160,"text":27161},"1adf269f1650",[]," by Karen Barad. I approach the complex text and mediate it through the Instagram account ",{"_key":27163,"_type":223,"marks":27164,"text":27166},"e16fe41ea4ea",[27165],"a3980505855e","@intraactions",{"_key":27168,"_type":223,"marks":27169,"text":27170},"6242e87722f2",[],". A dialogue is created between found Instagram captions with the hashtag ",{"_key":27172,"_type":223,"marks":27173,"text":27175},"2a5c4378657e",[27174],"8d1825f1e04c","#mirrorselfie",{"_key":27177,"_type":223,"marks":27178,"text":27179},"ccdf167ece75",[]," and excerpts from Barad’s text. A contact is established between two supposedly distant universes. In both universes, social media and academia, certain cultural codes prevail, manifesting in different vernaculars. With @intraactions I lift the sentences out of their context and create a new environment in which the artifacts appear equal. Motivational quotes, everyday philosophies, etymological investigations and physical theories gather in a chimerical narrative.",[27181,27183],{"_key":27165,"_type":249,"href":27182},"https://www.instagram.com/intraactions/",{"_key":27174,"_type":249,"href":27184},"https://www.instagram.com/explore/tags/mirrorselfie/",{"_type":2894,"slides":27186},[27187,27206,27224,27241],{"_type":1621,"caption":27188,"image":27199},[27189],{"_key":27190,"_type":219,"children":27191,"markDefs":27196,"style":232},"b05318680ad1",[27192],{"_key":27193,"_type":223,"marks":27194,"text":27166},"773f22fe4d720",[27195],"80ca77c75dc9",[27197],{"_key":27195,"_type":249,"href":27198},"https://www.instagram.com/intraactions/#",{"alt":7,"asset":27200},{"_id":27201,"height":27202,"orientation":1129,"ratio":27203,"url":27204,"width":27205},"image-a3e04630cbae5dd80db1a4b42be66963259d5e7a-95x147-jpg",147,0.6462585034013606,"https://cdn.sanity.io/images/eodip22e/production/a3e04630cbae5dd80db1a4b42be66963259d5e7a-95x147.jpg",95,{"_type":1621,"caption":27207,"image":27217},[27208],{"_key":27209,"_type":219,"children":27210,"markDefs":27215,"style":232},"50d56c6aecdf",[27211],{"_key":27212,"_type":223,"marks":27213,"text":27166},"733ed8f1caf4",[27214],"5ad39f0faf06",[27216],{"_key":27214,"_type":249,"href":27198},{"alt":7,"asset":27218},{"_id":27219,"height":27220,"orientation":1129,"ratio":27221,"url":27222,"width":27223},"image-299e422f99bc9c5ed556938be48242c1821c7971-64x94-jpg",94,0.6808510638297872,"https://cdn.sanity.io/images/eodip22e/production/299e422f99bc9c5ed556938be48242c1821c7971-64x94.jpg",64,{"_type":1621,"caption":27225,"image":27235},[27226],{"_key":27227,"_type":219,"children":27228,"markDefs":27233,"style":232},"580294da63d7",[27229],{"_key":27230,"_type":223,"marks":27231,"text":27166},"cdcc9b6f70e8",[27232],"e65734188928",[27234],{"_key":27232,"_type":249,"href":27198},{"alt":7,"asset":27236},{"_id":27237,"height":27238,"orientation":1129,"ratio":2920,"url":27239,"width":27240},"image-e028976d9b3eb2fb04bfb9a2b230f66f3e78fc3f-69x92-jpg",92,"https://cdn.sanity.io/images/eodip22e/production/e028976d9b3eb2fb04bfb9a2b230f66f3e78fc3f-69x92.jpg",69,{"_type":1621,"caption":27242,"image":27252},[27243],{"_key":27244,"_type":219,"children":27245,"markDefs":27250,"style":232},"586c15f2847d",[27246],{"_key":27247,"_type":223,"marks":27248,"text":27166},"b4bf9872cb6b",[27249],"94813951b9af",[27251],{"_key":27249,"_type":249,"href":27198},{"alt":7,"asset":27253},{"_id":27254,"height":27255,"orientation":1129,"ratio":27256,"url":27257,"width":27258},"image-9cb20b792ae900ef26ebb4d4e8403859c562c10d-99x139-jpg",139,0.7122302158273381,"https://cdn.sanity.io/images/eodip22e/production/9cb20b792ae900ef26ebb4d4e8403859c562c10d-99x139.jpg",99,{"_type":1625,"settings":7,"text":27260},[27261,27269,27277,27285,27293,27301,27309,27316,27324,27331,27339,27347,27355,27362,27370,27377,27385,27393,27401,27409,27418,27425],{"_key":27262,"_type":219,"children":27263,"markDefs":27268,"style":3660},"e658f0fb424d",[27264],{"_key":27265,"_type":223,"marks":27266,"text":27267},"325725019de9",[],"#mirrorselfie\n",[],{"_key":27270,"_type":219,"children":27271,"markDefs":27276,"style":232},"1c4ab9131bbb",[27272],{"_key":27273,"_type":223,"marks":27274,"text":27275},"31c6a9de8ebc",[],"I click the magnifying glass.",[],{"_key":27278,"_type":219,"children":27279,"markDefs":27284,"style":232},"629e591dfdf2",[27280],{"_key":27281,"_type":223,"marks":27282,"text":27283},"a654af62c87c0",[],"I type in #mirrorselfie.",[],{"_key":27286,"_type":219,"children":27287,"markDefs":27292,"style":232},"dda2cec8913f",[27288],{"_key":27289,"_type":223,"marks":27290,"text":27291},"173367e5fceb0",[],"An endless grid of people standing, laying, squatting and posing in front of a mirror.",[],{"_key":27294,"_type":219,"children":27295,"markDefs":27300,"style":232},"3228acf34f33",[27296],{"_key":27297,"_type":223,"marks":27298,"text":27299},"56c03def5b790",[],"Mirrorselfies are self-portraits. They reveal the process behind the picture and what camera was used. They show what the person sees. You can see their rooms, their mess in the back, the places they shop and where they cut their hair.",[],{"_key":27302,"_type":219,"children":27303,"markDefs":27308,"style":232},"0bbec1f62244",[27304],{"_key":27305,"_type":223,"marks":27306,"text":27307},"0517762da2c20",[],"Some people look in the mirror at their own reflection, some people look at the image on their phone.",[],{"_key":27310,"_type":219,"children":27311,"markDefs":27315,"style":232},"9ca7532c7523",[27312],{"_key":27313,"_type":223,"marks":27314,"text":1405},"2e0d0bac146d0",[],[],{"_key":27317,"_type":219,"children":27318,"markDefs":27323,"style":232},"f2f3788b3800",[27319],{"_key":27320,"_type":223,"marks":27321,"text":27322},"03f2c36026610",[],"These pictures feel really personal.",[],{"_key":27325,"_type":219,"children":27326,"markDefs":27330,"style":232},"f2ea3cc893ef",[27327],{"_key":27328,"_type":223,"marks":27329,"text":1405},"b6d81fbd8e920",[],[],{"_key":27332,"_type":219,"children":27333,"markDefs":27338,"style":232},"4148831db35a",[27334],{"_key":27335,"_type":223,"marks":27336,"text":27337},"38f23e1ca1400",[],"I think about how they took this picture. How they took five, twenty or sixty minutes looking at themselves, changing their pose, switching on the light, opening the curtains, switching off the light, ruffling their fringe, opening their mouths, lifting their shirts, hating their teeth, liking their lips, thinking about who’s going to see this, who is going to like it, how weird they look, wondering how others see them, wondering if this picture is the right image",[],{"_key":27340,"_type":219,"children":27341,"markDefs":27346,"style":232},"eda4d41a35fb",[27342],{"_key":27343,"_type":223,"marks":27344,"text":27345},"89577533f5740",[],"– reflecting.",[],{"_key":27348,"_type":219,"children":27349,"markDefs":27354,"style":232},"6353820aaeba",[27350],{"_key":27351,"_type":223,"marks":27352,"text":27353},"280a06787b4b0",[],"It is interesting how we hold our phones when we take a picture. Because we have to click the button with our thumb and the phones are so big, most of us have to spread our fingers in this very specific way. It is similar to the way we hold a wine glass if we want to look casually sexy.",[],{"_key":27356,"_type":219,"children":27357,"markDefs":27361,"style":232},"02cad1f9a66c",[27358],{"_key":27359,"_type":223,"marks":27360,"text":1405},"615e7ad33d8d0",[],[],{"_key":27363,"_type":219,"children":27364,"markDefs":27369,"style":232},"d128c8a00ca3",[27365],{"_key":27366,"_type":223,"marks":27367,"text":27368},"33e7e8a9e13b0",[],"That’s how we end up covering the apple with our fingers.",[],{"_key":27371,"_type":219,"children":27372,"markDefs":27376,"style":232},"b8e261be6666",[27373],{"_key":27374,"_type":223,"marks":27375,"text":1405},"7cb8e5735eff0",[],[],{"_key":27378,"_type":219,"children":27379,"markDefs":27384,"style":232},"5971b5f171d4",[27380],{"_key":27381,"_type":223,"marks":27382,"text":27383},"eef8992c05b10",[],"I take a screenshot. I zoom in and crop it.",[],{"_key":27386,"_type":219,"children":27387,"markDefs":27392,"style":232},"ee800b2f3a26",[27388],{"_key":27389,"_type":223,"marks":27390,"text":27391},"50ea546514c00",[],"You can only see the fingers and the logo now.",[],{"_key":27394,"_type":219,"children":27395,"markDefs":27400,"style":232},"8bc3999d95a4",[27396],{"_key":27397,"_type":223,"marks":27398,"text":27399},"99b9554f95740",[],"The person in the mirror behind the phone and the room disappear. The context and the story get lost by my crop.",[],{"_key":27402,"_type":219,"children":27403,"markDefs":27408,"style":232},"6adcbc0cecb0",[27404],{"_key":27405,"_type":223,"marks":27406,"text":27407},"631255fbbf9f0",[],"I don’t ask the people if I can use their mirrorselfie. I just take them, save them, use them, make them my own.",[],{"_key":27410,"_type":219,"children":27411,"markDefs":27416,"style":232},"e0da4211b22c",[27412],{"_key":27413,"_type":223,"marks":27414,"text":27166},"295642bcbdb30",[27415],"d67841e92b7d",[27417],{"_key":27415,"_type":249,"href":27182},{"_key":27419,"_type":219,"children":27420,"markDefs":27424,"style":232},"f9b97977fd3b",[27421],{"_key":27422,"_type":223,"marks":27423,"text":1405},"094c6ca579200",[],[],{"_key":27426,"_type":219,"children":27427,"markDefs":27432,"style":232},"85c672e91d74",[27428],{"_key":27429,"_type":223,"marks":27430,"text":27431},"9175fa5cdb800",[],"In the end their reflection is just a pile of pixels.",[],[27434,27442],{"_key":27435,"_type":219,"children":27436,"markDefs":27441,"style":232},"f642aca57511",[27437],{"_key":27438,"_type":223,"marks":27439,"text":27440},"2baa912150e3",[],"In what way are we productive when we post a meme or read an article or comment on it? \n\nIs scrolling on instagram and sharing our data, therefore generating money, equal to being productive? \n\nThe shift in the classic user role redefines the understanding of the self, as a working self, as a productive self, as a consuming self. What value do my activities have?",[],{"_key":27443,"_type":219,"children":27444,"markDefs":27448,"style":232},"5d2bd67950e8",[27445],{"_key":27446,"_type":223,"marks":27447,"text":1405},"fe93a0f91e8e",[],[],[27450,127,333,27050,27451,27452,10689,807],"profound procrastination","the boundary between production and consumption is increasingly dissolving in current technological and cultural conditions. the meaning of producer and consumer is also changing. in what way are we productive when we post a meme or read an article or comment on it? is scrolling on instagram and sharing our data, therefore generating money, equal to being productive? the shift in the classic user role redefines the understanding of the self, as a working self, as a productive self, as a consuming self. what value do my activities have?\n\nthe economic and social pressure to be productive does not seem to be weakening. instead, the phenomenon of procrastination, the postponement of pending tasks, has been receiving remarkable attention online and offline for several years. procrastination is not a passive state, nor is it similar to indulgence. talking and laughing about our procrastination only scratches the surface of a deeper question about working in our time, especially in creative or academic fields.\n\nhow do we make the distinction between high-value and low-value products and activities? to what extent do these categories even exist? how does our self-worth correlate with the value we place on the products we consume or produce?\n\n“not reading bookclub”\ni developed an interest in how scientific theories are used on social media platforms. i observe an active community that engages online with texts and positions from standard works and communicates them in the form of memes. the humorous appropriation of sophisticated theories challenges the sovereignty of classic academic discourse and makes this knowledge available and shareable. channels like @ripannanicolesmith on instagram and contrapoints on youtube maintain a decidedly critical stance toward the exclusivity of academic discourse. other channels like @booksididnt humorously question the necessity of reading original texts at all. this stimulates interesting discussions about the position of science, the role of researchers and the accessibility of scientific texts.\n\n\nwith the @intraactions project i engage with the text on touching – the inhumane that therefore i am by karen barad. i approach the complex text and mediate it through the instagram account @intraactions. a dialogue is created between found instagram captions with the hashtag #mirrorselfie and excerpts from barad’s text. a contact is established between two supposedly distant universes. in both universes, social media and academia, certain cultural codes prevail, manifesting in different vernaculars. with @intraactions i lift the sentences out of their context and create a new environment in which the artifacts appear equal. motivational quotes, everyday philosophies, etymological investigations and physical theories gather in a chimerical narrative.","#mirrorselfie\n\n\ni click the magnifying glass.\n\ni type in #mirrorselfie.\n\nan endless grid of people standing, laying, squatting and posing in front of a mirror.\n\nmirrorselfies are self-portraits. they reveal the process behind the picture and what camera was used. they show what the person sees. you can see their rooms, their mess in the back, the places they shop and where they cut their hair.\n\nsome people look in the mirror at their own reflection, some people look at the image on their phone.\n\n\n\nthese pictures feel really personal.\n\n\n\ni think about how they took this picture. how they took five, twenty or sixty minutes looking at themselves, changing their pose, switching on the light, opening the curtains, switching off the light, ruffling their fringe, opening their mouths, lifting their shirts, hating their teeth, liking their lips, thinking about who’s going to see this, who is going to like it, how weird they look, wondering how others see them, wondering if this picture is the right image\n\n– reflecting.\n\nit is interesting how we hold our phones when we take a picture. because we have to click the button with our thumb and the phones are so big, most of us have to spread our fingers in this very specific way. it is similar to the way we hold a wine glass if we want to look casually sexy.\n\n\n\nthat’s how we end up covering the apple with our fingers.\n\n\n\ni take a screenshot. i zoom in and crop it.\n\nyou can only see the fingers and the logo now.\n\nthe person in the mirror behind the phone and the room disappear. the context and the story get lost by my crop.\n\ni don’t ask the people if i can use their mirrorselfie. i just take them, save them, use them, make them my own.\n\n@intraactions\n\n\n\nin the end their reflection is just a pile of pixels.",{"_type":9,"current":27454},"profound-procrastination","Profound Procrastination",{"_id":27457,"_type":1027,"categories":27458,"credits":27462,"featuredImage":27553,"filterables":27560,"footnotes":27567,"locations":27568,"logbook":7,"pageBuilder":27572,"researchQuestion":27603,"researchQuestions":7,"searchables":27628,"seo":7,"slug":27633,"title":27554,"year":128},"bd01c427-d974-4bd8-a191-43ff7e95b4e3",[27459],{"_id":695,"_type":362,"colorPrimary":27460,"seo":7,"slug":27461,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":27463,"profiles":27472},[27464],{"_key":27465,"_type":219,"children":27466,"markDefs":27471,"style":232},"46046681b74e",[27467],{"_key":27468,"_type":223,"marks":27469,"text":27470},"a1fa1e0f85b00",[],"Domenico Ermanno Roberti",[],[27473,27518],{"_id":27474,"_type":1078,"activeYears":27475,"bio":27478,"bioShort":27487,"featuredImage":27488,"filterables":27493,"links":27496,"locations":27501,"searchables":27514,"seo":7,"slug":27516,"title":27489},"21ecadfb-4c36-4e0c-a92a-e082990e8b7a",[27476],{"_id":125,"_type":99,"seo":7,"slug":27477,"title":128},{"_type":9,"current":127},[27479],{"_key":27480,"_type":219,"children":27481,"markDefs":27486,"style":232},"eb1ae0b016e6",[27482],{"_key":27483,"_type":223,"marks":27484,"text":27485},"a44c847ea11f0",[],"Drawing inspiration from their Mapuche identity, they use it as a foundation to reflect on both personal and contextual aspects, delving into historical, political, and social dimensions. They have collaborated with numerous artistic projects and groups both in South America as in Europe such as the artistic collective trop cher to share, historian and curator Jose Cáceres, with whom they initiated the curatorial project School of the Forest, and the Mapuche collective Rangiñtulewfü, which gave birth to the digital magazine Yene. Paula Baeza Pailamilla is a fellow of Eyebeams Democracy Machine Scholarship and has been invited to residencies in Germany and Sweden, the latter at Iaspis International Programme for Visual and Applied Arts in Stockholm. Their work is part of several collections, including the Museum Ludwig in Cologne, Germany, and the Museo Nacional de Bellas Artes in Santiago de Chile.",[],"Paula is a queer mapuche artist who works with performance, textile practices and audiovisual formats. ",{"alt":27489,"asset":27490},"Paula Baeza Pailamilla",{"_id":27491,"height":4201,"orientation":1474,"ratio":3344,"url":27492,"width":2394},"image-3974d662b9a74ca161442946535e8ffe1fe616eb-1280x960-jpg","https://cdn.sanity.io/images/eodip22e/production/3974d662b9a74ca161442946535e8ffe1fe616eb-1280x960.jpg",{"filterYear":27494},[27495],{"_id":125,"title":128},[27497,27499],{"_type":1138,"label":1139,"url":27498},"https://paulabaezapailamilla.wordpress.com/",{"_type":1138,"label":1142,"url":27500},"https://www.instagram.com/paula_baeza_pailamilla/",{"locations":27502,"other":27505},[27503],{"_id":331,"_type":308,"seo":7,"slug":27504,"title":334},{"_type":9,"current":333},[27506],{"_key":27507,"_type":219,"children":27508,"markDefs":27513,"style":232},"6f9ad4fe3806",[27509],{"_key":27510,"_type":223,"marks":27511,"text":27512},"87b3eb43dc020",[],"From Wallmapu, based in Switzerland",[],[27515,127],"paula baeza pailamilla",{"_type":9,"current":27517},"paula-baeza-pailamilla",{"_id":27519,"_type":1078,"activeYears":27520,"bio":27525,"bioShort":27533,"featuredImage":7,"filterables":27534,"links":27538,"locations":27544,"searchables":27548,"seo":7,"slug":27550,"title":27552},"18b6d940-6f76-4a4f-9a45-f74c819ce6f5",[27521,27523],{"_id":130,"_type":99,"seo":7,"slug":27522,"title":133},{"_type":9,"current":132},{"_id":125,"_type":99,"seo":7,"slug":27524,"title":128},{"_type":9,"current":127},[27526],{"_key":27527,"_type":219,"children":27528,"markDefs":27532,"style":232},"b08a836ad1da",[27529],{"_key":27530,"_type":223,"marks":27531,"text":12647},"86256088be860",[],[],"Independent Curator.",{"filterYear":27535},[27536,27537],{"_id":130,"title":133},{"_id":125,"title":128},[27539,27541],{"_type":1138,"label":1139,"url":27540},"https://josecaceres.ch/",{"_type":1138,"label":27542,"url":27543},"VOLUMES Archive","https://www.volumeszurich.ch/archive",{"locations":27545,"other":7},[27546],{"_id":331,"_type":308,"seo":7,"slug":27547,"title":334},{"_type":9,"current":333},[27549,132,127],"jose cáceres mardones",{"_type":9,"current":27551},"jose-caceres-mardones","Jose Cáceres Mardones",{"alt":27554,"asset":27555},"School Of The Forest",{"_id":27556,"height":27557,"orientation":1129,"ratio":5168,"url":27558,"width":27559},"image-62748415a5fcc766dc5f42787377c9ee71279722-560x700-jpg",700,"https://cdn.sanity.io/images/eodip22e/production/62748415a5fcc766dc5f42787377c9ee71279722-560x700.jpg",560,{"filterCategory":27561,"filterLocation":27563,"filterYear":27565},[27562],{"_id":695,"title":698},[27564],{"_id":331,"title":334},[27566],{"_id":125,"title":128},[],{"locations":27569,"other":7},[27570],{"_id":331,"_type":308,"seo":7,"slug":27571,"title":334},{"_type":9,"current":333},[27573,27583,27585],{"_type":1625,"settings":7,"text":27574},[27575],{"_key":27576,"_type":219,"children":27577,"markDefs":27582,"style":232},"a746392b6141",[27578],{"_key":27579,"_type":223,"marks":27580,"text":27581},"b12d5fe3f9000",[],"School of the Forest is a process- and research-based project that aims to create a fragmentary, decentralized, and horizontal framework to produce and exchange knowledge about, within, and with the forest. School of the Forest would converge in Sihlwald, a forest situated outside of Zurich. The production of knowledge should create a new set of understandings of the idea of the Sihlwald as a demarcated territory and denominated “nature space” by humans. On the contrary, the forest will be a site and an actor in the project. Where does the forest begin and end? What does a forest embrace? Why does the forest matter?",[],{"_type":8326,"caption":7,"embedCode":27584},"\u003Ciframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/C__nUbNb47o?si=3K3_LWUNuCZAMw6Y\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003C/iframe>",{"_type":1625,"settings":7,"text":27586},[27587,27595],{"_key":27588,"_type":219,"children":27589,"markDefs":27594,"style":232},"fdf560af450d",[27590],{"_key":27591,"_type":223,"marks":27592,"text":27593},"24d6cf3f52f00",[],"The goal is to decentralize the (human) experience of the forest from a decolonial, feminist, and non-anthropocentric perspective. The project activities are inspired by promenadology (Lucius Burckhardt), the act of perceiving through walking. On the one side, they would aim to go beyond the culture/nature dichotomy and reframe the possibility of our experience of “being-in-the-nature” and “being-with-the-nature” itself – to a large extent: How can we perceive and understand the forest? On the other side, we would like to tackle the question: What can we learn from the forest? We should advance towards un-learning systems of knowledge that objectivize and facilitate the subjugation of nature and accordingly towards new learning processes based on relationships with the forest’s lifeforms.",[],{"_key":27596,"_type":219,"children":27597,"markDefs":27602,"style":232},"f8f87a95e50a",[27598],{"_key":27599,"_type":223,"marks":27600,"text":27601},"23685cdc22060",[],"In this regard, the project focuses on an equilibrium between human and nonhuman life through a relational agency within Sihlwald. It aims to provide new forms of post-anthropocentric organization and knowledge. Taking the Mapuche concept of itrofill mongen [all the lives without exception] as a point of departure, the project recognizes the vitality of things, nonhuman agents, and beyond opening up the plurality of agency in our lives and transforming our knowledges, experiences, and practices.",[],[27604,27612,27620],{"_key":27605,"_type":219,"children":27606,"markDefs":27611,"style":232},"eecccdab14ad",[27607],{"_key":27608,"_type":223,"marks":27609,"text":27610},"760799bfb147",[],"Where does the forest begin and end? ",[],{"_key":27613,"_type":219,"children":27614,"markDefs":27619,"style":232},"2ea5227817f3",[27615],{"_key":27616,"_type":223,"marks":27617,"text":27618},"dc090cd83111",[],"What does a forest embrace? ",[],{"_key":27621,"_type":219,"children":27622,"markDefs":27627,"style":232},"8f8febbf052b",[27623],{"_key":27624,"_type":223,"marks":27625,"text":27626},"bf2d87c1bdb5",[],"Why does the forest matter?",[],[27629,127,333,27515,27549,27630,27631,27632,697],"school of the forest","domenico ermanno roberti","school of the forest is a process- and research-based project that aims to create a fragmentary, decentralized, and horizontal framework to produce and exchange knowledge about, within, and with the forest. school of the forest would converge in sihlwald, a forest situated outside of zurich. the production of knowledge should create a new set of understandings of the idea of the sihlwald as a demarcated territory and denominated “nature space” by humans. on the contrary, the forest will be a site and an actor in the project. where does the forest begin and end? what does a forest embrace? why does the forest matter?","the goal is to decentralize the (human) experience of the forest from a decolonial, feminist, and non-anthropocentric perspective. the project activities are inspired by promenadology (lucius burckhardt), the act of perceiving through walking. on the one side, they would aim to go beyond the culture/nature dichotomy and reframe the possibility of our experience of “being-in-the-nature” and “being-with-the-nature” itself – to a large extent: how can we perceive and understand the forest? on the other side, we would like to tackle the question: what can we learn from the forest? we should advance towards un-learning systems of knowledge that objectivize and facilitate the subjugation of nature and accordingly towards new learning processes based on relationships with the forest’s lifeforms.\n\nin this regard, the project focuses on an equilibrium between human and nonhuman life through a relational agency within sihlwald. it aims to provide new forms of post-anthropocentric organization and knowledge. taking the mapuche concept of itrofill mongen [all the lives without exception] as a point of departure, the project recognizes the vitality of things, nonhuman agents, and beyond opening up the plurality of agency in our lives and transforming our knowledges, experiences, and practices.",{"_type":9,"current":27634},"school-of-the-forest",{"_id":27636,"_type":1027,"categories":27637,"credits":27657,"featuredImage":27701,"filterables":27706,"footnotes":27718,"locations":27719,"logbook":7,"pageBuilder":27723,"researchQuestion":27807,"researchQuestions":7,"searchables":27824,"seo":7,"slug":27829,"title":27831,"year":128},"0944aacf-fb11-4b7b-837d-b121882b4f97",[27638,27641,27645,27648,27651,27654],{"_id":810,"_type":362,"colorPrimary":27639,"seo":7,"slug":27640,"title":813},{"label":1031,"value":8792},{"_type":9,"current":812},{"_id":740,"_type":362,"colorPrimary":27642,"seo":7,"slug":27644,"title":743},{"label":1031,"value":27643},"#007878",{"_type":9,"current":742},{"_id":390,"_type":362,"colorPrimary":27646,"seo":7,"slug":27647,"title":393},{"label":1031,"value":9264},{"_type":9,"current":392},{"_id":405,"_type":362,"colorPrimary":27649,"seo":7,"slug":27650,"title":408},{"label":1031,"value":5263},{"_type":9,"current":407},{"_id":555,"_type":362,"colorPrimary":27652,"seo":7,"slug":27653,"title":558},{"label":1031,"value":4977},{"_type":9,"current":557},{"_id":720,"_type":362,"colorPrimary":27655,"seo":7,"slug":27656,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"other":7,"profiles":27658},[27659],{"_id":27660,"_type":1078,"activeYears":27661,"bio":27664,"bioShort":27673,"featuredImage":7,"filterables":27674,"links":27677,"locations":27683,"searchables":27696,"seo":7,"slug":27698,"title":27700},"baff049d-1049-4c24-b3e7-eb496914c195",[27662],{"_id":125,"_type":99,"seo":7,"slug":27663,"title":128},{"_type":9,"current":127},[27665],{"_key":27666,"_type":219,"children":27667,"markDefs":27672,"style":232},"d92c44ec91c5",[27668],{"_key":27669,"_type":223,"marks":27670,"text":27671},"832698359a192",[],"Founder of ARCHIPIELAGO, an interdisciplinary platform for meeting, learning and publication. Research interests and publications focus on the intersections of architecture with visual culture, socio-politics, performing arts and pedagogical processes.",[],"Architect, editor, and cultural project manager. ",{"filterYear":27675},[27676],{"_id":125,"title":128},[27678,27681],{"_type":1138,"label":27679,"url":27680},"ARCHIPIELAGO","https://www.archipielago.education/",{"_type":1138,"label":1142,"url":27682},"https://www.instagram.com/_otarola_/",{"locations":27684,"other":27687},[27685],{"_id":321,"_type":308,"seo":7,"slug":27686,"title":324},{"_type":9,"current":323},[27688],{"_key":27689,"_type":219,"children":27690,"markDefs":27695,"style":232},"36f5638c94f5",[27691],{"_key":27692,"_type":223,"marks":27693,"text":27694},"f404d3c087a2",[],"Based in San Jose, Costa Rica",[],[27697,127],"mauricio otárola",{"_type":9,"current":27699},"mauricio-otarola","Mauricio Otárola",{"alt":27702,"asset":27703},"School of Commons - Slow Blur Gentle",{"_id":27704,"height":4099,"orientation":1474,"ratio":2832,"url":27705,"width":12654},"image-c173eb45bd699057571bfb4f8649b93ad0ea26f1-2560x1440-jpg","https://cdn.sanity.io/images/eodip22e/production/c173eb45bd699057571bfb4f8649b93ad0ea26f1-2560x1440.jpg",{"filterCategory":27707,"filterLocation":27714,"filterYear":27716},[27708,27709,27710,27711,27712,27713],{"_id":810,"title":813},{"_id":740,"title":743},{"_id":390,"title":393},{"_id":405,"title":408},{"_id":555,"title":558},{"_id":720,"title":723},[27715],{"_id":321,"title":324},[27717],{"_id":125,"title":128},[],{"locations":27720,"other":7},[27721],{"_id":321,"_type":308,"seo":7,"slug":27722,"title":324},{"_type":9,"current":323},[27724,27732,27768,27780,27785,27795],{"_type":1621,"caption":7,"image":27725},{"alt":7,"asset":27726},{"_id":27727,"height":27728,"orientation":1474,"ratio":27729,"url":27730,"width":27731},"image-0ed260f745958e05a5e9643e6578d4d0783c6d8a-1370x488-png",488,2.807377049180328,"https://cdn.sanity.io/images/eodip22e/production/0ed260f745958e05a5e9643e6578d4d0783c6d8a-1370x488.png",1370,{"_type":1625,"settings":7,"text":27733},[27734,27752,27760],{"_key":27735,"_type":219,"children":27736,"markDefs":27749,"style":232},"e24b3b5010d9",[27737,27741,27745],{"_key":27738,"_type":223,"marks":27739,"text":27740},"ccccc7ccca07",[],"LAB proposed by ",{"_key":27742,"_type":223,"marks":27743,"text":27679},"3209da165b19",[27744],"da52894b4162",{"_key":27746,"_type":223,"marks":27747,"text":27748},"bfa71c82e20a",[],", a research platform in arts, architecture and education based in Costa Rica, Central America. It aims to experiment with how ideas of slowness, blurriness and gentleness could be transversal methodologies for research, learning and mediation. The project explores two questions. How these concepts could be used as tools for creating learning experiences that sustain a global research group over time? And, How can we articulate rhizomatic de-centralized learning experiences that promote information exchange within the participants and nurture their subjectivities?",[27750],{"_key":27744,"_type":249,"href":27751},"http://www.archipielago.education/",{"_key":27753,"_type":219,"children":27754,"markDefs":27759,"style":232},"ccc0ff0346fc",[27755],{"_key":27756,"_type":223,"marks":27757,"text":27758},"abfb8065850c",[],"For this project, slowness refers to idiorhythmic learning processes that allow the proliferation of subjective tonalities and ways of acting. Blurriness is related to the openness of the learning experience, it is not set in a fixed thematic line but rather in a rhizomatic structure that drifts around related subjects. And finally, gentleness speaks of the tactile aspect of the experience, how it is based on the respect of others time and energy but also active listening of their urgencies and thematic interests. Slow, blur and gentle are both methods of work and conceptual prompts to unfold related research topics, such as ways of production and mediation of knowledge, ways of living, care, community, micropolitics among others.",[],{"_key":27761,"_type":219,"children":27762,"markDefs":27767,"style":232},"62e549fb8905",[27763],{"_key":27764,"_type":223,"marks":27765,"text":27766},"9ce3652ffb60",[],"The project will invite local and international researchers and practitioners in art, architecture and education to engage in a 3 to 5 month learning experience called Diagonal Encounters. The study group will be based on a decentralized methodology in which most of the collective learning process will be developed asynchronous and through the sharing of texts, reading materials, links and prompts between the participants. By allowing them to work in their own time, it will be possible to engage in a more paused communication that can be sustained over time. The outcome of the study group, bibliographical references and methodological prompts will be edited by ARCHIPIELAGO in a digital and printed publication at the end of the process.",[],{"_type":2894,"slides":27769},[27770,27775],{"_type":1621,"caption":7,"image":27771},{"alt":7,"asset":27772},{"_id":27773,"height":12654,"orientation":7818,"ratio":2178,"url":27774,"width":12654},"image-12276e8e7d858bd73af71880b1110fb56ff6fc85-2560x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/12276e8e7d858bd73af71880b1110fb56ff6fc85-2560x2560.jpg",{"_type":1621,"caption":7,"image":27776},{"alt":7,"asset":27777},{"_id":27778,"height":12654,"orientation":7818,"ratio":2178,"url":27779,"width":12654},"image-c091cbd3d2674015bb588549a2ca7fed51a9ae87-2560x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/c091cbd3d2674015bb588549a2ca7fed51a9ae87-2560x2560.jpg",{"_type":1621,"caption":7,"image":27781},{"alt":7,"asset":27782},{"_id":27783,"height":12654,"orientation":7818,"ratio":2178,"url":27784,"width":12654},"image-07390ff4b72438df5ae5ff0bf577638d58b10f0d-2560x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/07390ff4b72438df5ae5ff0bf577638d58b10f0d-2560x2560.jpg",{"_type":1625,"settings":7,"text":27786},[27787],{"_key":27788,"_type":219,"children":27789,"markDefs":27794,"style":232},"9030ea6bbde6",[27790],{"_key":27791,"_type":223,"marks":27792,"text":27793},"499d89b385d2",[],"ARCHIPIELAGO is a project born of the need for innovative and experimental ways of learning, researching and thinking together in the Central American context. It seeks to promote interdisciplinary critical thinking that connects arts, architecture and education with broader social, political and environmental concerns. The motivation that fuels our projects is the question of how can we take a deeper and more critical look at our daily actions and artistical/architectonical practices to connect them with a wider context, evidencing the relationality, externalization and responsibility of our ways of being together, consuming, thinking or living. This is why the projects we propose are mere excuses for collective thinking and encounter, opportunities to take a small pause, reflect and connect distant dots. All of this is done for the pleasure and enjoyment of being and learning together.",[],{"_type":2894,"slides":27796},[27797,27802],{"_type":1621,"caption":7,"image":27798},{"alt":7,"asset":27799},{"_id":27800,"height":12654,"orientation":7818,"ratio":2178,"url":27801,"width":12654},"image-d7ffae26eed3d4217db618c48f922af487526560-2560x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/d7ffae26eed3d4217db618c48f922af487526560-2560x2560.jpg",{"_type":1621,"caption":7,"image":27803},{"alt":7,"asset":27804},{"_id":27805,"height":12654,"orientation":7818,"ratio":2178,"url":27806,"width":12654},"image-ef43ef94d7d32d531ffead978cace45d1e871cf1-2560x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/ef43ef94d7d32d531ffead978cace45d1e871cf1-2560x2560.jpg",[27808,27816],{"_key":27809,"_type":219,"children":27810,"markDefs":27815,"style":232},"e1d83d3993f8",[27811],{"_key":27812,"_type":223,"marks":27813,"text":27814},"58c3038e37490",[],"How these concepts could be used as tools for creating learning experiences that sustain a global research group over time? ",[],{"_key":27817,"_type":219,"children":27818,"markDefs":27823,"style":232},"bc3ccb1f96aa",[27819],{"_key":27820,"_type":223,"marks":27821,"text":27822},"fb1496135a44",[],"How can we articulate rhizomatic de-centralized learning experiences that promote information exchange within the participants and nurture their subjectivities?",[],[27825,127,4694,27697,27826,27827,9256,27828,9748,407,557,722],"slow blur gentle","lab proposed by archipielago, a research platform in arts, architecture and education based in costa rica, central america. it aims to experiment with how ideas of slowness, blurriness and gentleness could be transversal methodologies for research, learning and mediation. the project explores two questions. how these concepts could be used as tools for creating learning experiences that sustain a global research group over time? and, how can we articulate rhizomatic de-centralized learning experiences that promote information exchange within the participants and nurture their subjectivities?\n\nfor this project, slowness refers to idiorhythmic learning processes that allow the proliferation of subjective tonalities and ways of acting. blurriness is related to the openness of the learning experience, it is not set in a fixed thematic line but rather in a rhizomatic structure that drifts around related subjects. and finally, gentleness speaks of the tactile aspect of the experience, how it is based on the respect of others time and energy but also active listening of their urgencies and thematic interests. slow, blur and gentle are both methods of work and conceptual prompts to unfold related research topics, such as ways of production and mediation of knowledge, ways of living, care, community, micropolitics among others.\n\nthe project will invite local and international researchers and practitioners in art, architecture and education to engage in a 3 to 5 month learning experience called diagonal encounters. the study group will be based on a decentralized methodology in which most of the collective learning process will be developed asynchronous and through the sharing of texts, reading materials, links and prompts between the participants. by allowing them to work in their own time, it will be possible to engage in a more paused communication that can be sustained over time. the outcome of the study group, bibliographical references and methodological prompts will be edited by archipielago in a digital and printed publication at the end of the process.","archipielago is a project born of the need for innovative and experimental ways of learning, researching and thinking together in the central american context. it seeks to promote interdisciplinary critical thinking that connects arts, architecture and education with broader social, political and environmental concerns. the motivation that fuels our projects is the question of how can we take a deeper and more critical look at our daily actions and artistical/architectonical practices to connect them with a wider context, evidencing the relationality, externalization and responsibility of our ways of being together, consuming, thinking or living. this is why the projects we propose are mere excuses for collective thinking and encounter, opportunities to take a small pause, reflect and connect distant dots. all of this is done for the pleasure and enjoyment of being and learning together.","minimal viable learning",{"_type":9,"current":27830},"slow-blur-gentle","Slow Blur Gentle",{"_id":27833,"_type":1027,"categories":27834,"credits":27838,"featuredImage":27872,"filterables":27877,"footnotes":27884,"locations":27885,"logbook":27889,"pageBuilder":27904,"researchQuestion":27939,"researchQuestions":7,"searchables":27964,"seo":7,"slug":27968,"title":27970,"year":128},"3a5b1aad-fda4-4fc4-8f39-5fe0a0b13d0f",[27835],{"_id":720,"_type":362,"colorPrimary":27836,"seo":7,"slug":27837,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"other":7,"profiles":27839},[27840],{"_id":27841,"_type":1078,"activeYears":27842,"bio":27845,"bioShort":27854,"featuredImage":7,"filterables":27855,"links":27858,"locations":27863,"searchables":27867,"seo":7,"slug":27869,"title":27871},"b0ea23ba-7506-4d65-8ef5-0c04be440b76",[27843],{"_id":125,"_type":99,"seo":7,"slug":27844,"title":128},{"_type":9,"current":127},[27846],{"_key":27847,"_type":219,"children":27848,"markDefs":27853,"style":232},"e5afdb5fae8b",[27849],{"_key":27850,"_type":223,"marks":27851,"text":27852},"23b8cf551ac30",[],"Her practice includes graphic and object design, with an inclination toward creating relational experiences. During her masters she has been exploring ways of activating simple gestures of care through props, quirky support clubs and a fictional adoption program.",[],"Eleonora is a designer, currently pursuing her Masters in Social Design at DAE, Eindhoven. ",{"filterYear":27856},[27857],{"_id":125,"title":128},[27859,27861],{"_type":1138,"label":1139,"url":27860},"https://etetet.online/",{"_type":1138,"label":1142,"url":27862},"https://www.instagram.com/eleonoratoniolo/",{"locations":27864,"other":7},[27865],{"_id":331,"_type":308,"seo":7,"slug":27866,"title":334},{"_type":9,"current":333},[27868,127],"eleonora toniolo",{"_type":9,"current":27870},"eleonora-toniolo","Eleonora Toniolo",{"alt":27873,"asset":27874},"School of Commons - The Desert it Opposes",{"_id":27875,"height":2831,"orientation":7818,"ratio":2178,"url":27876,"width":2831},"image-f61f07b8fcda87a77f01a16c7ee587fd34e57b22-1080x1080-jpg","https://cdn.sanity.io/images/eodip22e/production/f61f07b8fcda87a77f01a16c7ee587fd34e57b22-1080x1080.jpg",{"filterCategory":27878,"filterLocation":27880,"filterYear":27882},[27879],{"_id":720,"title":723},[27881],{"_id":331,"title":334},[27883],{"_id":125,"title":128},[],{"locations":27886,"other":7},[27887],{"_id":331,"_type":308,"seo":7,"slug":27888,"title":334},{"_type":9,"current":333},[27890],{"_key":27891,"_type":219,"children":27892,"markDefs":27901,"style":232},"71a98f7a7e2f",[27893,27897],{"_key":27894,"_type":223,"marks":27895,"text":27896},"22ca64985517",[],"The Desert it Opposes: ",{"_key":27898,"_type":223,"marks":27899,"text":1139},"39a1ce19ea39",[27900],"2e92e50b8640",[27902],{"_key":27900,"_type":249,"href":27903},"https://thedesertitopposes.xyz/",[27905],{"_type":1625,"settings":7,"text":27906},[27907,27915,27923,27931],{"_key":27908,"_type":219,"children":27909,"markDefs":27914,"style":232},"6cdcf497cd8e",[27910],{"_key":27911,"_type":223,"marks":27912,"text":27913},"bde99d47de3d0",[],"In places of learning, processes of knowledge-sharing often revolve around the mutual transmission of information through verbal language, benefitting good talkers and those who can easily propel conversations. Some inevitably end up occupying the sonic field more than others, voices overlap, and some remain at the margins. In short, everyone has been—implicitly or explicitly—socialised to follow specific protocols of interactions that regulate the interplay of silence and speech among the different participants.",[],{"_key":27916,"_type":219,"children":27917,"markDefs":27922,"style":232},"1e154d3f50bc",[27918],{"_key":27919,"_type":223,"marks":27920,"text":27921},"bdd4b2c2f4bf0",[],"In addition to this, the pandemic has turned communal learning into a bi-dimensional affair: centered on solely two sensual dimensions—visual and aural. The online school (intended as a space to gather) sounds like a lot of talking. On the one hand it leaves the complexity of the body uninvolved, on the other it pushes to maximise time, deeming moments of silence as void and negligible occurrences. Conversely, silence is not a barren territory to contend for, but a concave vessel that allows for meaningful reflections, for careful listening and for the unheard to emerge. As Calvino wrote that “each city receives its form from the desert it opposes,” so is every conversation densely woven by the silences it contrasts. That is, every dialogue is as much constituted of speech as of silence, the latter having as many tones, durations and significances as its verbal counterpart.",[],{"_key":27924,"_type":219,"children":27925,"markDefs":27930,"style":232},"613573967dbc",[27926],{"_key":27927,"_type":223,"marks":27928,"text":27929},"ca0ec759db140",[],"Drafts, scripts, scores: entering a protocol with the awareness of doing so, can make participants question the ones they usually follow. Intentional changes in the protocols that regulate conversation can lead to new outcomes,uncovering the nuances hidden in these silences, in mutual listening, and collective care.",[],{"_key":27932,"_type":219,"children":27933,"markDefs":27938,"style":232},"f2b52c0942cb",[27934],{"_key":27935,"_type":223,"marks":27936,"text":27937},"086967318d190",[],"The research explores the effects of different protocols for listening and how to best translate new scripts into objects and clear instructions. Protocols can function as the rehearsals of new rules by adjusting the impact of silence through duration, rhythm, volume. The protocols also play with what’s already there: the body and how its relative position to others or to the screen influences listening, the camera and the self-consciousness it can create, the microphone and the power of the mute button, and other elements of the interfaces used to communicate digitally. The purpose is to exercise listening through silence and to get everyone within a group to participate to some extent in the conversation. Some leading questions are: How can a physical protocol such as the talking stick be transformed and adapted to facilitate online communication? How can silence become a methodology? How much silence?",[],[27940,27948,27956],{"_key":27941,"_type":219,"children":27942,"markDefs":27947,"style":232},"9adbb9ef8430",[27943],{"_key":27944,"_type":223,"marks":27945,"text":27946},"32dab4554e2e0",[],"How can a physical protocol such as the talking stick be transformed and adapted to facilitate online communication? ",[],{"_key":27949,"_type":219,"children":27950,"markDefs":27955,"style":232},"c90e3ae6b1f2",[27951],{"_key":27952,"_type":223,"marks":27953,"text":27954},"1e91f4c14bf0",[],"How can silence become a methodology? ",[],{"_key":27957,"_type":219,"children":27958,"markDefs":27963,"style":232},"54b4f3d628d4",[27959],{"_key":27960,"_type":223,"marks":27961,"text":27962},"13eed48beb70",[],"How much silence?",[],[27965,127,27966,333,27868,27967,722],"the desert it opposes","the desert it opposes: website","in places of learning, processes of knowledge-sharing often revolve around the mutual transmission of information through verbal language, benefitting good talkers and those who can easily propel conversations. some inevitably end up occupying the sonic field more than others, voices overlap, and some remain at the margins. in short, everyone has been—implicitly or explicitly—socialised to follow specific protocols of interactions that regulate the interplay of silence and speech among the different participants.\n\nin addition to this, the pandemic has turned communal learning into a bi-dimensional affair: centered on solely two sensual dimensions—visual and aural. the online school (intended as a space to gather) sounds like a lot of talking. on the one hand it leaves the complexity of the body uninvolved, on the other it pushes to maximise time, deeming moments of silence as void and negligible occurrences. conversely, silence is not a barren territory to contend for, but a concave vessel that allows for meaningful reflections, for careful listening and for the unheard to emerge. as calvino wrote that “each city receives its form from the desert it opposes,” so is every conversation densely woven by the silences it contrasts. that is, every dialogue is as much constituted of speech as of silence, the latter having as many tones, durations and significances as its verbal counterpart.\n\ndrafts, scripts, scores: entering a protocol with the awareness of doing so, can make participants question the ones they usually follow. intentional changes in the protocols that regulate conversation can lead to new outcomes,uncovering the nuances hidden in these silences, in mutual listening, and collective care.\n\nthe research explores the effects of different protocols for listening and how to best translate new scripts into objects and clear instructions. protocols can function as the rehearsals of new rules by adjusting the impact of silence through duration, rhythm, volume. the protocols also play with what’s already there: the body and how its relative position to others or to the screen influences listening, the camera and the self-consciousness it can create, the microphone and the power of the mute button, and other elements of the interfaces used to communicate digitally. the purpose is to exercise listening through silence and to get everyone within a group to participate to some extent in the conversation. some leading questions are: how can a physical protocol such as the talking stick be transformed and adapted to facilitate online communication? how can silence become a methodology? how much silence?",{"_type":9,"current":27969},"the-desert-it-opposes","The Desert it Opposes",{"_id":27972,"_type":1027,"categories":27973,"credits":28003,"featuredImage":28121,"filterables":28129,"footnotes":28145,"locations":28146,"logbook":28152,"pageBuilder":28168,"researchQuestion":28212,"researchQuestions":28221,"searchables":28232,"seo":7,"slug":28238,"title":28240,"year":128},"0d55608c-7d73-4fd4-9cb3-1f28c05439fa",[27974,27977,27981,27984,27987,27990,27993,27996,27999],{"_id":720,"_type":362,"colorPrimary":27975,"seo":7,"slug":27976,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"_id":730,"_type":362,"colorPrimary":27978,"seo":7,"slug":27980,"title":733},{"label":1031,"value":27979},"#6900ff",{"_type":9,"current":732},{"_id":735,"_type":362,"colorPrimary":27982,"seo":7,"slug":27983,"title":738},{"label":1031,"value":2648},{"_type":9,"current":737},{"_id":550,"_type":362,"colorPrimary":27985,"seo":7,"slug":27986,"title":553},{"label":1031,"value":16303},{"_type":9,"current":552},{"_id":525,"_type":362,"colorPrimary":27988,"seo":7,"slug":27989,"title":528},{"label":1031,"value":3958},{"_type":9,"current":527},{"_id":390,"_type":362,"colorPrimary":27991,"seo":7,"slug":27992,"title":393},{"label":1031,"value":9264},{"_type":9,"current":392},{"_id":765,"_type":362,"colorPrimary":27994,"seo":7,"slug":27995,"title":768},{"label":1031,"value":15840},{"_type":9,"current":767},{"_id":405,"_type":362,"colorPrimary":27997,"seo":7,"slug":27998,"title":408},{"label":1031,"value":5263},{"_type":9,"current":407},{"_id":1014,"_type":362,"colorPrimary":28000,"seo":7,"slug":28002,"title":1017},{"label":1031,"value":28001},"#00ff7d",{"_type":9,"current":1016},{"other":7,"profiles":28004},[28005,28094],{"_id":28006,"_type":1078,"activeYears":28007,"bio":28020,"bioShort":28027,"featuredImage":28061,"filterables":28066,"links":28074,"locations":28077,"searchables":28090,"seo":7,"slug":28092,"title":28062},"29c4cf0d-64c2-4f36-8eb4-9a5e1810706f",[28008,28010,28012,28014,28016,28018],{"_id":125,"_type":99,"seo":7,"slug":28009,"title":128},{"_type":9,"current":127},{"_id":120,"_type":99,"seo":7,"slug":28011,"title":123},{"_type":9,"current":122},{"_id":115,"_type":99,"seo":7,"slug":28013,"title":118},{"_type":9,"current":117},{"_id":110,"_type":99,"seo":7,"slug":28015,"title":113},{"_type":9,"current":112},{"_id":105,"_type":99,"seo":7,"slug":28017,"title":108},{"_type":9,"current":107},{"_id":98,"_type":99,"seo":7,"slug":28019,"title":102},{"_type":9,"current":101},[28021,28029,28037,28045],{"_key":28022,"_type":219,"children":28023,"markDefs":28028,"style":232},"9cd8642f5bbe",[28024],{"_key":28025,"_type":223,"marks":28026,"text":28027},"8b98ef2d49760",[],"Since 2023, Chantelle Lue has been part of the leadership team at School of Commons, Zürcher Hochschule der Künste (ZHdK), where she shapes communications and the Making Public Program.",[],{"_key":28030,"_type":219,"children":28031,"markDefs":28036,"style":232},"872d593c3d7a",[28032],{"_key":28033,"_type":223,"marks":28034,"text":28035},"1788bcddd5540",[],"A researcher and facilitator based in London and originally from Southern Africa, Chantelle's expanded practice explores questions of kinship, liminality, otherness, and belonging. Working across self-organised practices, living archives, and the internet age, she is interested in how knowledge is produced, shared, and sustained through communities.",[],{"_key":28038,"_type":219,"children":28039,"markDefs":28044,"style":232},"1970d46d001e",[28040],{"_key":28041,"_type":223,"marks":28042,"text":28043},"cc01396fd9360",[],"At School of Commons, her role focuses on making the program’s processes, practices, and outcomes publicly accessible, enabling the circulation of knowledge produced through collective learning while advocating for alternative ways of knowing, working, and being together.",[],{"_key":28046,"_type":219,"children":28047,"markDefs":28060,"style":232},"c18554f7d331",[28048,28052,28056],{"_key":28049,"_type":223,"marks":28050,"text":28051},"0744783f21700",[],"Drawing on her research project ",{"_key":28053,"_type":223,"marks":28054,"text":28055},"0744783f21701",[1559],"UBUNGXENYE (Parthood)",{"_key":28057,"_type":223,"marks":28058,"text":28059},"0744783f21702",[],", she creatively directed the development of School of Commons’ new website. Conceived as a digital garden and directory for ecosystems, the platform functions as a communal resource for collectively exploring, documenting, and extending the infrastructures that support peer learning, knowledge sharing, and collaborative practice.",[],{"alt":28062,"asset":28063},"Chantelle Lue",{"_id":28064,"height":4629,"orientation":1129,"ratio":5168,"url":28065,"width":10130},"image-3a735481f169c321d37207512d3f5c124342a13b-600x750-jpg","https://cdn.sanity.io/images/eodip22e/production/3a735481f169c321d37207512d3f5c124342a13b-600x750.jpg",{"filterYear":28067},[28068,28069,28070,28071,28072,28073],{"_id":125,"title":128},{"_id":120,"title":123},{"_id":115,"title":118},{"_id":110,"title":113},{"_id":105,"title":108},{"_id":98,"title":102},[28075],{"_type":1138,"label":1142,"url":28076},"https://www.instagram.com/chan_lue/",{"locations":28078,"other":28081},[28079],{"_id":311,"_type":308,"seo":7,"slug":28080,"title":314},{"_type":9,"current":313},[28082],{"_key":28083,"_type":219,"children":28084,"markDefs":28089,"style":232},"1e5cc2c3afe0",[28085],{"_key":28086,"_type":223,"marks":28087,"text":28088},"6556d49977a2",[],"Between Manzini and London",[],[28091,127,122,117,112,107,101],"chantelle lue",{"_type":9,"current":28093},"chantelle-lue",{"_id":17126,"_type":1078,"activeYears":28095,"bio":28102,"bioShort":17143,"featuredImage":7,"filterables":28108,"links":28113,"locations":28115,"searchables":28119,"seo":7,"slug":28120,"title":17160},[28096,28098,28100],{"_id":125,"_type":99,"seo":7,"slug":28097,"title":128},{"_type":9,"current":127},{"_id":120,"_type":99,"seo":7,"slug":28099,"title":123},{"_type":9,"current":122},{"_id":115,"_type":99,"seo":7,"slug":28101,"title":118},{"_type":9,"current":117},[28103],{"_key":17136,"_type":219,"children":28104,"markDefs":28107,"style":232},[28105],{"_key":17139,"_type":223,"marks":28106,"text":17141},[],[],{"filterYear":28109},[28110,28111,28112],{"_id":125,"title":128},{"_id":120,"title":123},{"_id":115,"title":118},[28114],{"_type":1138,"label":1142,"url":17151},{"locations":28116,"other":7},[28117],{"_id":311,"_type":308,"seo":7,"slug":28118,"title":314},{"_type":9,"current":313},[17157,127,122,117],{"_type":9,"current":17159},{"alt":28122,"asset":28123},"School of Commons - UBUNGXENYE (Parthood)",{"_id":28124,"height":28125,"orientation":1474,"ratio":28126,"url":28127,"width":28128},"image-c61d13ccd7c20a58e1d02dbf96e69ab567ceeeb3-732x713-jpg",713,1.026647966339411,"https://cdn.sanity.io/images/eodip22e/production/c61d13ccd7c20a58e1d02dbf96e69ab567ceeeb3-732x713.jpg",732,{"filterCategory":28130,"filterLocation":28140,"filterYear":28143},[28131,28132,28133,28134,28135,28136,28137,28138,28139],{"_id":720,"title":723},{"_id":730,"title":733},{"_id":735,"title":738},{"_id":550,"title":553},{"_id":525,"title":528},{"_id":390,"title":393},{"_id":765,"title":768},{"_id":405,"title":408},{"_id":1014,"title":1017},[28141,28142],{"_id":311,"title":314},{"_id":331,"title":334},[28144],{"_id":125,"title":128},[],{"locations":28147,"other":7},[28148,28150],{"_id":311,"_type":308,"seo":7,"slug":28149,"title":314},{"_type":9,"current":313},{"_id":331,"_type":308,"seo":7,"slug":28151,"title":334},{"_type":9,"current":333},[28153],{"_key":28154,"_type":219,"children":28155,"markDefs":28165,"style":232},"d56e1abeb11c",[28156,28161],{"_key":28157,"_type":223,"marks":28158,"text":28160},"f2a576bde1ac0",[28159],"4e2ef3ef1647","Meronomy: approaching the archive with curiosity",{"_key":28162,"_type":223,"marks":28163,"text":28164},"e5b97b122435",[],", Online dicussion\nWednesday 30 June 2021. Showroom ",[28166],{"_key":28159,"_type":249,"blank":250,"href":28167},"https://theshowroom.org/resources/meronomy-approaching-the-archive-with-curiosity",[28169,28195],{"_type":1625,"settings":7,"text":28170},[28171,28179,28187],{"_key":28172,"_type":219,"children":28173,"markDefs":28178,"style":232},"f40af8bf63aa",[28174],{"_key":28175,"_type":223,"marks":28176,"text":28177},"1fc9a7fec29b",[],"This is a practice to reorganise the archive. The principles of meronomy as a cognitive semantic map could change the way it is imagined. We want to explore ways of going about this as an alternative typological system for organising knowledge.",[],{"_key":28180,"_type":219,"children":28181,"markDefs":28186,"style":232},"2c9c34b9a99b",[28182],{"_key":28183,"_type":223,"marks":28184,"text":28185},"835f7a616b3e",[],"This could be seen as an experiment to test how one would illustrate a meronomic typology (as opposed to a taxonomic typology), of the diversity of language in Azania, and whether that might result in a different experience of the construction and use of the archive. This might result in a rhizomatic form, say, that may effect novel epistemological pathways, developing a more intuitive or imaginative language knowledge archive, perhaps.",[],{"_key":28188,"_type":219,"children":28189,"markDefs":28194,"style":232},"41ff3d1a8868",[28190],{"_key":28191,"_type":223,"marks":28192,"text":28193},"3c0a51a513d0",[],"Through mapping this data, we will begin to re.member, and better understand how different ways of knowing translate into language tools for self-expression.",[],{"_type":1621,"caption":28196,"image":28205},[28197],{"_key":28198,"_type":219,"children":28199,"markDefs":28204,"style":232},"511d52817038",[28200],{"_key":28201,"_type":223,"marks":28202,"text":28203},"463ecb2bb81e0",[],"Isibheqe Sohlamvu typography by Pule kaJanolintji (April 12th 2021)",[],{"alt":28203,"asset":28206},{"_id":28207,"height":28208,"orientation":1129,"ratio":28209,"url":28210,"width":28211},"image-16dd94f286d6dfc235a092237e0d4f7eed147e44-687x711-jpg",711,0.9662447257383966,"https://cdn.sanity.io/images/eodip22e/production/16dd94f286d6dfc235a092237e0d4f7eed147e44-687x711.jpg",687,[28213],{"_key":28214,"_type":219,"children":28215,"markDefs":28220,"style":232},"729810850e01",[28216],{"_key":28217,"_type":223,"marks":28218,"text":28219},"a5e3b32c52850",[],"How does meronomy differ from traditional taxonomic systems?",[],[28222],{"_type":1733,"question":28223},[28224],{"_key":28225,"_type":219,"children":28226,"markDefs":28231,"style":232},"de02e290dd11",[28227],{"_key":28228,"_type":223,"marks":28229,"text":28230},"c9a82ce1a240",[],"How does meronomy challenge traditional taxonomic systems?",[],[28233,127,28234,28235,313,333,28091,17157,28236,722,732,3947,16465,28237,9748,767,407,1016],"ubungxenye (parthood)","how does meronomy challenge traditional taxonomic systems?","meronomy: approaching the archive with curiosity, online dicussion\nwednesday 30 june 2021. showroom ","this is a practice to reorganise the archive. the principles of meronomy as a cognitive semantic map could change the way it is imagined. we want to explore ways of going about this as an alternative typological system for organising knowledge.\n\nthis could be seen as an experiment to test how one would illustrate a meronomic typology (as opposed to a taxonomic typology), of the diversity of language in azania, and whether that might result in a different experience of the construction and use of the archive. this might result in a rhizomatic form, say, that may effect novel epistemological pathways, developing a more intuitive or imaginative language knowledge archive, perhaps.\n\nthrough mapping this data, we will begin to re.member, and better understand how different ways of knowing translate into language tools for self-expression.","desire lines ",{"_type":9,"current":28239},"ubungxenye-parthood","UBUNGXENYE (Parthood)",{"_id":28242,"_type":1027,"categories":28243,"credits":28251,"featuredImage":28297,"filterables":28305,"footnotes":28313,"locations":28314,"logbook":7,"pageBuilder":28318,"researchQuestion":28394,"researchQuestions":7,"searchables":28419,"seo":7,"slug":28423,"title":28420,"year":128},"0509ebbf-aa02-4061-882f-c27fe2269f8a",[28244,28248],{"_id":1019,"_type":362,"colorPrimary":28245,"seo":7,"slug":28247,"title":1022},{"label":1031,"value":28246},"#c30000",{"_type":9,"current":1021},{"_id":720,"_type":362,"colorPrimary":28249,"seo":7,"slug":28250,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"other":7,"profiles":28252},[28253],{"_id":28254,"_type":1078,"activeYears":28255,"bio":28258,"bioShort":28266,"featuredImage":28267,"filterables":28272,"links":28275,"locations":28280,"searchables":28293,"seo":7,"slug":28295,"title":28268},"fc8007ff-d994-4686-bb15-0c4df02e9697",[28256],{"_id":125,"_type":99,"seo":7,"slug":28257,"title":128},{"_type":9,"current":127},[28259],{"_key":28260,"_type":219,"children":28261,"markDefs":28265,"style":232},"4c066ec25fb8",[28262],{"_key":28263,"_type":223,"marks":28264,"text":12647},"6af55c81be480",[],[],"Cultivating flourishing futures.",{"alt":28268,"asset":28269},"Laura Cincera",{"_id":28270,"height":10130,"orientation":7818,"ratio":2178,"url":28271,"width":10130},"image-2fb566d93f29ee05fd6b9b1f9820bd617282a2a8-600x600-jpg","https://cdn.sanity.io/images/eodip22e/production/2fb566d93f29ee05fd6b9b1f9820bd617282a2a8-600x600.jpg",{"filterYear":28273},[28274],{"_id":125,"title":128},[28276,28278],{"_type":1138,"label":1139,"url":28277},"https://mailchi.mp/565647f4e992/newsletter",{"_type":1138,"label":1142,"url":28279},"https://www.instagram.com/lauracincera_/",{"locations":28281,"other":28284},[28282],{"_id":331,"_type":308,"seo":7,"slug":28283,"title":334},{"_type":9,"current":333},[28285],{"_key":28286,"_type":219,"children":28287,"markDefs":28292,"style":232},"1f7bd5fb7982",[28288],{"_key":28289,"_type":223,"marks":28290,"text":28291},"e2a08aee56650",[],"Based in Zürich ",[],[28294,127],"laura cincera",{"_type":9,"current":28296},"laura-cincera",{"alt":28298,"asset":28299},"School of Commons - spellbook of poetic pedagogies",{"_id":28300,"height":28301,"orientation":1474,"ratio":28302,"url":28303,"width":28304},"image-1e854cdde333e9579e3673c7f1f799c828cb405c-1554x1158-png",1158,1.3419689119170986,"https://cdn.sanity.io/images/eodip22e/production/1e854cdde333e9579e3673c7f1f799c828cb405c-1554x1158.png",1554,{"filterCategory":28306,"filterLocation":28309,"filterYear":28311},[28307,28308],{"_id":1019,"title":1022},{"_id":720,"title":723},[28310],{"_id":331,"title":334},[28312],{"_id":125,"title":128},[],{"locations":28315,"other":7},[28316],{"_id":331,"_type":308,"seo":7,"slug":28317,"title":334},{"_type":9,"current":333},[28319,28345,28352],{"_type":1625,"settings":7,"text":28320},[28321,28329,28337],{"_key":28322,"_type":219,"children":28323,"markDefs":28328,"style":232},"68fbd9209c49",[28324],{"_key":28325,"_type":223,"marks":28326,"text":28327},"b587a383b99b0",[],"This exploration at the intersection of radical pedagogy and magick aims to create a space to devise new methodologies of knowledge transmission that can invoke new possibilities of relating. Using the symbolic and ritualistic methods common in traditional and contemporary occult lineages as experiential learning opportunities, this project hopes to make radical, liberatory pedagogy accessible to non-specialised audiences.",[],{"_key":28330,"_type":219,"children":28331,"markDefs":28336,"style":232},"82a32f6d7b25",[28332],{"_key":28333,"_type":223,"marks":28334,"text":28335},"fb5163b69b420",[],"This research project is based on the understanding that commons include ways of being together in the world, outside the realm of marketisation and ownership. The focus of the practices offered and co-created will therefore be on the relational aspect of commoning. Symbolism and vocabulary from the realm of magick will be explored as a way to transcend the mind’s habitual barricades and to invoke new worlds of relating possibilities. The research will emphasize methods that focus on our embodied nature and learning through the body. Specific disciplines that will inform the research include Social Presencing Theater, Somatic Experiencing, Systemic Constellations, IFS, Circling, Authentic Relating, CI, Underscore and poetic ideation.",[],{"_key":28338,"_type":219,"children":28339,"markDefs":28344,"style":232},"984bc2c66b51",[28340],{"_key":28341,"_type":223,"marks":28342,"text":28343},"34021e7405080",[],"The tangible artifact resulting from this 10-month pedagogical research will be a co-created spellbook, containing all newly devised practices and rituals. This open-source Spellbook will be freely accessible online for anyone to play with and expand on during and beyond the duration of the project. The workshops/experiments that will lead to its creation will be open to anyone interested – no previous knowledge is required.",[],{"_type":1621,"caption":7,"image":28346},{"alt":7,"asset":28347},{"_id":28348,"height":28349,"orientation":1129,"ratio":28350,"url":28351,"width":18219},"image-a5334be9bbbf28f3e507cb2583f71b582ed3d89c-736x1156-png",1156,0.6366782006920415,"https://cdn.sanity.io/images/eodip22e/production/a5334be9bbbf28f3e507cb2583f71b582ed3d89c-736x1156.png",{"_type":1625,"settings":7,"text":28353},[28354,28362,28370,28378,28386],{"_key":28355,"_type":219,"children":28356,"markDefs":28361,"style":232},"94efe7000102",[28357],{"_key":28358,"_type":223,"marks":28359,"text":28360},"53858cbbf5750",[],"Each experiment, like each spell, will be independent from each other, allowing new group constellations to form in each workshop. 4 example sessions could include:",[],{"_key":28363,"_type":219,"children":28364,"markDefs":28369,"style":232},"41467ad8a345",[28365],{"_key":28366,"_type":223,"marks":28367,"text":28368},"8c944b0bd6830",[],"/ A potion to dissolve boundaries. The focus of this session will be on surrendered, decentralised leadership. The practice of Circling will be introduced and explored as a way to dissolve the common polar structures of traditional pedagogy – experts and amateurs, students and teachers. What type of constellation and power dynamic emerge when formal power is decentralised? What deep-rooted beliefs about learning and epistemological authority can be alchemically transmuted?",[],{"_key":28371,"_type":219,"children":28372,"markDefs":28377,"style":232},"a53e23a2bba8",[28373],{"_key":28374,"_type":223,"marks":28375,"text":28376},"ddeba18e71cd0",[],"// As above so below. Playing with the communities within whilst connecting with the community outside. The method of Internal Family System, which creates a framework to explore the multiplicity of individuals will be used to create community Constellations.",[],{"_key":28379,"_type":219,"children":28380,"markDefs":28385,"style":232},"b982bc8b40ac",[28381],{"_key":28382,"_type":223,"marks":28383,"text":28384},"ca676d9f08900",[],"/// No-sense. Movement-based practices to explore the possibilities of relating non-verbally. Devising of Initiation Rituals. What possibilities emerge when we learn and connect through the body?",[],{"_key":28387,"_type":219,"children":28388,"markDefs":28393,"style":232},"bc6be14edfa4",[28389],{"_key":28390,"_type":223,"marks":28391,"text":28392},"22454d1616ab0",[],"//// The Sacred in the Mundane. Finding and creating the sacred and ceremonial in our everyday relating. Exploring devising Sigils as holders of meaning.",[],[28395,28403,28411],{"_key":28396,"_type":219,"children":28397,"markDefs":28402,"style":232},"d70b0c6027d8",[28398],{"_key":28399,"_type":223,"marks":28400,"text":28401},"b28ef5662b02",[],"What is the pedagogical potential of magick? ",[],{"_key":28404,"_type":219,"children":28405,"markDefs":28410,"style":232},"6d6372c5ae01",[28406],{"_key":28407,"_type":223,"marks":28408,"text":28409},"041a036b4060",[],"Can practices from the realm of mysticism liberate learning from the particular institutional cages it has predominantly inhabited? ",[],{"_key":28412,"_type":219,"children":28413,"markDefs":28418,"style":232},"3266d53beb1b",[28414],{"_key":28415,"_type":223,"marks":28416,"text":28417},"ec69c619d1f1",[],"Can methods used in ritualistic traditions create new ways of relating to resources, to each other?",[],[28420,127,333,28294,28421,28422,1021,722],"spellbook of poetic pedagogies","this exploration at the intersection of radical pedagogy and magick aims to create a space to devise new methodologies of knowledge transmission that can invoke new possibilities of relating. using the symbolic and ritualistic methods common in traditional and contemporary occult lineages as experiential learning opportunities, this project hopes to make radical, liberatory pedagogy accessible to non-specialised audiences.\n\nthis research project is based on the understanding that commons include ways of being together in the world, outside the realm of marketisation and ownership. the focus of the practices offered and co-created will therefore be on the relational aspect of commoning. symbolism and vocabulary from the realm of magick will be explored as a way to transcend the mind’s habitual barricades and to invoke new worlds of relating possibilities. the research will emphasize methods that focus on our embodied nature and learning through the body. specific disciplines that will inform the research include social presencing theater, somatic experiencing, systemic constellations, ifs, circling, authentic relating, ci, underscore and poetic ideation.\n\nthe tangible artifact resulting from this 10-month pedagogical research will be a co-created spellbook, containing all newly devised practices and rituals. this open-source spellbook will be freely accessible online for anyone to play with and expand on during and beyond the duration of the project. the workshops/experiments that will lead to its creation will be open to anyone interested – no previous knowledge is required.","each experiment, like each spell, will be independent from each other, allowing new group constellations to form in each workshop. 4 example sessions could include:\n\n/ a potion to dissolve boundaries. the focus of this session will be on surrendered, decentralised leadership. the practice of circling will be introduced and explored as a way to dissolve the common polar structures of traditional pedagogy – experts and amateurs, students and teachers. what type of constellation and power dynamic emerge when formal power is decentralised? what deep-rooted beliefs about learning and epistemological authority can be alchemically transmuted?\n\n// as above so below. playing with the communities within whilst connecting with the community outside. the method of internal family system, which creates a framework to explore the multiplicity of individuals will be used to create community constellations.\n\n/// no-sense. movement-based practices to explore the possibilities of relating non-verbally. devising of initiation rituals. what possibilities emerge when we learn and connect through the body?\n\n//// the sacred in the mundane. finding and creating the sacred and ceremonial in our everyday relating. exploring devising sigils as holders of meaning.",{"_type":9,"current":28424},"spellbook-of-poetic-pedagogies",{"_id":28426,"_type":1027,"categories":28427,"credits":28434,"featuredImage":28513,"filterables":28519,"footnotes":28525,"locations":7,"logbook":28572,"pageBuilder":28590,"researchQuestion":28683,"researchQuestions":7,"searchables":28692,"seo":7,"slug":28699,"title":28701,"year":133},"db0d15ab-4775-47e4-a33a-c81fe7f48121",[28428,28431],{"_id":720,"_type":362,"colorPrimary":28429,"seo":7,"slug":28430,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"_id":505,"_type":362,"colorPrimary":28432,"seo":7,"slug":28433,"title":508},{"label":1031,"value":5270},{"_type":9,"current":507},{"other":7,"profiles":28435},[28436,28463,28490],{"_id":28437,"_type":1078,"activeYears":28438,"bio":28441,"bioShort":28450,"featuredImage":7,"filterables":28451,"links":7,"locations":28454,"searchables":28458,"seo":7,"slug":28460,"title":28462},"a943e98f-d308-4fd5-9dfb-15cf3ed9a27a",[28439],{"_id":130,"_type":99,"seo":7,"slug":28440,"title":133},{"_type":9,"current":132},[28442],{"_key":28443,"_type":219,"children":28444,"markDefs":28449,"style":232},"c7ce975304e5",[28445],{"_key":28446,"_type":223,"marks":28447,"text":28448},"10650c8577250",[],"He is a co-curator of the ifa-exhibition An Atlas of Commoning in collaboration with ARCH+ and guest editor of eponymous publication, and co-author of Spaces of Commoning – Artistic Research and the Utopia of the Everyday. His native languages are German and French.",[],"Stefan is an architect, urban designer and Associate Professor at the School of Architecture of Carnegie Mellon University. ",{"filterYear":28452},[28453],{"_id":130,"title":133},{"locations":28455,"other":7},[28456],{"_id":341,"_type":308,"seo":7,"slug":28457,"title":344},{"_type":9,"current":343},[28459,132],"stefan gruber",{"_type":9,"current":28461},"stefan-gruber","Stefan Gruber",{"_id":28464,"_type":1078,"activeYears":28465,"bio":28468,"bioShort":28477,"featuredImage":7,"filterables":28478,"links":7,"locations":28481,"searchables":28485,"seo":7,"slug":28487,"title":28489},"8de0d11c-1d21-437d-a0d1-ac9cd5d2dff6",[28466],{"_id":130,"_type":99,"seo":7,"slug":28467,"title":133},{"_type":9,"current":132},[28469],{"_key":28470,"_type":219,"children":28471,"markDefs":28476,"style":232},"2f2e37c3dc6e",[28472],{"_key":28473,"_type":223,"marks":28474,"text":28475},"1d00ece454f50",[],"Her native language is Mandarin.",[],"Chun is a landscape architect, urban designer and PhD researcher in the School of Design at Carnegie Mellon University researching practices of commoning and urban agriculture in the US and China. ",{"filterYear":28479},[28480],{"_id":130,"title":133},{"locations":28482,"other":7},[28483],{"_id":341,"_type":308,"seo":7,"slug":28484,"title":344},{"_type":9,"current":343},[28486,132],"chun zheng",{"_type":9,"current":28488},"chun-zheng","Chun Zheng",{"_id":28491,"_type":1078,"activeYears":28492,"bio":28495,"bioShort":28504,"featuredImage":7,"filterables":28505,"links":7,"locations":7,"searchables":28508,"seo":7,"slug":28510,"title":28512},"fefc332b-c95d-4944-b462-54062f37aa3e",[28493],{"_id":130,"_type":99,"seo":7,"slug":28494,"title":133},{"_type":9,"current":132},[28496],{"_key":28497,"_type":219,"children":28498,"markDefs":28503,"style":232},"b0fda373f3d4",[28499],{"_key":28500,"_type":223,"marks":28501,"text":28502},"ae9859c681b20",[],"Her native languages are English and Mandarin.",[],"Helen is a writer, art critic and translator. ",{"filterYear":28506},[28507],{"_id":130,"title":133},[28509,132],"helen young chang",{"_type":9,"current":28511},"helen-young-chang","Helen Young Chang",{"alt":28514,"asset":28515},"School of Commons - A dialogue must take place, precisely because we don’t speak the same language",{"_id":28516,"height":4058,"orientation":1474,"ratio":8603,"url":28517,"width":28518},"image-8f2b9a861a03b4685be335ac97ea93614b2bea1d-2400x1200-gif","https://cdn.sanity.io/images/eodip22e/production/8f2b9a861a03b4685be335ac97ea93614b2bea1d-2400x1200.gif",2400,{"filterCategory":28520,"filterLocation":7,"filterYear":28523},[28521,28522],{"_id":720,"title":723},{"_id":505,"title":508},[28524],{"_id":130,"title":133},[28526],{"_key":28527,"footnoteText":28528},"ac04c2735297",[28529],{"_key":28530,"_type":219,"children":28531,"markDefs":28571,"style":232},"96062c995e72",[28532,28536,28539,28543,28546,28550,28553,28557,28560,28564,28567],{"_key":28533,"_type":223,"marks":28534,"text":28535},"e400e7389fdb0",[1559],"– Khayati, M. (1966) Captive Words: Preface to a Situationist Dictionary in Internationale Situationniste #10 March 1966; trans. Ken Knab.",{"_key":28537,"_type":223,"marks":28538,"text":4778},"e400e7389fdb1",[],{"_key":28540,"_type":223,"marks":28541,"text":28542},"e400e7389fdb2",[1559],"– Peter Linebaugh. (2008). The Magna Carta Manifesto: Liberties and Commons for All. University of California Press.",{"_key":28544,"_type":223,"marks":28545,"text":4778},"e400e7389fdb3",[],{"_key":28547,"_type":223,"marks":28548,"text":28549},"e400e7389fdb4",[1559],"– Rancière, J. (2010) Dissensus: On Politics and Aesthetics, London: Continuum.",{"_key":28551,"_type":223,"marks":28552,"text":4778},"e400e7389fdb5",[],{"_key":28554,"_type":223,"marks":28555,"text":28556},"e400e7389fdb6",[1559],"– Stavrides, S. (2016). Common space : the city as commons. Zed Books.",{"_key":28558,"_type":223,"marks":28559,"text":4778},"e400e7389fdb7",[],{"_key":28561,"_type":223,"marks":28562,"text":28563},"e400e7389fdb8",[1559],"– Flusser, V. (2003). ‘To Be Unsettled, One First Has To Be Settled’, in The Freedom of the Migrant – Objections to Natiionalism, ed. Anke K. Finger. University of Illinois Pres; trans. Kenneth Kronenberg.",{"_key":28565,"_type":223,"marks":28566,"text":4778},"e400e7389fdb9",[],{"_key":28568,"_type":223,"marks":28569,"text":28570},"e400e7389fdb10",[1559],"– Freire, P. (2000). Pedagogy of the oppressed (30th anniversary ed.). Continuum.",[],[28573],{"_key":28574,"_type":219,"children":28575,"markDefs":28587,"style":232},"3aa2817755e9",[28576,28580,28584],{"_key":28577,"_type":223,"marks":28578,"text":28579},"d56f35a64726",[],"See ",{"_key":28581,"_type":223,"marks":28582,"text":2796},"56bbec47c2d1",[28583],"2bdc78a23369",{"_key":28585,"_type":223,"marks":28586,"text":1097},"ca27ea33f77a",[],[28588],{"_key":28583,"_type":249,"blank":250,"href":28589},"https://adialoguemusttakeplace.org/",[28591,28601,28627,28634,28644],{"_type":1625,"settings":7,"text":28592},[28593],{"_key":28594,"_type":219,"children":28595,"markDefs":28600,"style":232},"ac69cbf9dfe3",[28596],{"_key":28597,"_type":223,"marks":28598,"text":28599},"3f042902582c0",[],"As we struggle to come to terms with a world in crisis and imagine more inclusive, equitable and environmental futures, the limits of our own cultural reflexivity stare us in the face. “Language is the house of power,” Mustapha Khayati writes in Captive Words (1966), warning us of the pitfalls that come from critiquing the old world in the very language it was made. Prompted by the question “What do we have in common?” we take differences not as a force that pulls us apart, but as a starting point for coming together.",[],{"_type":1625,"settings":7,"text":28602},[28603,28611,28619],{"_key":28604,"_type":219,"children":28605,"markDefs":28610,"style":232},"6341270daf51",[28606],{"_key":28607,"_type":223,"marks":28608,"text":28609},"53caf497d7ce0",[],"In fact, what is in common always only emerges in translation—the translation between different experiences, interests and subjectivities. Translation occurs at the intersection of differences, not their convergence. Thus, rather than aiming for a precise mirroring of language that would imply the erasure of difference, translation is founded on and sustained through differences. Similarly, commoning understood as an ongoing social practice also depends on the encounter and negotiation of difference. Commoning is never free of friction. Accordingly, Stavros Stavrides argues that commoning can only exist as an ever expanding endeavor that welcomes newcomers (Stavrides, 2016). Newcomers play a key role in challenging the common and shedding new light on habits and relations. At first, their view points might be unsettling, especially when they unmask common rituals or prevailing power structures. Meanwhile, the distance their language creates can also be enabling and heighten a sense of agency: the process of literally coming to terms and building mutual understanding requires active participation in defining common ground. Vilem Flusser argues that being unsettled is indispensable for settling with resolve (Flusser, 2003: 25-27). So, just as there are ‘no commons without commoning’ (Linebaugh, 2008: 44-45), the encounter of and translation between differences is an ongoing social practice on which the sustainbility and resilience of a community paradoxically depend. In contrast, if shared interests, beliefs and habits are merely passed on, a community soon calcifies and will often risks the accumulation, even abuse of power. In communities devoid of differences the common may become an instrument of control or policing. Jaques Rancière, as referenced by Stavrides, describes how if ‘police’ defines community ‘as the accomplishment of a common way of being’, ‘politics’ conceives community ‘as a polemic over the common’ (Rancière 2010: 100). Commoning is inherently political, as it emerges from the agonistic encounter of diverse and pluralistic voices. Accordingly, a polemic over the common and the pursuit of the question ‘What do we have in common?’ requires us to find a common language without reducing our differences to a common denominator, but by celebrating them as the foundation of other possible worlds.",[],{"_key":28612,"_type":219,"children":28613,"markDefs":28618,"style":232},"d4d6e12baef3",[28614],{"_key":28615,"_type":223,"marks":28616,"text":28617},"f02644d2860b0",[],"Here, we aim at initiating a dialogue about spaces and practices of commoning, their situated histories and diverse etymologies, and the (im)possibility of translating them from one language or culture into another. If indeed other worlds are possible, they will emerge from a plurality of practices and viewpoints, old and new, indigenous and urban communities, feminist and environmental movements alike.",[],{"_key":28620,"_type":219,"children":28621,"markDefs":28626,"style":232},"e790a4206a63",[28622],{"_key":28623,"_type":223,"marks":28624,"text":28625},"0793ce91717a0",[],"In Pedagogy of the Oppressed (1970), Paulo Freire reflects on the notion of dialogue or the dialogical as both “reflection and action, in such radical interaction that if one is sacrificed—even in part—the other suffers immediately.”",[],{"_type":1621,"caption":7,"image":28628},{"alt":7,"asset":28629},{"_id":28630,"height":28631,"orientation":1474,"ratio":28632,"url":28633,"width":18299},"image-f602cf8240ff92a0c9ebe8dab7ef7f76cf34b849-824x398-png",398,2.07035175879397,"https://cdn.sanity.io/images/eodip22e/production/f602cf8240ff92a0c9ebe8dab7ef7f76cf34b849-824x398.png",{"_type":1625,"settings":7,"text":28635},[28636],{"_key":28637,"_type":219,"children":28638,"markDefs":28643,"style":232},"04371e8f57d8",[28639],{"_key":28640,"_type":223,"marks":28641,"text":28642},"1b1a3b02745e0",[],"He insists that “while to say the true word—which is work, which is praxis—is to transform the world, saying that word is not the privilege of some few persons, but the right of everyone. Consequently, no one can say a true word alone—nor can she say it for another, in a prescriptive act which robs others of their words.” Any dialogue, then, is marked by humility, the willingness to unlearn and be displaced. Building on Paulo Freire, a dialogue must take place about language through which we describe practices of commoning in order to undo an Anglo-Saxon epistemology of the commons debate and reflect on the entanglement of power and knowledge at the root of contemporary research, education and cultural production. Through these conversations, we hope to explore the pluriversality of commoning, as well as the pluriversality of spatial practices.",[],{"_type":1625,"settings":7,"text":28645},[28646],{"_key":28647,"_type":219,"children":28648,"markDefs":28653,"style":232},"6dc6a7ebab94",[28649],{"_key":28650,"_type":223,"marks":28651,"text":28652},"a17ed4653f8f0",[28527],"Text by Stefan Gruber",[28654],{"_key":28527,"_type":24081,"allFootnotes":28655,"footnoteText":28657,"markKey":28527},[28656],{"_key":28527},[28658],{"_key":28530,"_type":219,"children":28659,"markDefs":28682,"style":232},[28660,28662,28664,28666,28668,28670,28672,28674,28676,28678,28680],{"_key":28533,"_type":223,"marks":28661,"text":28535},[1559],{"_key":28537,"_type":223,"marks":28663,"text":4778},[],{"_key":28540,"_type":223,"marks":28665,"text":28542},[1559],{"_key":28544,"_type":223,"marks":28667,"text":4778},[],{"_key":28547,"_type":223,"marks":28669,"text":28549},[1559],{"_key":28551,"_type":223,"marks":28671,"text":4778},[],{"_key":28554,"_type":223,"marks":28673,"text":28556},[1559],{"_key":28558,"_type":223,"marks":28675,"text":4778},[],{"_key":28561,"_type":223,"marks":28677,"text":28563},[1559],{"_key":28565,"_type":223,"marks":28679,"text":4778},[],{"_key":28568,"_type":223,"marks":28681,"text":28570},[1559],[],[28684],{"_key":28685,"_type":219,"children":28686,"markDefs":28691,"style":232},"eee62b0e67ab",[28687],{"_key":28688,"_type":223,"marks":28689,"text":28690},"1cec81b057b30",[],"What do we have in common?",[],[28693,132,28694,28459,28486,28509,28695,28696,28697,28698,722,5642],"a dialogue must take place, precisely because we don’t speak the same language","see website.","as we struggle to come to terms with a world in crisis and imagine more inclusive, equitable and environmental futures, the limits of our own cultural reflexivity stare us in the face. “language is the house of power,” mustapha khayati writes in captive words (1966), warning us of the pitfalls that come from critiquing the old world in the very language it was made. prompted by the question “what do we have in common?” we take differences not as a force that pulls us apart, but as a starting point for coming together.","in fact, what is in common always only emerges in translation—the translation between different experiences, interests and subjectivities. translation occurs at the intersection of differences, not their convergence. thus, rather than aiming for a precise mirroring of language that would imply the erasure of difference, translation is founded on and sustained through differences. similarly, commoning understood as an ongoing social practice also depends on the encounter and negotiation of difference. commoning is never free of friction. accordingly, stavros stavrides argues that commoning can only exist as an ever expanding endeavor that welcomes newcomers (stavrides, 2016). newcomers play a key role in challenging the common and shedding new light on habits and relations. at first, their view points might be unsettling, especially when they unmask common rituals or prevailing power structures. meanwhile, the distance their language creates can also be enabling and heighten a sense of agency: the process of literally coming to terms and building mutual understanding requires active participation in defining common ground. vilem flusser argues that being unsettled is indispensable for settling with resolve (flusser, 2003: 25-27). so, just as there are ‘no commons without commoning’ (linebaugh, 2008: 44-45), the encounter of and translation between differences is an ongoing social practice on which the sustainbility and resilience of a community paradoxically depend. in contrast, if shared interests, beliefs and habits are merely passed on, a community soon calcifies and will often risks the accumulation, even abuse of power. in communities devoid of differences the common may become an instrument of control or policing. jaques rancière, as referenced by stavrides, describes how if ‘police’ defines community ‘as the accomplishment of a common way of being’, ‘politics’ conceives community ‘as a polemic over the common’ (rancière 2010: 100). commoning is inherently political, as it emerges from the agonistic encounter of diverse and pluralistic voices. accordingly, a polemic over the common and the pursuit of the question ‘what do we have in common?’ requires us to find a common language without reducing our differences to a common denominator, but by celebrating them as the foundation of other possible worlds.\n\nhere, we aim at initiating a dialogue about spaces and practices of commoning, their situated histories and diverse etymologies, and the (im)possibility of translating them from one language or culture into another. if indeed other worlds are possible, they will emerge from a plurality of practices and viewpoints, old and new, indigenous and urban communities, feminist and environmental movements alike.\n\nin pedagogy of the oppressed (1970), paulo freire reflects on the notion of dialogue or the dialogical as both “reflection and action, in such radical interaction that if one is sacrificed—even in part—the other suffers immediately.”","he insists that “while to say the true word—which is work, which is praxis—is to transform the world, saying that word is not the privilege of some few persons, but the right of everyone. consequently, no one can say a true word alone—nor can she say it for another, in a prescriptive act which robs others of their words.” any dialogue, then, is marked by humility, the willingness to unlearn and be displaced. building on paulo freire, a dialogue must take place about language through which we describe practices of commoning in order to undo an anglo-saxon epistemology of the commons debate and reflect on the entanglement of power and knowledge at the root of contemporary research, education and cultural production. through these conversations, we hope to explore the pluriversality of commoning, as well as the pluriversality of spatial practices.","text by stefan gruber",{"_type":9,"current":28700},"a-dialogue-must-take-place-precisely-because-we-don-t-speak-the-same-language","A dialogue must take place, precisely because we don’t speak the same language",{"_id":28703,"_type":1027,"categories":28704,"credits":28708,"featuredImage":28826,"filterables":28833,"footnotes":28841,"locations":28842,"logbook":7,"pageBuilder":28848,"researchQuestion":7,"researchQuestions":7,"searchables":28922,"seo":7,"slug":28927,"title":28929,"year":133},"122ca46c-338e-404c-bb3a-155b7f117971",[28705],{"_id":695,"_type":362,"colorPrimary":28706,"seo":7,"slug":28707,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":28709,"profiles":28757},[28710,28721,28735,28746],{"_key":28711,"_type":219,"children":28712,"markDefs":28718,"style":232},"7b2123229b2a",[28713],{"_key":28714,"_type":223,"marks":28715,"text":28717},"fadc6a8be0660",[28716],"a1e395fc8c3c","QWAS – Migrating Dialogue",[28719],{"_key":28716,"_type":249,"blank":250,"href":28720},"https://www.qwas.ch",{"_key":28722,"_type":219,"children":28723,"markDefs":28732,"style":232},"5d7c5bad8a80",[28724,28729],{"_key":28725,"_type":223,"marks":28726,"text":28728},"8a3b454839590",[28727],"bfd424928cba","Eurasian Cultural Alliance",{"_key":28730,"_type":223,"marks":28731,"text":2264},"0a8aa30d8321",[],[28733],{"_key":28727,"_type":249,"blank":250,"href":28734},"https://www.cultura.kz",{"_key":28736,"_type":219,"children":28737,"markDefs":28743,"style":232},"5b519ce702b0",[28738],{"_key":28739,"_type":223,"marks":28740,"text":28742},"bc4333f447420",[28741],"f2d7e5fde560","ARTBAT FEST",[28744],{"_key":28741,"_type":249,"href":28745},"https://www.cultura.kz/artbatfest",{"_key":28747,"_type":219,"children":28748,"markDefs":28754,"style":232},"0635b9980d58",[28749],{"_key":28750,"_type":223,"marks":28751,"text":28753},"71313b45b35f0",[28752],"c5d26739b94a","Material – Raum für Buchkultur, Zürich",[28755],{"_key":28752,"_type":249,"blank":250,"href":28756},"https://www.materialismus.ch",[28758,28788],{"_id":28759,"_type":1078,"activeYears":28760,"bio":28763,"bioShort":28772,"featuredImage":7,"filterables":28773,"links":28776,"locations":28779,"searchables":28783,"seo":7,"slug":28785,"title":28787},"452ffa26-6705-497e-a926-11b766f7209c",[28761],{"_id":130,"_type":99,"seo":7,"slug":28762,"title":133},{"_type":9,"current":132},[28764],{"_key":28765,"_type":219,"children":28766,"markDefs":28771,"style":232},"f648fb827c33",[28767],{"_key":28768,"_type":223,"marks":28769,"text":28770},"5a9a7e206cc80",[],"After graduating with a BA in European Studies from King’s College London and Sciences PO, Paris, she is currently enrolled in the MA in Transdisciplinarity at the Zurich University of the Arts. She completed a residency on board of a shipping container as part of the Said to Contain project in 2016 and was the artist in residence for the 2018 Labor mit Utopieverdacht. She is the co-founder of QWAS, a multidisciplinary exchange programme between Switzerland and Kazakhstan, and runs an independent bookshop called MATERIAL. Rada Leu has illustrated various publications and is part of the all-female band Acid Amazonians, a Zurich-based electronic music and performance trio.",[],"Rada is an artist, musician and theatre director. Her research interests include digital culture, cyborgs, eyebrows, the global shipping market and DIY subcultures. 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We set out to examine the potential and relevance of broadcasting in a contemporary media setting by connecting artists across the globe and across all disciplines. The surfacing of new contact zones — new spaces of encounter, of radical empathy, of careful listening — are at the center of this project. We are curious to examine and experience the entanglements of transmission, translation, and translocality.",[],{"_key":28868,"_type":219,"children":28869,"markDefs":28883,"style":232},"83c3302d7352",[28870,28874,28879],{"_key":28871,"_type":223,"marks":28872,"text":28873},"16a20b7683b0",[],"The project took place online, although the temporary radio-studio was physically hosted at the Zurich off-space ",{"_key":28875,"_type":223,"marks":28876,"text":28878},"aa5ba947ec83",[28877],"b7b1013772a2","MATERIAL",{"_key":28880,"_type":223,"marks":28881,"text":28882},"cb892b089849",[]," and could be visited during opening hours. Based on a previous collaboration between Kazakhstan and Switzerland, the digital setting expanded the network and invited artists from across the world and from all disciplines to participate.",[28884],{"_key":28877,"_type":249,"href":28885},"https://materialismus.ch/",{"_key":28887,"_type":219,"children":28888,"markDefs":28893,"style":232},"b805855d8175",[28889],{"_key":28890,"_type":223,"marks":28891,"text":28892},"da00c11d1864",[],"Finally, 11 Participants from Brazil, Colombia, Estonia, Germany, Kazakhstan, Turkey and Switzerland – located over three time-zones and a difference of 9 hours – worked online together during 5 days to exchange and create a broadcasting programme of 48 hours.",[],{"_key":28895,"_type":219,"children":28896,"markDefs":28909,"style":232},"a1a91fd4b5d8",[28897,28901,28906],{"_key":28898,"_type":223,"marks":28899,"text":28900},"c7aafe235fd0",[],"For the detailed broadcasting programme as well as an introduction of the participating artists and their broadcasted works please navigate ",{"_key":28902,"_type":223,"marks":28903,"text":28905},"cf52338b0287",[28904],"39117ec781cf","here",{"_key":28907,"_type":223,"marks":28908,"text":1097},"57d57c1e260a",[],[28910],{"_key":28904,"_type":249,"href":28911},"https://www.qwas.ch/contact-zones-stream",{"_type":1625,"settings":7,"text":28913},[28914],{"_key":28915,"_type":219,"children":28916,"markDefs":28921,"style":232},"7a0441afbd4e",[28917],{"_key":28918,"_type":223,"marks":28919,"text":28920},"16ff480ba632",[],"“QWAS – Migrating Dialogue” started in 2017 as an student-led internationalization project within the ZHdK’s Department of Cultural Analysis. After two exchange trips (by train from Zurich to Almaty; with final exhibitions as part of the ARTBAT-FEST) and two e-learning modules (with simultaneous exhibitions at both locations), its work continues with a transdisciplinary lab seminar in spring semester 2020 (“Stop, Collaborate and Listen!”) where participants from Zurich, Almaty and Nursultan (aka Astana) collaboratively explore the topic of identity through sound. All formats are created in close dialogue with the School of Artistic Gesture, a free advanced training course in contemporary art, which is realized by our partner organization, Eurasian Cultural Alliance (ECA).",[],[28923,132,318,333,28784,28822,28924,28925,28926,697],"contact zones – radioqwas","qwas – migrating dialogue\n\neurasian cultural alliance \n\nartbat fest\n\nmaterial – raum für buchkultur, zürich","after the project “qwas – migrating dialogue” focused on spaces of transit and overcoming borders in recent years, we wanted to explore a different spatial concept: the invisible, liminal space of digital radio waves.\n\nagainst the background of a global pandemic, countless live streaming platforms emerged, providing an excess of options for expanded listening across the globe. we set out to examine the potential and relevance of broadcasting in a contemporary media setting by connecting artists across the globe and across all disciplines. the surfacing of new contact zones — new spaces of encounter, of radical empathy, of careful listening — are at the center of this project. we are curious to examine and experience the entanglements of transmission, translation, and translocality.\n\nthe project took place online, although the temporary radio-studio was physically hosted at the zurich off-space material and could be visited during opening hours. based on a previous collaboration between kazakhstan and switzerland, the digital setting expanded the network and invited artists from across the world and from all disciplines to participate.\n\nfinally, 11 participants from brazil, colombia, estonia, germany, kazakhstan, turkey and switzerland – located over three time-zones and a difference of 9 hours – worked online together during 5 days to exchange and create a broadcasting programme of 48 hours.\n\nfor the detailed broadcasting programme as well as an introduction of the participating artists and their broadcasted works please navigate here.","“qwas – migrating dialogue” started in 2017 as an student-led internationalization project within the zhdk’s department of cultural analysis. after two exchange trips (by train from zurich to almaty; with final exhibitions as part of the artbat-fest) and two e-learning modules (with simultaneous exhibitions at both locations), its work continues with a transdisciplinary lab seminar in spring semester 2020 (“stop, collaborate and listen!”) where participants from zurich, almaty and nursultan (aka astana) collaboratively explore the topic of identity through sound. all formats are created in close dialogue with the school of artistic gesture, a free advanced training course in contemporary art, which is realized by our partner organization, eurasian cultural alliance (eca).",{"_type":9,"current":28928},"contact-zones-radioqwas","Contact Zones – radioQWAS",{"_id":28931,"_type":1027,"categories":28932,"credits":28951,"featuredImage":28985,"filterables":28990,"footnotes":29002,"locations":29003,"logbook":7,"pageBuilder":29007,"researchQuestion":29079,"researchQuestions":7,"searchables":29088,"seo":7,"slug":29092,"title":29094,"year":133},"e38ead9d-4289-4aeb-9186-97b57f3204a6",[28933,28936,28939,28942,28945,28948],{"_id":810,"_type":362,"colorPrimary":28934,"seo":7,"slug":28935,"title":813},{"label":1031,"value":8792},{"_type":9,"current":812},{"_id":690,"_type":362,"colorPrimary":28937,"seo":7,"slug":28938,"title":693},{"label":1031,"value":16608},{"_type":9,"current":692},{"_id":535,"_type":362,"colorPrimary":28940,"seo":7,"slug":28941,"title":538},{"label":1031,"value":7216},{"_type":9,"current":537},{"_id":495,"_type":362,"colorPrimary":28943,"seo":7,"slug":28944,"title":498},{"label":1031,"value":6513},{"_type":9,"current":497},{"_id":450,"_type":362,"colorPrimary":28946,"seo":7,"slug":28947,"title":453},{"label":1031,"value":8450},{"_type":9,"current":452},{"_id":805,"_type":362,"colorPrimary":28949,"seo":7,"slug":28950,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"other":7,"profiles":28952},[28953],{"_id":28954,"_type":1078,"activeYears":28955,"bio":28958,"bioShort":28967,"featuredImage":7,"filterables":28968,"links":28971,"locations":28976,"searchables":28980,"seo":7,"slug":28982,"title":28984},"e95638dc-97b6-4e33-8dbc-ae6a523386a1",[28956],{"_id":130,"_type":99,"seo":7,"slug":28957,"title":133},{"_type":9,"current":132},[28959],{"_key":28960,"_type":219,"children":28961,"markDefs":28966,"style":232},"a0a453731df7",[28962],{"_key":28963,"_type":223,"marks":28964,"text":28965},"c0211a8f26d10",[],"She holds MA degrees in International Relations and Political Communication and has worked in the private, nonprofit and public sectors in South Africa. Her research and writing focuses on the nexus between international development, mediated communication and culture, and her essays, art writing and short stories have appeared in Africa’s a Country, Kalahari Review, New Frame and more.",[],"Researcher and writer from Johannesburg, and a PhD candidate at the Centre for African Studies, University of Basel. ",{"filterYear":28969},[28970],{"_id":130,"title":133},[28972,28974],{"_type":1138,"label":1139,"url":28973},"https://www.stmcbride.com/",{"_type":1138,"label":1142,"url":28975},"https://www.instagram.com/sindi_leigh",{"locations":28977,"other":7},[28978],{"_id":331,"_type":308,"seo":7,"slug":28979,"title":334},{"_type":9,"current":333},[28981,132],"sindi-leigh mcbride",{"_type":9,"current":28983},"sindi-leigh-mcbride","Sindi-Leigh McBride",{"alt":28986,"asset":28987},"Asemahle Ntlonti (2020) Ezonzibileni III. Unthreaded polypropylene bags, soap and goal leaf on canvas. Photography by Matthew Bradley. 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Photography by Matthew Bradley. Courtesty of the artist and What if the World Gallery.",[],{"alt":28986,"asset":29027},{"_id":28988,"height":4201,"orientation":1474,"ratio":2585,"url":28989,"width":4099},{"_type":1625,"settings":7,"text":29029},[29030],{"_key":29031,"_type":219,"children":29032,"markDefs":29041,"style":232},"a9d9d28dcbcc",[29033,29037],{"_key":29034,"_type":223,"marks":29035,"text":29036},"75b7b87282cd",[],"“our imagination was ‘all schooled up’.” – Ivan Illich, ",{"_key":29038,"_type":223,"marks":29039,"text":29040},"dacbdb4e5951",[1559],"Deschooling Society (1973)",[],{"_type":1625,"settings":7,"text":29043},[29044,29056,29064],{"_key":29045,"_type":219,"children":29046,"markDefs":29055,"style":232},"cbd0a48a6570",[29047,29051],{"_key":29048,"_type":223,"marks":29049,"text":29050},"9f0cc384e66d",[1559],"Deschooling",{"_key":29052,"_type":223,"marks":29053,"text":29054},"6929da574def",[]," aims to provide a foundation for thinking about intersectional climate issues and contemporary art together. The project presents a series of conversations with artists, curators and editors, accompanying short texts and a reference guide for further reading. Inspired by Ivan Illich’s critique of institutionalised educational systems, which recognised that “society is the result of conscious designs” that require educational opportunities that are both consciously designed and unconsciously embedded, the project similarly begins by recognising that our reliance on specialised, full-time instruction through formal schooling does not fully equip our imaginations to comprehend and respond to the climate crisis. Here, thinking with and through art towards climate is an opportunity to “find more ways to learn and teach.” ",[],{"_key":29057,"_type":219,"children":29058,"markDefs":29063,"style":232},"d897a721dd55",[29059],{"_key":29060,"_type":223,"marks":29061,"text":29062},"fe0edad8bbcb",[],"The project aims to ‘deschool’ both the climate crisis and arts criticism by exploring different approaches to engage with intersectional climate issues without those practices being reductively deemed ‘green’ or doom and gloom by asking questions like: What new ways of learning and teaching can deschool imagination? What approaches, methods and skills that can be learnt from creative practice to better communicate climate issues? How can creative practices, like arts writing, be strengthened by a deeper understanding of the climate crisis?",[],{"_key":29065,"_type":219,"children":29066,"markDefs":29078,"style":232},"003c0da25264",[29067,29071,29074],{"_key":29068,"_type":223,"marks":29069,"text":29070},"e7bed9e53ddf",[],"Focusing on contemporary art and writing from South Africa and Nigeria, ",{"_key":29072,"_type":223,"marks":29073,"text":29050},"065908c03df3",[1559],{"_key":29075,"_type":223,"marks":29076,"text":29077},"4bd837bcac27",[]," investigates approaches and ways of thinking that are free from institutional baggage or ideological expectation; the different ways that editorial, artistic and curatorial practices come together and lessons that can be learnt for exploring creative practice to develop deeper climate awareness.",[],[29080],{"_key":29081,"_type":219,"children":29082,"markDefs":29087,"style":232},"1de6bc43dc18",[29083],{"_key":29084,"_type":223,"marks":29085,"text":29086},"11637efceb0b",[],"What new ways of learning and teaching can deschool imagination? \n\nWhat approaches, methods and skills that can be learnt from creative practice to better communicate climate issues? \n\nHow can creative practices, like arts writing, be strengthened by a deeper understanding of the climate crisis?",[],[29089,132,313,28981,29090,29091,9256,16868,7484,7204,11854,807],"deschooling: climate and art","“our imagination was ‘all schooled up’.” – ivan illich, deschooling society (1973)","deschooling aims to provide a foundation for thinking about intersectional climate issues and contemporary art together. the project presents a series of conversations with artists, curators and editors, accompanying short texts and a reference guide for further reading. inspired by ivan illich’s critique of institutionalised educational systems, which recognised that “society is the result of conscious designs” that require educational opportunities that are both consciously designed and unconsciously embedded, the project similarly begins by recognising that our reliance on specialised, full-time instruction through formal schooling does not fully equip our imaginations to comprehend and respond to the climate crisis. here, thinking with and through art towards climate is an opportunity to “find more ways to learn and teach.” \n\nthe project aims to ‘deschool’ both the climate crisis and arts criticism by exploring different approaches to engage with intersectional climate issues without those practices being reductively deemed ‘green’ or doom and gloom by asking questions like: what new ways of learning and teaching can deschool imagination? what approaches, methods and skills that can be learnt from creative practice to better communicate climate issues? how can creative practices, like arts writing, be strengthened by a deeper understanding of the climate crisis?\n\nfocusing on contemporary art and writing from south africa and nigeria, deschooling investigates approaches and ways of thinking that are free from institutional baggage or ideological expectation; the different ways that editorial, artistic and curatorial practices come together and lessons that can be learnt for exploring creative practice to develop deeper climate awareness.",{"_type":9,"current":29093},"deschooling-climate-and-art","Deschooling: climate and art",{"_id":29096,"_type":1027,"categories":29097,"credits":29113,"featuredImage":29154,"filterables":29159,"footnotes":29170,"locations":29171,"logbook":29175,"pageBuilder":29190,"researchQuestion":7,"researchQuestions":7,"searchables":29257,"seo":7,"slug":29261,"title":29134,"year":133},"1bea3c3c-a956-4ee3-82bc-8597f8975ad9",[29098,29101,29104,29107,29110],{"_id":695,"_type":362,"colorPrimary":29099,"seo":7,"slug":29100,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"_id":505,"_type":362,"colorPrimary":29102,"seo":7,"slug":29103,"title":508},{"label":1031,"value":5270},{"_type":9,"current":507},{"_id":405,"_type":362,"colorPrimary":29105,"seo":7,"slug":29106,"title":408},{"label":1031,"value":5263},{"_type":9,"current":407},{"_id":555,"_type":362,"colorPrimary":29108,"seo":7,"slug":29109,"title":558},{"label":1031,"value":4977},{"_type":9,"current":557},{"_id":385,"_type":362,"colorPrimary":29111,"seo":7,"slug":29112,"title":388},{"label":1031,"value":18915},{"_type":9,"current":387},{"other":7,"profiles":29114},[29115],{"_id":29116,"_type":1078,"activeYears":29117,"bio":29120,"bioShort":29128,"featuredImage":7,"filterables":29129,"links":29132,"locations":29136,"searchables":29149,"seo":7,"slug":29151,"title":29153},"af73a582-4dc3-4acf-9453-71e79e0212c8",[29118],{"_id":130,"_type":99,"seo":7,"slug":29119,"title":133},{"_type":9,"current":132},[29121],{"_key":29122,"_type":219,"children":29123,"markDefs":29127,"style":232},"8eb98c6f8e6f",[29124],{"_key":29125,"_type":223,"marks":29126,"text":12647},"0b09a2a709080",[],[],"Mateo is a Colombian-Swiss art historian and curator.",{"filterYear":29130},[29131],{"_id":130,"title":133},[29133],{"_type":1138,"label":29134,"url":29135},"Do Nothing Curating","http://www.donothingcurating.com",{"locations":29137,"other":29140},[29138],{"_id":331,"_type":308,"seo":7,"slug":29139,"title":334},{"_type":9,"current":333},[29141],{"_key":29142,"_type":219,"children":29143,"markDefs":29148,"style":232},"5f076eb158fa",[29144],{"_key":29145,"_type":223,"marks":29146,"text":29147},"d57f66ba7f80",[],"Based in Kassel, Germany",[],[29150,132],"mateo chacon-pino",{"_type":9,"current":29152},"mateo-chacon-pino","Mateo Chacon-Pino",{"alt":29155,"asset":29156},"School of Common - Do Nothing Curating",{"_id":29157,"height":8901,"orientation":7818,"ratio":2178,"url":29158,"width":8901},"image-8ee4b96be8ef6cf280a5d4c360e260647ffab799-360x360-jpg","https://cdn.sanity.io/images/eodip22e/production/8ee4b96be8ef6cf280a5d4c360e260647ffab799-360x360.jpg",{"filterCategory":29160,"filterLocation":29166,"filterYear":29168},[29161,29162,29163,29164,29165],{"_id":695,"title":698},{"_id":505,"title":508},{"_id":405,"title":408},{"_id":555,"title":558},{"_id":385,"title":388},[29167],{"_id":331,"title":334},[29169],{"_id":130,"title":133},[],{"locations":29172,"other":7},[29173],{"_id":331,"_type":308,"seo":7,"slug":29174,"title":334},{"_type":9,"current":333},[29176],{"_key":29177,"_type":219,"children":29178,"markDefs":29187,"style":232},"2d2e1d6320cb",[29179,29183],{"_key":29180,"_type":223,"marks":29181,"text":29182},"4c8271502708",[],"*Defunct ",{"_key":29184,"_type":223,"marks":29185,"text":29135},"767299ea0d1c0",[29186],"2fc1ce2464ec",[29188],{"_key":29186,"_type":249,"href":29189},"http://www.donothingcurating.com/",[29191],{"_type":1625,"settings":7,"text":29192},[29193,29201,29209,29217,29225,29233,29241,29249],{"_key":29194,"_type":219,"children":29195,"markDefs":29200,"style":232},"9ca14eeed4c4",[29196],{"_key":29197,"_type":223,"marks":29198,"text":29199},"e5b89b260bb6",[],"Do Nothing Curating is dedicated to research and mediation of art as a medium in the relationship human-environment. 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is an artist, writer, and sex worker.",{"filterYear":30077},[30078],{"_id":130,"title":133},[30080],{"_type":1138,"label":1142,"url":30081},"https://www.instagram.com/_nontender_/",{"locations":30083,"other":30088},[30084,30086],{"_id":331,"_type":308,"seo":7,"slug":30085,"title":334},{"_type":9,"current":333},{"_id":321,"_type":308,"seo":7,"slug":30087,"title":324},{"_type":9,"current":323},[30089],{"_key":30090,"_type":219,"children":30091,"markDefs":30096,"style":232},"baf7a8c0f2ac",[30092],{"_key":30093,"_type":223,"marks":30094,"text":30095},"ee0cc111bf1c0",[],"Based in Los Angeles and London",[],[30098,132],"darya diamond",{"_type":9,"current":30100},"darya-diamond","Darya Diamond",{"alt":30103,"asset":30104},"Print, image, and tile by Darya Diamond",{"_id":30105,"height":30106,"orientation":1474,"ratio":30107,"url":30108,"width":30109},"image-94d207f7db9c66bf8db09dc329abe8a089d55527-576x569-jpg",569,1.0123022847100176,"https://cdn.sanity.io/images/eodip22e/production/94d207f7db9c66bf8db09dc329abe8a089d55527-576x569.jpg",576,{"filterCategory":30111,"filterLocation":30114,"filterYear":30117},[30112,30113],{"_id":485,"title":488},{"_id":805,"title":808},[30115,30116],{"_id":331,"title":334},{"_id":346,"title":349},[30118],{"_id":130,"title":133},[],{"locations":30121,"other":7},[30122,30124],{"_id":331,"_type":308,"seo":7,"slug":30123,"title":334},{"_type":9,"current":333},{"_id":346,"_type":308,"seo":7,"slug":30125,"title":349},{"_type":9,"current":348},[30127,30137,30152,30207],{"_type":1625,"settings":7,"text":30128},[30129],{"_key":30130,"_type":219,"children":30131,"markDefs":30136,"style":232},"a7352c5e47e3",[30132],{"_key":30133,"_type":223,"marks":30134,"text":30135},"acfc8c4bac0f",[],"This project presents a loose framework for understanding and repairing hegemonic social depletion. Social depletion refers to the critical gap between outflows- domestic, affective and reproductive- and the inflows that sustain their health and well being. Social depletion might be measured in terms of mental health, physical health, or the health of communities. In identifying the distinct interpersonal, systemic, and economic deformations of neoliberal capitalism my interest is in mapping a constellation for radical care and repair autonomous from the grasp of the mutated nation market state.\n\nTo recognize the centrality of care in contemporary world building is to recognize care as a form of agency and resistance. The way we think about care is deeply rooted in our social, economic and political values. How and why can relational ethics of care embody a radical political practice? The deficiencies of hegemonic social depletion in financialized neoliberalism are twofold: the extraction of labor from disenfranchised citizens and migrants who occupy the working class sector of care, and the exhaustion of the productive force behind immaterial labor. How can we frame the genesis of care as an ecology, a public value, and embodied practice for economic and political resistance.\n\nWho creates and maintains social bonds? Where are they currently replenished and by whom?​ W​hat do we mean by care economies? ​​What does the body mean as a category of social and political action if we think about the body as a workplace? How does the body reproduce the power of the nation state? There is no social change, no cultural or political innovation, and no economic practice that is not expressed through or on the body. More specifically still, I am interested in discussing the kind of labor that exists outside of the mainstream market economies, whose bodies provide civic flotation to the wealthy upper and middle class. This series I will publish in the coming weeks will be looking at the ecology of care maintained and perpetuated by sex workers.\n\nLast week I was interviewed on Radio AVA in London. We discussed an expanded definition of care that includes economies of pleasure, sex work, and types of service work that allow for the regeneration and maintenance of our bodies and minds. As an embodied practice, interdependent care is not reliant on capitalist power structures, but rather it is reliant on the formation of community. On the show we discussed care ecologies in sex worker communities, once again upholding the interrelationality of any sensorial and or emotional labor, and the positive and negative associations between social reproduction and sex work. (A full recording and transcript of this interview will be made available soon)",[],{"_type":1621,"caption":30138,"image":30147},[30139],{"_key":30140,"_type":219,"children":30141,"markDefs":30146,"style":232},"793df2306ed5",[30142],{"_key":30143,"_type":223,"marks":30144,"text":30145},"980f4ea31f970",[],"Image and artwork by Darya Diamond",[],{"alt":30148,"asset":30149},"image and artwork by Darya Diamond",{"_id":30150,"height":7699,"orientation":7818,"ratio":2178,"url":30151,"width":7699},"image-459f7456005772da337f62cbce343f10e95c91f7-768x768-jpg","https://cdn.sanity.io/images/eodip22e/production/459f7456005772da337f62cbce343f10e95c91f7-768x768.jpg",{"_type":1625,"settings":7,"text":30153},[30154,30162,30169,30177,30184,30192,30199],{"_key":30155,"_type":219,"children":30156,"markDefs":30161,"style":232},"1507ab2cfd39",[30157],{"_key":30158,"_type":223,"marks":30159,"text":30160},"8f5cc8dff63c0",[],"This project presents a loose framework for understanding and repairing hegemonic social depletion. Social depletion refers to the critical gap between outflows- domestic, affective and reproductive- and the inflows that sustain their health and well being. Social depletion might be measured in terms of mental health, physical health, or the health of communities. In identifying the distinct interpersonal, systemic, and economic deformations of neoliberal capitalism my interest is in mapping a constellation for radical care and repair autonomous from the grasp of the mutated nation market state.",[],{"_key":30163,"_type":219,"children":30164,"markDefs":30168,"style":232},"7dd008da72c0",[30165],{"_key":30166,"_type":223,"marks":30167,"text":1405},"8981447dc2710",[],[],{"_key":30170,"_type":219,"children":30171,"markDefs":30176,"style":232},"98b2e82b299a",[30172],{"_key":30173,"_type":223,"marks":30174,"text":30175},"4c84e1162d2a0",[],"To recognize the centrality of care in contemporary world building is to recognize care as a form of agency and resistance. The way we think about care is deeply rooted in our social, economic and political values. How and why can relational ethics of care embody a radical political practice? The deficiencies of hegemonic social depletion in financialized neoliberalism are twofold: the extraction of labor from disenfranchised citizens and migrants who occupy the working class sector of care, and the exhaustion of the productive force behind immaterial labor. How can we frame the genesis of care as an ecology, a public value, and embodied practice for economic and political resistance.",[],{"_key":30178,"_type":219,"children":30179,"markDefs":30183,"style":232},"42e30238d622",[30180],{"_key":30181,"_type":223,"marks":30182,"text":1405},"16516ad384430",[],[],{"_key":30185,"_type":219,"children":30186,"markDefs":30191,"style":232},"59db76a31c6e",[30187],{"_key":30188,"_type":223,"marks":30189,"text":30190},"fe251a733f3c0",[],"Who creates and maintains social bonds? Where are they currently replenished and by whom?​ W​hat do we mean by care economies? ​​What does the body mean as a category of social and political action if we think about the body as a workplace? How does the body reproduce the power of the nation state? There is no social change, no cultural or political innovation, and no economic practice that is not expressed through or on the body. More specifically still, I am interested in discussing the kind of labor that exists outside of the mainstream market economies, whose bodies provide civic flotation to the wealthy upper and middle class. This series I will publish in the coming weeks will be looking at the ecology of care maintained and perpetuated by sex workers.",[],{"_key":30193,"_type":219,"children":30194,"markDefs":30198,"style":232},"289805e75b50",[30195],{"_key":30196,"_type":223,"marks":30197,"text":1405},"2ce013a4827e0",[],[],{"_key":30200,"_type":219,"children":30201,"markDefs":30206,"style":232},"efa3c3735eb2",[30202],{"_key":30203,"_type":223,"marks":30204,"text":30205},"2a46826025ba0",[],"Last week I was interviewed on Radio AVA in London. We discussed an expanded definition of care that includes economies of pleasure, sex work, and types of service work that allow for the regeneration and maintenance of our bodies and minds. As an embodied practice, interdependent care is not reliant on capitalist power structures, but rather it is reliant on the formation of community. On the show we discussed care ecologies in sex worker communities, once again upholding the interrelationality of any sensorial and or emotional labor, and the positive and negative associations between social reproduction and sex work. (A full recording and transcript of this interview will be made available soon)",[],{"_type":1625,"settings":7,"text":30208},[30209,30217,30225],{"_key":30210,"_type":219,"children":30211,"markDefs":30216,"style":232},"99fd74a133d5",[30212],{"_key":30213,"_type":223,"marks":30214,"text":30215},"4f17849cbe370",[],"The term ‘Social Reproduction’ broadly refers to forms of activities, capacities, and labour that replenish and reproduce ‘productive’ humans under capitalism. It is the work of making and remaking people both on an everyday level and on a generational level, reproducing and replenishing the bodies that become potential labor power. Care is the expanded field of social reproduction, and while these terms are not inherently interchangeable the terminology of care has come to define a more complex understanding of what social reproduction can be. Redefining care as both a collectivized value and a collectivized practice allows for a broader analysis of how the reorganization of ‘care work’ can have profound implications for larger social, political and cognitive repair.",[],{"_key":30218,"_type":219,"children":30219,"markDefs":30224,"style":232},"f46d2bc1f1e8",[30220],{"_key":30221,"_type":223,"marks":30222,"text":30223},"cc4670b960cf",[],"Care requires not only nurturing relationships but also the physical and mental work of taking care of, cleaning up after, and maintaining bodies. This includes the professionalized sector of domestic work and what may be considered “immaterial labor” such as jobs implementing caring duties that used to be allocated to the home, schools, hospitals, hospices, nursing homes, care facilities for disabled people, funeral homes etc. which includes necessary manual domestic labor such as cleaning, preparing food, removing waste. Care includes economies of pleasure such as sexual work, types of service work that allow for the regeneration and maintenance of the bodies and minds. It can be situated as caring for, caring about, care-giving, and caring with. An expanded definition of care also includes the capacity for communities to feel emotionally supported and connected to their neighborhood and their extended kin beyond the immediate institution of the family.",[],{"_key":30226,"_type":219,"children":30227,"markDefs":30232,"style":232},"48953da39bf4",[30228],{"_key":30229,"_type":223,"marks":30230,"text":30231},"b57c2bb69770",[],"Focusing on care in economies of pleasure such as the multi-faceted forms of sex work and types of service work that allow for the regeneration and maintenance of the bodies and minds, let us examine the personal and public forms of care. What are the dimensions that join to generate “integrated act of care”, the affective and ethical dispositions involved in concern, worry, and taking responsibility for another’s well being. In this way, caring about and taking care of are both extremely personal and simultaneously relational whether the embodiment of those terms might take the shape of preparing a meal for your kin, providing a BDSM spanking session, or providing an emotional space for listening and sharing with colleagues. In the realm of sex work communities, these practices are an essential part of the maintenance of social (and anti-social) bodies both as services to clients, as well as services to one another. Communities of sex workers are not unique in the necessity of mutual aid, mutual support and collectivized care. They are one of the many kinds of communities of laborers that are negated, discriminated against and or criminalized in one form another. The philosophy of care in sex work is a theoretical exercise through which we can look at the philosophy of care as a practice based on interdependent responsibilities to one another, corroborating a radical ecology of care that is non-hierarchical and altogether collective.",[],[30234,30242,30250,30258,30266,30274],{"_key":30235,"_type":219,"children":30236,"markDefs":30241,"style":232},"db76be9db267",[30237],{"_key":30238,"_type":223,"marks":30239,"text":30240},"d196c88b45320",[],"How and why can relational ethics of care embody a radical political practice?",[],{"_key":30243,"_type":219,"children":30244,"markDefs":30249,"style":232},"5bf7b6708c72",[30245],{"_key":30246,"_type":223,"marks":30247,"text":30248},"3bf0191632660",[],"Who creates and maintains social bonds? ",[],{"_key":30251,"_type":219,"children":30252,"markDefs":30257,"style":232},"77846869de40",[30253],{"_key":30254,"_type":223,"marks":30255,"text":30256},"99eb9573ec6a",[],"Where are they currently replenished and by whom?​ ",[],{"_key":30259,"_type":219,"children":30260,"markDefs":30265,"style":232},"9d954d50d9c6",[30261],{"_key":30262,"_type":223,"marks":30263,"text":30264},"deaec9922cbd",[],"W​hat do we mean by care economies? ​​",[],{"_key":30267,"_type":219,"children":30268,"markDefs":30273,"style":232},"c4893968bc64",[30269],{"_key":30270,"_type":223,"marks":30271,"text":30272},"c283d6270749",[],"What does the body mean as a category of social and political action if we think about the body as a workplace? ",[],{"_key":30275,"_type":219,"children":30276,"markDefs":30281,"style":232},"2ee4c04fd6cb",[30277],{"_key":30278,"_type":223,"marks":30279,"text":30280},"a9f96a34e421",[],"How does the body reproduce the power of the nation state?",[],[30283,132,333,8430,30098,30284,30285,30286,9257,807],"i. mutiny of the body: constellations towards a radical ecology of care","this project presents a loose framework for understanding and repairing hegemonic social depletion. social depletion refers to the critical gap between outflows- domestic, affective and reproductive- and the inflows that sustain their health and well being. social depletion might be measured in terms of mental health, physical health, or the health of communities. in identifying the distinct interpersonal, systemic, and economic deformations of neoliberal capitalism my interest is in mapping a constellation for radical care and repair autonomous from the grasp of the mutated nation market state.\n\nto recognize the centrality of care in contemporary world building is to recognize care as a form of agency and resistance. the way we think about care is deeply rooted in our social, economic and political values. how and why can relational ethics of care embody a radical political practice? the deficiencies of hegemonic social depletion in financialized neoliberalism are twofold: the extraction of labor from disenfranchised citizens and migrants who occupy the working class sector of care, and the exhaustion of the productive force behind immaterial labor. how can we frame the genesis of care as an ecology, a public value, and embodied practice for economic and political resistance.\n\nwho creates and maintains social bonds? where are they currently replenished and by whom?​ w​hat do we mean by care economies? ​​what does the body mean as a category of social and political action if we think about the body as a workplace? how does the body reproduce the power of the nation state? there is no social change, no cultural or political innovation, and no economic practice that is not expressed through or on the body. more specifically still, i am interested in discussing the kind of labor that exists outside of the mainstream market economies, whose bodies provide civic flotation to the wealthy upper and middle class. this series i will publish in the coming weeks will be looking at the ecology of care maintained and perpetuated by sex workers.\n\nlast week i was interviewed on radio ava in london. we discussed an expanded definition of care that includes economies of pleasure, sex work, and types of service work that allow for the regeneration and maintenance of our bodies and minds. as an embodied practice, interdependent care is not reliant on capitalist power structures, but rather it is reliant on the formation of community. on the show we discussed care ecologies in sex worker communities, once again upholding the interrelationality of any sensorial and or emotional labor, and the positive and negative associations between social reproduction and sex work. (a full recording and transcript of this interview will be made available soon)","this project presents a loose framework for understanding and repairing hegemonic social depletion. social depletion refers to the critical gap between outflows- domestic, affective and reproductive- and the inflows that sustain their health and well being. social depletion might be measured in terms of mental health, physical health, or the health of communities. in identifying the distinct interpersonal, systemic, and economic deformations of neoliberal capitalism my interest is in mapping a constellation for radical care and repair autonomous from the grasp of the mutated nation market state.\n\n\n\nto recognize the centrality of care in contemporary world building is to recognize care as a form of agency and resistance. the way we think about care is deeply rooted in our social, economic and political values. how and why can relational ethics of care embody a radical political practice? the deficiencies of hegemonic social depletion in financialized neoliberalism are twofold: the extraction of labor from disenfranchised citizens and migrants who occupy the working class sector of care, and the exhaustion of the productive force behind immaterial labor. how can we frame the genesis of care as an ecology, a public value, and embodied practice for economic and political resistance.\n\n\n\nwho creates and maintains social bonds? where are they currently replenished and by whom?​ w​hat do we mean by care economies? ​​what does the body mean as a category of social and political action if we think about the body as a workplace? how does the body reproduce the power of the nation state? there is no social change, no cultural or political innovation, and no economic practice that is not expressed through or on the body. more specifically still, i am interested in discussing the kind of labor that exists outside of the mainstream market economies, whose bodies provide civic flotation to the wealthy upper and middle class. this series i will publish in the coming weeks will be looking at the ecology of care maintained and perpetuated by sex workers.\n\n\n\nlast week i was interviewed on radio ava in london. we discussed an expanded definition of care that includes economies of pleasure, sex work, and types of service work that allow for the regeneration and maintenance of our bodies and minds. as an embodied practice, interdependent care is not reliant on capitalist power structures, but rather it is reliant on the formation of community. on the show we discussed care ecologies in sex worker communities, once again upholding the interrelationality of any sensorial and or emotional labor, and the positive and negative associations between social reproduction and sex work. (a full recording and transcript of this interview will be made available soon)","the term ‘social reproduction’ broadly refers to forms of activities, capacities, and labour that replenish and reproduce ‘productive’ humans under capitalism. it is the work of making and remaking people both on an everyday level and on a generational level, reproducing and replenishing the bodies that become potential labor power. care is the expanded field of social reproduction, and while these terms are not inherently interchangeable the terminology of care has come to define a more complex understanding of what social reproduction can be. redefining care as both a collectivized value and a collectivized practice allows for a broader analysis of how the reorganization of ‘care work’ can have profound implications for larger social, political and cognitive repair.\n\ncare requires not only nurturing relationships but also the physical and mental work of taking care of, cleaning up after, and maintaining bodies. this includes the professionalized sector of domestic work and what may be considered “immaterial labor” such as jobs implementing caring duties that used to be allocated to the home, schools, hospitals, hospices, nursing homes, care facilities for disabled people, funeral homes etc. which includes necessary manual domestic labor such as cleaning, preparing food, removing waste. care includes economies of pleasure such as sexual work, types of service work that allow for the regeneration and maintenance of the bodies and minds. it can be situated as caring for, caring about, care-giving, and caring with. an expanded definition of care also includes the capacity for communities to feel emotionally supported and connected to their neighborhood and their extended kin beyond the immediate institution of the family.\n\nfocusing on care in economies of pleasure such as the multi-faceted forms of sex work and types of service work that allow for the regeneration and maintenance of the bodies and minds, let us examine the personal and public forms of care. what are the dimensions that join to generate “integrated act of care”, the affective and ethical dispositions involved in concern, worry, and taking responsibility for another’s well being. in this way, caring about and taking care of are both extremely personal and simultaneously relational whether the embodiment of those terms might take the shape of preparing a meal for your kin, providing a bdsm spanking session, or providing an emotional space for listening and sharing with colleagues. in the realm of sex work communities, these practices are an essential part of the maintenance of social (and anti-social) bodies both as services to clients, as well as services to one another. communities of sex workers are not unique in the necessity of mutual aid, mutual support and collectivized care. they are one of the many kinds of communities of laborers that are negated, discriminated against and or criminalized in one form another. the philosophy of care in sex work is a theoretical exercise through which we can look at the philosophy of care as a practice based on interdependent responsibilities to one another, corroborating a radical ecology of care that is non-hierarchical and altogether collective.",{"_type":9,"current":30288},"i-mutiny-of-the-body-constellations-towards-a-radical-ecology-of-care","I. Mutiny of the Body: Constellations Towards a Radical Ecology of Care",{"_id":30291,"_type":1027,"categories":30292,"credits":30302,"featuredImage":30398,"filterables":30405,"footnotes":30412,"locations":7,"logbook":7,"pageBuilder":30413,"researchQuestion":30715,"researchQuestions":7,"searchables":30724,"seo":7,"slug":30729,"title":30731,"year":133},"6bd8c6af-02d9-48d7-a596-ce02e71fe6ca",[30293,30296,30299],{"_id":695,"_type":362,"colorPrimary":30294,"seo":7,"slug":30295,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"_id":555,"_type":362,"colorPrimary":30297,"seo":7,"slug":30298,"title":558},{"label":1031,"value":4977},{"_type":9,"current":557},{"_id":470,"_type":362,"colorPrimary":30300,"seo":7,"slug":30301,"title":473},{"label":1031,"value":4453},{"_type":9,"current":472},{"other":7,"profiles":30303},[30304,30346,30373],{"_id":30305,"_type":1078,"activeYears":30306,"bio":30309,"bioShort":7,"featuredImage":7,"filterables":30334,"links":7,"locations":30337,"searchables":30341,"seo":7,"slug":30343,"title":30345},"2e436d28-dc7f-453c-a6c0-810ee6282237",[30307],{"_id":130,"_type":99,"seo":7,"slug":30308,"title":133},{"_type":9,"current":132},[30310,30318,30326],{"_key":30311,"_type":219,"children":30312,"markDefs":30317,"style":232},"25389d9ffc9c",[30313],{"_key":30314,"_type":223,"marks":30315,"text":30316},"8b0687c9d16b0",[],"Jasmine is currently studying her MA in Cultural History and Theory at the Humboldt-Universität zu Berlin.",[],{"_key":30319,"_type":219,"children":30320,"markDefs":30325,"style":232},"58313cfb5471",[30321],{"_key":30322,"_type":223,"marks":30323,"text":30324},"ebee4be56a540",[],"She received her Bachelor’s degree in Media Studies by the Bauhaus University Weimar with a thesis on ecological thought and technological aspects of neocolonial spatial products such as smart cities and Seasteading.",[],{"_key":30327,"_type":219,"children":30328,"markDefs":30333,"style":232},"2f34d00bd383",[30329],{"_key":30330,"_type":223,"marks":30331,"text":30332},"52e14329ec1d0",[],"Her research interests include postcolonial studies, globalization and migration studies, media philosophy, and political ecologies. Her recent projects explore the correlation between perceptibility and responsibility concerning the mediatization within solidarity networks through qualitative methods.",[],{"filterYear":30335},[30336],{"_id":130,"title":133},{"locations":30338,"other":7},[30339],{"_id":331,"_type":308,"seo":7,"slug":30340,"title":334},{"_type":9,"current":333},[30342,132],"jasmine grace wenzel",{"_type":9,"current":30344},"jasmine-grace-wenzel","Jasmine Grace Wenzel",{"_id":30347,"_type":1078,"activeYears":30348,"bio":30351,"bioShort":30360,"featuredImage":7,"filterables":30361,"links":7,"locations":30364,"searchables":30368,"seo":7,"slug":30370,"title":30372},"38cf91c7-deeb-4457-ba16-802613726011",[30349],{"_id":130,"_type":99,"seo":7,"slug":30350,"title":133},{"_type":9,"current":132},[30352],{"_key":30353,"_type":219,"children":30354,"markDefs":30359,"style":232},"20cf0bb0df51",[30355],{"_key":30356,"_type":223,"marks":30357,"text":30358},"2365c5745ec40",[],"He will be completing his MSc in philosophy of science this summer. Previously, he studied at Goldsmiths, where he completed an MA in Cultural Studies.",[],"Andrea Ragno is a postgraduate student at the London School of Economics and Political Science. ",{"filterYear":30362},[30363],{"_id":130,"title":133},{"locations":30365,"other":7},[30366],{"_id":331,"_type":308,"seo":7,"slug":30367,"title":334},{"_type":9,"current":333},[30369,132],"andrea giuseppe ragno",{"_type":9,"current":30371},"andrea-giuseppe-ragno","Andrea Giuseppe Ragno",{"_id":30374,"_type":1078,"activeYears":30375,"bio":30378,"bioShort":7,"featuredImage":7,"filterables":30386,"links":7,"locations":30389,"searchables":30393,"seo":7,"slug":30395,"title":30397},"92b03b9d-9c7c-4181-9dd6-9aded173d072",[30376],{"_id":130,"_type":99,"seo":7,"slug":30377,"title":133},{"_type":9,"current":132},[30379],{"_key":30380,"_type":219,"children":30381,"markDefs":30385,"style":232},"74c231f520a2",[30382],{"_key":30383,"_type":223,"marks":30384,"text":12647},"0b8361dcdbd2",[],[],{"filterYear":30387},[30388],{"_id":130,"title":133},{"locations":30390,"other":7},[30391],{"_id":331,"_type":308,"seo":7,"slug":30392,"title":334},{"_type":9,"current":333},[30394,132],"richard jack hames",{"_type":9,"current":30396},"richard-jack-hames","Richard Jack Hames",{"alt":30399,"asset":30400},"School of Commons - Learning in Island Ecologies",{"_id":30401,"height":30402,"orientation":1474,"ratio":30403,"url":30404,"width":4099},"image-aed75d6eafc3c7c71a86f070cedbe6e00f297f6e-1440x899-png",899,1.6017797552836486,"https://cdn.sanity.io/images/eodip22e/production/aed75d6eafc3c7c71a86f070cedbe6e00f297f6e-1440x899.png",{"filterCategory":30406,"filterLocation":7,"filterYear":30410},[30407,30408,30409],{"_id":695,"title":698},{"_id":555,"title":558},{"_id":470,"title":473},[30411],{"_id":130,"title":133},[],[30414,30426,30512,30576,30618,30625,30667,30674],{"_type":1621,"caption":30415,"image":30424},[30416],{"_key":30417,"_type":219,"children":30418,"markDefs":30423,"style":232},"ac88dcf98f41",[30419],{"_key":30420,"_type":223,"marks":30421,"text":30422},"4e4ec1d712930",[],"Playthrough Island Forge",[],{"alt":30422,"asset":30425},{"_id":30401,"height":30402,"orientation":1474,"ratio":30403,"url":30404,"width":4099},{"_type":1625,"settings":7,"text":30427},[30428,30478,30486],{"_key":30429,"_type":219,"children":30430,"markDefs":30469,"style":232},"f74e5572891c",[30431,30435,30440,30444,30449,30452,30457,30460,30465],{"_key":30432,"_type":223,"marks":30433,"text":30434},"0c9828e1a9c30",[],"Learning in Island Ecologies is an online collective learning format and experiment revolving around the possibilities and limits of distant learning. The online workshop has three conceptual foci: three islands, Scientific Modelling, Archipellagic Storytelling, and Social Design. Our learning environment was situated in an online RPG, namely ",{"_key":30436,"_type":223,"marks":30437,"text":30439},"0c9828e1a9c31",[30438],"477d42efb21e","Island Forge",{"_key":30441,"_type":223,"marks":30442,"text":30443},"0c9828e1a9c32",[]," which we visited with 12 selected participants from all over the world. The LEARN comprised a two-month long and biweekly scheduled reading group on the topics of ",{"_key":30445,"_type":223,"marks":30446,"text":30448},"0c9828e1a9c33",[30447],"1818b26d2406","Scientific Modelling",{"_key":30450,"_type":223,"marks":30451,"text":2704},"0c9828e1a9c34",[],{"_key":30453,"_type":223,"marks":30454,"text":30456},"0c9828e1a9c35",[30455],"b08ed98b8b7f","Archipellagic Storytellings",{"_key":30458,"_type":223,"marks":30459,"text":1198},"0c9828e1a9c36",[],{"_key":30461,"_type":223,"marks":30462,"text":30464},"0c9828e1a9c37",[30463],"f8176a023225","Social Design",{"_key":30466,"_type":223,"marks":30467,"text":30468},"0c9828e1a9c38",[],". The sessions were preparatory for the groups community building and served for helping achieving a fruitful discussion on the extensive and practical oriented experiment day.",[30470,30472,30474,30476],{"_key":30438,"_type":249,"href":30471},"https://islandforge.com/",{"_key":30447,"_type":249,"href":30473},"https://www.are.na/block/7329146",{"_key":30455,"_type":249,"href":30475},"https://www.are.na/island-ecologies/archipelagic-storytelling",{"_key":30463,"_type":249,"href":30477},"https://www.are.na/island-ecologies/social-design-t6hdnnidnfs",{"_key":30479,"_type":219,"children":30480,"markDefs":30485,"style":232},"87938d0c7936",[30481],{"_key":30482,"_type":223,"marks":30483,"text":30484},"dde0a2a982010",[],"While we were or still are in a condition of existential quarantine — either right now, in our houses, or in the carved-out roles we have suddenly stopped playing, or against the backdrop of a vast and indifferent universe. Does the meaning of learning rely on further communication down the line? Does it rely on every isolated island hiding a secret underlying archipelago? Does this moment of global fragility, when we can all suddenly turn the tap of sociality on and off at will, generate, like island ecologies do for their animals, learning styles with island gigantism, learning styles with a high rate of island endemism, learning styles with reduced sexual selection? We propose to find out.",[],{"_key":30487,"_type":219,"children":30488,"markDefs":30509,"style":232},"c5609ca882ac",[30489,30493,30497,30501,30505],{"_key":30490,"_type":223,"marks":30491,"text":30492},"d7ddca6e5a1e0",[],"LEARNING IN ISLAND ECOLOGIES is an intensive 1-day experiment. 12 participants will be split up into groups of four researchers and set upon tasks of our devising: tasks of modelling ideal communities, tasks of narrating isolated and archipelagic stories, tasks of scientific modelling in an age of runaway contagion. The whole experiment will be submerged into the online world — in part the nostalgic RPG ",{"_key":30494,"_type":223,"marks":30495,"text":30439},"d7ddca6e5a1e1",[30496,1559],"d3a3ce018818",{"_key":30498,"_type":223,"marks":30499,"text":30500},"d7ddca6e5a1e2",[],", a visually obsolete, but somehow still running, online game made of player-created virtual islands. Our avatars and we will visit three ",{"_key":30502,"_type":223,"marks":30503,"text":30504},"d7ddca6e5a1e3",[1559],"topical",{"_key":30506,"_type":223,"marks":30507,"text":30508},"d7ddca6e5a1e4",[]," islands: scientific modelling; archipelagic storytelling; and idealised social design. From the problems we find there, we will develop concepts, proposals, and ideas under these conditions of artificial isolation, before being reintroduced to each other to circulate what we have learned and discovered. This oscillation between isolated islands and connected archipelagos, this alternation between quarantine and exchange, will, we hope, produce novel conditions of learning and thinking. A public-facing online stream of content and an archival website will cap the project, although anything you wish to keep secret, safe, isolated, can be.",[30510],{"_key":30496,"_type":249,"href":30511},"https://www.mmorpg.com/island-forge",{"_type":2894,"slides":30513},[30514,30529,30545,30559],{"_type":1621,"caption":30515,"image":30524},[30516],{"_key":30517,"_type":219,"children":30518,"markDefs":30523,"style":232},"42293689038f",[30519],{"_key":30520,"_type":223,"marks":30521,"text":30522},"27cb8ac0a0a10",[],"The palm trees wave — the sand is warm and golden. You are on your own. Your bed is warm and wilting. What does forever even mean?",[],{"alt":30525,"asset":30526},"The palm trees wave — the sand is warm and golden. You are on your own. Your bed is warm and wilting. What does forever even mean?  ",{"_id":30527,"height":21002,"orientation":1474,"ratio":21003,"url":30528,"width":7699},"image-43e32d975e686b4572c97d6ecb191240be3977e3-768x767-jpg","https://cdn.sanity.io/images/eodip22e/production/43e32d975e686b4572c97d6ecb191240be3977e3-768x767.jpg",{"_type":1621,"caption":30530,"image":30539},[30531],{"_key":30532,"_type":219,"children":30533,"markDefs":30538,"style":232},"9da4158e93fe",[30534],{"_key":30535,"_type":223,"marks":30536,"text":30537},"010c43ff186e0",[],"Design by Taissa Fromme",[],{"alt":30537,"asset":30540},{"_id":30541,"height":30542,"orientation":1474,"ratio":30543,"url":30544,"width":8262},"image-44d6909810f50f66006c44b0a4ed57fc9201f52e-900x897-jpg",897,1.0033444816053512,"https://cdn.sanity.io/images/eodip22e/production/44d6909810f50f66006c44b0a4ed57fc9201f52e-900x897.jpg",{"_type":1621,"caption":30546,"image":30554},[30547],{"_key":30548,"_type":219,"children":30549,"markDefs":30553,"style":232},"db8115c38335",[30550],{"_key":30551,"_type":223,"marks":30552,"text":30537},"2e11b57a4a080",[],[],{"alt":30537,"asset":30555},{"_id":30556,"height":30402,"orientation":1474,"ratio":30557,"url":30558,"width":8262},"image-757e713047f48f3e4094936ce27f5c770f373918-900x899-jpg",1.0011123470522802,"https://cdn.sanity.io/images/eodip22e/production/757e713047f48f3e4094936ce27f5c770f373918-900x899.jpg",{"_type":1621,"caption":30560,"image":30569},[30561],{"_key":30562,"_type":219,"children":30563,"markDefs":30568,"style":232},"52b9c4af6775",[30564],{"_key":30565,"_type":223,"marks":30566,"text":30567},"b7a2ab12cea80",[],"A sandy island, surrounded by black sea.",[],{"alt":30567,"asset":30570},{"_id":30571,"height":30572,"orientation":1129,"ratio":30573,"url":30574,"width":30575},"image-a6d712e0a05daaf4b028252318f0455431f336cd-299x300-jpg",300,0.9966666666666667,"https://cdn.sanity.io/images/eodip22e/production/a6d712e0a05daaf4b028252318f0455431f336cd-299x300.jpg",299,{"_type":1625,"settings":7,"text":30577},[30578,30586,30594,30602,30610],{"_key":30579,"_type":219,"children":30580,"markDefs":30585,"style":232},"8170045fd2ad",[30581],{"_key":30582,"_type":223,"marks":30583,"text":30584},"657616f71a4f0",[],"We will structure the three sessions on the day around three problems, one on each island:",[],{"_key":30587,"_type":219,"children":30588,"markDefs":30593,"style":232},"7afc7fc2323f",[30589],{"_key":30590,"_type":223,"marks":30591,"text":30592},"e39d85d61cb70",[],"1. Modelling: Each group will receive a problem of scientific modelling. Our aim is to generate doubts, opinions, insights on how the representation and the visualisation of certain phenomena as modelled by practitioners. Questions regarding the intervention of socio-political values in epistemic practices (e.g. how scientists select relevant information, how communities perceive those visualisations, what kind of relation occurs between practitioners and local communities) will arise.",[],{"_key":30595,"_type":219,"children":30596,"markDefs":30601,"style":232},"d765f2817e8b",[30597],{"_key":30598,"_type":223,"marks":30599,"text":30600},"835d081a50260",[],"2. Storytelling: As the ultimate utopian space are islands, this session will revolve around the imaginaries of islands in archipelagic formations. Actual or speculative design projects will be discussed and taken as point of departure for collective storytellings.",[],{"_key":30603,"_type":219,"children":30604,"markDefs":30609,"style":232},"13542dd58f0a",[30605],{"_key":30606,"_type":223,"marks":30607,"text":30608},"e2abd37666280",[],"3. Social design: The third island will focus on the practical problem of designing model communities. Each group will be asked to model communities — like islands — which can satisfy the formal constraints of isolation, self-sufficiency, and a degree of metastability. In the third part of the day, the groups will reconvene to share their findings.",[],{"_key":30611,"_type":219,"children":30612,"markDefs":30617,"style":232},"b7480e141149",[30613],{"_key":30614,"_type":223,"marks":30615,"text":30616},"1a74755077980",[],"At the end of each session, the groups exchange their research. They render transportable what has been dense and wet. These new concepts are then added into a pool of ongoing collective knowledge. Participants are then given another prompt utilising both the diverse expertise of the group and the already-developed concepts from the last round. Repeat the process for each session. The groups will continue forming new concepts. This might lead to a collective collection of concepts, or it might mean that groups diverge. Over these three sessions, a collective group thought process will emerge.",[],{"_type":1621,"caption":7,"image":30619},{"alt":7,"asset":30620},{"_id":30621,"height":30622,"orientation":1129,"ratio":30623,"url":30624,"width":7699},"image-1e0157c3c44158cc0000e3354227cbe86bffe406-768x792-jpg",792,0.9696969696969697,"https://cdn.sanity.io/images/eodip22e/production/1e0157c3c44158cc0000e3354227cbe86bffe406-768x792.jpg",{"_type":1625,"settings":7,"text":30626},[30627,30635,30643,30651,30659],{"_key":30628,"_type":219,"children":30629,"markDefs":30634,"style":232},"0676726f2717",[30630],{"_key":30631,"_type":223,"marks":30632,"text":30633},"3cfebeda5cc30",[],"Simultaneously, another group — us — which has access to all the various groups, oversees and takes notes on the processes of collective learning and research. They explore similarities between typical features of island ecologies (high levels of speciation, gigantism, and high endemism) and learning in isolated environments.",[],{"_key":30636,"_type":219,"children":30637,"markDefs":30642,"style":232},"b891d8e0b46d",[30638],{"_key":30639,"_type":223,"marks":30640,"text":30641},"b108e27c1cdf0",[],"The research and concepts that are generated are highly private and specific to the group that makes them while the research is ongoing. And also, the collective research doesn’t come into contact with the outside world, even after the project is over. It remains a kind of island. What is presented to the public is the research into the group dynamics of learning in collective but isolated, contexts, abstracted away from its content.",[],{"_key":30644,"_type":219,"children":30645,"markDefs":30650,"style":232},"3a79a290c2e5",[30646],{"_key":30647,"_type":223,"marks":30648,"text":30649},"3961226707730",[],"Once the project will be done, we intend to share the findings of our LEARN in the following ways:",[],{"_key":30652,"_type":219,"children":30653,"markDefs":30658,"style":232},"04e632b581c4",[30654],{"_key":30655,"_type":223,"marks":30656,"text":30657},"309cefa96b2e0",[],"1. We will make a stream of content from the LEARN, presented on Twitch or another non-live but audiovisual format.",[],{"_key":30660,"_type":219,"children":30661,"markDefs":30666,"style":232},"31298d313fd4",[30662],{"_key":30663,"_type":223,"marks":30664,"text":30665},"984e6138a3620",[],"2. An online pad to exhibit the workshop’s findings. It will allow distant visitors to openly access the visual materials on island ecologies and stories gathered throughout the workshop. A collection of materials will not only include the productions of the participants but also share research tools and links.",[],{"_type":1621,"caption":7,"image":30668},{"alt":7,"asset":30669},{"_id":30670,"height":2394,"orientation":1129,"ratio":30671,"url":30672,"width":30673},"image-d36ba34d0e92d36338d662ecea73d43eed722767-996x1280-jpg",0.778125,"https://cdn.sanity.io/images/eodip22e/production/d36ba34d0e92d36338d662ecea73d43eed722767-996x1280.jpg",996,{"_type":2894,"slides":30675},[30676,30689,30702],{"_type":1621,"caption":30677,"image":30685},[30678],{"_key":30679,"_type":219,"children":30680,"markDefs":30684,"style":232},"01ccd5b9614e",[30681],{"_key":30682,"_type":223,"marks":30683,"text":30537},"04cda69be56b0",[],[],{"alt":30537,"asset":30686},{"_id":30687,"height":13683,"orientation":7818,"ratio":2178,"url":30688,"width":13683},"image-011b6cf151a2249fdc2b32bcf87927209d6e8afa-2250x2250-jpg","https://cdn.sanity.io/images/eodip22e/production/011b6cf151a2249fdc2b32bcf87927209d6e8afa-2250x2250.jpg",{"_type":1621,"caption":30690,"image":30698},[30691],{"_key":30692,"_type":219,"children":30693,"markDefs":30697,"style":232},"450fe32b3493",[30694],{"_key":30695,"_type":223,"marks":30696,"text":30537},"51174ec8ed470",[],[],{"alt":30537,"asset":30699},{"_id":30700,"height":13683,"orientation":7818,"ratio":2178,"url":30701,"width":13683},"image-71700972bbe60796d3b5083069c966f55fe7fe1f-2250x2250-jpg","https://cdn.sanity.io/images/eodip22e/production/71700972bbe60796d3b5083069c966f55fe7fe1f-2250x2250.jpg",{"_type":1621,"caption":30703,"image":30711},[30704],{"_key":30705,"_type":219,"children":30706,"markDefs":30710,"style":232},"e0c4b5b374d0",[30707],{"_key":30708,"_type":223,"marks":30709,"text":30537},"7c335683a0740",[],[],{"alt":30537,"asset":30712},{"_id":30713,"height":13683,"orientation":7818,"ratio":2178,"url":30714,"width":13683},"image-b1e9d06fe33937e91abbc58b501a0a43261efcd9-2250x2250-jpg","https://cdn.sanity.io/images/eodip22e/production/b1e9d06fe33937e91abbc58b501a0a43261efcd9-2250x2250.jpg",[30716],{"_key":30717,"_type":219,"children":30718,"markDefs":30723,"style":232},"2530bd586c21",[30719],{"_key":30720,"_type":223,"marks":30721,"text":30722},"c24e2b90a1570",[],"If I put you on an island in a different, inescapable reality, and told you that you could never go back nor see your world again, how might that affect your commitments as an autodidact?",[],[30725,132,30342,30369,30394,30726,30727,30728,697,557,4695],"learning in island ecologies","learning in island ecologies is an online collective learning format and experiment revolving around the possibilities and limits of distant learning. the online workshop has three conceptual foci: three islands, scientific modelling, archipellagic storytelling, and social design. our learning environment was situated in an online rpg, namely island forge which we visited with 12 selected participants from all over the world. the learn comprised a two-month long and biweekly scheduled reading group on the topics of scientific modelling, archipellagic storytellings and social design. the sessions were preparatory for the groups community building and served for helping achieving a fruitful discussion on the extensive and practical oriented experiment day.\n\nwhile we were or still are in a condition of existential quarantine — either right now, in our houses, or in the carved-out roles we have suddenly stopped playing, or against the backdrop of a vast and indifferent universe. does the meaning of learning rely on further communication down the line? does it rely on every isolated island hiding a secret underlying archipelago? does this moment of global fragility, when we can all suddenly turn the tap of sociality on and off at will, generate, like island ecologies do for their animals, learning styles with island gigantism, learning styles with a high rate of island endemism, learning styles with reduced sexual selection? we propose to find out.\n\nlearning in island ecologies is an intensive 1-day experiment. 12 participants will be split up into groups of four researchers and set upon tasks of our devising: tasks of modelling ideal communities, tasks of narrating isolated and archipelagic stories, tasks of scientific modelling in an age of runaway contagion. the whole experiment will be submerged into the online world — in part the nostalgic rpg island forge, a visually obsolete, but somehow still running, online game made of player-created virtual islands. our avatars and we will visit three topical islands: scientific modelling; archipelagic storytelling; and idealised social design. from the problems we find there, we will develop concepts, proposals, and ideas under these conditions of artificial isolation, before being reintroduced to each other to circulate what we have learned and discovered. this oscillation between isolated islands and connected archipelagos, this alternation between quarantine and exchange, will, we hope, produce novel conditions of learning and thinking. a public-facing online stream of content and an archival website will cap the project, although anything you wish to keep secret, safe, isolated, can be.","we will structure the three sessions on the day around three problems, one on each island:\n\n1. modelling: each group will receive a problem of scientific modelling. our aim is to generate doubts, opinions, insights on how the representation and the visualisation of certain phenomena as modelled by practitioners. questions regarding the intervention of socio-political values in epistemic practices (e.g. how scientists select relevant information, how communities perceive those visualisations, what kind of relation occurs between practitioners and local communities) will arise.\n\n2. storytelling: as the ultimate utopian space are islands, this session will revolve around the imaginaries of islands in archipelagic formations. actual or speculative design projects will be discussed and taken as point of departure for collective storytellings.\n\n3. social design: the third island will focus on the practical problem of designing model communities. each group will be asked to model communities — like islands — which can satisfy the formal constraints of isolation, self-sufficiency, and a degree of metastability. in the third part of the day, the groups will reconvene to share their findings.\n\nat the end of each session, the groups exchange their research. they render transportable what has been dense and wet. these new concepts are then added into a pool of ongoing collective knowledge. participants are then given another prompt utilising both the diverse expertise of the group and the already-developed concepts from the last round. repeat the process for each session. the groups will continue forming new concepts. this might lead to a collective collection of concepts, or it might mean that groups diverge. over these three sessions, a collective group thought process will emerge.","simultaneously, another group — us — which has access to all the various groups, oversees and takes notes on the processes of collective learning and research. they explore similarities between typical features of island ecologies (high levels of speciation, gigantism, and high endemism) and learning in isolated environments.\n\nthe research and concepts that are generated are highly private and specific to the group that makes them while the research is ongoing. and also, the collective research doesn’t come into contact with the outside world, even after the project is over. it remains a kind of island. what is presented to the public is the research into the group dynamics of learning in collective but isolated, contexts, abstracted away from its content.\n\nonce the project will be done, we intend to share the findings of our learn in the following ways:\n\n1. we will make a stream of content from the learn, presented on twitch or another non-live but audiovisual format.\n\n2. an online pad to exhibit the workshop’s findings. it will allow distant visitors to openly access the visual materials on island ecologies and stories gathered throughout the workshop. a collection of materials will not only include the productions of the participants but also share research tools and links.",{"_type":9,"current":30730},"learning-in-island-ecologies","Learning in Island 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Maybe I'm into you",{"_id":30841,"height":30842,"orientation":7818,"ratio":2178,"url":30843,"width":30842},"image-1c60fe4cdb97dbb7c3d532a6ee338f1ff4c84de6-1181x1181-jpg",1181,"https://cdn.sanity.io/images/eodip22e/production/1c60fe4cdb97dbb7c3d532a6ee338f1ff4c84de6-1181x1181.jpg",{"filterCategory":30845,"filterLocation":7,"filterYear":30849},[30846,30847,30848],{"_id":955,"title":958},{"_id":695,"title":698},{"_id":795,"title":798},[30850],{"_id":130,"title":133},[],[30853],{"_type":1625,"settings":7,"text":30854},[30855,30863],{"_key":30856,"_type":219,"children":30857,"markDefs":30862,"style":232},"1aa9857e82ea",[30858],{"_key":30859,"_type":223,"marks":30860,"text":30861},"36919c8ac343",[],"Voice is one of the rare mediums that can speak of itself. The human voice is not just a communication tool, but in its non-linguistic role, carries many other information like sex, age, health, body size, hormonal status and emotions. We are interested in carrying out a scientific research, while at the same time opening it up to unconventional and creative approaches, not just in terms of the visualization and display of our findings, but also in terms of the methodology used.",[],{"_key":30864,"_type":219,"children":30865,"markDefs":30870,"style":232},"05fc68d7b525",[30866],{"_key":30867,"_type":223,"marks":30868,"text":30869},"f77620bbc186",[],"In our quest to position ourselves in relation to others, we sometimes display our motives intentionally while other times more unconsciously. The bodily cues that we do not fully control are interesting phenomena because they reveal much more than we are willing to admit even to ourselves. In the context of vocal attractiveness, many studies have been conducted because they are of interest in understanding human behavior and mate selection especially because vocal traits are linked to human sexuality and dimorphism. But they are often conducted in isolated, decontextualized settings. Our aim is to find ways of researching that would bridge this gap and make it possible to have a more natural and nuanced experimental setting.",[],[30872],{"_key":30873,"_type":219,"children":30874,"markDefs":30879,"style":232},"7517a17fc6ad",[30875],{"_key":30876,"_type":223,"marks":30877,"text":30878},"60b82df4495f0",[],"Or maybe not. This is what we would like to find out – does our level of attraction towards partners manifest behaviorally in temporary vocal changes in pitch?",[],[30881,132,30768,30789,30810,30834,30882,30883,697,797],"listen. maybe i'm into you","voice is one of the rare mediums that can speak of itself. the human voice is not just a communication tool, but in its non-linguistic role, carries many other information like sex, age, health, body size, hormonal status and emotions. we are interested in carrying out a scientific research, while at the same time opening it up to unconventional and creative approaches, not just in terms of the visualization and display of our findings, but also in terms of the methodology used.\n\nin our quest to position ourselves in relation to others, we sometimes display our motives intentionally while other times more unconsciously. the bodily cues that we do not fully control are interesting phenomena because they reveal much more than we are willing to admit even to ourselves. in the context of vocal attractiveness, many studies have been conducted because they are of interest in understanding human behavior and mate selection especially because vocal traits are linked to human sexuality and dimorphism. but they are often conducted in isolated, decontextualized settings. our aim is to find ways of researching that would bridge this gap and make it possible to have a more natural and nuanced experimental setting.","the star method",{"_type":9,"current":30885},"listen-maybe-i-m-into-you",{"_id":30887,"_type":1027,"categories":30888,"credits":30892,"featuredImage":30951,"filterables":30956,"footnotes":30963,"locations":30964,"logbook":7,"pageBuilder":30968,"researchQuestion":31115,"researchQuestions":7,"searchables":31124,"seo":7,"slug":31129,"title":31061,"year":133},"9d03e0f7-76ed-4a7d-bdfc-e3f92db7289d",[30889],{"_id":695,"_type":362,"colorPrimary":30890,"seo":7,"slug":30891,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":7,"profiles":30893},[30894,30921],{"_id":28789,"_type":1078,"activeYears":30895,"bio":30898,"bioShort":28801,"featuredImage":7,"filterables":30904,"links":30907,"locations":30909,"searchables":30919,"seo":7,"slug":30920,"title":28825},[30896],{"_id":130,"_type":99,"seo":7,"slug":30897,"title":133},{"_type":9,"current":132},[30899],{"_key":28795,"_type":219,"children":30900,"markDefs":30903,"style":232},[30901],{"_key":28798,"_type":223,"marks":30902,"text":12647},[],[],{"filterYear":30905},[30906],{"_id":130,"title":133},[30908],{"_type":1138,"label":28807,"url":28808},{"locations":30910,"other":30913},[30911],{"_id":331,"_type":308,"seo":7,"slug":30912,"title":334},{"_type":9,"current":333},[30914],{"_key":28815,"_type":219,"children":30915,"markDefs":30918,"style":232},[30916],{"_key":28818,"_type":223,"marks":30917,"text":1546},[],[],[28822,132],{"_type":9,"current":28824},{"_id":30922,"_type":1078,"activeYears":30923,"bio":30926,"bioShort":7,"featuredImage":7,"filterables":30935,"links":30938,"locations":30942,"searchables":30946,"seo":7,"slug":30948,"title":30950},"36b62c5b-a5f8-44cb-8d97-65a6faa8f322",[30924],{"_id":130,"_type":99,"seo":7,"slug":30925,"title":133},{"_type":9,"current":132},[30927],{"_key":30928,"_type":219,"children":30929,"markDefs":30934,"style":232},"63e095979057",[30930],{"_key":30931,"_type":223,"marks":30932,"text":30933},"18bfcdd810e50",[],"Marius is a designer at the intersection of practice and research with a special interest in Transformation Design.",[],{"filterYear":30936},[30937],{"_id":130,"title":133},[30939,30941],{"_type":1138,"label":1139,"url":30940},"http://mariusfoerster.com/",{"_type":1138,"label":28807,"url":28808},{"locations":30943,"other":7},[30944],{"_id":331,"_type":308,"seo":7,"slug":30945,"title":334},{"_type":9,"current":333},[30947,132],"marius förster",{"_type":9,"current":30949},"marius-foerster","Marius Förster",{"alt":30952,"asset":30953},"3000 Peaks",{"_id":30954,"height":2834,"orientation":1129,"ratio":2920,"url":30955,"width":4099},"image-05ccec7c43c935b2157432402e87c6a017d31ee9-1440x1920-jpg","https://cdn.sanity.io/images/eodip22e/production/05ccec7c43c935b2157432402e87c6a017d31ee9-1440x1920.jpg",{"filterCategory":30957,"filterLocation":30959,"filterYear":30961},[30958],{"_id":695,"title":698},[30960],{"_id":331,"title":334},[30962],{"_id":130,"title":133},[],{"locations":30965,"other":7},[30966],{"_id":331,"_type":308,"seo":7,"slug":30967,"title":334},{"_type":9,"current":333},[30969,30979,30992,31038,31053,31095],{"_type":1625,"settings":7,"text":30970},[30971],{"_key":30972,"_type":219,"children":30973,"markDefs":30978,"style":232},"cf009f647480",[30974],{"_key":30975,"_type":223,"marks":30976,"text":30977},"d2e4e7074487",[],"At this projects core lies the construction of a 3D printer for testing alternative printing materials from reused excavation material, e.g. in the form of so-called geopolymers. Exchanging ideas and experiences with Experts from various fields , the possibilities of “stone printing” are to be explored in a transdisciplinary collaboration.",[],{"_type":1621,"caption":30980,"image":30988},[30981],{"_key":30982,"_type":219,"children":30983,"markDefs":30987,"style":232},"cf72796243ee",[30984],{"_key":30985,"_type":223,"marks":30986,"text":30952},"ace9aee031e70",[],[],{"alt":30952,"asset":30989},{"_id":30990,"height":2394,"orientation":1474,"ratio":2585,"url":30991,"width":2834},"image-b6975cdff470c9cfb9aac99f23dc8bd26078c8a4-1920x1280-jpg","https://cdn.sanity.io/images/eodip22e/production/b6975cdff470c9cfb9aac99f23dc8bd26078c8a4-1920x1280.jpg",{"_type":1625,"settings":7,"text":30993},[30994,31002,31010,31017,31024],{"_key":30995,"_type":219,"children":30996,"markDefs":31001,"style":232},"8639da3daa0e",[30997],{"_key":30998,"_type":223,"marks":30999,"text":31000},"428413656e2a0",[225],"The Alps",[],{"_key":31003,"_type":219,"children":31004,"markDefs":31009,"style":232},"1179ce6ef510",[31005],{"_key":31006,"_type":223,"marks":31007,"text":31008},"893c44f22e4c0",[],"The Alpine region extends far beyond physical boundaries and inextricably interweaves myth and reality. In it the individual mountain farmer, the alpine rose, the ski tourist, the national self-image as well as the brand communication of global companies are located. In this very sensitive landscape the contradictions of intertwined effects of environmental change, industrial, and societal developments become visible much quicker. Although the necessity for countermeasures is expressed locally the effects are entangled in global relations. Seen this way, the Alps are at the same time a parable for complex local instances of global phenomena as well as themselves an influential constituent of global dynamics.",[],{"_key":31011,"_type":219,"children":31012,"markDefs":31016,"style":232},"ec0f8dfc1f8e",[31013],{"_key":31014,"_type":223,"marks":31015,"text":1405},"68eb928c02f30",[],[],{"_key":31018,"_type":219,"children":31019,"markDefs":31023,"style":232},"71eedde2c320",[31020],{"_key":31021,"_type":223,"marks":31022,"text":30952},"ce06fa9a6f670",[225],[],{"_key":31025,"_type":219,"children":31026,"markDefs":31035,"style":232},"9fbe851df054",[31027,31031],{"_key":31028,"_type":223,"marks":31029,"text":30952},"3e3a0ac4cdfa0",[31030],"9284e11da3bb",{"_key":31032,"_type":223,"marks":31033,"text":31034},"3e3a0ac4cdfa1",[]," asks how the climate crisis induced pressure and urge to act can be translated and transformed by opening up speculatively extended spaces for thought and form. How can the abilities for imagination and action be multiplied through distribution and networking? The gesture of empowerment and the dilemma of representation imply questions about the situation – a responsibility that originates from a privileged situation: Who can talk about what and whom?",[31036],{"_key":31030,"_type":249,"href":31037},"https://www.3000peaks.com/",{"_type":1621,"caption":31039,"image":31047},[31040],{"_key":31041,"_type":219,"children":31042,"markDefs":31046,"style":232},"d1aa0c0dea19",[31043],{"_key":31044,"_type":223,"marks":31045,"text":30952},"5124d5cd1cd80",[],[],{"alt":30952,"asset":31048},{"_id":31049,"height":31050,"orientation":1474,"ratio":31051,"url":31052,"width":2834},"image-4afcce32d592529c54c7f7914b6f11e2892a9178-1920x1273-jpg",1273,1.5082482325216024,"https://cdn.sanity.io/images/eodip22e/production/4afcce32d592529c54c7f7914b6f11e2892a9178-1920x1273.jpg",{"_type":1625,"settings":7,"text":31054},[31055,31063,31071,31079,31087],{"_key":31056,"_type":219,"children":31057,"markDefs":31062,"style":232},"7e94ce27e3fb",[31058],{"_key":31059,"_type":223,"marks":31060,"text":31061},"2c72277ddb350",[225],"Material Conversations",[],{"_key":31064,"_type":219,"children":31065,"markDefs":31070,"style":232},"ff3c9447273d",[31066],{"_key":31067,"_type":223,"marks":31068,"text":31069},"c1c3706bf16c0",[],"From the construction of the 3D printing machine to the testing of alpine rock as a geopolymeric printing medium – it all serves the development of a transdisciplinary and critical discourse space. We understand the work on and with the material as a discourse with and through materiality – inextricably linked with those symbolic spaces that create the complexity of the Alps as a topos. In a dynamic, living world of consequences from interdependent relationships between materials and forces instances of material manipulation or interaction become places of negotiation.",[],{"_key":31072,"_type":219,"children":31073,"markDefs":31078,"style":232},"7d610f1ec346",[31074],{"_key":31075,"_type":223,"marks":31076,"text":31077},"effebd49f37e0",[],"In the meandering between material and symbolic spaces, as well as scientific and emotionally led public discourses, integrative forms and methods of communication should be tried out, or at least the causes of miscommunication should be identified and reflected upon. In the form of an open studio, we search for intersections or frictions between artistic and scientific concerns in the context of the transformation processes in the Alps.",[],{"_key":31080,"_type":219,"children":31081,"markDefs":31086,"style":232},"beab7a5e0aad",[31082],{"_key":31083,"_type":223,"marks":31084,"text":31085},"7c22afbf92be0",[],"Additive production processes such as 3D printing contain a central contradiction: emancipation through DIY popularization and appropriation of productive forces are accompanied by their potential instrumentalization through neo-liberal imperatives, e.g. of the creative subject as a self-entrepreneur.",[],{"_key":31088,"_type":219,"children":31089,"markDefs":31094,"style":232},"46b98a9788a9",[31090],{"_key":31091,"_type":223,"marks":31092,"text":31093},"0ada545ab2cc0",[],"Aware of these contradictions we critically explore approaches such as the activist “Additivist Manifesto” by Morehshin Allahyari and Daniel Rourke (https://additivism.org/manifesto): 3D printing options are to be used to create explorative forms as spatial materializations, projections, or translations of ideas of speculative spaces of thought. These material forms then appear as partners in the material conversations.",[],{"_type":2894,"slides":31096},[31097,31100,31105,31110],{"_type":1621,"caption":7,"image":31098},{"alt":7,"asset":31099},{"_id":30954,"height":2834,"orientation":1129,"ratio":2920,"url":30955,"width":4099},{"_type":1621,"caption":7,"image":31101},{"alt":7,"asset":31102},{"_id":31103,"height":2834,"orientation":1129,"ratio":2920,"url":31104,"width":4099},"image-e0165a7165e2e55dfce4093c52ec1bc8d4d11470-1440x1920-jpg","https://cdn.sanity.io/images/eodip22e/production/e0165a7165e2e55dfce4093c52ec1bc8d4d11470-1440x1920.jpg",{"_type":1621,"caption":7,"image":31106},{"alt":7,"asset":31107},{"_id":31108,"height":2834,"orientation":1129,"ratio":2920,"url":31109,"width":4099},"image-a99e448fb95e98fb313471e3230d929bb5fcbe5a-1440x1920-jpg","https://cdn.sanity.io/images/eodip22e/production/a99e448fb95e98fb313471e3230d929bb5fcbe5a-1440x1920.jpg",{"_type":1621,"caption":7,"image":31111},{"alt":7,"asset":31112},{"_id":31113,"height":2834,"orientation":1129,"ratio":2920,"url":31114,"width":4099},"image-4e2c3dea36d25587c19dc41d831e0e179f2d7951-1440x1920-jpg","https://cdn.sanity.io/images/eodip22e/production/4e2c3dea36d25587c19dc41d831e0e179f2d7951-1440x1920.jpg",[31116],{"_key":31117,"_type":219,"children":31118,"markDefs":31123,"style":232},"d996fd14fada",[31119],{"_key":31120,"_type":223,"marks":31121,"text":31122},"492b3b56a3f4",[],"Material Conversation is an offshoot from the speculative and participative project “3000 Peaks”, a critical mediation that addresses consequences and effects of the global climate catastrophe for Switzerland.",[],[31125,132,333,28822,30947,31126,31127,31128,697],"material conversations","at this projects core lies the construction of a 3d printer for testing alternative printing materials from reused excavation material, e.g. in the form of so-called geopolymers. exchanging ideas and experiences with experts from various fields , the possibilities of “stone printing” are to be explored in a transdisciplinary collaboration.","the alps\n\nthe alpine region extends far beyond physical boundaries and inextricably interweaves myth and reality. in it the individual mountain farmer, the alpine rose, the ski tourist, the national self-image as well as the brand communication of global companies are located. in this very sensitive landscape the contradictions of intertwined effects of environmental change, industrial, and societal developments become visible much quicker. although the necessity for countermeasures is expressed locally the effects are entangled in global relations. seen this way, the alps are at the same time a parable for complex local instances of global phenomena as well as themselves an influential constituent of global dynamics.\n\n\n\n3000 peaks\n\n3000 peaks asks how the climate crisis induced pressure and urge to act can be translated and transformed by opening up speculatively extended spaces for thought and form. how can the abilities for imagination and action be multiplied through distribution and networking? the gesture of empowerment and the dilemma of representation imply questions about the situation – a responsibility that originates from a privileged situation: who can talk about what and whom?","material conversations\n\nfrom the construction of the 3d printing machine to the testing of alpine rock as a geopolymeric printing medium – it all serves the development of a transdisciplinary and critical discourse space. we understand the work on and with the material as a discourse with and through materiality – inextricably linked with those symbolic spaces that create the complexity of the alps as a topos. in a dynamic, living world of consequences from interdependent relationships between materials and forces instances of material manipulation or interaction become places of negotiation.\n\nin the meandering between material and symbolic spaces, as well as scientific and emotionally led public discourses, integrative forms and methods of communication should be tried out, or at least the causes of miscommunication should be identified and reflected upon. in the form of an open studio, we search for intersections or frictions between artistic and scientific concerns in the context of the transformation processes in the alps.\n\nadditive production processes such as 3d printing contain a central contradiction: emancipation through diy popularization and appropriation of productive forces are accompanied by their potential instrumentalization through neo-liberal imperatives, e.g. of the creative subject as a self-entrepreneur.\n\naware of these contradictions we critically explore approaches such as the activist “additivist manifesto” by morehshin allahyari and daniel rourke (https://additivism.org/manifesto): 3d printing options are to be used to create explorative forms as spatial materializations, projections, or translations of ideas of speculative spaces of thought. these material forms then appear as partners in the material conversations.",{"_type":9,"current":31130},"material-conversations",{"_id":31132,"_type":1027,"categories":31133,"credits":31146,"featuredImage":31191,"filterables":31197,"footnotes":31207,"locations":31208,"logbook":7,"pageBuilder":31212,"researchQuestion":31263,"researchQuestions":7,"searchables":31280,"seo":7,"slug":31285,"title":31287,"year":133},"45c256d2-4119-4144-8791-df3ce17a78b2",[31134,31137,31140,31143],{"_id":740,"_type":362,"colorPrimary":31135,"seo":7,"slug":31136,"title":743},{"label":1031,"value":27643},{"_type":9,"current":742},{"_id":1019,"_type":362,"colorPrimary":31138,"seo":7,"slug":31139,"title":1022},{"label":1031,"value":28246},{"_type":9,"current":1021},{"_id":580,"_type":362,"colorPrimary":31141,"seo":7,"slug":31142,"title":583},{"label":1031,"value":15856},{"_type":9,"current":582},{"_id":720,"_type":362,"colorPrimary":31144,"seo":7,"slug":31145,"title":723},{"label":1031,"value":13657},{"_type":9,"current":722},{"other":7,"profiles":31147},[31148],{"_id":31149,"_type":1078,"activeYears":31150,"bio":31153,"bioShort":31162,"featuredImage":31163,"filterables":31169,"links":31172,"locations":31175,"searchables":31187,"seo":7,"slug":31189,"title":31190},"1034d89c-4e08-4d21-b53a-90d850c62cb8",[31151],{"_id":130,"_type":99,"seo":7,"slug":31152,"title":133},{"_type":9,"current":132},[31154],{"_key":31155,"_type":219,"children":31156,"markDefs":31161,"style":232},"6383e12c6141",[31157],{"_key":31158,"_type":223,"marks":31159,"text":31160},"0282cfe30b840",[],"Through Varia we develop various ways to work with/on/through technology, departing from the believe that it shouldn't be the exclusive domain of specialists. It affects everyone and should enable, rather than preclude, diverse ways of living.",[],"A collective-space focused on everyday technologies.",{"alt":31164,"asset":31165},"varia.zone",{"_id":31166,"height":31167,"orientation":7818,"ratio":2178,"url":31168,"width":31167},"image-43b181a76de374e1402055a64e026b9eee99a7b9-16x16-png",16,"https://cdn.sanity.io/images/eodip22e/production/43b181a76de374e1402055a64e026b9eee99a7b9-16x16.png",{"filterYear":31170},[31171],{"_id":130,"title":133},[31173],{"_type":1138,"label":1139,"url":31174},"https://varia.zone/",{"locations":31176,"other":31179},[31177],{"_id":331,"_type":308,"seo":7,"slug":31178,"title":334},{"_type":9,"current":333},[31180],{"_key":31181,"_type":219,"children":31182,"markDefs":31186,"style":232},"2a5c491d1aaf",[31183],{"_key":31184,"_type":223,"marks":31185,"text":21642},"6e5b6b97846a0",[],[],[31188,132],"varia",{"_type":9,"current":31188},"Varia",{"alt":31192,"asset":31193},"School of Commons - Minimum Viable Learning",{"_id":31194,"height":12340,"orientation":1474,"ratio":31195,"url":31196,"width":22709},"image-0706931e910e996abecd7a5d9b52b42c2fa6c79b-1067x752-jpg",1.4188829787234043,"https://cdn.sanity.io/images/eodip22e/production/0706931e910e996abecd7a5d9b52b42c2fa6c79b-1067x752.jpg",{"filterCategory":31198,"filterLocation":31203,"filterYear":31205},[31199,31200,31201,31202],{"_id":740,"title":743},{"_id":1019,"title":1022},{"_id":580,"title":583},{"_id":720,"title":723},[31204],{"_id":331,"title":334},[31206],{"_id":130,"title":133},[],{"locations":31209,"other":7},[31210],{"_id":331,"_type":308,"seo":7,"slug":31211,"title":334},{"_type":9,"current":333},[31213,31243,31253],{"_type":1625,"settings":7,"text":31214},[31215],{"_key":31216,"_type":219,"children":31217,"markDefs":31240,"style":232},"b06e80492225",[31218,31222,31227,31231,31236],{"_key":31219,"_type":223,"marks":31220,"text":31221},"4edcdaf652290",[],"In the last months, learning, with all its communal and convivial aspects, turned into an online-only endeavour. This sudden transition didn’t leave much room to make a judicious choice of modes of interaction, communication tools, utilised services and platforms. Within educational organisations, we witness a double movement: on the one hand, a centralisation of all activities by means of the software suite (e.g. Microsoft Teams); on the other hand, the standardisation of a maximalist mode of communication meant to replicate class interactions (e.g. Zoom meetings).Both aspects deserve scrutiny: are we sure that activity centralisation is a good idea in the long run, letting others decide how digital tools shape our educational environments? And are we fully convinced that the video call mode is the best mode of exchange, to foster the relationships of the class setting? In both cases, technological maximalism takes over: more is more.We believe that minimal, frugal solutions can prove more effective than hi-tech, hi-bandwidth, baroque ones. The latter can be an opportunity to renegotiate online presence, during this residency we will focus on exploring and rediscovering the principles of calm technology and minimal computing, and accommodate different rhythms of engagement.Two references are important departure points for this residency. The first is the solar-powered Low-Tech Magazine website \u003C",{"_key":31223,"_type":223,"marks":31224,"text":31226},"4edcdaf652291",[31225],"5d35f0078f73","https://solar.lowtechmagazine.com/",{"_key":31228,"_type":223,"marks":31229,"text":31230},"4edcdaf652292",[],">, where all design choices (ranging from hardware to layout) contribute to a setup that runs on a radical low amount of energy. Another resource is the work of the Minimal Computing workgroup \u003C",{"_key":31232,"_type":223,"marks":31233,"text":31235},"4edcdaf652293",[31234],"281b031410ec","https://go-dh.github.io/mincomp/",{"_key":31237,"_type":223,"marks":31238,"text":31239},"4edcdaf652294",[],"> which expands the notion of computational minimalism with methodologies that maximise access and appropriation. They do this for example by favouring documents over databases, static sites over dynamic websites and recycled hardware over new computers. In order to be able to closely engage with our tools of choice we will work with Free Software, which enables us to not only use a tool, but also modify it, combine it with other tools, or transform it into something new. We look forward to be in the position of negotiating our digital learning environments, by closely engaging with its systematics, structures, logics and (not to forget) layouts.",[31241,31242],{"_key":31225,"_type":249,"href":31226},{"_key":31234,"_type":249,"href":31235},{"_type":1625,"settings":7,"text":31244},[31245],{"_key":31246,"_type":219,"children":31247,"markDefs":31252,"style":232},"931b230ed88b",[31248],{"_key":31249,"_type":223,"marks":31250,"text":31251},"36b4e666e7de0",[225],"Minimalism is for us a departure point to make space for other possible forms of technologically mediated learning. Throughout the residency we will not work with fully-complete software-suites, but work with single tools and explore how they could be used as educational environments. Important for us is to understand how minimal technologies can maximise a learning experience.",[],{"_type":1625,"settings":7,"text":31254},[31255],{"_key":31256,"_type":219,"children":31257,"markDefs":31262,"style":232},"fbc2e7126e51",[31258],{"_key":31259,"_type":223,"marks":31260,"text":31261},"fd03fc84d7c70",[],"Varia has been working on different experimental learning tools over the last years. One of the tools that we use most often is an Etherpad installation, a collaborative text editing software that we have installed in our server at Gouwstraat 3, Rotterdam. Around this tool, a set of learning methodologies emerged; some carried over from the self-organised summer school Relearn, others from the monthly Varia hosted Read & Repair sessions.During this residency we will experiment with the impact that magic words, alternative skins, file format pipelines, imperfect plugins, or promiscuous APIs can have on the scenography of digital learning environments. These sessions will result in a public event which will be announced on the MAPP website very soon.",[],[31264,31272],{"_key":31265,"_type":219,"children":31266,"markDefs":31271,"style":232},"cd0e8008cec9",[31267],{"_key":31268,"_type":223,"marks":31269,"text":31270},"734225004fb10",[],"Are we sure that activity centralisation is a good idea in the long run, letting others decide how digital tools shape our educational environments? ",[],{"_key":31273,"_type":219,"children":31274,"markDefs":31279,"style":232},"c6058312200d",[31275],{"_key":31276,"_type":223,"marks":31277,"text":31278},"8689b2909e08",[],"Are we fully convinced that the video call mode is the best mode of exchange, to foster the relationships of the class setting?",[],[31281,132,333,31188,31282,31283,31284,27828,1021,582,722],"minimum viable learning","in the last months, learning, with all its communal and convivial aspects, turned into an online-only endeavour. this sudden transition didn’t leave much room to make a judicious choice of modes of interaction, communication tools, utilised services and platforms. within educational organisations, we witness a double movement: on the one hand, a centralisation of all activities by means of the software suite (e.g. microsoft teams); on the other hand, the standardisation of a maximalist mode of communication meant to replicate class interactions (e.g. zoom meetings).both aspects deserve scrutiny: are we sure that activity centralisation is a good idea in the long run, letting others decide how digital tools shape our educational environments? and are we fully convinced that the video call mode is the best mode of exchange, to foster the relationships of the class setting? in both cases, technological maximalism takes over: more is more.we believe that minimal, frugal solutions can prove more effective than hi-tech, hi-bandwidth, baroque ones. the latter can be an opportunity to renegotiate online presence, during this residency we will focus on exploring and rediscovering the principles of calm technology and minimal computing, and accommodate different rhythms of engagement.two references are important departure points for this residency. the first is the solar-powered low-tech magazine website \u003Chttps://solar.lowtechmagazine.com/>, where all design choices (ranging from hardware to layout) contribute to a setup that runs on a radical low amount of energy. another resource is the work of the minimal computing workgroup \u003Chttps://go-dh.github.io/mincomp/> which expands the notion of computational minimalism with methodologies that maximise access and appropriation. they do this for example by favouring documents over databases, static sites over dynamic websites and recycled hardware over new computers. in order to be able to closely engage with our tools of choice we will work with free software, which enables us to not only use a tool, but also modify it, combine it with other tools, or transform it into something new. we look forward to be in the position of negotiating our digital learning environments, by closely engaging with its systematics, structures, logics and (not to forget) layouts.","minimalism is for us a departure point to make space for other possible forms of technologically mediated learning. throughout the residency we will not work with fully-complete software-suites, but work with single tools and explore how they could be used as educational environments. important for us is to understand how minimal technologies can maximise a learning experience.","varia has been working on different experimental learning tools over the last years. one of the tools that we use most often is an etherpad installation, a collaborative text editing software that we have installed in our server at gouwstraat 3, rotterdam. around this tool, a set of learning methodologies emerged; some carried over from the self-organised summer school relearn, others from the monthly varia hosted read & repair sessions.during this residency we will experiment with the impact that magic words, alternative skins, file format pipelines, imperfect plugins, or promiscuous apis can have on the scenography of digital learning environments. these sessions will result in a public event which will be announced on the mapp website very soon.",{"_type":9,"current":31286},"minimum-viable-learning","Minimum Viable Learning",{"_id":31289,"_type":1027,"categories":31290,"credits":31301,"featuredImage":31370,"filterables":31377,"footnotes":31387,"locations":31388,"logbook":7,"pageBuilder":31394,"researchQuestion":7,"researchQuestions":7,"searchables":31409,"seo":7,"slug":31413,"title":31415,"year":133},"9c3ac65e-c065-4635-9af6-5514b74267b7",[31291,31295,31298],{"_id":565,"_type":362,"colorPrimary":31292,"seo":7,"slug":31294,"title":568},{"label":1031,"value":31293},"#780078",{"_type":9,"current":567},{"_id":550,"_type":362,"colorPrimary":31296,"seo":7,"slug":31297,"title":553},{"label":1031,"value":16303},{"_type":9,"current":552},{"_id":695,"_type":362,"colorPrimary":31299,"seo":7,"slug":31300,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":7,"profiles":31302},[31303,31343],{"_id":31304,"_type":1078,"activeYears":31305,"bio":31308,"bioShort":7,"featuredImage":7,"filterables":31317,"links":31320,"locations":31323,"searchables":31338,"seo":7,"slug":31340,"title":31342},"e58b7c07-b603-4771-8eea-d5bf6849155b",[31306],{"_id":130,"_type":99,"seo":7,"slug":31307,"title":133},{"_type":9,"current":132},[31309],{"_key":31310,"_type":219,"children":31311,"markDefs":31316,"style":232},"834cbf3a1da9",[31312],{"_key":31313,"_type":223,"marks":31314,"text":31315},"4270a433cda70",[],"Gözde is a cultural producer with a master's degree in art history and curating. She likes to initiate and lead research-based creative projects, collaborating with international artists and researchers. She is genuinely interested in post-human discourses in curating, nonhuman agency in arts, interspecies relationships, urgent planetary issues and fictional storytelling.",[],{"filterYear":31318},[31319],{"_id":130,"title":133},[31321],{"_type":1138,"label":1142,"url":31322},"https://www.instagram.com/gozde.elektrik/",{"locations":31324,"other":31329},[31325,31327],{"_id":316,"_type":308,"seo":7,"slug":31326,"title":319},{"_type":9,"current":318},{"_id":331,"_type":308,"seo":7,"slug":31328,"title":334},{"_type":9,"current":333},[31330],{"_key":31331,"_type":219,"children":31332,"markDefs":31337,"style":232},"e0e4219e8946",[31333],{"_key":31334,"_type":223,"marks":31335,"text":31336},"ac4396714db00",[],"Based between Istanbul and Kassel",[],[31339,132],"gözde filinta",{"_type":9,"current":31341},"goezde-filinta","Gözde Filinta",{"_id":31344,"_type":1078,"activeYears":31345,"bio":31348,"bioShort":31357,"featuredImage":7,"filterables":31358,"links":7,"locations":31361,"searchables":31365,"seo":7,"slug":31367,"title":31369},"4e88dc06-9122-4c8e-a850-cba7bc765b44",[31346],{"_id":130,"_type":99,"seo":7,"slug":31347,"title":133},{"_type":9,"current":132},[31349],{"_key":31350,"_type":219,"children":31351,"markDefs":31356,"style":232},"747d98bd6161",[31352],{"_key":31353,"_type":223,"marks":31354,"text":31355},"06e343927a540",[],"Beatrice’s training in the world of art has taught her that a lack of curiosity about nonhuman agents is the foundation of hierarchical systems, binary thinking and the division between art and science. To overcome this critical division, Beatrice tries to give the invisible and 'Other' a voice in her publications, speculative design projects and art education projects.",[],"Beatrice is a MA Art History student at Humboldt University Berlin. 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The project aims to study how rejected bodies are treated in these institutions and expose their abjection techniques, such as bio-security and disinfestation, which are not thoroughly investigated in humanities. 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In order to make such relationships visible and tangible in a spatial environment, she works with different media as well as linguistically.",[],"Ilona is a Swiss artist. After studying philosophy and mathematics she worked in a techno-corporate environment for a while, before turning towards the arts.",{"filterYear":31442},[31443,31444],{"_id":135,"title":138},{"_id":130,"title":133},[31446,31448],{"_type":1138,"label":1139,"url":31447},"https://ilonastutz.com/",{"_type":1138,"label":1142,"url":31449},"https://www.instagram.com/ylon_pi/",{"locations":31451,"other":31454},[31452],{"_id":331,"_type":308,"seo":7,"slug":31453,"title":334},{"_type":9,"current":333},[31455],{"_key":31456,"_type":219,"children":31457,"markDefs":31462,"style":232},"1154f2358e11",[31458],{"_key":31459,"_type":223,"marks":31460,"text":31461},"7708aa53408f0",[],"Living in Bern and Zurich",[],[31464,137,132],"ilona stutz",{"_type":9,"current":31466},"ilona-stutz","Ilona Stutz",{"_id":31469,"_type":1078,"activeYears":31470,"bio":31475,"bioShort":31483,"featuredImage":7,"filterables":31484,"links":7,"locations":31488,"searchables":31492,"seo":7,"slug":31494,"title":31496},"ebfc7826-4be4-4cb1-8bbf-9556e9066854",[31471,31473],{"_id":135,"_type":99,"seo":7,"slug":31472,"title":138},{"_type":9,"current":137},{"_id":130,"_type":99,"seo":7,"slug":31474,"title":133},{"_type":9,"current":132},[31476],{"_key":31477,"_type":219,"children":31478,"markDefs":31482,"style":232},"4f5b1c6bce7a",[31479],{"_key":31480,"_type":223,"marks":31481,"text":12647},"a764268cbc6f0",[],[],"MFA (2018), MS university, India.",{"filterYear":31485},[31486,31487],{"_id":135,"title":138},{"_id":130,"title":133},{"locations":31489,"other":7},[31490],{"_id":316,"_type":308,"seo":7,"slug":31491,"title":319},{"_type":9,"current":318},[31493,137,132],"oshin thakkar",{"_type":9,"current":31495},"oshin-thakkar","Oshin Thakkar",{"_id":31498,"_type":1078,"activeYears":31499,"bio":31502,"bioShort":7,"featuredImage":7,"filterables":31511,"links":7,"locations":31514,"searchables":31518,"seo":7,"slug":31520,"title":31522},"1e35fd16-e991-48e1-a8c3-b8fd5013b114",[31500],{"_id":130,"_type":99,"seo":7,"slug":31501,"title":133},{"_type":9,"current":132},[31503],{"_key":31504,"_type":219,"children":31505,"markDefs":31510,"style":232},"8bc72c81c0be",[31506],{"_key":31507,"_type":223,"marks":31508,"text":31509},"28d61a2ac2410",[],"MFA ZHdK (2019), now Atlier Migros Herdern.",[],{"filterYear":31512},[31513],{"_id":130,"title":133},{"locations":31515,"other":7},[31516],{"_id":331,"_type":308,"seo":7,"slug":31517,"title":334},{"_type":9,"current":333},[31519,132],"elza sile",{"_type":9,"current":31521},"elza-sile","Elza Sile",{"alt":31524,"asset":31525},"copyright: {F_x Office}: Elza Sile & Ilona Isabel Stutz",{"_id":31526,"height":12654,"orientation":1129,"ratio":31527,"url":31528,"width":31529},"image-50d6e39d70751cc6d794d763326ee175b3263364-1826x2560-jpg",0.71328125,"https://cdn.sanity.io/images/eodip22e/production/50d6e39d70751cc6d794d763326ee175b3263364-1826x2560.jpg",1826,{"filterCategory":31531,"filterLocation":31533,"filterYear":31536},[31532],{"_id":695,"title":698},[31534,31535],{"_id":316,"title":319},{"_id":331,"title":334},[31537],{"_id":130,"title":133},[],{"locations":31540,"other":7},[31541,31543],{"_id":316,"_type":308,"seo":7,"slug":31542,"title":319},{"_type":9,"current":318},{"_id":331,"_type":308,"seo":7,"slug":31544,"title":334},{"_type":9,"current":333},[31546,31564],{"_type":1625,"settings":7,"text":31547},[31548,31556],{"_key":31549,"_type":219,"children":31550,"markDefs":31555,"style":232},"9649626cc228",[31551],{"_key":31552,"_type":223,"marks":31553,"text":31554},"d832f43517270",[],"The English word “rhetoric:’, appears to have originated as the term “rhetorike”, coined by Plato in 387 BCE: to narrow the scope of the sophistic art of logos and to counter-pose rhetoric to Socratic dialectic as the “true” science of discourse. Perhaps partially owing to this counter-position, and in part to the Romantic movement, Rhetoric and philosophy/poetry/art are today viewed as radically different or even mutually exclusive genres and disciplines.Rather than working with a cynical counter-position between binary categories of the noble artist/poet/philosopher against the cunning rhetor/politician, we are interested in understanding how rhetoric and culture can be and are used, as tools or weapons. With R/R we are setting out to recognize, identify, study, reveal and make use of rhetoric within our individual circumstances and contexts in Vadodara, India and Zurich, Switzerland.",[],{"_key":31557,"_type":219,"children":31558,"markDefs":31563,"style":232},"5946f0bd689e",[31559],{"_key":31560,"_type":223,"marks":31561,"text":31562},"0771dbde2f9c0",[],"We’re learning from and experimenting with the tools and methods offered by the discipline of rhetorical criticism and practice.",[],{"_type":1625,"settings":7,"text":31565},[31566,31574,31582,31590,31598,31606,31614,31622,31630,31638],{"_key":31567,"_type":219,"children":31568,"markDefs":31573,"style":232},"dea9f2df1b3e",[31569],{"_key":31570,"_type":223,"marks":31571,"text":31572},"6a7935d5aa2c0",[],"R/R is currently split into two parallel segments. Because of our intensely differing contexts of practice, it is important to us that each segment maintain autonomy, developing according to the conditions of its specific environment as we continue exchanging what we learn autonomously.",[],{"_key":31575,"_type":219,"children":31576,"markDefs":31581,"style":232},"f6448035c714",[31577],{"_key":31578,"_type":223,"marks":31579,"text":31580},"2f9c1514ca090",[],"In Zurich, we try and find visuals to translate rhetorical tools and arguments into less schematic and more open experiences, looking to translate rhetorical patterns into different media.",[],{"_key":31583,"_type":219,"children":31584,"markDefs":31589,"style":232},"416d33e14a6f",[31585],{"_key":31586,"_type":223,"marks":31587,"text":31588},"d8b51497a0bd0",[],"In India, Oshin is trying to relocate a practice developed in a high art-academic context, in terms of political praxis and studying the process using the approach of participative action research.",[],{"_key":31591,"_type":219,"children":31592,"markDefs":31597,"style":232},"46f0a8c71a70",[31593],{"_key":31594,"_type":223,"marks":31595,"text":31596},"df35525fdfc50",[],"Part of our research goals is thus to find out how one practice finds itself in relation to the other and how the same research interest evolves under different circumstances.",[],{"_key":31599,"_type":219,"children":31600,"markDefs":31605,"style":232},"48c15e6b1b18",[31601],{"_key":31602,"_type":223,"marks":31603,"text":31604},"96af5ecf5e380",[],"We also make it a parallel objective as we continue our research, to pay attention to, study and eventually share with transparency what we learn in regards to",[],{"_key":31607,"_type":219,"children":31608,"level":2178,"listItem":2179,"markDefs":31613,"style":232},"6fa66015e8b2",[31609],{"_key":31610,"_type":223,"marks":31611,"text":31612},"2f436bf1b80a0",[],"The sharing of labor and resources,",[],{"_key":31615,"_type":219,"children":31616,"level":2178,"listItem":2179,"markDefs":31621,"style":232},"1049aa616e95",[31617],{"_key":31618,"_type":223,"marks":31619,"text":31620},"b0fc8d1946480",[],"The pleasures and pains of interdependence,",[],{"_key":31623,"_type":219,"children":31624,"level":2178,"listItem":2179,"markDefs":31629,"style":232},"762912f72b69",[31625],{"_key":31626,"_type":223,"marks":31627,"text":31628},"cb1d68fe3a610",[],"Collaboration and the politics of working together as well as",[],{"_key":31631,"_type":219,"children":31632,"level":2178,"listItem":2179,"markDefs":31637,"style":232},"0d2836d7f61b",[31633],{"_key":31634,"_type":223,"marks":31635,"text":31636},"077ca216c6210",[],"The negotiations that take place in the process of realizing these ideas",[],{"_key":31639,"_type":219,"children":31640,"markDefs":31645,"style":232},"7c4e84ee6288",[31641],{"_key":31642,"_type":223,"marks":31643,"text":31644},"387967d634880",[],"As we’ve worked together, we are regularly exchanging documents and conversations online. This growing collection of documents is turning into an extensive archive that is in itself primary data that we will revisit in order to study the evolution of our collaboration at the end of each year.",[],[31647,132,318,333,31464,31493,31519,31648,31649,697],"r/r","the english word “rhetoric:’, appears to have originated as the term “rhetorike”, coined by plato in 387 bce: to narrow the scope of the sophistic art of logos and to counter-pose rhetoric to socratic dialectic as the “true” science of discourse. perhaps partially owing to this counter-position, and in part to the romantic movement, rhetoric and philosophy/poetry/art are today viewed as radically different or even mutually exclusive genres and disciplines.rather than working with a cynical counter-position between binary categories of the noble artist/poet/philosopher against the cunning rhetor/politician, we are interested in understanding how rhetoric and culture can be and are used, as tools or weapons. with r/r we are setting out to recognize, identify, study, reveal and make use of rhetoric within our individual circumstances and contexts in vadodara, india and zurich, switzerland.\n\nwe’re learning from and experimenting with the tools and methods offered by the discipline of rhetorical criticism and practice.","r/r is currently split into two parallel segments. because of our intensely differing contexts of practice, it is important to us that each segment maintain autonomy, developing according to the conditions of its specific environment as we continue exchanging what we learn autonomously.\n\nin zurich, we try and find visuals to translate rhetorical tools and arguments into less schematic and more open experiences, looking to translate rhetorical patterns into different media.\n\nin india, oshin is trying to relocate a practice developed in a high art-academic context, in terms of political praxis and studying the process using the approach of participative action research.\n\npart of our research goals is thus to find out how one practice finds itself in relation to the other and how the same research interest evolves under different circumstances.\n\nwe also make it a parallel objective as we continue our research, to pay attention to, study and eventually share with transparency what we learn in regards to\n\nthe sharing of labor and resources,\n\nthe pleasures and pains of interdependence,\n\ncollaboration and the politics of working together as well as\n\nthe negotiations that take place in the process of realizing these ideas\n\nas we’ve worked together, we are regularly exchanging documents and conversations online. this growing collection of documents is turning into an extensive archive that is in itself primary data that we will revisit in order to study the evolution of our collaboration at the end of each year.",{"_type":9,"current":31651},"r-r","R/R",{"_id":31654,"_type":1027,"categories":31655,"credits":31666,"featuredImage":31708,"filterables":31716,"footnotes":31726,"locations":31727,"logbook":7,"pageBuilder":31733,"researchQuestion":31768,"researchQuestions":7,"searchables":31777,"seo":7,"slug":31781,"title":31783,"year":133},"ba6ffb1d-c9d4-45dc-a04c-d7dc25957599",[31656,31659,31663],{"_id":805,"_type":362,"colorPrimary":31657,"seo":7,"slug":31658,"title":808},{"label":1031,"value":13804},{"_type":9,"current":807},{"_id":665,"_type":362,"colorPrimary":31660,"seo":7,"slug":31662,"title":668},{"label":1031,"value":31661},"#8c8cff",{"_type":9,"current":667},{"_id":885,"_type":362,"colorPrimary":31664,"seo":7,"slug":31665,"title":888},{"label":1031,"value":6249},{"_type":9,"current":887},{"other":7,"profiles":31667},[31668],{"_id":31669,"_type":1078,"activeYears":31670,"bio":31673,"bioShort":31682,"featuredImage":7,"filterables":31683,"links":31686,"locations":31689,"searchables":31703,"seo":7,"slug":31705,"title":31707},"168c00c1-fafe-4476-b866-bdd554895ba3",[31671],{"_id":130,"_type":99,"seo":7,"slug":31672,"title":133},{"_type":9,"current":132},[31674],{"_key":31675,"_type":219,"children":31676,"markDefs":31681,"style":232},"bae3cab1a043",[31677],{"_key":31678,"_type":223,"marks":31679,"text":31680},"09c22eca28220",[],"Her work misreads and appropriates artistic, academic and architectural milieus exploring the ways our subjectivities are produced and structured as a result of both linguistic codes and spatial gestures. Lila investigates cultural phenomena weaving history with mythology, political philosophy with psychoanalysics and architectural theory with popular culture.",[],"Lila is awriter, programmer and researcher with a background in architecture. ",{"filterYear":31684},[31685],{"_id":130,"title":133},[31687],{"_type":1138,"label":1139,"url":31688},"https://lilatnsd.hotglue.me/",{"locations":31690,"other":31695},[31691,31693],{"_id":331,"_type":308,"seo":7,"slug":31692,"title":334},{"_type":9,"current":333},{"_id":341,"_type":308,"seo":7,"slug":31694,"title":344},{"_type":9,"current":343},[31696],{"_key":31697,"_type":219,"children":31698,"markDefs":31702,"style":232},"821284ba12b8",[31699],{"_key":31700,"_type":223,"marks":31701,"text":30095},"958b66523f9f0",[],[],[31704,132]," lila athanasiadou",{"_type":9,"current":31706},"lila-athanasiadou"," Lila Athanasiadou",{"alt":31709,"asset":31710},"School of Commons - The boudoir, the desk & the couch : Histories, practices and speculations on labour",{"_id":31711,"height":31712,"orientation":1129,"ratio":31713,"url":31714,"width":31715},"image-3d32aab45197199ba846f4797fca6500b0780c78-3958x5476-png",5476,0.7227903579254931,"https://cdn.sanity.io/images/eodip22e/production/3d32aab45197199ba846f4797fca6500b0780c78-3958x5476.png",3958,{"filterCategory":31717,"filterLocation":31721,"filterYear":31724},[31718,31719,31720],{"_id":805,"title":808},{"_id":665,"title":668},{"_id":885,"title":888},[31722,31723],{"_id":331,"title":334},{"_id":341,"title":344},[31725],{"_id":130,"title":133},[],{"locations":31728,"other":7},[31729,31731],{"_id":331,"_type":308,"seo":7,"slug":31730,"title":334},{"_type":9,"current":333},{"_id":341,"_type":308,"seo":7,"slug":31732,"title":344},{"_type":9,"current":343},[31734],{"_type":1625,"settings":7,"text":31735},[31736,31744,31752,31760],{"_key":31737,"_type":219,"children":31738,"markDefs":31743,"style":232},"b40804215582",[31739],{"_key":31740,"_type":223,"marks":31741,"text":31742},"876a2f21f9c2",[],"While work conditions have changed radically in the past century, from the spaces where labour takes place to the nature of the labour itself, to the technical apparatuses employed to increase productivity; the premises of work have remained the same. Scientific management and Taylorism despite their troubling reputation have managed to find their way through workplaces and homes leaking into architecture, how-to tutorials, task manuals and workflows. The efficiency imperative is seeping into bodies through the environments we inhabit —our ergonomic interiors, our digital interfaces, our time management apps.",[],{"_key":31745,"_type":219,"children":31746,"markDefs":31751,"style":232},"dc5620b38ba9",[31747],{"_key":31748,"_type":223,"marks":31749,"text":31750},"59ad16e037fc",[],"Ergonomics is the “fit” between human capacity, spatial configuration and time management. While ergonomics aims to increase productivity, it becomes a limit function of bodies under capitalism supported by technological and architectural prostheses. From capitalist realism to domestic realism, architecture has played a major role in the standardization of work as well as in the engulfing of time dedicated to labour by developing comfortable, yet efficient ergonomic work and domestic interiors.",[],{"_key":31753,"_type":219,"children":31754,"markDefs":31759,"style":232},"5c9973324df6",[31755],{"_key":31756,"_type":223,"marks":31757,"text":31758},"17c29d1da5d8",[],"The research departs from ergonomics and is organized around three architectural devices —the boudoir, the office desk and the couch as examples of architecture functioning as the spatial organization of exhaustion. The project asks how does labour affect our notions of value, our interpersonal relationships, our bodies and our collective forms of consciousness?",[],{"_key":31761,"_type":219,"children":31762,"markDefs":31767,"style":232},"0f37ab884646",[31763],{"_key":31764,"_type":223,"marks":31765,"text":31766},"3db14cb0cf10",[],"Within a six-part audio piece the research weaves labour theory, architectural history with excerpts from films and pop music. The project unpacks the relation of ergonomics to military, histories of gendered labour, the labour of love, modern work cults, work/life hybridization and the genealogy of unwillingness/resistance to work. The six mediations pay tribute to, sing about, reflect on, whine about work, the time we spend doing it, the invisible porous boundaries between work and leisure, the guilty pleasures we derive from it and everything in between.",[],[31769],{"_key":31770,"_type":219,"children":31771,"markDefs":31776,"style":232},"4038ded95b07",[31772],{"_key":31773,"_type":223,"marks":31774,"text":31775},"f6c1a5d4ea06",[],"How does labour affect our notions of value, our interpersonal relationships, our bodies and our collective forms of consciousness?",[],[31778,132,333,11849,31704,31779,807,31780,6486],"the boudoir, the desk & the couch : histories, practices and speculations on labour","while work conditions have changed radically in the past century, from the spaces where labour takes place to the nature of the labour itself, to the technical apparatuses employed to increase productivity; the premises of work have remained the same. scientific management and taylorism despite their troubling reputation have managed to find their way through workplaces and homes leaking into architecture, how-to tutorials, task manuals and workflows. the efficiency imperative is seeping into bodies through the environments we inhabit —our ergonomic interiors, our digital interfaces, our time management apps.\n\nergonomics is the “fit” between human capacity, spatial configuration and time management. while ergonomics aims to increase productivity, it becomes a limit function of bodies under capitalism supported by technological and architectural prostheses. from capitalist realism to domestic realism, architecture has played a major role in the standardization of work as well as in the engulfing of time dedicated to labour by developing comfortable, yet efficient ergonomic work and domestic interiors.\n\nthe research departs from ergonomics and is organized around three architectural devices —the boudoir, the office desk and the couch as examples of architecture functioning as the spatial organization of exhaustion. the project asks how does labour affect our notions of value, our interpersonal relationships, our bodies and our collective forms of consciousness?\n\nwithin a six-part audio piece the research weaves labour theory, architectural history with excerpts from films and pop music. the project unpacks the relation of ergonomics to military, histories of gendered labour, the labour of love, modern work cults, work/life hybridization and the genealogy of unwillingness/resistance to work. the six mediations pay tribute to, sing about, reflect on, whine about work, the time we spend doing it, the invisible porous boundaries between work and leisure, the guilty pleasures we derive from it and everything in between.","hyperreal citation",{"_type":9,"current":31782},"the-boudoir-the-desk-and-the-couch-histories-practices-and-speculations-on-labour","The boudoir, the desk & the couch : Histories, practices and speculations on labour",{"_id":31785,"_type":1027,"categories":31786,"credits":31793,"featuredImage":32121,"filterables":32126,"footnotes":32135,"locations":32136,"logbook":7,"pageBuilder":32142,"researchQuestion":7,"researchQuestions":7,"searchables":32254,"seo":7,"slug":32258,"title":32122,"year":133},"1fcb2cb7-5049-4e66-a8b1-0dae68c95d78",[31787,31790],{"_id":405,"_type":362,"colorPrimary":31788,"seo":7,"slug":31789,"title":408},{"label":1031,"value":5263},{"_type":9,"current":407},{"_id":695,"_type":362,"colorPrimary":31791,"seo":7,"slug":31792,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":7,"profiles":31794},[31795,31847,31881,31909,31949,31989,32021,32058,32096],{"_id":31796,"_type":1078,"activeYears":31797,"bio":31800,"bioShort":31825,"featuredImage":31826,"filterables":31831,"links":31834,"locations":31839,"searchables":31843,"seo":7,"slug":31845,"title":27542},"9984896a-09b1-4a7e-80da-3329a291cf87",[31798],{"_id":130,"_type":99,"seo":7,"slug":31799,"title":133},{"_type":9,"current":132},[31801,31809,31817],{"_key":31802,"_type":219,"children":31803,"markDefs":31808,"style":232},"bbd83fa2f0eb",[31804],{"_key":31805,"_type":223,"marks":31806,"text":31807},"146358998acb0",[],"Archives are normally understood as a coherent form of organization, having as objectives to unify, identify and / or classify the elements within a determined body of documents, objects, etc. The VOLUMES collection is on the contrary a diverse collection of material that has been mostly donated. Therefore, it presents a challenge to the classical idea of archival categorization because there hasn’t been any systematic process of selection and articulation. Taking this library as a site of investigation, we have been asking ourselves how we could activate and organize this content. We embarked on a research about new forms of categorization and activation that take differences, associations, interstices and gaps as categories to re-think the paradigm of the archive, wondering how to deal with the issues of classification and conservation, permitting a constant flux between different temporalities.",[],{"_key":31810,"_type":219,"children":31811,"markDefs":31816,"style":232},"21fa7e1b9df6",[31812],{"_key":31813,"_type":223,"marks":31814,"text":31815},"41cff4df08040",[],"Since 2015, we have worked towards expanding specific sections of its collection of publications, collaborating with artists, historians and curators. Together with our guests, we look at what is already there, drawing connections and/or frictions; but also to look at what is not there and how to invite new gazes and voices. Each section within the archive compiles and activates content from VOLUMES’s existing collection, while suggesting new acquisitions to complement and expand this curated constellation of publications. This final compilation is what gets archived.",[],{"_key":31818,"_type":219,"children":31819,"markDefs":31824,"style":232},"a13ae372d5e1",[31820],{"_key":31821,"_type":223,"marks":31822,"text":31823},"9685fd564a790",[],"The VOLUMES Archive is an ongoing process, we are developing existing and new sections in collaboration with a variety of artists, historians, curators or scientists. The archive is much bigger than what is visible online so please get in touch with us if you would like to visit it. We are open to suggestions for new archive sections and we happily accept donations of zines and printed matter at any time of the year.",[],"A collection of zines, artist books and publications, which exists thanks to the many donations received annually since 2013 for our International Open Call exhibition and Book Awards.",{"alt":31827,"asset":31828},"The VOLUMES Archive",{"_id":31829,"height":30109,"orientation":1474,"ratio":2832,"url":31830,"width":4004},"image-04da655c3a94d11c6ce1c48c053796a40b041138-1024x576-jpg","https://cdn.sanity.io/images/eodip22e/production/04da655c3a94d11c6ce1c48c053796a40b041138-1024x576.jpg",{"filterYear":31832},[31833],{"_id":130,"title":133},[31835,31837],{"_type":1138,"label":1139,"url":31836},"https://www.volumeszurich.ch/",{"_type":1138,"label":1142,"url":31838},"https://www.instagram.com/volumeszurich/",{"locations":31840,"other":7},[31841],{"_id":331,"_type":308,"seo":7,"slug":31842,"title":334},{"_type":9,"current":333},[31844,132],"volumes archive",{"_type":9,"current":31846},"volumes-archive",{"_id":31848,"_type":1078,"activeYears":31849,"bio":31854,"bioShort":31862,"featuredImage":7,"filterables":31863,"links":31867,"locations":31872,"searchables":31876,"seo":7,"slug":31878,"title":31880},"62ea5b6b-4ef9-4ca1-ac0b-ccc81b9ca7c5",[31850,31852],{"_id":130,"_type":99,"seo":7,"slug":31851,"title":133},{"_type":9,"current":132},{"_id":135,"_type":99,"seo":7,"slug":31853,"title":138},{"_type":9,"current":137},[31855],{"_key":31856,"_type":219,"children":31857,"markDefs":31861,"style":232},"db0139ee4713",[31858],{"_key":31859,"_type":223,"marks":31860,"text":12647},"a9ffcb0bf0380",[],[],"Artist researcher and curator Zürich Suisse",{"filterYear":31864},[31865,31866],{"_id":130,"title":133},{"_id":135,"title":138},[31868,31870],{"_type":1138,"label":1139,"url":31869},"https://www.tetigroup.org/",{"_type":1138,"label":1142,"url":31871},"https://www.instagram.com/teti.group/",{"locations":31873,"other":7},[31874],{"_id":331,"_type":308,"seo":7,"slug":31875,"title":334},{"_type":9,"current":333},[31877,132,137],"anne-laure franchette",{"_type":9,"current":31879},"anne-laure-franchette","Anne-Laure Franchette",{"_id":31882,"_type":1078,"activeYears":31883,"bio":31888,"bioShort":31896,"featuredImage":7,"filterables":31897,"links":31901,"locations":7,"searchables":31904,"seo":7,"slug":31906,"title":31908},"9853ef5f-188b-4794-9481-9aa1db981dfd",[31884,31886],{"_id":130,"_type":99,"seo":7,"slug":31885,"title":133},{"_type":9,"current":132},{"_id":135,"_type":99,"seo":7,"slug":31887,"title":138},{"_type":9,"current":137},[31889],{"_key":31890,"_type":219,"children":31891,"markDefs":31895,"style":232},"0e21c5ab1f6a",[31892],{"_key":31893,"_type":223,"marks":31894,"text":12647},"3c44268dc4180",[],[],"Art historian and writer, Lugano, Zürich Suisse",{"filterYear":31898},[31899,31900],{"_id":130,"title":133},{"_id":135,"title":138},[31902,31903],{"_type":1138,"label":1139,"url":31869},{"_type":1138,"label":1142,"url":31871},[31905,132,137],"gabriel n. gee",{"_type":9,"current":31907},"gabriel-n-gee","Gabriel N. Gee",{"_id":31910,"_type":1078,"activeYears":31911,"bio":31914,"bioShort":31923,"featuredImage":7,"filterables":31924,"links":31927,"locations":31932,"searchables":31944,"seo":7,"slug":31946,"title":31948},"8c8e26cb-f2de-4033-9497-16a670d6e55b",[31912],{"_id":130,"_type":99,"seo":7,"slug":31913,"title":133},{"_type":9,"current":132},[31915],{"_key":31916,"_type":219,"children":31917,"markDefs":31922,"style":232},"7b1db47d71a1",[31918],{"_key":31919,"_type":223,"marks":31920,"text":31921},"bbd37dd7858e0",[],"She is a diaspora mother and a mestiza daughter whose work fictionalizes historical, ecological or social problematics as means of analysis and critique. Paloma's projects nourish visions of connection between human and more than human spheres, they dream of emancipation from marginalizing dominant structures, and emphasize practices of care. Her favorite spaces to work range from kitchen to river shore, from international bridge to cropland, from community meeting to aquelarre.\nHer art production takes the form of publications, videos, reading or cooking sessions and installations directed to different public, including human outside of cultural institutions.\nPaloma's work is rooted in her home, the eastern US/MX border landscapes, simultaneously blooming in her current base in Zurich.",[],"Paloma (b. 1980, Matamoros, Mexico) is a visual artist interested in empowering the relationship between domestic living strategies and political contexts. ",{"filterYear":31925},[31926],{"_id":130,"title":133},[31928,31930],{"_type":1138,"label":1139,"url":31929},"http://www.palomaayala.com/",{"_type":1138,"label":1142,"url":31931},"https://www.instagram.com/palomito.a/",{"locations":31933,"other":31936},[31934],{"_id":331,"_type":308,"seo":7,"slug":31935,"title":334},{"_type":9,"current":333},[31937],{"_key":31938,"_type":219,"children":31939,"markDefs":31943,"style":232},"d06b7cab5e47",[31940],{"_key":31941,"_type":223,"marks":31942,"text":12166},"9f09c7b48a88",[],[],[31945,132],"paloma ayala",{"_type":9,"current":31947},"paloma-ayala","Paloma Ayala",{"_id":31950,"_type":1078,"activeYears":31951,"bio":31954,"bioShort":31963,"featuredImage":7,"filterables":31964,"links":31967,"locations":31971,"searchables":31984,"seo":7,"slug":31986,"title":31988},"e4a61a20-fa85-4f19-88ed-0af828401c80",[31952],{"_id":130,"_type":99,"seo":7,"slug":31953,"title":133},{"_type":9,"current":132},[31955],{"_key":31956,"_type":219,"children":31957,"markDefs":31962,"style":232},"0f688a4af6a4",[31958],{"_key":31959,"_type":223,"marks":31960,"text":31961},"2bab951319b70",[],"She is co-founder and co-curator of la_cápsula, a curatorial platform and independent art space in Zurich that seeks to create a dialogue between the artistic and cultural production of Latin America and the Swiss/local scene. Since 2017 she has collaborated with artist Paloma Ayala to create and activate MEXA!, an archive of independent publications from Mexico, which is part of the VOLUMES Archive. Adriana graduated from Art History from Universidad Iberoamericana in Mexico City and did a MAS in Curating at ZHdK. She worked as Assistant Curator for Museo Tamayo in Mexico City, and has curated exhibitions in art spaces nad commercial galleries both in Mexico and Switzerland, including Kunstraum Walchetur, Helmhaus (as part of VOLUMES Zurich), Galerie Peter Kilchmann and Knoerle & Baettig Contemporary, She currently works for art galleries Grieder Contemporary and Galerie Wenger.",[],"Adriana an Art Historian and Independent Curator from Mexico.",{"filterYear":31965},[31966],{"_id":130,"title":133},[31968],{"_type":1138,"label":31969,"url":31970},"MEXA!","https://www.volumeszurich.ch/collection/mexa-by-paloma-ayala-and-adriana-dominguez",{"locations":31972,"other":31975},[31973],{"_id":331,"_type":308,"seo":7,"slug":31974,"title":334},{"_type":9,"current":333},[31976],{"_key":31977,"_type":219,"children":31978,"markDefs":31983,"style":232},"e6a1adc387d3",[31979],{"_key":31980,"_type":223,"marks":31981,"text":31982},"2f504fe9792b0",[],"Currently living and working in Zurich",[],[31985,132],"adriana domínguezis",{"_type":9,"current":31987},"adriana-dominguezis","Adriana Domínguezis",{"_id":20323,"_type":1078,"activeYears":31990,"bio":31995,"bioShort":20338,"featuredImage":7,"filterables":32001,"links":32005,"locations":32009,"searchables":32019,"seo":7,"slug":32020,"title":20368},[31991,31993],{"_id":130,"_type":99,"seo":7,"slug":31992,"title":133},{"_type":9,"current":132},{"_id":115,"_type":99,"seo":7,"slug":31994,"title":118},{"_type":9,"current":117},[31996],{"_key":20331,"_type":219,"children":31997,"markDefs":32000,"style":232},[31998],{"_key":20334,"_type":223,"marks":31999,"text":20336},[],[],{"filterYear":32002},[32003,32004],{"_id":130,"title":133},{"_id":115,"title":118},[32006,32007,32008],{"_type":1138,"label":1139,"url":20345},{"_type":1138,"label":20347,"url":20348},{"_type":1138,"label":1142,"url":20350},{"locations":32010,"other":32013},[32011],{"_id":331,"_type":308,"seo":7,"slug":32012,"title":334},{"_type":9,"current":333},[32014],{"_key":20357,"_type":219,"children":32015,"markDefs":32018,"style":232},[32016],{"_key":20360,"_type":223,"marks":32017,"text":20362},[],[],[20365,132,117],{"_type":9,"current":20367},{"_id":32022,"_type":1078,"activeYears":32023,"bio":32026,"bioShort":32035,"featuredImage":7,"filterables":32036,"links":32039,"locations":32041,"searchables":32053,"seo":7,"slug":32055,"title":32057},"04b2d548-a58d-45ac-b19f-b819cfedbba6",[32024],{"_id":130,"_type":99,"seo":7,"slug":32025,"title":133},{"_type":9,"current":132},[32027],{"_key":32028,"_type":219,"children":32029,"markDefs":32034,"style":232},"58fc38da9d0c",[32030],{"_key":32031,"_type":223,"marks":32032,"text":32033},"09953de9ebd00",[],"She has curated a range of exhibitions and holds a particular interest in issues dealing with notions of hospitality in relation to the deterritorialized geography.",[],"Giovanna is an independent curator.",{"filterYear":32037},[32038],{"_id":130,"title":133},[32040],{"_type":1138,"label":20347,"url":20348},{"locations":32042,"other":32045},[32043],{"_id":331,"_type":308,"seo":7,"slug":32044,"title":334},{"_type":9,"current":333},[32046],{"_key":32047,"_type":219,"children":32048,"markDefs":32052,"style":232},"b96d2be8fdfb",[32049],{"_key":32050,"_type":223,"marks":32051,"text":5697},"51c7f08169c6",[],[],[32054,132],"giovanna bragaglia",{"_type":9,"current":32056},"giovanna-bragaglia","Giovanna Bragaglia",{"_id":32059,"_type":1078,"activeYears":32060,"bio":32063,"bioShort":32072,"featuredImage":7,"filterables":32073,"links":32076,"locations":32078,"searchables":32091,"seo":7,"slug":32093,"title":32095},"15a5bceb-86fe-4f31-9ff6-b4fe3b22c301",[32061],{"_id":130,"_type":99,"seo":7,"slug":32062,"title":133},{"_type":9,"current":132},[32064],{"_key":32065,"_type":219,"children":32066,"markDefs":32071,"style":232},"9686e068ebec",[32067],{"_key":32068,"_type":223,"marks":32069,"text":32070},"b1565fa9c2ba0",[],"She is the artistic director of KRONE COURONNE, a newly-found space for contemporary art in Biel/Bienne.",[],"Camille is a curator whose interest lies primarily in ‘small’ (as opposed to ‘grand’) narratives that sustain a feminist and alternative reading of societies. ",{"filterYear":32074},[32075],{"_id":130,"title":133},[32077],{"_type":1138,"label":20347,"url":20348},{"locations":32079,"other":32082},[32080],{"_id":331,"_type":308,"seo":7,"slug":32081,"title":334},{"_type":9,"current":333},[32083],{"_key":32084,"_type":219,"children":32085,"markDefs":32090,"style":232},"75e34f9af4ff",[32086],{"_key":32087,"_type":223,"marks":32088,"text":32089},"ef6ea92c495f0",[],"Based in Switzerland",[],[32092,132],"camille regli",{"_type":9,"current":32094},"camille-regli","Camille Regli",{"_id":27519,"_type":1078,"activeYears":32097,"bio":32102,"bioShort":27533,"featuredImage":7,"filterables":32108,"links":32112,"locations":32115,"searchables":32119,"seo":7,"slug":32120,"title":27552},[32098,32100],{"_id":130,"_type":99,"seo":7,"slug":32099,"title":133},{"_type":9,"current":132},{"_id":125,"_type":99,"seo":7,"slug":32101,"title":128},{"_type":9,"current":127},[32103],{"_key":27527,"_type":219,"children":32104,"markDefs":32107,"style":232},[32105],{"_key":27530,"_type":223,"marks":32106,"text":12647},[],[],{"filterYear":32109},[32110,32111],{"_id":130,"title":133},{"_id":125,"title":128},[32113,32114],{"_type":1138,"label":1139,"url":27540},{"_type":1138,"label":27542,"url":27543},{"locations":32116,"other":7},[32117],{"_id":331,"_type":308,"seo":7,"slug":32118,"title":334},{"_type":9,"current":333},[27549,132,127],{"_type":9,"current":27551},{"alt":32122,"asset":32123},"Volumes Archive",{"_id":32124,"height":14980,"orientation":1474,"ratio":2585,"url":32125,"width":4201},"image-7c0d49c2ba965425d644a1753bdcee0f671ba386-960x640-jpg","https://cdn.sanity.io/images/eodip22e/production/7c0d49c2ba965425d644a1753bdcee0f671ba386-960x640.jpg",{"filterCategory":32127,"filterLocation":32130,"filterYear":32133},[32128,32129],{"_id":405,"title":408},{"_id":695,"title":698},[32131,32132],{"_id":331,"title":334},{"_id":346,"title":349},[32134],{"_id":130,"title":133},[],{"locations":32137,"other":7},[32138,32140],{"_id":331,"_type":308,"seo":7,"slug":32139,"title":334},{"_type":9,"current":333},{"_id":346,"_type":308,"seo":7,"slug":32141,"title":349},{"_type":9,"current":348},[32143,32163,32181,32186,32191,32226,32233,32238,32244],{"_type":1625,"settings":7,"text":32144},[32145],{"_key":32146,"_type":219,"children":32147,"markDefs":32161,"style":232},"2df66b6583a9",[32148,32152,32157],{"_key":32149,"_type":223,"marks":32150,"text":32151},"5b3078244b010",[],"The VOLUMES Archive LEARN aims to research news forms to organize and understand the paradigm of the archive. Archives are normally understood as a coherent form of organization, having as objectives to unify, identify, classify the elements within a determined body of documents, objects, etc. The VOLUMES Archive is on the contrary a diverse collection of material that has been mostly donated through the International Open Call Exhibition within the ",{"_key":32153,"_type":223,"marks":32154,"text":32156},"5b3078244b011",[32155],"34804606d31e","VOLUMES",{"_key":32158,"_type":223,"marks":32159,"text":32160},"5b3078244b012",[]," book fair since 2013. Therefore, it presents a challenge to the classical idea of archival categorization because there hasn’t been any systematic process of selection and articulation – besides the different sections that have been donated as such. 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Taking this contradiction as a starting point, we would like to research new forms of categorization and activation that take differences, associations, interstices and lacunas as categories to re-think the paradigm of the archive and permit us to develop new appropriate tools for the VOLUMES Archive.",[32162],{"_key":32155,"_type":249,"href":31836},{"_type":2894,"slides":32164},[32165,32170,32175],{"_type":1621,"caption":7,"image":32166},{"alt":7,"asset":32167},{"_id":32168,"height":5679,"orientation":1474,"ratio":2585,"url":32169,"width":7699},"image-76552607c89485bfb54cf2bc0120b49abd1e2c10-768x512-jpg","https://cdn.sanity.io/images/eodip22e/production/76552607c89485bfb54cf2bc0120b49abd1e2c10-768x512.jpg",{"_type":1621,"caption":7,"image":32171},{"alt":7,"asset":32172},{"_id":32173,"height":14980,"orientation":1474,"ratio":2585,"url":32174,"width":4201},"image-8bc55dd67b557338be2465626653b7b44db1c382-960x640-jpg","https://cdn.sanity.io/images/eodip22e/production/8bc55dd67b557338be2465626653b7b44db1c382-960x640.jpg",{"_type":1621,"caption":7,"image":32176},{"alt":7,"asset":32177},{"_id":32178,"height":32179,"orientation":1474,"ratio":20794,"url":32180,"width":5679},"image-cefe0458c7359fe2222fc57bedfa43563fff0aa6-512x341-jpg",341,"https://cdn.sanity.io/images/eodip22e/production/cefe0458c7359fe2222fc57bedfa43563fff0aa6-512x341.jpg",{"_type":1621,"caption":7,"image":32182},{"alt":7,"asset":32183},{"_id":32184,"height":5679,"orientation":1474,"ratio":2585,"url":32185,"width":7699},"image-9ed6fc23ef9e74f8a7542c9ba9034a96391abdf3-768x512-jpg","https://cdn.sanity.io/images/eodip22e/production/9ed6fc23ef9e74f8a7542c9ba9034a96391abdf3-768x512.jpg",{"_type":1621,"caption":7,"image":32187},{"alt":7,"asset":32188},{"_id":32189,"height":2397,"orientation":1474,"ratio":3344,"url":32190,"width":4201},"image-b4663e8ed069af72a67c31647b88ba1701b62142-960x720-jpg","https://cdn.sanity.io/images/eodip22e/production/b4663e8ed069af72a67c31647b88ba1701b62142-960x720.jpg",{"_type":1625,"settings":7,"text":32192},[32193],{"_key":32194,"_type":219,"children":32195,"markDefs":32219,"style":232},"a2f833233ac0",[32196,32200,32205,32208,32212,32215],{"_key":32197,"_type":223,"marks":32198,"text":32199},"e202d41f16c20",[],"We are a varied group of artists, curators, publishers and researchers. 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inspizieren. Seitdem erweiterte sich die Konstellation der Gruppe und war an verschiedenen Orten zu Gast.\n\nBei der Erforschung der Tafeln durchmischt sich kunstgeschichtliche Quellenarbeit mit diskursiven Perspektiven – ergänzt durch den jeweiligen Blick und die unterschiedlichen Arbeitsweisen der einzelnen Teilnehmer_innen. Ziele der Forschungsgruppe sind, das Instrument des ‚Atlas‘ und ‚Bildoperationen‘ im Hinblick auf die eigene Arbeit zu reflektieren und mit einem gegenwärtigen Blick zu erweitern. Die gemeinsame Arbeit mit dem Atlas evoziert Fragen zu dem Verhältnis von Spekulation und Erkenntnisgenerierung und nach Formen zu deren ‘Sicherung’ und Vermittelbarkeit.",[],{"_key":32679,"_type":219,"children":32680,"markDefs":32685,"style":232},"58e8dbef7d97",[32681],{"_key":32682,"_type":223,"marks":32683,"text":32684},"eb01a081529d",[],"Für die Teilnehmenden bietet sich die Gelegenheit, Möglichkeiten zu diskutieren und zu praktizieren, wie ausgehend von (eigenen) Arbeiten und Bildern solche ‚Operationen‘ durchführbar sein können und wie unerwartete Möglichkeiten formulierbar werden. Der Einstieg für Interessierte ist jederzeit möglich.",[],[32687,137,333,32443,32468,32493,32518,32543,32568,32593,32618,32643,32688,697],"aby warburg – mnemosyne atlas","seit dem herbstsemester 2017 trifft sich die forschungsgruppe in regelmässigen abständen um wirkungen und konstellationen der bilder auf den bildtafeln von aby warburgs mnemosyne atlas zu inspizieren. seitdem erweiterte sich die konstellation der gruppe und war an verschiedenen orten zu gast.\n\nbei der erforschung der tafeln durchmischt sich kunstgeschichtliche quellenarbeit mit diskursiven perspektiven – ergänzt durch den jeweiligen blick und die unterschiedlichen arbeitsweisen der einzelnen teilnehmer_innen. ziele der forschungsgruppe sind, das instrument des ‚atlas‘ und ‚bildoperationen‘ im hinblick auf die eigene arbeit zu reflektieren und mit einem gegenwärtigen blick zu erweitern. die gemeinsame arbeit mit dem atlas evoziert fragen zu dem verhältnis von spekulation und erkenntnisgenerierung und nach formen zu deren ‘sicherung’ und vermittelbarkeit.\n\nfür die teilnehmenden bietet sich die gelegenheit, möglichkeiten zu diskutieren und zu praktizieren, wie ausgehend von (eigenen) arbeiten und bildern solche ‚operationen‘ durchführbar sein können und wie unerwartete möglichkeiten formulierbar werden. der einstieg für interessierte ist jederzeit möglich.",{"_type":9,"current":32690},"aby-warburg-mnemosyne-atlas","Aby Warburg – Mnemosyne 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Bakterien (und weitere verwandte Mikroorganismen, markiert mit *). In diesem Projekt betrachten wir die Bakterien als Wesen, die Texte ebenso bewohnen, wie sie selbst eine textuelle Natur aufweisen. Ein zentrales Augenmerk liegt auf dem Eigenleben, das textuelle Bakterien losgelöst von ihrem materiellen Dasein führen.",[],{"_key":32795,"_type":219,"children":32796,"markDefs":32801,"style":232},"5c0145e81835",[32797],{"_key":32798,"_type":223,"marks":32799,"text":32800},"4073845b2b6b",[],"Davon ausgehend, dass Bakterien mit Texten immer diskursiv verhandelt und von zeitgenössischen Diskursen überformt werden, stellen sich Fragen wie «Welche Klassifikationsweisen erfordern Bakterien? In welche Geschichten werden sie eingebettet? Was erzählen uns solche Bakteriengeschichten über unsere Sicht auf die Welt? Welches weitere Wissen transferieren Bakterien? Werden sie entdeckt oder konstruiert? Bilden sie Speichermedien, und wofür? Wie verändern sie sich, wenn sie in verschiedenen Medien platziert werden?",[],{"_key":32803,"_type":219,"children":32804,"markDefs":32809,"style":232},"01449bf805ad",[32805],{"_key":32806,"_type":223,"marks":32807,"text":32808},"08b76c7562a4",[],"Mit solchen Fragen verbindet Bakteriotexte* das wissenschaftlich/medizinische Umfeld mit einem breiteren gesellschaftlichen Diskurs und nimmt verschiedene Repräsentationsweisen von Bakterien in den Blick. Als Forschungs- und Ausstellungsprojekt verbindet Bakteriotexte* archivarische und publizistische Verfahren: es werden Texte verfasst, Gespräche veranstaltet, Materialien gesammelt und zum Abschluss eine Ausstellung organisiert. Die Ausstellung wird Ende Mai im Kein Museum, Mutschellenstrasse 2, 8002 zu sehen sein.",[],[32811,32819,32827,32835,32843,32851],{"_key":32812,"_type":219,"children":32813,"markDefs":32818,"style":232},"e61bf7fb7257",[32814],{"_key":32815,"_type":223,"marks":32816,"text":32817},"89fcf6c8e9980",[],"Welche Klassifikationsweisen erfordern Bakterien? In welche Geschichten werden sie eingebettet? ",[],{"_key":32820,"_type":219,"children":32821,"markDefs":32826,"style":232},"d4ed19de003a",[32822],{"_key":32823,"_type":223,"marks":32824,"text":32825},"ddee285cd54b",[],"Was erzählen uns solche Bakteriengeschichten über unsere Sicht auf die Welt? Welches weitere Wissen transferieren Bakterien? ",[],{"_key":32828,"_type":219,"children":32829,"markDefs":32834,"style":232},"c311b6d3c1a6",[32830],{"_key":32831,"_type":223,"marks":32832,"text":32833},"852ca536e6cf",[],"Werden sie entdeckt oder konstruiert? 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",[],{"_key":32844,"_type":219,"children":32845,"markDefs":32850,"style":232},"3bca1dd1a097",[32846],{"_key":32847,"_type":223,"marks":32848,"text":32849},"07746e643e1a",[],"Wie verändern sie sich, wenn sie in verschiedenen Medien platziert werden?",[],{"_key":32852,"_type":219,"children":32853,"markDefs":32857,"style":232},"f2a5367e4721",[32854],{"_key":32855,"_type":223,"marks":32856,"text":2264},"c26a860f6a110",[],[],[32859,137,333,32718,32761,32860,697],"bakteriotexte*","bakteriotexte* ist ein forschungs-/ausstellungsprojekt über die philosophie und poetik nenenender bakterien (und weitere verwandte mikroorganismen, markiert mit *). in diesem projekt betrachten wir die bakterien als wesen, die texte ebenso bewohnen, wie sie selbst eine textuelle natur aufweisen. ein zentrales augenmerk liegt auf dem eigenleben, das textuelle bakterien losgelöst von ihrem materiellen dasein führen.\n\ndavon ausgehend, dass bakterien mit texten immer diskursiv verhandelt und von zeitgenössischen diskursen überformt werden, stellen sich fragen wie «welche klassifikationsweisen erfordern bakterien? in welche geschichten werden sie eingebettet? was erzählen uns solche bakteriengeschichten über unsere sicht auf die welt? welches weitere wissen transferieren bakterien? werden sie entdeckt oder konstruiert? bilden sie speichermedien, und wofür? wie verändern sie sich, wenn sie in verschiedenen medien platziert werden?\n\nmit solchen fragen verbindet bakteriotexte* das wissenschaftlich/medizinische umfeld mit einem breiteren gesellschaftlichen diskurs und nimmt verschiedene repräsentationsweisen von bakterien in den blick. als forschungs- und ausstellungsprojekt verbindet bakteriotexte* archivarische und publizistische verfahren: es werden texte verfasst, gespräche veranstaltet, materialien gesammelt und zum abschluss eine ausstellung organisiert. die ausstellung wird ende mai im kein museum, mutschellenstrasse 2, 8002 zu sehen sein.",{"_type":9,"current":32862},"bakteriotexte","Bakteriotexte*",{"_id":32865,"_type":1027,"categories":32866,"credits":32870,"featuredImage":32952,"filterables":32957,"footnotes":32962,"locations":7,"logbook":7,"pageBuilder":32963,"researchQuestion":7,"researchQuestions":7,"searchables":32982,"seo":7,"slug":32985,"title":32953,"year":138},"6cb73b74-c76e-491a-a8d1-da19b89c94de",[32867],{"_id":695,"_type":362,"colorPrimary":32868,"seo":7,"slug":32869,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":7,"profiles":32871},[32872,32897,32918],{"_id":31848,"_type":1078,"activeYears":32873,"bio":32878,"bioShort":31862,"featuredImage":7,"filterables":32884,"links":32888,"locations":32891,"searchables":32895,"seo":7,"slug":32896,"title":31880},[32874,32876],{"_id":130,"_type":99,"seo":7,"slug":32875,"title":133},{"_type":9,"current":132},{"_id":135,"_type":99,"seo":7,"slug":32877,"title":138},{"_type":9,"current":137},[32879],{"_key":31856,"_type":219,"children":32880,"markDefs":32883,"style":232},[32881],{"_key":31859,"_type":223,"marks":32882,"text":12647},[],[],{"filterYear":32885},[32886,32887],{"_id":130,"title":133},{"_id":135,"title":138},[32889,32890],{"_type":1138,"label":1139,"url":31869},{"_type":1138,"label":1142,"url":31871},{"locations":32892,"other":7},[32893],{"_id":331,"_type":308,"seo":7,"slug":32894,"title":334},{"_type":9,"current":333},[31877,132,137],{"_type":9,"current":31879},{"_id":31882,"_type":1078,"activeYears":32898,"bio":32903,"bioShort":31896,"featuredImage":7,"filterables":32909,"links":32913,"locations":7,"searchables":32916,"seo":7,"slug":32917,"title":31908},[32899,32901],{"_id":130,"_type":99,"seo":7,"slug":32900,"title":133},{"_type":9,"current":132},{"_id":135,"_type":99,"seo":7,"slug":32902,"title":138},{"_type":9,"current":137},[32904],{"_key":31890,"_type":219,"children":32905,"markDefs":32908,"style":232},[32906],{"_key":31893,"_type":223,"marks":32907,"text":12647},[],[],{"filterYear":32910},[32911,32912],{"_id":130,"title":133},{"_id":135,"title":138},[32914,32915],{"_type":1138,"label":1139,"url":31869},{"_type":1138,"label":1142,"url":31871},[31905,132,137],{"_type":9,"current":31907},{"_id":32919,"_type":1078,"activeYears":32920,"bio":32923,"bioShort":32932,"featuredImage":32933,"filterables":32938,"links":32941,"locations":32944,"searchables":32948,"seo":7,"slug":32950,"title":32934},"47cd81ac-7aa8-4d9d-a270-da6dd7402745",[32921],{"_id":135,"_type":99,"seo":7,"slug":32922,"title":138},{"_type":9,"current":137},[32924],{"_key":32925,"_type":219,"children":32926,"markDefs":32931,"style":232},"ce187be4d1ae",[32927],{"_key":32928,"_type":223,"marks":32929,"text":32930},"803dbc7ca7fc0",[],"The group favours enquiries into trans-disciplinary commonalities, and investigates the potency of ideas as they migrate from one body of practice into another. Finding such common grounds is not meant to lead towards more homogenized landscapes, but on the contrary as a springboard through which to re-invest in differentiation. Circulation can be understood, diversification must be the object of pro-active creativity.",[],"The interdisciplinary study group on textures and experiences of trans-industriality explores the changing imaginaries of our global/glocal societies at the turn of the 20th-21st centuries. ",{"alt":32934,"asset":32935},"TETI Group",{"_id":32936,"height":1128,"orientation":7818,"ratio":2178,"url":32937,"width":1128},"image-a374b4fe8d37d90d09cc9eb8acf99126ab8556e9-800x800-jpg","https://cdn.sanity.io/images/eodip22e/production/a374b4fe8d37d90d09cc9eb8acf99126ab8556e9-800x800.jpg",{"filterYear":32939},[32940],{"_id":135,"title":138},[32942,32943],{"_type":1138,"label":1139,"url":31869},{"_type":1138,"label":1142,"url":31871},{"locations":32945,"other":7},[32946],{"_id":331,"_type":308,"seo":7,"slug":32947,"title":334},{"_type":9,"current":333},[32949,137],"teti group",{"_type":9,"current":32951},"teti-group",{"alt":32953,"asset":32954},"Baustelle und Botanik – Chantier et Botanique",{"_id":32955,"height":1132,"orientation":1474,"ratio":3344,"url":32956,"width":14980},"image-94e331a2f88dc0163d9500d62507c2b5051aee7f-640x480-jpg","https://cdn.sanity.io/images/eodip22e/production/94e331a2f88dc0163d9500d62507c2b5051aee7f-640x480.jpg",{"filterCategory":32958,"filterLocation":7,"filterYear":32960},[32959],{"_id":695,"title":698},[32961],{"_id":135,"title":138},[],[32964],{"_type":1625,"settings":7,"text":32965},[32966,32974],{"_key":32967,"_type":219,"children":32968,"markDefs":32973,"style":232},"8c4323c4bc16",[32969],{"_key":32970,"_type":223,"marks":32971,"text":32972},"c20cb562ec150",[],"For building sites are transitory spaces, in between time, but also forms. ‘Nature’, landscapes, pristine or hybrid, are shaped in the process of constructing. Our aim is to explore the way textures are literally and metaphorically stirred in a building site, and to explore the way it brings disorder upon the land to implement new orderings. We will consider the beings living onto a ground temporarily transformed into a wasteland, its particular ecosystem at the edge of civilization – where civilization comes into action, and being, but whose representative do no dwell in. We will pay particular attention to the archeology of the building site, a place associated with archeologic exploration itself, yet whose own formation has much to say of our societies visions, desires, and muted mechanics.",[],{"_key":32975,"_type":219,"children":32976,"markDefs":32981,"style":232},"8e19ac16fd20",[32977],{"_key":32978,"_type":223,"marks":32979,"text":32980},"3849226d24110",[],"This project is part of the TETI – Textures and Experiences of Transindustriality – group’ s research on nature and the city, and aims to bring together artists, historians, scientists and curators to explore the hidden facets of our societies’ building sites.",[],[32983,137,31877,31905,32949,32984,697],"baustelle und botanik – chantier et botanique","for building sites are transitory spaces, in between time, but also forms. ‘nature’, landscapes, pristine or hybrid, are shaped in the process of constructing. our aim is to explore the way textures are literally and metaphorically stirred in a 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Mit Wilhelm Solf, dem einstigen Gouverneur der letzten deutschen Kolonie, Samoa, verbinden mich ein Nachname und ein historisches Erbe. Da unidirektionaler Wissenstransfer ein Grundmechanismus des kolonialen und postkolonialen Weltverhältnisses ist, haben Menschen in Deutschland und in der Schweiz kaum Kenntnisse über den Inselstaat, es ist aber anzunehmen, dass vielen Menschen in Samoa der Name Solf ein Begriff ist. Um diesem Missverhältnis nachzugehen, werde ich die Inselgruppe bereisen und vor Ort zur deutschen Kolonialgeschichte recherchieren, mit Samoaner*innen ins Gespräch kommen und die Reise filmisch und schriftlich dokumentieren. 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She also edits the magazine ",{"_key":33274,"_type":223,"marks":33275,"text":33276},"a91e454125fb13",[1559],"Firmament",{"_key":33278,"_type":223,"marks":33279,"text":33280},"a91e454125fb14",[],", published by Sublunary Editions. Recently she completed a PhD at the Centre of Latin American Studies at the University of Cambridge, on the influence of India on six Latin American writers. ",[],"Jessica is a writer, editor, and literary translator. 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His work focuses on theories of alterity and the performative, imagery and mediality, philosophy of existence. His latest publications include the monograph Pathos des Leibes. Phänomenologie ästhetischer Praxis (Zürich/Berlin 2016) and the co-edited collection Gegenstände unserer Kindheit. Denkerinnen und Denker über ihr liebstes Objekt (Paderborn 2019).  ",[],"Jörg is currently interim Associate Professor in Media Theory at the Department of Art and Design at the University of Applied Sciences Europe, Campus Berlin.",{"alt":33329,"asset":33330},"Jörg Sternagel",{"_id":33331,"height":30572,"orientation":1474,"ratio":3344,"url":33332,"width":14622},"image-dafebf4797db7b528a948ef75444bfe1ad33d897-400x300-jpg","https://cdn.sanity.io/images/eodip22e/production/dafebf4797db7b528a948ef75444bfe1ad33d897-400x300.jpg",{"filterYear":33334},[33335],{"_id":135,"title":138},[33337,33339],{"_type":1138,"label":1139,"url":33338},"http://www.joerg-sternagel.de/",{"_type":1138,"label":1142,"url":33340},"https://www.instagram.com/joergsternagel/",{"locations":33342,"other":7},[33343],{"_id":331,"_type":308,"seo":7,"slug":33344,"title":334},{"_type":9,"current":333},[33346,137],"jörg sternagel",{"_type":9,"current":33348},"joerg-sternagel",{"alt":33350,"asset":33351},"Playful and Poetic. 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be exclusively about technology, but about our being-in-the-world, one in which technology plays a part but one we have initiated, from which we can also begin to think about being-in-landscape, about ",{"_key":33382,"_type":223,"marks":33383,"text":33384},"ac912c2cf616",[1559],"senses of existence",{"_key":33386,"_type":223,"marks":33387,"text":33388},"f4ef84b48aef",[],". A poetic approach can verge on play: We might engage in telling experiences, finding examples, reflecting on concepts and expressions, and considering the functional and the dysfunctional. Our project focuses on questions like these and works on approaches in our technological age that will develop in a poetic form, open to ludic reflection.",[],{"_type":2894,"slides":33391},[33392,33398,33403],{"_type":1621,"caption":7,"image":33393},{"alt":7,"asset":33394},{"_id":33395,"height":33396,"orientation":7818,"ratio":2178,"url":33397,"width":33396},"image-4612f86b5e6658da6f475f0a4b4d7fe8f8b7e4b9-414x414-jpg",414,"https://cdn.sanity.io/images/eodip22e/production/4612f86b5e6658da6f475f0a4b4d7fe8f8b7e4b9-414x414.jpg",{"_type":1621,"caption":7,"image":33399},{"alt":7,"asset":33400},{"_id":33401,"height":33396,"orientation":7818,"ratio":2178,"url":33402,"width":33396},"image-fd18864fbe9424186204979342f1955fdfe5d9ed-414x414-jpg","https://cdn.sanity.io/images/eodip22e/production/fd18864fbe9424186204979342f1955fdfe5d9ed-414x414.jpg",{"_type":1621,"caption":7,"image":33404},{"alt":7,"asset":33405},{"_id":33406,"height":33396,"orientation":7818,"ratio":2178,"url":33407,"width":33396},"image-6af130c9057a8e94be148afa4768b0c260f2bbfd-414x414-jpg","https://cdn.sanity.io/images/eodip22e/production/6af130c9057a8e94be148afa4768b0c260f2bbfd-414x414.jpg",[33409,33417,33425,33433,33441],{"_key":33410,"_type":219,"children":33411,"markDefs":33416,"style":232},"eb4a7815681f",[33412],{"_key":33413,"_type":223,"marks":33414,"text":33415},"58bd992e9626",[],"What can creative responses to technology look like? ",[],{"_key":33418,"_type":219,"children":33419,"markDefs":33424,"style":232},"71d5d44c1e0a",[33420],{"_key":33421,"_type":223,"marks":33422,"text":33423},"92f1b09a1304",[],"How can technology’s focus on ideas with application be embraced, rather than rejected? ",[],{"_key":33426,"_type":219,"children":33427,"markDefs":33432,"style":232},"4526b53272a2",[33428],{"_key":33429,"_type":223,"marks":33430,"text":33431},"4d7281f86733",[],"Does a sense of play offer a possibility, a way to begin thinking? ",[],{"_key":33434,"_type":219,"children":33435,"markDefs":33440,"style":232},"31cd55b5d9f8",[33436],{"_key":33437,"_type":223,"marks":33438,"text":33439},"90f226ca714f",[],"What kind of thinking are we talking about, and where might this thinking take place? ",[],{"_key":33442,"_type":219,"children":33443,"markDefs":33456,"style":232},"6dea46c536d4",[33444,33448,33452],{"_key":33445,"_type":223,"marks":33446,"text":33447},"efaa0b3e7c83",[],"Can our own experiences become an origin that allows us to ",{"_key":33449,"_type":223,"marks":33450,"text":33451},"82cc03cddf65",[1559],"perform",{"_key":33453,"_type":223,"marks":33454,"text":33455},"7330464ef8f0",[]," philosophy? ",[],[33458,137,4694,333,33310,33346,33459,697],"playful and poetic. creative responses to technology","a performative philosophy might not be exclusively about technology, but about our being-in-the-world, one in which technology plays a part but one we have initiated, from which we can also begin to think about being-in-landscape, about senses of existence. a poetic approach can verge on play: we might engage in telling experiences, finding examples, reflecting on concepts and expressions, and considering the functional and the dysfunctional. our project focuses on questions like these and works on approaches in our technological age that will develop in a poetic form, open to ludic reflection.",{"_type":9,"current":33461},"playful-and-poetic-creative-responses-to-technology",{"_id":33463,"_type":1027,"categories":33464,"credits":33468,"featuredImage":33544,"filterables":33552,"footnotes":33559,"locations":33560,"logbook":7,"pageBuilder":33564,"researchQuestion":7,"researchQuestions":7,"searchables":33585,"seo":7,"slug":33589,"title":33591,"year":138},"c68b236c-eabf-4ffc-a2c1-03da5b1085f3",[33465],{"_id":695,"_type":362,"colorPrimary":33466,"seo":7,"slug":33467,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":7,"profiles":33469},[33470,33501,33523],{"_id":31425,"_type":1078,"activeYears":33471,"bio":33476,"bioShort":31440,"featuredImage":7,"filterables":33482,"links":33486,"locations":33489,"searchables":33499,"seo":7,"slug":33500,"title":31467},[33472,33474],{"_id":135,"_type":99,"seo":7,"slug":33473,"title":138},{"_type":9,"current":137},{"_id":130,"_type":99,"seo":7,"slug":33475,"title":133},{"_type":9,"current":132},[33477],{"_key":31433,"_type":219,"children":33478,"markDefs":33481,"style":232},[33479],{"_key":31436,"_type":223,"marks":33480,"text":31438},[],[],{"filterYear":33483},[33484,33485],{"_id":135,"title":138},{"_id":130,"title":133},[33487,33488],{"_type":1138,"label":1139,"url":31447},{"_type":1138,"label":1142,"url":31449},{"locations":33490,"other":33493},[33491],{"_id":331,"_type":308,"seo":7,"slug":33492,"title":334},{"_type":9,"current":333},[33494],{"_key":31456,"_type":219,"children":33495,"markDefs":33498,"style":232},[33496],{"_key":31459,"_type":223,"marks":33497,"text":31461},[],[],[31464,137,132],{"_type":9,"current":31466},{"_id":31469,"_type":1078,"activeYears":33502,"bio":33507,"bioShort":31483,"featuredImage":7,"filterables":33513,"links":7,"locations":33517,"searchables":33521,"seo":7,"slug":33522,"title":31496},[33503,33505],{"_id":135,"_type":99,"seo":7,"slug":33504,"title":138},{"_type":9,"current":137},{"_id":130,"_type":99,"seo":7,"slug":33506,"title":133},{"_type":9,"current":132},[33508],{"_key":31477,"_type":219,"children":33509,"markDefs":33512,"style":232},[33510],{"_key":31480,"_type":223,"marks":33511,"text":12647},[],[],{"filterYear":33514},[33515,33516],{"_id":135,"title":138},{"_id":130,"title":133},{"locations":33518,"other":7},[33519],{"_id":316,"_type":308,"seo":7,"slug":33520,"title":319},{"_type":9,"current":318},[31493,137,132],{"_type":9,"current":31495},{"_id":33524,"_type":1078,"activeYears":33525,"bio":33528,"bioShort":7,"featuredImage":7,"filterables":33536,"links":7,"locations":7,"searchables":33539,"seo":7,"slug":33541,"title":33543},"a509af37-0cb1-4d2b-8f59-6a463e5f6ea8",[33526],{"_id":135,"_type":99,"seo":7,"slug":33527,"title":138},{"_type":9,"current":137},[33529],{"_key":33530,"_type":219,"children":33531,"markDefs":33535,"style":232},"1beea3fe87ce",[33532],{"_key":33533,"_type":223,"marks":33534,"text":12647},"393d42b76ea9",[],[],{"filterYear":33537},[33538],{"_id":135,"title":138},[33540,137],"leonardo guerra",{"_type":9,"current":33542},"leonardo-guerra","Leonardo Guerra",{"alt":33545,"asset":33546},"School of Commons - Questions as Strategy",{"_id":33547,"height":33548,"orientation":1474,"ratio":33549,"url":33550,"width":33551},"image-98c10fb110075dd1daf280e4e3f2f127af163577-1316x1312-png",1312,1.0030487804878048,"https://cdn.sanity.io/images/eodip22e/production/98c10fb110075dd1daf280e4e3f2f127af163577-1316x1312.png",1316,{"filterCategory":33553,"filterLocation":33555,"filterYear":33557},[33554],{"_id":695,"title":698},[33556],{"_id":331,"title":334},[33558],{"_id":135,"title":138},[],{"locations":33561,"other":7},[33562],{"_id":331,"_type":308,"seo":7,"slug":33563,"title":334},{"_type":9,"current":333},[33565,33575],{"_type":1625,"settings":7,"text":33566},[33567],{"_key":33568,"_type":219,"children":33569,"markDefs":33574,"style":232},"2924ff9003ec",[33570],{"_key":33571,"_type":223,"marks":33572,"text":33573},"e47cc96cc78f0",[],"Questions As Strategy is a research, archiving and curatorial project on the act of questioning, initiated by three individuals coming from three art institutions, based in three different socio-cultural contexts and political environments.",[],{"_type":1625,"settings":7,"text":33576},[33577],{"_key":33578,"_type":219,"children":33579,"markDefs":33584,"style":232},"0b23fb33080b",[33580],{"_key":33581,"_type":223,"marks":33582,"text":33583},"a2ff845aedd9",[],"Questions have a special status in our conventions around language. As a sign of transparency as well as egalitarian access to education, societies want to pride themselves with an openness towards them. Proverbs such as “ There are no stupid questions.” or “Man wird ja wohl noch Fragen dürfen!” are just some examples of how, as a tool for better understanding, asking questions is supposedly always available to anyone no matter who they are and where they are from. Yet, questions are a tricky form of language which keep making people uncomfortable on both sides of the stake. A question may denounce the mindset and attitude of the inquirer and it can show the recipient’s competence and trustworthiness – or lack thereof.\n\nAccompanied by its status as something innocent, a question can be a powerful tool if used skilfully. It can cut directly to the bone of a seemingly complicated problem or – on a completely different note – subtly influence the receiver’s line of thought. It may serve as a vehicle for plain curiosity – trying to find the shape of an unknown – or criticism, like a wolf in sheep’s disguise. Simply asking a question can be an act of resistance, allowing for conflicts and discrepancies, hypocrisies and inconvenient truths to emerge from under the rug or layers of whitewashing. The best questions do all of the above but at the same time come from what we believe questions really begin with; honest curiosity and concern.\n\nWith Questions As Strategy we locate our interest in exploring the act of questioning. Investigating forms of asking and phrasing questions as well as the many ways in which a question can serve as a tool – or a weapon – has become a necessity to this undertaking.",[],[33586,137,333,31464,31493,33540,33587,33588,697],"questions as strategy","questions as strategy is a research, archiving and curatorial project on the act of questioning, initiated by three individuals coming from three art institutions, based in three different socio-cultural contexts and political environments.","questions have a special status in our conventions around language. as a sign of transparency as well as egalitarian access to education, societies want to pride themselves with an openness towards them. proverbs such as “ there are no stupid questions.” or “man wird ja wohl noch fragen dürfen!” are just some examples of how, as a tool for better understanding, asking questions is supposedly always available to anyone no matter who they are and where they are from. yet, questions are a tricky form of language which keep making people uncomfortable on both sides of the stake. a question may denounce the mindset and attitude of the inquirer and it can show the recipient’s competence and trustworthiness – or lack thereof.\n\naccompanied by its status as something innocent, a question can be a powerful tool if used skilfully. it can cut directly to the bone of a seemingly complicated problem or – on a completely different note – subtly influence the receiver’s line of thought. it may serve as a vehicle for plain curiosity – trying to find the shape of an unknown – or criticism, like a wolf in sheep’s disguise. simply asking a question can be an act of resistance, allowing for conflicts and discrepancies, hypocrisies and inconvenient truths to emerge from under the rug or layers of whitewashing. the best questions do all of the above but at the same time come from what we believe questions really begin with; honest curiosity and concern.\n\nwith questions as strategy we locate our interest in exploring the act of questioning. investigating forms of asking and phrasing questions as well as the many ways in which a question can serve as a tool – or a weapon – has become a necessity to this undertaking.",{"_type":9,"current":33590},"questions-as-strategy","Questions as Strategy",{"_id":33593,"_type":1027,"categories":33594,"credits":33598,"featuredImage":33651,"filterables":33654,"footnotes":33661,"locations":33662,"logbook":7,"pageBuilder":33666,"researchQuestion":7,"researchQuestions":7,"searchables":33709,"seo":7,"slug":33713,"title":33715,"year":138},"ba2964a2-3686-4a13-b537-c612d24fcbbd",[33595],{"_id":695,"_type":362,"colorPrimary":33596,"seo":7,"slug":33597,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":33599,"profiles":33614},[33600],{"_key":33601,"_type":219,"children":33602,"markDefs":33612,"style":232},"37b3e1c157a7",[33603,33607],{"_key":33604,"_type":223,"marks":33605,"text":33606},"58badc9baf9a0",[],"Hamlet, ",{"_key":33608,"_type":223,"marks":33609,"text":33611},"17766cc9a280",[33610],"b3289174f56d","https://hamlet.love/",[33613],{"_key":33610,"_type":249,"blank":250,"href":33611},[33615],{"_id":33616,"_type":1078,"activeYears":33617,"bio":33620,"bioShort":33628,"featuredImage":33629,"filterables":33637,"links":33640,"locations":33642,"searchables":33646,"seo":7,"slug":33648,"title":33650},"4852f428-644f-4469-ab40-f5dda838ca5c",[33618],{"_id":135,"_type":99,"seo":7,"slug":33619,"title":138},{"_type":9,"current":137},[33621],{"_key":33622,"_type":219,"children":33623,"markDefs":33627,"style":232},"5034d673d2fa",[33624],{"_key":33625,"_type":223,"marks":33626,"text":12647},"34231665d1780",[],[],"Sociologist and Economist.",{"alt":33630,"asset":33631},"Bildschirmfoto",{"_id":33632,"height":33633,"orientation":1474,"ratio":33634,"url":33635,"width":33636},"image-4de744c432e61e05e9353c82fff9c02b142d7938-1812x1362-png",1362,1.330396475770925,"https://cdn.sanity.io/images/eodip22e/production/4de744c432e61e05e9353c82fff9c02b142d7938-1812x1362.png",1812,{"filterYear":33638},[33639],{"_id":135,"title":138},[33641],{"_type":1138,"label":17551,"url":33611},{"locations":33643,"other":7},[33644],{"_id":331,"_type":308,"seo":7,"slug":33645,"title":334},{"_type":9,"current":333},[33647,137],"andrea abegg serrano",{"_type":9,"current":33649},"andrea-abegg-serrano","Andrea Abegg Serrano",{"alt":33652,"asset":33653},"School of Commons - Storytelling in Transformational Urban Surroundings",{"_id":33632,"height":33633,"orientation":1474,"ratio":33634,"url":33635,"width":33636},{"filterCategory":33655,"filterLocation":33657,"filterYear":33659},[33656],{"_id":695,"title":698},[33658],{"_id":331,"title":334},[33660],{"_id":135,"title":138},[],{"locations":33663,"other":7},[33664],{"_id":331,"_type":308,"seo":7,"slug":33665,"title":334},{"_type":9,"current":333},[33667],{"_type":1625,"settings":7,"text":33668},[33669,33677,33685,33693,33701],{"_key":33670,"_type":219,"children":33671,"markDefs":33676,"style":232},"04fa21e5e056",[33672],{"_key":33673,"_type":223,"marks":33674,"text":33675},"e02a01b62aad",[],"Surrounding spatial structures play a role in on our everyday life. Hamlet, our exhibition program and research endeavor, located at Dörflistrasse 67, is at the heart of the two-faced Zurich-Oerlikon; at the border of the old village center and the fully paper-visioned Neu-Oerlikon and Glattpark, expanding at a dizzying speed to this day.",[],{"_key":33678,"_type":219,"children":33679,"markDefs":33684,"style":232},"3c8321d8f091",[33680],{"_key":33681,"_type":223,"marks":33682,"text":33683},"4048e34bb6e8",[],"With a sequence of different research endeavors and interventions we want to describe, explore and analyze different phenomena of urban life, urbanization and its role on people’s everyday life.",[],{"_key":33686,"_type":219,"children":33687,"markDefs":33692,"style":232},"5f76c8554712",[33688],{"_key":33689,"_type":223,"marks":33690,"text":33691},"d645c9572348",[],"In the initial phase, a catalogue of topics will be gathered, along which further research shall be conducted. The collected topics should be in regard to issues, observations and changes brought by the changes in the surrounding of the people living in Oerlikon and will also be prepared and compiled through interviews, surveying, canvassing and other interaction.",[],{"_key":33694,"_type":219,"children":33695,"markDefs":33700,"style":232},"ea420e847514",[33696],{"_key":33697,"_type":223,"marks":33698,"text":33699},"66660c097b8f",[],"From the catalogue subtopics and questions will be derived an developed which then will become the subject focus during different events involving near-by residents. One of the possible settings in which discussions can be placed is the barber shop: With this project we want to invite the village-talk to Hamlet by setting up a local hair salon at the heart of our exhibition space. Participants – usual clients, guests and experts – are invited to get a free haircut and talk about Oerlikon. We hope to create a setting that makes people comfortably talk about how they experience everyday life and the changes happening in Oerlikon, and urbanization in general.",[],{"_key":33702,"_type":219,"children":33703,"markDefs":33708,"style":232},"4f639eac9686",[33704],{"_key":33705,"_type":223,"marks":33706,"text":33707},"8426b5e1a402",[],"The feedback by participants will be documented and compiled in order to develop a concise overview over time and support an understanding of the effects of urban development in the specific case of Zurich-Oerlikon.",[],[33710,137,333,33647,33711,33712,697],"storytelling in transformational urban surroundings","hamlet, https://hamlet.love/","surrounding spatial structures play a role in on our everyday life. hamlet, our exhibition program and research endeavor, located at dörflistrasse 67, is at the heart of the two-faced zurich-oerlikon; at the border of the old village center and the fully paper-visioned neu-oerlikon and glattpark, expanding at a dizzying speed to this day.\n\nwith a sequence of different research endeavors and interventions we want to describe, explore and analyze different phenomena of urban life, urbanization and its role on people’s everyday life.\n\nin the initial phase, a catalogue of topics will be gathered, along which further research shall be conducted. the collected topics should be in regard to issues, observations and changes brought by the changes in the surrounding of the people living in oerlikon and will also be prepared and compiled through interviews, surveying, canvassing and other interaction.\n\nfrom the catalogue subtopics and questions will be derived an developed which then will become the subject focus during different events involving near-by residents. one of the possible settings in which discussions can be placed is the barber shop: with this project we want to invite the village-talk to hamlet by setting up a local hair salon at the heart of our exhibition space. participants – usual clients, guests and experts – are invited to get a free haircut and talk about oerlikon. we hope to create a setting that makes people comfortably talk about how they experience everyday life and the changes happening in oerlikon, and urbanization in general.\n\nthe feedback by participants will be documented and compiled in order to develop a concise overview over time and support an understanding of the effects of urban development in the specific case of zurich-oerlikon.",{"_type":9,"current":33714},"storytelling-in-transformational-urban-surroundings","Storytelling in Transformational Urban Surroundings",{"_id":33717,"_type":1027,"categories":33718,"credits":33722,"featuredImage":33753,"filterables":33761,"footnotes":33768,"locations":33769,"logbook":7,"pageBuilder":33773,"researchQuestion":7,"researchQuestions":7,"searchables":33861,"seo":7,"slug":33865,"title":33867,"year":138},"0414f955-d17b-4d9e-b665-cc2a986a3f6c",[33719],{"_id":695,"_type":362,"colorPrimary":33720,"seo":7,"slug":33721,"title":698},{"label":1031,"value":12869},{"_type":9,"current":697},{"other":7,"profiles":33723},[33724],{"_id":33725,"_type":1078,"activeYears":33726,"bio":33729,"bioShort":33737,"featuredImage":7,"filterables":33738,"links":33741,"locations":33744,"searchables":33748,"seo":7,"slug":33750,"title":33752},"9578e9a2-7bc4-41bd-879e-7fcbc211b966",[33727],{"_id":135,"_type":99,"seo":7,"slug":33728,"title":138},{"_type":9,"current":137},[33730],{"_key":33731,"_type":219,"children":33732,"markDefs":33736,"style":232},"95a58fb36694",[33733],{"_key":33734,"_type":223,"marks":33735,"text":12647},"3dc59c0bdc290",[],[],"Jan (*1988 in Zürich) works in sculpture, performance and video, often entering into collaborations with people outside the art world.",{"filterYear":33739},[33740],{"_id":135,"title":138},[33742],{"_type":1138,"label":1142,"url":33743},"https://www.instagram.com/surrealjanhofer/?hl=en",{"locations":33745,"other":7},[33746],{"_id":331,"_type":308,"seo":7,"slug":33747,"title":334},{"_type":9,"current":333},[33749,137],"jan hofer",{"_type":9,"current":33751},"jan-hofer","Jan Hofer",{"alt":33754,"asset":33755},"The New New Material by Jan Hofer",{"_id":33756,"height":33757,"orientation":1129,"ratio":33758,"url":33759,"width":33760},"image-53997564a2dc71c8c13609d37ae7e7f97b783682-1120x1560-png",1560,0.717948717948718,"https://cdn.sanity.io/images/eodip22e/production/53997564a2dc71c8c13609d37ae7e7f97b783682-1120x1560.png",1120,{"filterCategory":33762,"filterLocation":33764,"filterYear":33766},[33763],{"_id":695,"title":698},[33765],{"_id":331,"title":334},[33767],{"_id":135,"title":138},[],{"locations":33770,"other":7},[33771],{"_id":331,"_type":308,"seo":7,"slug":33772,"title":334},{"_type":9,"current":333},[33774,33784,33796],{"_type":1625,"settings":7,"text":33775},[33776],{"_key":33777,"_type":219,"children":33778,"markDefs":33783,"style":232},"db12a64fed0b",[33779],{"_key":33780,"_type":223,"marks":33781,"text":33782},"6891d0cc44e40",[],"Die Forschung zur Materialzusammensetzung und zum Produktionsprozess für The New New Material wurde 2018 von Jan Hofer initiiert und 2019 weiterentwickelt. Seither erscheint die Akustik-Keramik als unlimitierte Kunstedition.",[],{"_type":2894,"slides":33785},[33786,33791],{"_type":1621,"caption":7,"image":33787},{"alt":7,"asset":33788},{"_id":33789,"height":33396,"orientation":7818,"ratio":2178,"url":33790,"width":33396},"image-925620d36dec2d2c96494050f2e92349768825ae-414x414-jpg","https://cdn.sanity.io/images/eodip22e/production/925620d36dec2d2c96494050f2e92349768825ae-414x414.jpg",{"_type":1621,"caption":7,"image":33792},{"alt":7,"asset":33793},{"_id":33794,"height":33396,"orientation":7818,"ratio":2178,"url":33795,"width":33396},"image-826fb85e192fbace4a9d9e9b560d72e3de23fea9-414x414-jpg","https://cdn.sanity.io/images/eodip22e/production/826fb85e192fbace4a9d9e9b560d72e3de23fea9-414x414.jpg",{"_type":1625,"settings":7,"text":33797},[33798,33806,33814,33822,33830],{"_key":33799,"_type":219,"children":33800,"markDefs":33805,"style":232},"9a7e3c75dd0c",[33801],{"_key":33802,"_type":223,"marks":33803,"text":33804},"b3216278a5e7",[],"Technisch basiert The New New Material auf den sogenannten Rumford Tiles, die zu Beginn des 20. Jahrhunderts speziell für raumakustische Zwecke entwickelt und patentiert wurden. Für die Herstellung der Akustikplatten wird ungebrannter Schamotteton mit pflanzlichen Zusatzstoffen vermischt und zu Fliesen.",[],{"_key":33807,"_type":219,"children":33808,"markDefs":33813,"style":232},"4b4f0947c1b5",[33809],{"_key":33810,"_type":223,"marks":33811,"text":33812},"22b64a65333a",[],"Für die Herstellung dieser akustischen Keramikfliesen wird ungebrannter Schamotteton mit pflanzlichen Zusatzstoffen vermischt und zu Fliesen geformt. Beim Brennen zersetzen sich die Pflanzenstoffe vollständig und hinterlassen ein verzweigtes Netz aus Lufteinschlüssen und offenen Poren im Ton, die den Keramikfliesen ihre schalldämmende Wirkung verleihen. Aufgrund ihrer porösen Struktur verfügen die Platten über ein Schallabsorptionsvermögen von 70%, insbesondere im Frequenzbereich der menschlichen Stimme.",[],{"_key":33815,"_type":219,"children":33816,"markDefs":33821,"style":232},"f814791b2233",[33817],{"_key":33818,"_type":223,"marks":33819,"text":33820},"5495f27923d5",[],"Die Materialproben wurden in Zusammenarbeit mit der Lohner Ziegelei AG angefertigt und von der Norsonic-Brechbühl AG auf ihr Schallabsorptionspotenzial getestet. Später wurde The New New Material in den Labors der Eidgenössische Materialprüfungs- und Forschungsanstalt Empa getestet.",[],{"_key":33823,"_type":219,"children":33824,"markDefs":33829,"style":232},"643f787a4027",[33825],{"_key":33826,"_type":223,"marks":33827,"text":33828},"2f093b361992",[],"Mit freundlicher Unterstützung der Ikea Stiftung Schweiz.",[],{"_key":33831,"_type":219,"children":33832,"markDefs":33854,"style":232},"41a47858d123",[33833,33838,33841,33846,33849],{"_key":33834,"_type":223,"marks":33835,"text":33837},"d441017a5bd9",[33836],"f15b1754828f","Lohner Ziegelei AG",{"_key":33839,"_type":223,"marks":33840,"text":4778},"e673ea7200a9",[],{"_key":33842,"_type":223,"marks":33843,"text":33845},"c9ff407fdaa8",[33844],"8c3cc2fbfab7","Norsonic-Brechbühl AG",{"_key":33847,"_type":223,"marks":33848,"text":4778},"6c0c2f32a967",[],{"_key":33850,"_type":223,"marks":33851,"text":33853},"17f58c664620",[33852],"3f46ec39a572","Ikea Stiftung Schweiz",[33855,33857,33859],{"_key":33836,"_type":249,"href":33856},"https://www.lohnerziegelei.ch/",{"_key":33844,"_type":249,"href":33858},"https://www.norsonic.ch/",{"_key":33852,"_type":249,"href":33860},"http://ikea-stiftung.ch/",[33862,137,333,33749,33863,33864,697],"the new new material","die forschung zur materialzusammensetzung und zum produktionsprozess für the new new material wurde 2018 von jan hofer initiiert und 2019 weiterentwickelt. seither erscheint die akustik-keramik als unlimitierte kunstedition.","technisch basiert the new new material auf den sogenannten rumford tiles, die zu beginn des 20. jahrhunderts speziell für raumakustische zwecke entwickelt und patentiert wurden. für die herstellung der akustikplatten wird ungebrannter schamotteton mit pflanzlichen zusatzstoffen vermischt und zu fliesen.\n\nfür die herstellung dieser akustischen keramikfliesen wird ungebrannter schamotteton mit pflanzlichen zusatzstoffen vermischt und zu fliesen geformt. beim brennen zersetzen sich die pflanzenstoffe vollständig und hinterlassen ein verzweigtes netz aus lufteinschlüssen und offenen poren im ton, die den keramikfliesen ihre schalldämmende wirkung verleihen. aufgrund ihrer porösen struktur verfügen die platten über ein schallabsorptionsvermögen von 70%, insbesondere im frequenzbereich der menschlichen stimme.\n\ndie materialproben wurden in zusammenarbeit mit der lohner ziegelei ag angefertigt und von der norsonic-brechbühl ag auf ihr schallabsorptionspotenzial getestet. später wurde the new new material in den labors der eidgenössische materialprüfungs- und forschungsanstalt empa getestet.\n\nmit freundlicher unterstützung der ikea stiftung schweiz.\n\nlohner ziegelei ag\nnorsonic-brechbühl ag\nikea stiftung schweiz",{"_type":9,"current":33866},"the-new-new-material","The New New Material",{"_id":33869,"_type":33869,"introduction":33870,"seo":7,"slug":33894,"title":33896},"programPage",[33871,33879,33886],{"_key":33872,"_type":219,"children":33873,"markDefs":33878,"style":232},"877c18086bec",[33874],{"_key":33875,"_type":223,"marks":33876,"text":33877},"d989f691fbe70",[],"Our 10-month peer learning program brings together practitioners, researchers, and activists from diverse backgrounds to learn from one another. The program consists of two phases: the first half is facilitated by the SoC team, while the second half is entirely participant-led, empowering the cohort to shape their own learning experience.",[],{"_key":33880,"_type":219,"children":33881,"markDefs":33885,"style":232},"636656e3c79f",[33882],{"_key":33883,"_type":223,"marks":33884,"text":1405},"79662f170a350",[],[],{"_key":33887,"_type":219,"children":33888,"markDefs":33893,"style":232},"e26b7eb17774",[33889],{"_key":33890,"_type":223,"marks":33891,"text":33892},"8402fdc83c5c0",[],"We invite applications from individuals and groups, regardless of their professional backgrounds. Past participants have demonstrated curiosity in sharing knowledge and a commitment to contributing to the common good. Their ongoing research is published on our website and displayed publicly, with all content freely accessible.",[],{"_type":9,"current":33895},"program","Program",1792539511849]