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Fundraiser",{"_id":2057,"_type":271,"categories":7,"credits":2058,"featuredImage":2107,"pageBuilder":2113,"publishedDate":3345,"seo":7,"slug":3346,"summary":3348,"title":3349},"f40e9919-2ba5-4b02-a79f-8866fe778af2",{"other":7,"profiles":2059},[2060],{"_id":1664,"_type":315,"activeYears":2061,"bio":2080,"bioShort":1699,"featuredImage":2086,"filterables":2087,"links":2098,"locations":2101,"searchables":2105,"seo":7,"slug":2106,"title":215},[2062,2064,2066,2068,2070,2072,2074,2076,2078],{"_id":1667,"_type":94,"seo":7,"slug":2063,"title":1670},{"_type":9,"current":1669},{"_id":1672,"_type":94,"seo":7,"slug":2065,"title":1675},{"_type":9,"current":1674},{"_id":124,"_type":94,"seo":7,"slug":2067,"title":127},{"_type":9,"current":126},{"_id":119,"_type":94,"seo":7,"slug":2069,"title":122},{"_type":9,"current":121},{"_id":114,"_type":94,"seo":7,"slug":2071,"title":117},{"_type":9,"current":116},{"_id":109,"_type":94,"seo":7,"slug":2073,"title":112},{"_type":9,"current":111},{"_id":104,"_type":94,"seo":7,"slug":2075,"title":107},{"_type":9,"current":106},{"_id":99,"_type":94,"seo":7,"slug":2077,"title":102},{"_type":9,"current":101},{"_id":93,"_type":94,"seo":7,"slug":2079,"title":96},{"_type":9,"current":96},[2081],{"_key":1692,"_type":208,"children":2082,"markDefs":2085,"style":221},[2083],{"_key":1695,"_type":212,"marks":2084,"text":1697},[],[],{"alt":215,"asset":7},{"filterYear":2088},[2089,2090,2091,2092,2093,2094,2095,2096,2097],{"_id":1667,"title":1670},{"_id":1672,"title":1675},{"_id":124,"title":127},{"_id":119,"title":122},{"_id":114,"title":117},{"_id":109,"title":112},{"_id":104,"title":107},{"_id":99,"title":102},{"_id":93,"title":96},[2099,2100],{"_type":371,"label":1714,"url":1715},{"_type":371,"label":372,"url":255},{"locations":2102,"other":7},[2103],{"_id":1720,"_type":378,"seo":7,"slug":2104,"title":1723},{"_type":9,"current":1722},[1725,1669,1674,126,121,116,111,106,101,96],{"_type":9,"current":1727},{"alt":2108,"asset":2109},"SoC Open Letter: Call to Action & Continuation",{"_id":2110,"height":2111,"orientation":623,"ratio":536,"url":2112,"width":2111},"image-5262449c882ed79926f81bca19d70f261b54c482-1424x1424-png",1424,"https://cdn.sanity.io/images/eodip22e/production/5262449c882ed79926f81bca19d70f261b54c482-1424x1424.png",[2114,2125,2640],{"_type":410,"settings":2115,"text":2116},{"textColumnCount":412},[2117],{"_key":2118,"_type":208,"children":2119,"markDefs":2124,"style":221},"8a432b24bebe",[2120],{"_key":2121,"_type":212,"marks":2122,"text":2123},"d06011546938",[214],"“When spaces for collective learning disappear, what is lost is not only a programme, but a shared infrastructure for thinking, organising, and imagining together.”",[],{"_type":410,"settings":2126,"text":2127},{"textColumnCount":412},[2128,2136,2144,2156,2168,2180,2188,2200,2219,2238,2258,2270,2282,2294,2302,2318,2326,2334,2346,2354,2362,2374,2386,2394,2405,2413,2421,2429,2437,2445,2453,2461,2472,2480,2488,2496,2504,2512,2520,2532,2548,2563,2576,2589,2596,2624,2632],{"_key":2129,"_type":208,"children":2130,"markDefs":2135,"style":221},"276e1a3e7d13",[2131],{"_key":2132,"_type":212,"marks":2133,"text":2134},"740d36b7f7760",[214],"We, the undersigned artists, activists, archivists, organisers, writers, architects, scientists, researchers, students, and educators—working within, alongside, in the margins of, and beyond institutions—write to express our deep concern regarding Zürich University of the Arts’ (ZHdK) decision to discontinue School of Commons (SoC) in its current form.",[],{"_key":2137,"_type":208,"children":2138,"markDefs":2143,"style":221},"3bcaad14498f",[2139],{"_key":2140,"_type":212,"marks":2141,"text":2142},"61003608c04a0",[214],"While we acknowledge the impact of this decision, we also recognise this moment as an opportunity to reflect on nine years of collective learning and to consider where School of Commons might grow next.\n",[],{"_key":2145,"_type":208,"children":2146,"markDefs":2155,"style":221},"247cc03007b3",[2147,2151],{"_key":2148,"_type":212,"marks":2149,"text":2150},"a753394e48fe",[],"______________________________________________________________________________________\n\n\nWho We Are: School of Commons",{"_key":2152,"_type":212,"marks":2153,"text":2154},"7bab45477e21",[214],"\n",[],{"_key":2157,"_type":208,"children":2158,"markDefs":2167,"style":221},"9900a34adbbf",[2159,2163],{"_key":2160,"_type":212,"marks":2161,"text":2162},"f188a07891ed0",[214],"Since 2017, School of Commons has developed as a peer-driven, experimental, and commons-based learning community.",{"_key":2164,"_type":212,"marks":2165,"text":2166},"f188a07891ed1",[]," It brings together practitioners from across disciplines and geographies to study, experiment, and co-create knowledge collectively. Learning unfolds through peer facilitation, shared responsibility, and long-term relational processes, rather than through fixed curricula or credential-driven outcomes. Knowledge is not treated as a commodity to be delivered, but as something co-produced through situated practice, dialogue, participation, and experimentation.",[],{"_key":2169,"_type":208,"children":2170,"markDefs":2179,"style":221},"97a643152a57",[2171,2175],{"_key":2172,"_type":212,"marks":2173,"text":2174},"21cfd1fb18770",[214],"School of Commons is sustained by its ecosystem:",{"_key":2176,"_type":212,"marks":2177,"text":2178},"21cfd1fb18771",[]," 30–50 participants annually and a self-organised alumn* network of over 350 members spanning six continents - a living infrastructure of mutual exchange, experimentation, and symbiotic learning extending beyond institutional boundaries. This distributed structure allows SoC to remain experimental, responsive, and grounded in collective responsibility.\n",[],{"_key":2181,"_type":208,"children":2182,"markDefs":2187,"style":221},"8e9f2abeba7b",[2183],{"_key":2184,"_type":212,"marks":2185,"text":2186},"683c22d7dc3b0",[214],"Over the past nine years, School of Commons has developed a range of infrastructures, initiatives, and collaborations, including:",[],{"_key":2189,"_type":208,"children":2190,"level":536,"listItem":537,"markDefs":2199,"style":221},"5adeafe9e5cc",[2191,2195],{"_key":2192,"_type":212,"marks":2193,"text":2194},"b24ba99ec6e20",[214],"Completed the EU-funded Erasmus+ FAST45 project (2020–2023),",{"_key":2196,"_type":212,"marks":2197,"text":2198},"b24ba99ec6e21",[]," including major international convenings and a co-developed digital learning platform connecting distributed communities of practice.\n",[],{"_key":2201,"_type":208,"children":2202,"level":536,"listItem":537,"markDefs":2218,"style":221},"fb5b2f1e9c76",[2203,2207,2210,2214],{"_key":2204,"_type":212,"marks":2205,"text":2206},"c13755695ef40",[214],"Developed the",{"_key":2208,"_type":212,"marks":2209,"text":817},"af58e743b0f8",[],{"_key":2211,"_type":212,"marks":2212,"text":2213},"4807cf02cb40",[214],"Ways & Ways of Working Directory,",{"_key":2215,"_type":212,"marks":2216,"text":2217},"c13755695ef41",[]," a reusable, open-source resource activating collaborative governance, shared authorship, and peer-led pedagogy.\n",[],{"_key":2220,"_type":208,"children":2221,"level":536,"listItem":537,"markDefs":2237,"style":221},"d3b36b16f386",[2222,2226,2230,2234],{"_key":2223,"_type":212,"marks":2224,"text":2225},"e862dd29396a",[214],"Launched a living peer-learning platform",{"_key":2227,"_type":212,"marks":2228,"text":2229},"4d780410104f",[]," — a digital garden for collaboratively exploring and strengthening the (infra)structures that support collective study and creative work. The platform foregrounds collaborative knowledge creation, non-linear exploration, and the integration of individual curiosity with collective intelligence and features a",{"_key":2231,"_type":212,"marks":2232,"text":2233},"8d41ca17da81",[214]," Directory for Ecosystems",{"_key":2235,"_type":212,"marks":2236,"text":2154},"bb51aedb4c39",[],[],{"_key":2239,"_type":208,"children":2240,"level":536,"listItem":537,"markDefs":2257,"style":221},"7097688cf850",[2241,2245,2249,2253],{"_key":2242,"_type":212,"marks":2243,"text":2244},"a2fdb37741f50",[214],"Launched Making Public",{"_key":2246,"_type":212,"marks":2247,"text":2248},"a2fdb37741f52",[],", a public programme and publishing initiative extending cohort research into collective formats, including gatherings, conversations, and the ",{"_key":2250,"_type":212,"marks":2251,"text":2252},"a2fdb37741f53",[214],"ISSUES",{"_key":2254,"_type":212,"marks":2255,"text":2256},"a2fdb37741f54",[]," digital, print, and broadcast publication series.\n",[],{"_key":2259,"_type":208,"children":2260,"level":536,"listItem":537,"markDefs":2269,"style":221},"62ae727526f2",[2261,2265],{"_key":2262,"_type":212,"marks":2263,"text":2264},"58c7c488bb560",[214],"Convened annual Assemblies and public end-of-year events (2019–2026)",{"_key":2266,"_type":212,"marks":2267,"text":2268},"58c7c488bb561",[]," as hybrid and on-site spaces for working groups, labs, collective exhibitions, research presentations, performances, and public round tables. These gatherings have consistently surfaced cohort reflections, outcomes, and experimental practices, showcasing practice-based projects. Assemblies evolved from the guiding question “How do we assemble?” (2025) to “How do we continue?” (2026).\n",[],{"_key":2271,"_type":208,"children":2272,"level":536,"listItem":537,"markDefs":2281,"style":221},"d8546f1ff330",[2273,2277],{"_key":2274,"_type":212,"marks":2275,"text":2276},"0a4e56fb10670",[214],"Advanced long-term research initiatives",{"_key":2278,"_type":212,"marks":2279,"text":2280},"e9b575f883f2",[],", including Mercato-funded research examining collaborative infrastructures, value exchange, accessibility, inclusion, and sustainable cultural ecosystems.\n",[],{"_key":2283,"_type":208,"children":2284,"level":536,"listItem":537,"markDefs":2293,"style":221},"f3e3f087993a",[2285,2289],{"_key":2286,"_type":212,"marks":2287,"text":2288},"3b0ed6d0bee1",[214],"Built lasting collaborations across education, culture, science, and civic sectors",{"_key":2290,"_type":212,"marks":2291,"text":2292},"6c752904f347",[],"—including partnerships with CERN’s IdeaSquare, CubeCommons, and CASCO Art Institute—through co-research, collective experimentation, and guest-led sessions. These collaborations connected the cohort with practitioners working across art, digital culture, pedagogy, and commons-based practice, strengthening School of Commons as a site for peer-led inquiry, experimental learning, and collective knowledge creation.",[],{"_key":2295,"_type":208,"children":2296,"markDefs":2301,"style":221},"5d9ebb591131",[2297],{"_key":2298,"_type":212,"marks":2299,"text":2300},"029a272929950",[214],"School of Commons operates as a living infrastructure - adapting, learning, and evolving alongside the communities that shape it.\n",[],{"_key":2303,"_type":208,"children":2304,"markDefs":2317,"style":221},"3b322d4b7cbb",[2305,2309,2313],{"_key":2306,"_type":212,"marks":2307,"text":2308},"e6fd821e87fb",[],"______________________________________________________________________________________\n\n\n",{"_key":2310,"_type":212,"marks":2311,"text":2312},"d4e0f95d89200",[214],"Why This Moment Matters Institutionally\n\n",{"_key":2314,"_type":212,"marks":2315,"text":2316},"d4e0f95d89201",[],"While this letter responds directly to ZHdK’s decision, the questions it raises extend beyond a single institution. They speak to broader structural tensions faced by publicly supported cultural and educational organisations seeking to host experimental, accessible, and socially responsive forms of learning.",[],{"_key":2319,"_type":208,"children":2320,"markDefs":2325,"style":221},"de6d43e9bea6",[2321],{"_key":2322,"_type":212,"marks":2323,"text":2324},"02272cf3be4d0",[],"Beyond a single programme, this moment speaks to broader structural tensions relevant to funding bodies, partner institutions, and the wider cultural sector: How is innovation structurally supported? How is access ensured over time? How do governance frameworks adapt to evolving forms of teaching and learning?",[],{"_key":2327,"_type":208,"children":2328,"markDefs":2333,"style":221},"2207e8ba147a",[2329],{"_key":2330,"_type":212,"marks":2331,"text":2332},"f20c7ca917b70",[],"These tensions also unfold within a broader political context. Across Europe, cultural, educational, and civil society institutions are experiencing increasing financial pressure as militarisation and authoritarian movements gain ground. Spaces for civil society, free scientific inquiry, and artistic practice are being narrowed at precisely the moment when they are most critical to sustaining democratic life.",[],{"_key":2335,"_type":208,"children":2336,"markDefs":2345,"style":221},"4e5802afe9e0",[2337,2341],{"_key":2338,"_type":212,"marks":2339,"text":2340},"cf68e7ee42300",[],"In this context, we call for public resources to be reinvested in the communities and knowledge infrastructures that sustain collective life, rather than disproportionately directed toward military and policing budgets. Strengthening the commons offers a pathway for stewarding shared resources, knowledge, and cultural infrastructures collectively.\n\n",{"_key":2342,"_type":212,"marks":2343,"text":2344},"0e49d7875efc0",[214],"Three Structural Urgencies for Cultural, Research, and Educational Institutions:\n",[],{"_key":2347,"_type":208,"children":2348,"markDefs":2353,"style":221},"4eb032d44e39",[2349],{"_key":2350,"_type":212,"marks":2351,"text":2352},"a6ce40cc4cae0",[],"The experience of School of Commons highlights three structural urgencies that extend beyond a single programme. These challenges are increasingly present across contemporary arts, research, and education institutions seeking to support experimental, accessible, and socially responsive forms of learning.",[],{"_key":2355,"_type":208,"children":2356,"markDefs":2361,"style":221},"356bad68dae6",[2357],{"_key":2358,"_type":212,"marks":2359,"text":2360},"ea7405dcef420",[214],"\nAccessibility",[],{"_key":2363,"_type":208,"children":2364,"markDefs":2373,"style":221},"6e2c2babc896",[2365,2369],{"_key":2366,"_type":212,"marks":2367,"text":2368},"e6cad07d24040",[],"Accessibility has been central to School of Commons’ approach. Through hybrid and digital formats, low-threshold participation, and the recognition of experiential knowledge alongside academic expertise, SoC has expanded learning across geographic, economic, and social boundaries. These practices align with public commitments to inclusion and knowledge dissemination, yet their fragility reveals how accessibility often depends on temporary projects rather than long-term institutional infrastructure capable of sustaining open and equitable participation.\n\n",{"_key":2370,"_type":212,"marks":2371,"text":2372},"ab686c2a0a3c0",[214],"Governance",[],{"_key":2375,"_type":208,"children":2376,"markDefs":2385,"style":221},"6b1fa3737223",[2377,2381],{"_key":2378,"_type":212,"marks":2379,"text":2380},"df875497150e0",[],"Commons-based initiatives often operate across institutional categories - educational, artistic, digital, and social - and rely on flexible roles, hybrid contracts, and distributed responsibility. When administrative systems prioritise fixed classifications and standardised contractual models, such initiatives struggle to integrate despite their demonstrable public value. Addressing this requires governance frameworks that support collective, process-oriented work while shifting power, knowledge production, and decision-making away from extractive, colonial, and Global North–centric models toward structures that materially recentre Global South epistemologies and decolonial accountability.\n\n",{"_key":2382,"_type":212,"marks":2383,"text":2384},"1026e04dc84c0",[214],"Innovation",[],{"_key":2387,"_type":208,"children":2388,"markDefs":2393,"style":221},"02e705f8c67d",[2389],{"_key":2390,"_type":212,"marks":2391,"text":2392},"2fa1ae71c3b30",[],"Across arts, research, and education funding, innovation is frequently assessed through short-term outputs and rigid programme formats. School of Commons develops iteratively and relationally, prioritising methodological experimentation, peer learning, and collective knowledge production. As artificial intelligence reshapes how knowledge is produced and engaged with, pedagogical models grounded in agency, collaboration, and shared inquiry offer a necessary counterpoint to outcome-driven evaluation. SoC’s experience highlights a growing misalignment between experimental, process-led pedagogies and institutional frameworks built around fixed, individualised measures of learning.",[],{"_key":2395,"_type":208,"children":2396,"markDefs":2404,"style":221},"975624fc26df",[2397,2400],{"_key":2398,"_type":212,"marks":2399,"text":2308},"3670de68151f",[],{"_key":2401,"_type":212,"marks":2402,"text":2403},"be6db4efdf3e0",[214],"What Is at Stake",[],{"_key":2406,"_type":208,"children":2407,"markDefs":2412,"style":221},"7f4ef7555020",[2408],{"_key":2409,"_type":212,"marks":2410,"text":2411},"8784d4bf437e0",[],"The discontinuation of School of Commons in its current form places at risk not only a single programme, but a set of public values and shared infrastructures built, tested, and sustained over nearly a decade, including:",[],{"_key":2414,"_type":208,"children":2415,"level":536,"listItem":537,"markDefs":2420,"style":221},"4e2ef058c6c1",[2416],{"_key":2417,"_type":212,"marks":2418,"text":2419},"2292915ce51c0",[],"A vital learning and support infrastructure for people worldwide who steward and produce shared commons - from land and water to accessible knowledge and (inter)cultural practice.",[],{"_key":2422,"_type":208,"children":2423,"level":536,"listItem":537,"markDefs":2428,"style":221},"d3e1200d5c8d",[2424],{"_key":2425,"_type":212,"marks":2426,"text":2427},"102c760edd9a0",[],"A global, self-organised learning community spanning six continents, grounded in peer exchange and mutual responsibility.",[],{"_key":2430,"_type":208,"children":2431,"level":536,"listItem":537,"markDefs":2436,"style":221},"9d0f1c00efe4",[2432],{"_key":2433,"_type":212,"marks":2434,"text":2435},"2e38e8323e250",[],"A proven model for peer-to-peer, transdisciplinary education that operates beyond disciplinary, geographic, and institutional boundaries.",[],{"_key":2438,"_type":208,"children":2439,"level":536,"listItem":537,"markDefs":2444,"style":221},"950ac03b252a",[2440],{"_key":2441,"_type":212,"marks":2442,"text":2443},"70167ef6249a0",[],"An accessible digital and hybrid learning infrastructure enabling participation across economic, social, and geographic divides.",[],{"_key":2446,"_type":208,"children":2447,"level":536,"listItem":537,"markDefs":2452,"style":221},"25fdf277d342",[2448],{"_key":2449,"_type":212,"marks":2450,"text":2451},"b69c1b6b1dfe0",[],"A culture of collective responsibility, care, and process-oriented study, rooted in solidarity practices rather than individual competition or extractive outcomes.",[],{"_key":2454,"_type":208,"children":2455,"markDefs":2460,"style":221},"e1329d38b674",[2456],{"_key":2457,"_type":212,"marks":2458,"text":2459},"3c269cdb42320",[],"School of Commons represents a long-term public investment in innovative, inclusive, and socially engaged education. Ensuring its continuation is therefore not only a question of institutional affiliation, but of safeguarding the conditions under which such work can endure.",[],{"_key":2462,"_type":208,"children":2463,"markDefs":2471,"style":221},"b5d27764d41b",[2464,2467],{"_key":2465,"_type":212,"marks":2466,"text":2308},"c739bef89be0",[],{"_key":2468,"_type":212,"marks":2469,"text":2470},"8339093df1d00",[214],"Call to Action & Continuation\n",[],{"_key":2473,"_type":208,"children":2474,"markDefs":2479,"style":221},"35ddeae838a7",[2475],{"_key":2476,"_type":212,"marks":2477,"text":2478},"347a2dc80b7f0",[214],"Despite Zurich University of the Arts (ZHdK)’s decision to discontinue School of Commons in its current form, the work of School of Commons does not end here.\n",[],{"_key":2481,"_type":208,"children":2482,"markDefs":2487,"style":221},"9c369fe45cfb",[2483],{"_key":2484,"_type":212,"marks":2485,"text":2486},"9f20eaf9c4310",[],"To ensure its continuation, SoC is pursuing several pathways:",[],{"_key":2489,"_type":208,"children":2490,"level":536,"listItem":537,"markDefs":2495,"style":221},"96ef5bdab80d",[2491],{"_key":2492,"_type":212,"marks":2493,"text":2494},"0dbd4c4072950",[],"Securing a new institutional home",[],{"_key":2497,"_type":208,"children":2498,"level":536,"listItem":537,"markDefs":2503,"style":221},"983919a52281",[2499],{"_key":2500,"_type":212,"marks":2501,"text":2502},"d29c0e61d88b0",[],"Establishing new partnerships with funding bodies and collaborating institutions",[],{"_key":2505,"_type":208,"children":2506,"level":536,"listItem":537,"markDefs":2511,"style":221},"e95b9bd44564",[2507],{"_key":2508,"_type":212,"marks":2509,"text":2510},"8690298ab35d0",[],"Raising structural funding to sustain activities throughout 2027 and beyond",[],{"_key":2513,"_type":208,"children":2514,"level":536,"listItem":537,"markDefs":2519,"style":221},"25dd867807c9",[2515],{"_key":2516,"_type":212,"marks":2517,"text":2518},"9143c92f3a290",[],"Building wider networks of solidarity, collaboration, and shared infrastructures",[],{"_key":2521,"_type":208,"children":2522,"markDefs":2531,"style":221},"8eaf5b878606",[2523,2527],{"_key":2524,"_type":212,"marks":2525,"text":2526},"6634ae910b9d0",[214],"We invite institutions, funders, collaborators, and members of the wider community to partner with us.",{"_key":2528,"_type":212,"marks":2529,"text":2530},"6634ae910b9d1",[]," Your engagement - through institutional partnership, financial support, or other contributions - can help shape the next chapter of School of Commons.",[],{"_key":2533,"_type":208,"children":2534,"markDefs":2547,"style":221},"c1d5530243ba",[2535,2539,2543],{"_key":2536,"_type":212,"marks":2537,"text":2538},"f9bcfee367cf0",[],"We also extend our deepest gratitude to the participants, collaborators, and partners who have supported School of Commons. 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Despite taking its form as a School, SoC stands apart from traditional educational structures in that its content and direction are not predetermined by a fixed program or curricula. Instead, they are shaped by the collective know-how, ways and workings, aspirations, and curiosity of its dedicated communities. This approach garners a collaborative, communal spirit that runs throughout SoC’s programme and learning environments, creating a dynamic that allows for fresh perspectives, innovative ideas, and a continuous evolution of knowledge exploration and distribution. ",[],{"_key":3569,"_type":208,"children":3570,"markDefs":3574,"style":221},"2e4dcdeb2f0c",[3571],{"_key":3572,"_type":212,"marks":3573,"text":435},"8285bf6505de",[],[],{"_key":3576,"_type":208,"children":3577,"markDefs":3582,"style":221},"5a7e51b94c45",[3578],{"_key":3579,"_type":212,"marks":3580,"text":3581},"adea2c3c01dd",[],"Projects that have taken part in SoC are hugely varied in their form, approach, and vision. Over the eight years of its existence, SoC has welcomed projects focussing on alternative housing models, (ultra) translation, language production, LARPing, alternate worlding, expanded publishing, teleportation, and learning from fungi and forests, just to name select examples2. Though the projects that shape SoC straddle the scope of research and practice, all are united in their endeavour to learn from, share with, and exchange as part of commons-informed learning environments, amongst diverse peers and publics. ",[],{"_key":3584,"_type":208,"children":3585,"markDefs":3589,"style":221},"8ab3e425d7c1",[3586],{"_key":3587,"_type":212,"marks":3588,"text":435},"af9a221e5ad2",[],[],{"_key":3591,"_type":208,"children":3592,"markDefs":3597,"style":221},"7c2ab861f128",[3593],{"_key":3594,"_type":212,"marks":3595,"text":3596},"1658dcbf893c",[],"Despite the malleable structure of the School of Commons, certain core infrastructures inform, maintain, and uphold the learning environments, which, in turn, allow for unexpected encounters, new connections, and evolving directions to unfold and flourish within each cohort. Moreover, these infrastructures lay the basis for the two central components that compose the SoC learning environments, the first being the notion of “peer learning” and the second being “commoning practices”. This article is an exploration of the core infrastructures and methods from which the learning environments, based upon the principles of peer learning and commoning practices, have been maintained and reproduced. The examples will be examined both through the lens of the theoretical frameworks from which these environments are grounded, as well as the core methodologies that have been developed through active ways and workings brought to life through the day-to-day activities, and programmatic structures within the SoC learning community.",[],{"_type":410,"settings":3599,"text":3600},{"textColumnCount":412},[3601],{"_key":3602,"_type":208,"children":3603,"markDefs":3608,"style":3609},"45ef903c7fd2",[3604],{"_key":3605,"_type":212,"marks":3606,"text":3607},"47527ec03db40",[],"SOC LEARNING ENVIRONMENTS",[],"h3",{"_type":410,"settings":3611,"text":3612},{"textColumnCount":412},[3613,3621,3628,3636,3643],{"_key":3614,"_type":208,"children":3615,"markDefs":3620,"style":221},"fa576f164209",[3616],{"_key":3617,"_type":212,"marks":3618,"text":3619},"c8cd18d3cb830",[],"School of Commons produces, and is, in turn, produced by multiple forms of learning. The learning environments themselves can be understood simply as digital, physical and satellite in their form. The main programme offering and exchange of SoC is facilitated digitally, using video technology and digital meeting infrastructures for connecting and exchange. This is used in combination with collaboration focussed tools such as Etherpads, Miroboards, Zoom and Discord, which are considered core methodologies for alternative ways and workings in and of themselves. The emphasis on digital learning environments as the basis for SoC is paramount, as it ensures access for participants anywhere in the world. Each year, in correspondence with the selected cohort, differing time zones, meeting schedules and digital meeting offerings are assembled to ensure maximum participation accessibility. The digital toolset builds upon the accessibility further by ensuring the programme can incorporate and honour different languages, registers, modes of participation, communication and expression. ",[],{"_key":3622,"_type":208,"children":3623,"markDefs":3627,"style":221},"249a73550253",[3624],{"_key":3625,"_type":212,"marks":3626,"text":435},"c135acca4b19",[],[],{"_key":3629,"_type":208,"children":3630,"markDefs":3635,"style":221},"82d0e4808ac1",[3631],{"_key":3632,"_type":212,"marks":3633,"text":3634},"508a33b204a2",[],"The physical learning environment of SoC is mainly based around the Zürich University of the Arts, Switzerland where each cohort gathers twice a year for an “intensive weekend” of sharing and exchanging, and an “end of year assembly” for making public the processes, progress, and findings of the research projects. These public and semi-public exchanges usually take the form of exhibitions, workshops, town halls, walks and lectures. Alongside the University Campus, public spaces, bars, cafes and off-spaces are activated for walks, talks, drinks, parties, talks, and other encounters that sit outside of the “official” programme of School of Commons, but are just as influential to the ways and working of participants’ individual and collective processes. The satellite learning environments of SoC take place across different countries, cities and contexts, around the world. This includes satellite programmes as companions to the bi-yearly Zürich meetups. Examples of which have previously taken place in Chile, South Africa, Costa Rica, the Netherlands, and Germany. ",[],{"_key":3637,"_type":208,"children":3638,"markDefs":3642,"style":221},"c651a38789e2",[3639],{"_key":3640,"_type":212,"marks":3641,"text":435},"391cfad6076a",[],[],{"_key":3644,"_type":208,"children":3645,"markDefs":3650,"style":221},"e925bea2fd49",[3646],{"_key":3647,"_type":212,"marks":3648,"text":3649},"8a9879a61a4c",[],"The satellite learning environment also encompasses the alumni network of School of Commons which expands far beyond the confines of the ten-month programme. The growing School of Commons alumni network is an active and engaged community who continue to build upon their knowledge and connections garnered during SoC, to visit, meet up, exchange and plan programming outside of the current SoC activities.",[],{"_type":410,"settings":3652,"text":3653},{"textColumnCount":412},[3654],{"_key":3655,"_type":208,"children":3656,"markDefs":3661,"style":3609},"c7c148dfb6ad",[3657],{"_key":3658,"_type":212,"marks":3659,"text":3660},"2fff057b6a3b0",[],"SOC CORE INFRASTRUCTURES",[],{"_type":410,"settings":3663,"text":3664},{"textColumnCount":412},[3665,3673,3680,3688,3695],{"_key":3666,"_type":208,"children":3667,"markDefs":3672,"style":221},"ce1a13cd8c44",[3668],{"_key":3669,"_type":212,"marks":3670,"text":3671},"2ba75359488f0",[],"Each learning environment within the overall structure of SoC is in turn made up of both tangible and intangible infrastructures that inform their ways of working, and the shape and form they take. The use of infrastructural frameworks for understanding these specific learning environments within SoC takes inspiration from Susan Leigh Star’s interpretation of infrastructures as a “fundamentally relational concept, becoming real infrastructure in relation to organised practices”3. This approach very much aligns with SoC’s learning environments form of practice-based learning built upon relationality, and relation-based knowledge production and dissemination. This viewpoint is enhanced by Lauren Berlant’s description of infrastructures in The Commons: Infrastructure for Troubling Times, as “the movement or patterning of social form. The living mediation that organises life: the lifeworld of structure”4. “Lifeworld” seems particularly apt as it encapsulates how infrastructures are alive: active, malleable, and adaptive substrates, that are always in response to new information, inputs, and adaptation in accordance with evolving needs and requirements. ",[],{"_key":3674,"_type":208,"children":3675,"markDefs":3679,"style":221},"1d0c8212a31b",[3676],{"_key":3677,"_type":212,"marks":3678,"text":435},"ca8389827d55",[],[],{"_key":3681,"_type":208,"children":3682,"markDefs":3687,"style":221},"11edf6c50171",[3683],{"_key":3684,"_type":212,"marks":3685,"text":3686},"96a3e1bf79c4",[],"The importance of infrastructures as frameworks for more tangible learning formats is emphasised in Extrastatecraft: The Power of Infrastructure Space, where Keller Easterling explains that infrastructures act as binding mediums in organisations, structures, and environments. He states “Infrastructures determine the conditions under which we live our lives and give us a deeper understanding of the world. Infrastructures allow the movement of people, goods, of information. They offer the ground on which systems operate and services are offered”5. This is combined with a deeper understanding of infrastructures as “embedded”, invisible, ephemeral relations that take place within a learning environment, as described by Erik Klingenberg, who conveys infrastructure as “sunk into and inside of other structures, social arrangements, and technologies.”6 ",[],{"_key":3689,"_type":208,"children":3690,"markDefs":3694,"style":221},"5478271f0ec3",[3691],{"_key":3692,"_type":212,"marks":3693,"text":435},"f1b32d76ba33",[],[],{"_key":3696,"_type":208,"children":3697,"markDefs":3702,"style":221},"5a47c2dfeada",[3698],{"_key":3699,"_type":212,"marks":3700,"text":3701},"83b2529a4c57",[],"SoC has also developed learning environments based on a series of select infrastructures that inform how the learning environments are made, creates spaces and relations, and behave. It is through the workings of these infrastructures that certain inherent outcomes of the SoC learning environments take form and shape. For instance, safe spaces, strong relational connections, confidence for participants to choose process over progress methodologies, renewed approaches towards experimentation, the unknown, and systems of unlearning with their practices. The first infrastructure in which SoC bases its learning environments upon is affective infrastructure; infrastructures based upon an understanding and appreciation of the importance of affect in establishing relations with one another, and choosing how we wish to live and be in the world. Sara Ahmed demonstrates in Affective Economies that affect can be understood as a condition, a reaction, an embodiment of feeling and/or desire that is cognitive, proprioceptive, behaviour and psychological7. Affect can be felt, transmitted, responded to through language, gesture, facial recognition, voice, posture, and recognition of emotion8. Affect as an infrastructural form is further strengthened by Lauren Berlant, who states, “affective assemblages are what bind us to each other and to the world itself. They are an invitation to study and practise different forms of persistent togetherness or ongoingness. Ways to keep in, and with, these messed up, troubled times”9. Affective infrastructures showcase acts or “structures of feeling or desire”, desire for different ways of being together, of working together and ways of understanding the world. Affective infrastructures place feeling and memory at the forefront of their operationality, as well as their methods of doing, ways of producing and organising. They question how imaginative, living infrastructures can accommodate multiplicity and difference, mobilise bodies, and build new worlds. One of the main ways in which affective infrastructures appear throughout SoC is in the “process over outcome” ethos and methodology. From the point of application to the final assembly, no expectation is placed on participants to produce or provide a set outcome or result.",[],{"_type":410,"settings":3704,"text":3705},{"textColumnCount":412},[3706,3714,3721,3729,3736,3744,3751,3759,3766],{"_key":3707,"_type":208,"children":3708,"markDefs":3713,"style":221},"8a92b6ef831f",[3709],{"_key":3710,"_type":212,"marks":3711,"text":3712},"0afbc3f188810",[],"Instead, the emphasis is placed on process, understood by new connections, insight, and perspectives, in turn new ways of imagining and enacting how to be together, how to exchange, how to work together, and what knowledge feels, looks, sounds, and smells like. ",[],{"_key":3715,"_type":208,"children":3716,"markDefs":3720,"style":221},"f2fbd66b7a99",[3717],{"_key":3718,"_type":212,"marks":3719,"text":435},"1580c3727148",[],[],{"_key":3722,"_type":208,"children":3723,"markDefs":3728,"style":221},"0a40ff199313",[3724],{"_key":3725,"_type":212,"marks":3726,"text":3727},"dcedb3e86a7d",[],"One of the ways in which these often ephemeral processes are documented is through the Ways & Workings (W&W) directory10. Ways and Workings is a methodology developed by School of Commons which assembles and amasses the various themes, methods, and environments that are essential to forming spaces of learning and knowledge. W&W function as navigational tools that seek to connect various sites of work, practice, and research. In turn creating a broad, alternative, multidimensional directory of how to work together, how to work within and around dominant, often oppressive, systems, and how to imagine knowledge, distribution, research, and practice, otherwise. The Ways & Workings acknowledged and activated in the directory are typically informal, against-the-grain, and alternative in their approach. ",[],{"_key":3730,"_type":208,"children":3731,"markDefs":3735,"style":221},"a30fadcb156e",[3732],{"_key":3733,"_type":212,"marks":3734,"text":435},"53ea5c6b0f5b",[],[],{"_key":3737,"_type":208,"children":3738,"markDefs":3743,"style":221},"f3448049b52d",[3739],{"_key":3740,"_type":212,"marks":3741,"text":3742},"c5fcac89c3a1",[],"Another example of capturing these processes and affective infrastructures is through the multiple publishing channels that flow through SoC. Each project is provided with a dedicated digital publishing space to share, through text, video, audio or otherwise, moments, findings, and challenges in their process trajectory. Each year the collective digital publication ISSUES is compiled that seeks to document some of the changes, challenges, questions and ways and workings participants have developed through their projects, but also as a cohort11. These are combined with key milestones throughout the programme such as “Kitchen Sessions”. A dedicated time and space where each project are invited to share not only their project and interests, but the context from which they are researching and practising. The Kitchen Session is a safely facilitated space where room for unlearning, not-knowing is facilitated, academic or artistic vulnerability and fragility can be engendered in a way that is encouraged and supported. ",[],{"_key":3745,"_type":208,"children":3746,"markDefs":3750,"style":221},"f082b963c5ba",[3747],{"_key":3748,"_type":212,"marks":3749,"text":435},"ffa0d923e2b7",[],[],{"_key":3752,"_type":208,"children":3753,"markDefs":3758,"style":221},"b49873be92be",[3754],{"_key":3755,"_type":212,"marks":3756,"text":3757},"78cc22d91562",[],"The second infrastructure which forms the core of the SoC learning environments are care infrastructure. Care infrastructures seek to resituate the personal, the public and the political in relation to one another, in turn building new relationship models. These infrastructures work through the “collective”; through exchange, sharing and togetherness, as opposed to the individual, or through set power hierarchies. Researcher and curator Sascia Bailer states, “to care is to be co-dependent, to extend and share resources, knowledge, and to feel commitment and solidarity. A central ethical principle in our social infrastructures”12. Care infrastructures call for structural vulnerability and fragility, and dedicated spaces to build values and experiences of trust, support, self-worth, and recognition. They ensure that wellbeing and support are at the core of all operations, in combination with, as theorist and curator Daphne Drago states, “the need to care critically, to care with and for each other”13. ",[],{"_key":3760,"_type":208,"children":3761,"markDefs":3765,"style":221},"ade212c04a8a",[3762],{"_key":3763,"_type":212,"marks":3764,"text":435},"101f8c73c4d7",[],[],{"_key":3767,"_type":208,"children":3768,"markDefs":3773,"style":221},"23e771c47280",[3769],{"_key":3770,"_type":212,"marks":3771,"text":3772},"4d3670320c69",[],"A smaller scale, less tangible, yet no less integral method for harnessing care infrastructures through the duration of the SoC programme is through the check-in and check-out methodology that begins and ends each collective meeting and/or public session. These check-ins range from drawing other participants in the room, to singing together, to joining somatic and breathwork exercises. Through the repetition of always entering in and leaving the digital space in this way a sense of safety, cohesion and calmness is garnered, as well as fostering connectivity and relationality. ",[],{"_type":406,"caption":3775,"image":3784},[3776],{"_key":3777,"_type":208,"children":3778,"markDefs":3783,"style":221},"0f6976d94c39",[3779],{"_key":3780,"_type":212,"marks":3781,"text":3782},"0477ff629cb8",[],"An example of a SoC check-in moment. Participants are asked to select another participant in the room, without telling them, and spend 10 minutes drawing them. All participants reveal their drawings at the same time.",[],{"alt":3782,"asset":3785},{"_id":3786,"height":3787,"orientation":400,"ratio":3788,"url":3789,"width":3790},"image-b48f48994f32c27adf213b73d8c15190fddc3680-800x465-jpg",465,1.7204301075268817,"https://cdn.sanity.io/images/eodip22e/production/b48f48994f32c27adf213b73d8c15190fddc3680-800x465.jpg",800,{"_type":410,"settings":3792,"text":3793},{"textColumnCount":412},[3794],{"_key":3795,"_type":208,"children":3796,"markDefs":3801,"style":221},"7e6b9e243da3",[3797],{"_key":3798,"_type":212,"marks":3799,"text":3800},"734678075d26",[],"A more tangible example, and one of the earliest for each programmatic cycle is using a Care Rider. A dedicated form that each participant is required to fill out to share, with their permission, access needs, preferred communication styles, preferred programmatic structures, and the level of (self) organisation and accountability that will allow them to thrive within the programme. Alongside the Care Rider, SoC offers small one to one session which introduces the Care Rider as an apparatus, and examples of what could be included, as, for a Care Rider fulfil its care function, it must be accessible to those who wish to complete it.",[],{"_type":410,"settings":3803,"text":3804},{"textColumnCount":412},[3805,3813,3820,3828,3835],{"_key":3806,"_type":208,"children":3807,"markDefs":3812,"style":221},"4a8c33fe398c",[3808],{"_key":3809,"_type":212,"marks":3810,"text":3811},"30a10259e9310",[],"The Care Rider is combined with further protocols that uphold care-based values of SoC. These can be found in a dedicated code of conduct, codes of participation, which emphasise that the act of participation can take many shapes and forms, depending on the needs and capacity of the individual, including the right to leave at any point. Moreover, alternative forms of documentation and access to information and knowledge production are provided as aftercare for most meetings and events: through alternative transcriptions, recordings, email summaries, and extra meetings, to ensure that it can be accessed later or from afar. ",[],{"_key":3814,"_type":208,"children":3815,"markDefs":3819,"style":221},"9fd5a1fb0e90",[3816],{"_key":3817,"_type":212,"marks":3818,"text":435},"781c7776db59",[],[],{"_key":3821,"_type":208,"children":3822,"markDefs":3827,"style":221},"817600c1f6a9",[3823],{"_key":3824,"_type":212,"marks":3825,"text":3826},"e5c484e7f14a",[],"Perhaps one of the more overt infrastructure layers with SoC is commons infrastructure, understood as the dynamic of assembling, especially with a basis built on social practices, modes of sociality, and ways of defining social, ecological, and planetary relations. Commons infrastructures are not only based on sharing and exchanging, for instance with resources and knowledge, but also on the acknowledgement of difference and conflict. In this sense, they can be dialogical, experiential, as well as a lens for critique and affirmation as much as a method for resistance and creation. In The Posthuman Glossary Lindsay Grace Weber states they “should be understood as constant emergence, of commons social, economic, and environmental relations and practices. They are spaces of experimentation for both theorizing and practicing, providing a lens for critique and affirmation and a method of resistance and creation”14. ",[],{"_key":3829,"_type":208,"children":3830,"markDefs":3834,"style":221},"f3e16bc49a25",[3831],{"_key":3832,"_type":212,"marks":3833,"text":435},"4aa23061f3ae",[],[],{"_key":3836,"_type":208,"children":3837,"markDefs":3842,"style":221},"87d8a8aaf3d4",[3838],{"_key":3839,"_type":212,"marks":3840,"text":3841},"64d8f62d7367",[],"Within SoC, commons infrastructures are present across many levels. Firstly, through the active dismantling of the teacher/student dichotomy. This is encouraged through the open exchange sessions during the planned Kitchen Sessions, as well as the multiple open spaces for self-organisation which are placed throughout the programme. During on-site weekends together each project is invited to participate with a workshop, walk, talk, performance, or otherwise, of their choosing, in which others in the programme attend. Beyond this planned programme of workshops and events, open spaces are left for experiments in collaboration and participation to merge. When such moments occur, the barriers between the knowledge “giver” and the workshop “attendee” start to become remixed. For all programming, SoC offers the 3/3 model: one third offering/giving, one third being offered/taking, and one third free space to encourage unexpected and spontaneous connections and collaborators. This model demonstrates that not only can every student be a teacher, and vice versa, but given the appropriate facilitation and space often dynamics are assembled where these roles can be both embodied simultaneously and entirely dismantled. This dismantling of the teacher/student dichotomy is further strengthened with the active dissolution of disciplinary silos throughout the programme. This is actively championed by connecting projects and people through curiosities and interests, rather than specific skill-sets or disciplinary backgrounds.",[],{"_type":406,"caption":3844,"image":3853},[3845],{"_key":3846,"_type":208,"children":3847,"markDefs":3852,"style":221},"e20237652374",[3848],{"_key":3849,"_type":212,"marks":3850,"text":3851},"fd10f4017c940",[],"An example of an open Kitchen Session, a presentation of what Open Learning can look like in different contexts.",[],{"alt":3851,"asset":3854},{"_id":3855,"height":3856,"orientation":400,"ratio":3857,"url":3858,"width":3790},"image-ef96f0a5470b6f39341e5b715c64961b81526f77-800x378-jpg",378,2.1164021164021163,"https://cdn.sanity.io/images/eodip22e/production/ef96f0a5470b6f39341e5b715c64961b81526f77-800x378.jpg",{"_type":410,"settings":3860,"text":3861},{"textColumnCount":412},[3862,3870,3877],{"_key":3863,"_type":208,"children":3864,"markDefs":3869,"style":221},"df42f228b796",[3865],{"_key":3866,"_type":212,"marks":3867,"text":3868},"de86d10328c10",[],"A further core commons infrastructure within SoC is the commitment to “making public”. Making public is a programme trajectory that encompasses apparatus such as the annual digital publication ISSUES, dedicated publishing blogs, the Ways and Working trajectory, public events, and public podcasts. Making Public is thus the action of reproducing the knowledge, know-how and methodologies, brought to, formed within, and circulated amongst the SoC environments, outwards. Be that to the cohort, to alumni, to publics, and much further beyond. With consent, all that is produced within SoC, be that an etherpad workshop exercise, a publication, or a radio broadcast, is made public through the different digital and physical tools that are circulated as part of the programme and infrastructure. Knowledge is treated as a material and immaterial resource that, once identified, and activated, becomes porous throughout and outside of the structures of SoC. In doing so, becoming connected to and expanded upon by relevant groups and communities with similar curiosities. ",[],{"_key":3871,"_type":208,"children":3872,"markDefs":3876,"style":221},"ca5edca271a2",[3873],{"_key":3874,"_type":212,"marks":3875,"text":435},"3679c4177166",[],[],{"_key":3878,"_type":208,"children":3879,"markDefs":3884,"style":221},"676018423f25",[3880],{"_key":3881,"_type":212,"marks":3882,"text":3883},"ae4baf793abf",[],"To specifically discuss conflict and difference management, a core component of commons infrastructure. The SoC Code of Conduct acts as the primary basis for how modes of communication and behaviour are expected to be enacted. Beyond this, sessions dedicated to individual and group feedback, meditation and conflict resolution are accessible to participants throughout the entire programme, alongside dedicated moments after key-milestones for larger-scale feedback to be shared. Moreover, all participants have access to dedicated one to one feedback and check-in sessions throughout the year where topics such as accessibility, conflicts, and barriers are regularly addressed and, if required, discussed.",[],{"_type":410,"settings":3886,"text":3887},{"textColumnCount":412},[3888,3896,3903,3911,3918,3926,3933,3941,3948],{"_key":3889,"_type":208,"children":3890,"markDefs":3895,"style":221},"777e0b79db81",[3891],{"_key":3892,"_type":212,"marks":3893,"text":3894},"1e58a6f103aa0",[],"The final infrastructure of note is social infrastructure, PEER LEARNING which runs along the intersections of differing socialites, and can be found within the complex combinations of objects, spaces, persons, practices, and principles within a given environment and in particular social relations to one another. Essentially, social infrastructures form the foundations of how we interact and how we gather. Dedicated spaces and structures are therefore vital for channelling social infrastructures and for strong social infrastructural bonds, relationships, and behaviours to be nurtured. In Palaces for the People: How Social Infrastructure Can Help Fight Inequality, Polarization and the Decline of Civic Life, Erik Klingenberg states that social infrastructures is one of the main factors for engendering social cohesion as, “social cohesion develops through repeated human interaction and join participation in shared projects, not merely from a principles commitment to abstract values and beliefs” 15. ",[],{"_key":3897,"_type":208,"children":3898,"markDefs":3902,"style":221},"d72c55e5df68",[3899],{"_key":3900,"_type":212,"marks":3901,"text":435},"6d6553f49a04",[],[],{"_key":3904,"_type":208,"children":3905,"markDefs":3910,"style":221},"c5b4a176a469",[3906],{"_key":3907,"_type":212,"marks":3908,"text":3909},"805ee9f2dd7f0",[],"The social infrastructure within SoC naturally appears more overtly during the longer physical get-togethers positioned throughout the programme. These include the Intensive Weekend at the midpoint of the programme in June where participants can share and show their “process”, and any results they wish to disseminate, or challenges they would prefer to ruminate on, and the end of year assembly where these are made public. These moments have made pre-planned social infrastructures as part of their setup and structure: exchange-based workshops, knowledge circulation, and participatory events, and planned collective free time. What is perhaps more pertinent is that it is the more unplanned “between'' moments that more affective social infrastructures come to life. Acts of cooking together, staying in the same accommodation, walking together between locations, and cleaning together creates a social fabric of connections and collaborations.",[],{"_key":3912,"_type":208,"children":3913,"markDefs":3917,"style":221},"aecb7552596f",[3914],{"_key":3915,"_type":212,"marks":3916,"text":435},"03202186c653",[],[],{"_key":3919,"_type":208,"children":3920,"markDefs":3925,"style":221},"64a0a8c713a8",[3921],{"_key":3922,"_type":212,"marks":3923,"text":3924},"c6f7a029a6850",[],"Alongside natural occurrences of social cohesion, there are also more meditated moments throughout the programme, too, where the SoC team take on a more facilitation-focussed role. The most obvious of these moments is the kick-off weekend, facilitated digitally. During the kick-off weekend each project is invited to share a little about their work and context, as well as some of the questions they wish to explore, or challenges they are either already, or foresee facing. Through these presentations, always followed by a dedicated open question and response session, a networked correlation of curiosities and interests, problems and pathways begin to emerge. From this social information, the SoC team begins to suggest, sometimes expected, often unexpected connections. Further dedicated spaces for crossover and connection are then facilitated through focus groups, group check ins, and “extracurricular” activities such as reading groups, writing groups and yoga sessions, where cohesion is notably strengthened.",[],{"_key":3927,"_type":208,"children":3928,"markDefs":3932,"style":221},"b632ad8a448f",[3929],{"_key":3930,"_type":212,"marks":3931,"text":435},"c996bb70d329",[],[],{"_key":3934,"_type":208,"children":3935,"markDefs":3940,"style":221},"70863740e430",[3936],{"_key":3937,"_type":212,"marks":3938,"text":3939},"00693333b9a30",[],"Within the SoC learning environments there are clear links between each of the above infrastructures, as rather than being standalone substrates, they work best when informing one another, as part of a networked infrastructure of togetherness, or, as infrastructural design engineer Louis Bucciarelli understands it, a “dense interwoven fabric”16.",[],{"_key":3942,"_type":208,"children":3943,"markDefs":3947,"style":221},"53077127ed7d",[3944],{"_key":3945,"_type":212,"marks":3946,"text":435},"e4b2de4f2d98",[],[],{"_key":3949,"_type":208,"children":3950,"markDefs":3955,"style":221},"1e17d3358201",[3951],{"_key":3952,"_type":212,"marks":3953,"text":3954},"050e2693a0950",[],"A further important element to consider when examining infrastructures in relation to the SoC learning environments is that although infrastructures and subtracts enact, inform, and perpetrate all forms of organising and organisational methods, infrastructures are used and upheld by people, and, therefore, by access. Infrastructures are not separate to or from us. They are implemented, maintained, and reproduced by those who sit within their structures and systems. Therefore, alongside the implementation of such infrastructures there also needs to be the assurance that first, they are accessible, and, once so, are maintained, cared for and, if appropriate, reproduced by those affected by and affecting them. This is why SoC always understands its community and publics not only as being integral to the maintenance of the core learning infrastructures, but as part of the very infrastructures themselves.",[],{"_type":406,"caption":3957,"image":3966},[3958],{"_key":3959,"_type":208,"children":3960,"markDefs":3965,"style":221},"ddb32c4e0eda",[3961],{"_key":3962,"_type":212,"marks":3963,"text":3964},"fc5c9438d3710",[],"A performance and working during the SoC Intensive 2022 on Street games of Our Childhoods",[],{"alt":3967,"asset":3968},"A performance and working during the School of Commons Intensive 2022 on Street games of Our Childhoods",{"_id":3969,"height":3970,"orientation":400,"ratio":3971,"url":3972,"width":3790},"image-bbabd7c6e9fc224a43f0d646b35de697d77d611a-800x402-jpg",402,1.9900497512437811,"https://cdn.sanity.io/images/eodip22e/production/bbabd7c6e9fc224a43f0d646b35de697d77d611a-800x402.jpg",{"_type":410,"settings":3974,"text":3975},{"textColumnCount":412},[3976],{"_key":3977,"_type":208,"children":3978,"markDefs":3983,"style":3609},"4362beaa73c8",[3979],{"_key":3980,"_type":212,"marks":3981,"text":3982},"0d55700859ac0",[],"PEER LEARNING",[],{"_type":410,"settings":3985,"text":3986},{"textColumnCount":412},[3987,3995,4002,4010,4017,4025,4032,4040,4047,4055,4062],{"_key":3988,"_type":208,"children":3989,"markDefs":3994,"style":221},"792fa9445832",[3990],{"_key":3991,"_type":212,"marks":3992,"text":3993},"83670b399d060",[],"This series of infrastructures come together as the basis for the two key components that together form the SoC learning environments. These come under two main categories: peer learning and commoning practices. Peer learning has emerged as a powerful educational method that harnesses the collective knowledge and experiences of learners, placing them at the centre of the learning process. It recognizes that individuals have a lot to gain from engaging with their peers, fostering collaborative and interactive environments that promote deeper understanding, critical thinking, and personal growth. At its core, peer learning involves the active engagement and participation of learners in a reciprocal exchange of knowledge, skills, and perspectives. Rather than relying solely on traditional teacher-student dynamics, peer learning encourages learners to become both teachers and learners themselves, creating a symbiotic relationship where everyone benefits from the shared expertise within the group. ",[],{"_key":3996,"_type":208,"children":3997,"markDefs":4001,"style":221},"c93d8bb33387",[3998],{"_key":3999,"_type":212,"marks":4000,"text":435},"5210024b2215",[],[],{"_key":4003,"_type":208,"children":4004,"markDefs":4009,"style":221},"bff6510fac12",[4005],{"_key":4006,"_type":212,"marks":4007,"text":4008},"165d9f309e9c",[],"One of the fundamental principles of peer learning is that learners are uniquely positioned to support and challenge one another. By working together, sharing ideas, and providing feedback, peers can offer multiple perspectives and diverse approaches to problem-solving, encouraging a deeper exploration of concepts and fostering creativity. This collaborative process helps learners develop critical thinking skills, enhances their communication abilities, and promotes a sense of ownership over their learning journey. ",[],{"_key":4011,"_type":208,"children":4012,"markDefs":4016,"style":221},"f0f37644dd2f",[4013],{"_key":4014,"_type":212,"marks":4015,"text":435},"5e71cb5c4632",[],[],{"_key":4018,"_type":208,"children":4019,"markDefs":4024,"style":221},"afdc4864ce7e",[4020],{"_key":4021,"_type":212,"marks":4022,"text":4023},"a2bca975be3c",[],"In peer learning environments, learners can engage actively in the construction of knowledges. Through discussions, group projects, and cooperative activities, they can deepen their understanding by articulating their thoughts and engaging in meaningful dialogue with their peers. This interactive process encourages reflection, as well as the exploration of different viewpoints. In turn nurturing a sense of empathy and respect for others' perspectives. Moreover, peer learning provides a supportive and inclusive learning community. It creates a space where learners feel comfortable expressing their ideas, seeking assistance, and learning from their peers' experiences. This collaborative approach fosters a sense of belonging, increases motivation, and encourages learners to take ownership of their education. ",[],{"_key":4026,"_type":208,"children":4027,"markDefs":4031,"style":221},"619bf63da47d",[4028],{"_key":4029,"_type":212,"marks":4030,"text":435},"76c1358ff182",[],[],{"_key":4033,"_type":208,"children":4034,"markDefs":4039,"style":221},"3f981858e1a3",[4035],{"_key":4036,"_type":212,"marks":4037,"text":4038},"510bb72603a7",[],"Peer learning also has numerous benefits beyond the academic realm. It cultivates important social and interpersonal skills, such as active listening, empathy, and effective communication. By collaborating with peers from diverse backgrounds, learners develop cross-cultural understanding, tolerance, and appreciation for different perspectives. These interpersonal skills are invaluable in preparing individuals for the complexities of the professional world and in broader society.",[],{"_key":4041,"_type":208,"children":4042,"markDefs":4046,"style":221},"1991a3425a7e",[4043],{"_key":4044,"_type":212,"marks":4045,"text":435},"e7b6b6df470e",[],[],{"_key":4048,"_type":208,"children":4049,"markDefs":4054,"style":221},"bf8889d4fd4a",[4050],{"_key":4051,"_type":212,"marks":4052,"text":4053},"7807a061540e",[],"The peer learning structure of SoC, which centres curiosity-driven research and practice, life-long learning, and interdisciplinary approaches, establishes a community of practitioners in which reciprocal exchange, openness, and a friendly atmosphere are the main ingredients to social cohesion and successful peer-centred collaborations. Participants are the central part of the larger whole within the SoC structure, in which their presence is both valued and necessary. The aim of this peer learning structure is to develop a programme that is open to all, making the knowledge and practices that arise from our labs publicly available. Collaborations are encouraged between different age groups, disciplines, and (educational) backgrounds. Participants are encouraged to take ownership and authorship of their programme experience and knowledge pursuits, either by organising and hosting events themselves, or by inviting guest speakers and tutors that are relevant to their research. The role of SoC is to support and help organise the educational programme their participants would like to experience. In this sense, a needs and requirements offering is provided, where the peer learning structure directly responds to the peers which form its core. ",[],{"_key":4056,"_type":208,"children":4057,"markDefs":4061,"style":221},"54b034e7f0ce",[4058],{"_key":4059,"_type":212,"marks":4060,"text":435},"5823a82ddbcc",[],[],{"_key":4063,"_type":208,"children":4064,"markDefs":4069,"style":221},"987f0744513e",[4065],{"_key":4066,"_type":212,"marks":4067,"text":4068},"5355ea123b06",[],"The outcome of this specific kind of learning structure can be witnessed through the entangled mutual support systems, cross disciplinary collaborations, process-oriented focuses, and non-linear research and practice trajectories that emerge year after year. The approaches, process, outcomes and needs and requirements that materialise from the participants themselves then continuously feed into the peer learning structure that defines the directions and focuses SoC takes each year.  ",[],{"_type":410,"settings":4071,"text":4072},{"textColumnCount":412},[4073],{"_key":4074,"_type":208,"children":4075,"markDefs":4080,"style":3609},"562b97681d6c",[4076],{"_key":4077,"_type":212,"marks":4078,"text":4079},"75c4b9a9fde9",[],"COMMONING PRACTICES",[],{"_type":410,"settings":4082,"text":4083},{"textColumnCount":412},[4084,4092,4099,4107,4114,4122,4129,4137,4144,4152,4159,4167,4174,4182,4189,4197,4204],{"_key":4085,"_type":208,"children":4086,"markDefs":4091,"style":221},"68c4f331acbf",[4087],{"_key":4088,"_type":212,"marks":4089,"text":4090},"0479b41bae360",[],"To speak of the “commons” within School of Commons, it is first useful to provide the basis for the terminology and model that commons, and commoning practices provide to institutions and structures like SoC. The commons has been understood as the shared use and management of resources by and for a community. Intrinsic to the existence of a commons is a sharing of governance, a sense of communal belonging, co-operation among community members or commoners, and a deepened sense of societal responsibility 17. Community activist Karl Linn believes that when sufficiently sustained, “commons offer spaces of experimentation and encounter that can be personalised to meet the needs of their individual community.”18In this respect, commoning can be recognized as a guiding principle of organisation, a strategy for assemblage, and the embodiment of coordinates for maintaining community relations.",[],{"_key":4093,"_type":208,"children":4094,"markDefs":4098,"style":221},"fc38e2eca092",[4095],{"_key":4096,"_type":212,"marks":4097,"text":435},"dd24111bf0a7",[],[],{"_key":4100,"_type":208,"children":4101,"markDefs":4106,"style":221},"51eb3670dfd7",[4102],{"_key":4103,"_type":212,"marks":4104,"text":4105},"ed3cb3adf2750",[],"Historically speaking, the commons is by no means a new concept. With an etymology dating back to the British feudal living of the sixteenth and seventeenth centuries, the direct link between commons, land and ownership has continued ever since19. This being said, the 1960s saw a particular resurgence of use of the commons framework in a bid to oppose the advancing neoliberalization of governments that was being experienced during this period. From 1960 onwards discussions surrounding the commons become mainly associated with economics and governance, especially in scholarly discourse, following the publication of Garrett Hardin’s influential essay The Tragedy of the Commons. Hardin’s publication mourned the overuse of natural resources and the subsequent accelerated enclosure of common pool resources20. ",[],{"_key":4108,"_type":208,"children":4109,"markDefs":4113,"style":221},"a3c50a87f61c",[4110],{"_key":4111,"_type":212,"marks":4112,"text":435},"b30e956386a9",[],[],{"_key":4115,"_type":208,"children":4116,"markDefs":4121,"style":221},"b257f14d8a30",[4117],{"_key":4118,"_type":212,"marks":4119,"text":4120},"a005d89b984f",[],"Partly as a response to Hardin’s pessimistic approach, economist Elinor Ostrom issued a series of works examining the ways in which commons were seen to be flourishing around different parts of the world21. In her publications she attempted to forge feasible frameworks and guides for successfully, and sustainably, reproducing these examples of successful commoning. Ostrom’s work gained both scholarly and popular attention after she was awarded the Nobel Prize in Economics in 2009, sparking another wave of interest in the economic and societal relevance of the commons. Such a resurgence was especially apparent during this period due to coinciding with the repercussions of the European financial crash. ",[],{"_key":4123,"_type":208,"children":4124,"markDefs":4128,"style":221},"38acf6790837",[4125],{"_key":4126,"_type":212,"marks":4127,"text":435},"36d9f5e1c996",[],[],{"_key":4130,"_type":208,"children":4131,"markDefs":4136,"style":221},"1bcf67ba6f99",[4132],{"_key":4133,"_type":212,"marks":4134,"text":4135},"921c94905c84",[],"More recently, the commons has come to also be understood in relation to methods and spaces which facilitate the mutual exchange between aesthetics and politics and as a method of raising awareness of social ecologies of the individual, the collective and the institution22. Therefore, despite established scholarly attention on material commons, the frequent referencing of knowledge commons, digital commons, network commons and creative commons is becoming visible, suggesting a considerable shift in contemporary understandings of the concept. This is supported by Michael Hardt and Anthony Negri, influential theorists on the relationship between commons, ideologies and governance, who argue that the “common” is now not only limited to natural resources, but also contributes to the production of language, knowledge, codes, information, emotion and affect, proving immaterial commons to be an essential a resource in the resistance against neoliberal agendas23. ",[],{"_key":4138,"_type":208,"children":4139,"markDefs":4143,"style":221},"3c151c84082c",[4140],{"_key":4141,"_type":212,"marks":4142,"text":435},"5b02ba59f402",[],[],{"_key":4145,"_type":208,"children":4146,"markDefs":4151,"style":221},"3e396253dae9",[4147],{"_key":4148,"_type":212,"marks":4149,"text":4150},"a99b26c6006a",[],"By considering commons as a composite term that encompasses the political, economic, social, and cultural, we can understand “the commons” within a framework such as a “school” is one in which the environments both enable and distribute resources around art, culture, knowledge and language.",[],{"_key":4153,"_type":208,"children":4154,"markDefs":4158,"style":221},"6367dcb81bf6",[4155],{"_key":4156,"_type":212,"marks":4157,"text":435},"efcdc65c8196",[],[],{"_key":4160,"_type":208,"children":4161,"markDefs":4166,"style":221},"2dee5a53b7a2",[4162],{"_key":4163,"_type":212,"marks":4164,"text":4165},"f43c95204fb50",[],"Through these common spaces of experimentation, learning and encounter ecologies of care, through collaborative and cooperative means, transform knowledge production into something for and of “the common”, rather than being protected and privatised. ",[],{"_key":4168,"_type":208,"children":4169,"markDefs":4173,"style":221},"79b501f58030",[4170],{"_key":4171,"_type":212,"marks":4172,"text":435},"dc7518aac196",[],[],{"_key":4175,"_type":208,"children":4176,"markDefs":4181,"style":221},"4d1ae469fd34",[4177],{"_key":4178,"_type":212,"marks":4179,"text":4180},"20d5519cb3ea",[],"To establish a commons as part of any given environment or structure, three key components are required: the commons (resources), commoners (people, a community, a group) and commoning practices (the act of sharing said resources with said people)24. Commoning practices thus centre methods approaches which aim to facilitate the equally accessible management and distribution of a set of resources, within a given community. Commoning practices within learning environments therefore work with alternative models of openaccess distribution, non-hierarchical practices, and co-creation, collaboration, and relationality focused methods. ",[],{"_key":4183,"_type":208,"children":4184,"markDefs":4188,"style":221},"4ebd06c2e307",[4185],{"_key":4186,"_type":212,"marks":4187,"text":435},"3a1f568cfcc3",[],[],{"_key":4190,"_type":208,"children":4191,"markDefs":4196,"style":221},"c82f5b2c19fe",[4192],{"_key":4193,"_type":212,"marks":4194,"text":4195},"9a52aee8e9ff",[],"Within the SoC learning environments commoning practices work across multiple trajectories yet are always in direct connection to one another. They are at times formal, at others informal, and, moreover, can be both material and immaterial in their representation. The knowledge that can be produced and shared as part of these actions and practices is broad and entangled in its scope: tacit knowledge, inherited knowledge, lived experience, context-specific know-how are just as vital to the commoning within SoC as the establishing and remixing of theoretical, pedagogical, scientific, artistic or philosophical propositions. Commoning can take the form of a newly acquired tool for accessibility, an alternative form of participation or exchange, in the sharing of a reading list, supporting during workshops, teaching a new recipe to cook together during an in-person gathering. However, commoning is also a change in perspective, understanding or imagining of what it means to work together, to be together, to know and to do, demonstrated through the many Ways and Workings that have been assembled over the eight years of SoC’s existence.",[],{"_key":4198,"_type":208,"children":4199,"markDefs":4203,"style":221},"086c9f76b92c",[4200],{"_key":4201,"_type":212,"marks":4202,"text":435},"d2ec97108be5",[],[],{"_key":4205,"_type":208,"children":4206,"markDefs":4211,"style":221},"a350894aeffe",[4207],{"_key":4208,"_type":212,"marks":4209,"text":4210},"0348e071a4a40",[],"It is through the large scale, identifiable commoning activities, such as public workshops, cross-cultural collaborations, open-source documentation, publication contributions and ways and workings activations that the commons is seen within SoC. Yet commoning is also visceral experience through the smaller scale, humdrum activities. Through the smaller and the larger scale, the visible and invisible, the interwoven commons fabric of SoC upholds larger structures of peer learning, learning infrastructures and learning environments that together, produce a global, ten-month community-based programme based around active, ongoing, continuous notions of commoning.",[],{"_type":410,"settings":4213,"text":4214},{"textColumnCount":412},[4215],{"_key":4216,"_type":208,"children":4217,"markDefs":4222,"style":3609},"33cd7cb60f0d",[4218],{"_key":4219,"_type":212,"marks":4220,"text":4221},"ba8c9b60c9be0",[],"CONCLUSION: LEARNING ENVIRONMENTS FOR THE FUTURE",[],{"_type":410,"settings":4224,"text":4225},{"textColumnCount":412},[4226,4234,4241,4249,4256,4264,4271],{"_key":4227,"_type":208,"children":4228,"markDefs":4233,"style":221},"ddead20eb72f",[4229],{"_key":4230,"_type":212,"marks":4231,"text":4232},"ec6b5ef21c8f0",[],"Through its learning environments, infrastructures, and apparatus of peer learning and commoning practices, School of Commons has composed a clear framework for producing alternative structures for knowledge production and distribution. To look towards the future of learning environments, and how they can continue to adapt and evolve, the answer lies simply, yet in varying forms, in accessible. First and foremost, in ensuring that programmes like SoC, but the many others that are also endeavouring to offer alternatives to formal education systems and traditional pedagogical structures, are accessible to the many, and not only the select few. ",[],{"_key":4235,"_type":208,"children":4236,"markDefs":4240,"style":221},"551d47cca8b6",[4237],{"_key":4238,"_type":212,"marks":4239,"text":435},"603254409e2f",[],[],{"_key":4242,"_type":208,"children":4243,"markDefs":4248,"style":221},"82944102b635",[4244],{"_key":4245,"_type":212,"marks":4246,"text":4247},"d3ab26f0bb4f",[],"Moreover, one of the ways in which learning environments can continue to strive towards access is ensuring they remain critical, open, and adaptive to the changing needs, desires, and requirements, and to both support and reflect the communities, contexts and society they seek to serve. In tangible terms, this requires room for reflection and growth, as well as space for new ideas, experiments, and tryouts to take place. A key component to peer learning and commoning structures is precisely this space to learn and unlearn, to try and to fail, but to ensure it is being enacted in a safe and supportive structure. With specific learning environments like those of SoC, a certain degree must be handed to the peers themselves to choose and dictate the direction they want to take, not only for their cohort, but for the future iterations that will follow. ",[],{"_key":4250,"_type":208,"children":4251,"markDefs":4255,"style":221},"4b948ef55cbe",[4252],{"_key":4253,"_type":212,"marks":4254,"text":435},"b67b6a92a2ad",[],[],{"_key":4257,"_type":208,"children":4258,"markDefs":4263,"style":221},"038e30014042",[4259],{"_key":4260,"_type":212,"marks":4261,"text":4262},"1c3fbcf54417",[],"Accessibility can also be understood in terms of replicability and reproduction. The programme and self-organised curricula of SoC is open access, with most knowledge structures and outputs produced being publicly available. Yet available doesn’t always equate too accessible. Features like the W&W Directory is an activation of such resources to provide access to the methodologies, approaches and environments that are created and circulated as part of the programme. The hope is that others can take inspiration either from individual W&W, or the larger structures created in combination with the many other uses of the programme to produce other learning environments and infrastructure that respond to differing contexts, demands, urgencies, and desires. ",[],{"_key":4265,"_type":208,"children":4266,"markDefs":4270,"style":221},"2c05dbc6c2e5",[4267],{"_key":4268,"_type":212,"marks":4269,"text":435},"610d112eb532",[],[],{"_key":4272,"_type":208,"children":4273,"markDefs":4278,"style":221},"35579a4985e5",[4274],{"_key":4275,"_type":212,"marks":4276,"text":4277},"140947c89d2e",[],"All the core components that form learning environments like SoC: infrastructural frameworks, peer learning structures, commoning practices, and accessibility, are in a constant state of flux. They are actions, conditions, apparatus’ to be strived for, and adapted towards, and never a permanent state. Learning environments both present and the future must have an acute awareness towards this, and to understand it is the people and the communities that form within these environments that make up these layers, and it is for them and their present and future wishes to which all of these layers and components must remain committed and responsive to.",[],{"_type":410,"settings":4280,"text":4282},{"textColumnCount":4281},"2",[4283,4291,4299,4307,4315,4323,4331,4339,4347,4355,4363,4371,4379,4387,4395,4403,4411,4419,4427,4435,4443,4451],{"_key":4284,"_type":208,"children":4285,"markDefs":4290,"style":221},"5009ddbcedfc",[4286],{"_key":4287,"_type":212,"marks":4288,"text":4289},"e2ef0024fd4f0",[],"[1] About – SoC. (2023, October 16). https://schoolofcommons.org/",[],{"_key":4292,"_type":208,"children":4293,"markDefs":4298,"style":221},"ba7f8ce50627",[4294],{"_key":4295,"_type":212,"marks":4296,"text":4297},"233ff0bdabf1",[],"[2] Labs – SoC. (2023, April 26). https://schoolofcommons.org/program ",[],{"_key":4300,"_type":208,"children":4301,"markDefs":4306,"style":221},"908fd70b5841",[4302],{"_key":4303,"_type":212,"marks":4304,"text":4305},"6b3dd17f5d28",[],"[3] Star, Susan L. The Ethnography of Infrastructure. Boundary Objects and Beyond, 2016, 473-488.p.380 ",[],{"_key":4308,"_type":208,"children":4309,"markDefs":4314,"style":221},"9e8d0d137a37",[4310],{"_key":4311,"_type":212,"marks":4312,"text":4313},"f8db6beffa79",[],"[4] Berlant, L. (2016). The Commons: Infrastructures for troubling times*. Environment and Planning D: Society and Space, 34(3), 393-419. p.1 ",[],{"_key":4316,"_type":208,"children":4317,"markDefs":4322,"style":221},"099203c236ab",[4318],{"_key":4319,"_type":212,"marks":4320,"text":4321},"b2af0f6193a1",[],"[5] Easterling, K. (2014). Extrastatecraft: The power of infrastructure space. Brooklyn. Verso Books. p.7 ",[],{"_key":4324,"_type":208,"children":4325,"markDefs":4330,"style":221},"0f93c3d104ea",[4326],{"_key":4327,"_type":212,"marks":4328,"text":4329},"5e9ca58621b8",[],"[6] Klinenberg, Eric. Palaces for the People: How Social Infrastructure Can Help Fight Inequality, Polarization, and the Decline of Civic Life. Danvers: Crown, 2018. Palaces for the people p.32 ",[],{"_key":4332,"_type":208,"children":4333,"markDefs":4338,"style":221},"892dd0a93b2b",[4334],{"_key":4335,"_type":212,"marks":4336,"text":4337},"86c070276a65",[],"[7] Ahmed, S. (2004). Affective economies. Social Text, 22(2), 117-139. p.119 ",[],{"_key":4340,"_type":208,"children":4341,"markDefs":4346,"style":221},"324995f00409",[4342],{"_key":4343,"_type":212,"marks":4344,"text":4345},"d1232d5f480b",[],"[8] Ahmed, S. (2004). Affective economies. Social Text, 22(2), 117-139. p.119 ",[],{"_key":4348,"_type":208,"children":4349,"markDefs":4354,"style":221},"2cd2038229b8",[4350],{"_key":4351,"_type":212,"marks":4352,"text":4353},"e84ffd358f67",[],"[9] Affective Infrastructures: A Tableau, Altar, Scene, Diorama, or Archipelago - A conversation with Marija Bozinovska Jones, Lou Cornum, Daphne Dragona, Maya Indira Ganesh, Tung-Hui Hu, Fernando Monteiro, Nadège, Pedro Oliveira, Femke Snelting https://archive.transmediale.de/ content/affective-infrastructures-a-tableau-altar-scene-diorama-orarchipelago ",[],{"_key":4356,"_type":208,"children":4357,"markDefs":4362,"style":221},"03d5f479ffc0",[4358],{"_key":4359,"_type":212,"marks":4360,"text":4361},"690e09fa49bc",[],"[10] \"Ways & Workings – SoC.\" Last modified November 2, 2023. https:// www.schoolofcommons.org/waysworkings. ",[],{"_key":4364,"_type":208,"children":4365,"markDefs":4370,"style":221},"e81340568561",[4366],{"_key":4367,"_type":212,"marks":4368,"text":4369},"acf774d02728",[],"[11] School of Commons issues. (n.d.). School of Commons Issues. https://schoolofcommons.org/making-public/issues",[],{"_key":4372,"_type":208,"children":4373,"markDefs":4378,"style":221},"5e0d8179172d",[4374],{"_key":4375,"_type":212,"marks":4376,"text":4377},"e9cd36190ef6",[],"[12] Bailer, S. (2020). Sascia bailer: Curating, care and Corona. p.32 [",[],{"_key":4380,"_type":208,"children":4381,"markDefs":4386,"style":221},"49ad122cd144",[4382],{"_key":4383,"_type":212,"marks":4384,"text":4385},"4d11f1dbbeb0",[],"13] Affective infrastructure. (n.d.). creating commons. https:// creatingcommons.zhdk.ch/tag/affective-infrastructure/ ",[],{"_key":4388,"_type":208,"children":4389,"markDefs":4394,"style":221},"63d54fd39f10",[4390],{"_key":4391,"_type":212,"marks":4392,"text":4393},"4efc2bd4710d",[],"[14] Lindsay Grace Weber, “The Commons” in Braidotti, R., & Hlavajova, M. (2018). Posthuman glossary. London. Bloomsbury Publishing. (2018) p.85 ",[],{"_key":4396,"_type":208,"children":4397,"markDefs":4402,"style":221},"00c7c485dc80",[4398],{"_key":4399,"_type":212,"marks":4400,"text":4401},"668882c2bf9b",[],"[15] Klinenberg, E. (2018). Palaces for the people: How social infrastructure can help fight inequality, polarization, and the decline of civic life. Danvers. Crown., p.27 ",[],{"_key":4404,"_type":208,"children":4405,"markDefs":4410,"style":221},"42e1ea225dcc",[4406],{"_key":4407,"_type":212,"marks":4408,"text":4409},"04d79756dc91",[],"[16] Bucciarelli, L. L. (1988). An ethnographic perspective on engineering design. Design Studies, 9(3), 159-168. p.131 ",[],{"_key":4412,"_type":208,"children":4413,"markDefs":4418,"style":221},"f68349150799",[4414],{"_key":4415,"_type":212,"marks":4416,"text":4417},"9b1d6b06965f",[],"[17] Karl Lin Commons and Community in Gmelch, George, and Petra Kuppinger. (2018). Urban Life: Readings in the Anthropology of the City, Sixth Edition. Long Grove, USA: Waveland Press. p.9 ",[],{"_key":4420,"_type":208,"children":4421,"markDefs":4426,"style":221},"cceee7f5098e",[4422],{"_key":4423,"_type":212,"marks":4424,"text":4425},"3951675c650e",[],"[18] Karl Lin Commons and Community in Gmelch, George, and Petra Kuppinger. (2018). Urban Life: Readings in the Anthropology of the City, Sixth Edition. Long Grove, USA: Waveland Press. p.9 [19] Bruyne, Paul D., and Pascal Gielen. (2011). Community Art: The Politics of Trespassing. Amsterdam, The Netherlands. Valiz. p.4 ",[],{"_key":4428,"_type":208,"children":4429,"markDefs":4434,"style":221},"5c4bec524217",[4430],{"_key":4431,"_type":212,"marks":4432,"text":4433},"522db2cef372",[],"[20] Surhone, Lambert M., Miriam T. Timpledon, and Susan F. Marseken. (2010). Tragedy of the Commons: Garrett Hardin, The Commons, Diner's Dilemma, Enlightened Self- ‐Interest, Population Control, Inverse Commons, Common Heritage of Mankind. London, England: Betascript Publishing. ",[],{"_key":4436,"_type":208,"children":4437,"markDefs":4442,"style":221},"84f564c1c096",[4438],{"_key":4439,"_type":212,"marks":4440,"text":4441},"dbdb1e7d428d",[],"[21] Hess, Charlotte, and Elinor Ostrom. (2011). Understanding Knowledge as a Commons: From Theory to Practice. Cambridge. Mit Press. ",[],{"_key":4444,"_type":208,"children":4445,"markDefs":4450,"style":221},"06bf406bf6cf",[4446],{"_key":4447,"_type":212,"marks":4448,"text":4449},"a8c01cacd682",[],"[22] Braidotti, Rosi, and Maria Hlavajova. (2018) Posthuman Glossary. London. Bloomsbury Publishing. p.83 [23] Hardt, Michael, and Antonio Negri. (2009). COMMONWEALTH. Cambridge. Harvard University Press. p.4 ",[],{"_key":4452,"_type":208,"children":4453,"markDefs":4458,"style":221},"8fc9b48932b4",[4454],{"_key":4455,"_type":212,"marks":4456,"text":4457},"f69c5869a280",[],"[24] Ostrom, E. (2015). Governing the Commons. Cambridge. University Press. ",[],{"_type":410,"settings":4460,"text":4461},{"textColumnCount":412},[4462,4470,4478,4486,4494],{"_key":4463,"_type":208,"children":4464,"markDefs":4469,"style":221},"8f625c9511dc",[4465],{"_key":4466,"_type":212,"marks":4467,"text":4468},"4fee7361e0c3",[214],"EXCERPT ",[],{"_key":4471,"_type":208,"children":4472,"markDefs":4477,"style":221},"0fd1503155a1",[4473],{"_key":4474,"_type":212,"marks":4475,"text":4476},"d885b5300dc6",[],"1. Despite taking its form as a School, SoC stands apart from traditional educational structures in that its content and direction are not predetermined by a fixed program or curricula. Instead, they are shaped by the collective know-how, ways and workings, aspirations, and curiosity of its dedicated communities. ",[],{"_key":4479,"_type":208,"children":4480,"markDefs":4485,"style":221},"e0e9f4ef6de1",[4481],{"_key":4482,"_type":212,"marks":4483,"text":4484},"a824ca7f5b54",[],"2. Within the SoC learning environments there are clear links between each of the above infrastructures, as rather than being standalone substrates, they work best when informing one another, as part of a networked infrastructure of togetherness. ",[],{"_key":4487,"_type":208,"children":4488,"markDefs":4493,"style":221},"04ce70aabe3c",[4489],{"_key":4490,"_type":212,"marks":4491,"text":4492},"60c154b1fe83",[],"3. Commons infrastructures are not only based on sharing and exchanging, for instance with resources and knowledge, but also on the acknowledgement of difference and conflict. ",[],{"_key":4495,"_type":208,"children":4496,"markDefs":4501,"style":221},"98d2c983d407",[4497],{"_key":4498,"_type":212,"marks":4499,"text":4500},"08383cafe350",[],"4. It is through the large scale, identifiable commoning activities, such as public workshops, cross-cultural collaborations, open-source documentation, publication contributions and ways and workings activations that the commons is seen within SoC.",[],"2024-10-31",{"_type":9,"current":4504},"fostering-learning-environments-for-the-future","Fostering Learning Environments for the Future",{"_id":270,"_type":271,"categories":4507,"credits":4515,"featuredImage":4564,"pageBuilder":4570,"publishedDate":4954,"seo":7,"slug":4955,"summary":4565,"title":274},[4508],{"_id":4509,"_type":281,"colorPrimary":4510,"seo":7,"slug":4512,"title":4514},"abca80c8-225c-47ae-867a-a9957093a581",{"label":283,"value":4511},"#cdff00",{"_type":9,"current":4513},"d-i-w-o-do-it-with-others","D.I.W.O (Do it with others)",{"other":7,"profiles":4516},[4517],{"_id":1664,"_type":315,"activeYears":4518,"bio":4537,"bioShort":1699,"featuredImage":4543,"filterables":4544,"links":4555,"locations":4558,"searchables":4562,"seo":7,"slug":4563,"title":215},[4519,4521,4523,4525,4527,4529,4531,4533,4535],{"_id":1667,"_type":94,"seo":7,"slug":4520,"title":1670},{"_type":9,"current":1669},{"_id":1672,"_type":94,"seo":7,"slug":4522,"title":1675},{"_type":9,"current":1674},{"_id":124,"_type":94,"seo":7,"slug":4524,"title":127},{"_type":9,"current":126},{"_id":119,"_type":94,"seo":7,"slug":4526,"title":122},{"_type":9,"current":121},{"_id":114,"_type":94,"seo":7,"slug":4528,"title":117},{"_type":9,"current":116},{"_id":109,"_type":94,"seo":7,"slug":4530,"title":112},{"_type":9,"current":111},{"_id":104,"_type":94,"seo":7,"slug":4532,"title":107},{"_type":9,"current":106},{"_id":99,"_type":94,"seo":7,"slug":4534,"title":102},{"_type":9,"current":101},{"_id":93,"_type":94,"seo":7,"slug":4536,"title":96},{"_type":9,"current":96},[4538],{"_key":1692,"_type":208,"children":4539,"markDefs":4542,"style":221},[4540],{"_key":1695,"_type":212,"marks":4541,"text":1697},[],[],{"alt":215,"asset":7},{"filterYear":4545},[4546,4547,4548,4549,4550,4551,4552,4553,4554],{"_id":1667,"title":1670},{"_id":1672,"title":1675},{"_id":124,"title":127},{"_id":119,"title":122},{"_id":114,"title":117},{"_id":109,"title":112},{"_id":104,"title":107},{"_id":99,"title":102},{"_id":93,"title":96},[4556,4557],{"_type":371,"label":1714,"url":1715},{"_type":371,"label":372,"url":255},{"locations":4559,"other":7},[4560],{"_id":1720,"_type":378,"seo":7,"slug":4561,"title":1723},{"_type":9,"current":1722},[1725,1669,1674,126,121,116,111,106,101,96],{"_type":9,"current":1727},{"alt":4565,"asset":4566},"This code of conduct is a basis for all of our activities, gatherings, communications, and internal and external outputs.",{"_id":4567,"height":4568,"orientation":623,"ratio":536,"url":4569,"width":4568},"image-f7e1b505706957ae88f323825ddbd237c16f7996-1200x1200-webp",1200,"https://cdn.sanity.io/images/eodip22e/production/f7e1b505706957ae88f323825ddbd237c16f7996-1200x1200.webp",[4571,4605,4870],{"_type":410,"settings":7,"text":4572},[4573,4581,4589,4597],{"_key":4574,"_type":208,"children":4575,"markDefs":4580,"style":221},"d4088c342003",[4576],{"_key":4577,"_type":212,"marks":4578,"text":4579},"642cfb6e5aae",[],"This code of conduct is a basis for all our activities, gatherings, communications, and internal and external outputs.",[],{"_key":4582,"_type":208,"children":4583,"markDefs":4588,"style":221},"14dedc9e18e1",[4584],{"_key":4585,"_type":212,"marks":4586,"text":4587},"d7c7c98cafcd",[],"It forms part of our committed pursuit to engendering a BRAVER space (we acknowledge this is a constantly evolving environment and set of conditions and commit to continuously revising and responding in relation to this). We further acknowledge that we come from different backgrounds, contexts, disciplines and approaches and all have certain areas of unawareness, experiencing processes of learning and unlearning. Therefore, this Code of Conduct cannot account for all the ways that people might feel excluded, unsafe or uncomfortable. We commit to open dialogues, and as such this Code of Conduct is never finished and should change whenever needed. We will amend this document over time so it reflects the priorities and sensitivities of SoC as it changes.",[],{"_key":4590,"_type":208,"children":4591,"markDefs":4596,"style":221},"471987a963d4",[4592],{"_key":4593,"_type":212,"marks":4594,"text":4595},"3fa8103dc3cd",[],"It is a collective responsibility for all of us to enact the behaviour described below, and bring it to the physical and digital space of SoC.",[],{"_key":4598,"_type":208,"children":4599,"markDefs":4604,"style":221},"f6a633952515",[4600],{"_key":4601,"_type":212,"marks":4602,"text":4603},"28a890753d4f",[],"The code of conduct is a set of guidelines that help establish shared values and ensure that behaviour that may harm participants is avoided. This document equally applies to School of Common’s, participants, contributors, collaborators, and all those who engage and attend in our outputs and process. The document also applies to users and contributors to SoC’s online channels. The word “we” is used in this document as it applies to all of the above.",[],{"_type":410,"settings":7,"text":4606},[4607,4615,4622,4630,4638,4646,4654,4662,4670,4678,4686,4694,4702,4710,4718,4726,4734,4742,4750,4758,4766,4774,4782,4790,4798,4806,4814,4822,4830,4838,4846,4854,4862],{"_key":4608,"_type":208,"children":4609,"markDefs":4614,"style":221},"32f0788e368b",[4610],{"_key":4611,"_type":212,"marks":4612,"text":4613},"1c830d251186",[214],"++++++++++++++++++++++++++++++++++++++++++++++++++++++",[],{"_key":4616,"_type":208,"children":4617,"markDefs":4621,"style":221},"84c73ef3f027",[4618],{"_key":4619,"_type":212,"marks":4620,"text":435},"316d1d988a53",[],[],{"_key":4623,"_type":208,"children":4624,"markDefs":4629,"style":221},"53c5839b0340",[4625],{"_key":4626,"_type":212,"marks":4627,"text":4628},"888c4ed3a880",[],"School of Commons is a learning and peer exchange environment. It accommodates a whole range of practices. Working together means bridging gaps: between different practices, levels of technical expertise, personal preferences and political, ethical and personal orientations. Together, we strive to create an environment for participants with different ranges of experience, while allowing complex topics to be discussed.",[],{"_key":4631,"_type":208,"children":4632,"markDefs":4637,"style":221},"bb546518cefe",[4633],{"_key":4634,"_type":212,"marks":4635,"text":4636},"cd662c003f990",[],"We want SoC to be a space where all participants can develop their research and practices in a collective setting and people feel safe and comfortable to participate, to express themselves, to learn and to work together. The vulnerable nature of collective work means that uncomfortable situations can occur. These situations ask for mutual respect and care. We hope that everyone participating in SoC is respectful, thinks before they speak, practices empathy, feels able to share their concerns and vulnerabilities, and exercises care.",[],{"_key":4639,"_type":208,"children":4640,"markDefs":4645,"style":221},"fe9f1a2c88a8",[4641],{"_key":4642,"_type":212,"marks":4643,"text":4644},"5eee2f399a5c0",[],"In the interest of making an inclusive environment, we will not tolerate harassment, exclusion, or any other harmful behaviour in any form. We are committed to sufficiently communicating and upholding this code of conduct and making the SOC environment (digital and physical, internal and external) as safe and supportive as is within our capacity, through leading via care-based and access-first practices.",[],{"_key":4647,"_type":208,"children":4648,"markDefs":4653,"style":221},"8584578102d5",[4649],{"_key":4650,"_type":212,"marks":4651,"text":4652},"2e96d556f6f00",[214],"Expected behaviour",[],{"_key":4655,"_type":208,"children":4656,"markDefs":4661,"style":221},"83080c86cadc",[4657],{"_key":4658,"_type":212,"marks":4659,"text":4660},"c7a35715cb100",[],"We expect everyone who participates in SoC, in any capacity to be considerate of each other, the space we enter, the people, projects and participants at SoC and the practices it houses as part of its internal, external and wider ecosystems.",[],{"_key":4663,"_type":208,"children":4664,"markDefs":4669,"style":221},"b4c8e590f736",[4665],{"_key":4666,"_type":212,"marks":4667,"text":4668},"b050ecfbeb730",[],"Be open and generous without making assumptions about others. This can include assumptions about identity, knowledge, experiences, background or preferred pronouns. Never demand information that may be sensitive, difficult or potentially triggering for someone else to discuss or communicate. We endeavour to be generous with our time and our abilities when we are able to. Help others, but ask first. There are many ways to contribute to a collective practice, which may differ from our individual ways.",[],{"_key":4671,"_type":208,"children":4672,"markDefs":4677,"style":221},"0f6a3ca6f8da",[4673],{"_key":4674,"_type":212,"marks":4675,"text":4676},"cc6cf2c32de60",[],"Recognise that identities are multifaceted and intersectional. We do not tolerate discrimination, hate, or harassment of anyone in any form: no racism, no sexism, no transphobia, no homophobia, no xenophobia, no ageism, no ableism.",[],{"_key":4679,"_type":208,"children":4680,"markDefs":4685,"style":221},"01748eec3711",[4681],{"_key":4682,"_type":212,"marks":4683,"text":4684},"1fea786805560",[],"Endeavour to be inclusive and representative of marginalised peoples’ voices and experiences. Consciously enact communications and activities with attention to accessible needs and requirements.",[],{"_key":4687,"_type":208,"children":4688,"markDefs":4693,"style":221},"1acac5939347",[4689],{"_key":4690,"_type":212,"marks":4691,"text":4692},"b08fbea9a54a0",[],"Always ask for consent – we are a community that centres and are extremely enthusiastic about consent. Consent must always be prioritised.",[],{"_key":4695,"_type":208,"children":4696,"markDefs":4701,"style":221},"eb1d58770de6",[4697],{"_key":4698,"_type":212,"marks":4699,"text":4700},"89e5a83a68410",[],"Respect physical and emotional boundaries. Be respectful of different viewpoints and experiences. Be respectful of each others’ limited time and energy. Take each other and each other’s practices seriously. Acknowledge that this might lead to disagreement. However, disagreement is no excuse for poor manners.",[],{"_key":4703,"_type":208,"children":4704,"markDefs":4709,"style":221},"2ca48278d7a1",[4705],{"_key":4706,"_type":212,"marks":4707,"text":4708},"ba190aa0a2bb0",[],"Be responsible for the promises we make, in this document and otherwise, meaning that we follow up on our commitments. We take responsibility for the good things we do, but also for the bad ones. We listen to and act upon respectful feedback. We correct ourselves when necessary, keeping in mind that the impact of our words and actions on other people doesn’t always match our intent.",[],{"_key":4711,"_type":208,"children":4712,"markDefs":4717,"style":221},"86d7c72cf734",[4713],{"_key":4714,"_type":212,"marks":4715,"text":4716},"56e94c7a25cd0",[],"Be dedicated which means not letting the group happen to us, but making the group together. We participate in the group with self-respect and don’t exhaust ourselves. This might mean saying how we feel, setting boundaries, and being clear about our expectations. Nobody is expected to be perfect in this community, we are all expected to try our best and support one another through the different means available to us. Ask questions early and in the most appropriate context (privately or via a member of the team is our go-to advice) to avoid problems later. Those who are asked should be responsive and helpful.",[],{"_key":4719,"_type":208,"children":4720,"markDefs":4725,"style":221},"eb1e3cea3f90",[4721],{"_key":4722,"_type":212,"marks":4723,"text":4724},"60e726ff21ce0",[],"Be empathetic, by actively listening to others and not dominating discussions. We give each other the chance to improve and let each other step up into positions of responsibility. We make room for others. We are aware of each other’s feelings, provide support where necessary, and know when to step back. One’s idea of caring may differ from how others want to be cared for. We ask to make sure that our actions are wanted.",[],{"_key":4727,"_type":208,"children":4728,"markDefs":4733,"style":221},"ef0e43c7a325",[4729],{"_key":4730,"_type":212,"marks":4731,"text":4732},"358e5f8e496f0",[],"Foster an inclusive environment by trying to create opportunities for others to express views, share skills and make other contributions. Ensure to leave room for others to speak and share their own opinions and experiences. Being together is something we actively work on and requires negotiation. We recognize that not everyone has the same opportunities, therefore we must be sensitive to the context we operate in. There are implicit hierarchies that we can challenge, and we should strive to do so. When we organize something (projects, events, etc.), we think about how we can consider degrees of privilege, account for the needs of others, promote an activist stance and support other voices.",[],{"_key":4735,"_type":208,"children":4736,"markDefs":4741,"style":221},"0f0bf5091ca5",[4737],{"_key":4738,"_type":212,"marks":4739,"text":4740},"42fa4e597a880",[],"Be generous with your feedback, and be conscious that sometimes the most impactful feedback comes in the form of engaged questions, stemming from a genuine curiosity. Within the SoC environment, feedback is never about judgment or validation, but about offering a different perspective to your peer’s research or project. Keep it constructive and honest, that is, supportive and thoughtful. Be mindful that everyone gets a say in conversations without being interrupted or talked over. Be patient and supportive, know that each person is unique, and each has their own way of expressing themselves. Please refrain from showing off your knowledge.",[],{"_key":4743,"_type":208,"children":4744,"markDefs":4749,"style":221},"088b93a927f4",[4745],{"_key":4746,"_type":212,"marks":4747,"text":4748},"c8c20e13760c0",[],"Be considerate in your language use. When messaging online, meaning and tone can often get misinterpreted, so we ask that you start from a place of friendship and assume others are doing so as well. Any behavior or language that is unwelcoming—whether or not it rises to the level of harassment—can hurt someone. In doing so consider your linguistic privilege. We communicate mostly in English, even though English rarely is the first language of community members. Native English speakers should therefore be aware of their privilege and remain sensitive to how they exercise power through words. We see translation and interpretation as a political work of carrying ideas across cultural and linguistic boundaries. Even though words are often unique and do not have direct equivalents across languages, the laborious, time-consuming, and often imperfect, work of translation and interpretation allows us to come closer to each other.",[],{"_key":4751,"_type":208,"children":4752,"markDefs":4757,"style":221},"7838cc0fe036",[4753],{"_key":4754,"_type":212,"marks":4755,"text":4756},"9df677fd9f1a0",[],"Take ownership of your mistakes.",[],{"_key":4759,"_type":208,"children":4760,"markDefs":4765,"style":221},"216ae6dd2233",[4761],{"_key":4762,"_type":212,"marks":4763,"text":4764},"8e3fd7af3ec70",[214],"Unacceptable behaviour",[],{"_key":4767,"_type":208,"children":4768,"markDefs":4773,"style":221},"f54cd9774bc4",[4769],{"_key":4770,"_type":212,"marks":4771,"text":4772},"9a878cf378250",[214],"We do not tolerate the following, in any form:",[],{"_key":4775,"_type":208,"children":4776,"markDefs":4781,"style":221},"9ce1212afa1a",[4777],{"_key":4778,"_type":212,"marks":4779,"text":4780},"a20a390df6f30",[],"Structural or personal discrimination, including attitudes or comments promoting or reinforcing the oppression of any groups or people based on gender, gender identity and expression, race, ethnicity, nationality, sexuality, sexual orientation, religion, disability, mental illness, neurodiversity, personal appearance, physical appearance, body size, age, or class.",[],{"_key":4783,"_type":208,"children":4784,"markDefs":4789,"style":221},"2bdbfb6c522f",[4785],{"_key":4786,"_type":212,"marks":4787,"text":4788},"85b507f9acf60",[],"Harassment or abuse in public or private, digital or physical spheres. Harassment includes, but is not limited to: violent threats or language directed against another person, comments disparaging anyone based on gender, gender identity and expression, sexual orientation, disability, physical appearance, body size, race, age, or religion, posting sexual or violent imagery, deliberate intimidation, stalking, or following, harassing photography or recording (screenshots), inappropriate physical contact, unwelcome sexual attention, advocating for, or encouraging, any of the aforementioned behavior, as well as repeated harassment of others. In general, if someone asks you to stop, then stop. Abuse is: Disrespect for your views on identity, implied or enacted harm on your mental and physical self, or trolling, misdirection, and disrespectful use of resources and access. If you feel unsafe or uncomfortable, please reach out to us immediately.",[],{"_key":4791,"_type":208,"children":4792,"markDefs":4797,"style":221},"78436b59bc71",[4793],{"_key":4794,"_type":212,"marks":4795,"text":4796},"e652f64921a80",[],"Violation of privacy, namely publishing others’ private information, such as a physical or electronic address, without explicit permission. Do not take or publish photos or recordings of others after their request to not do so. Delete recordings if asked.",[],{"_key":4799,"_type":208,"children":4800,"markDefs":4805,"style":221},"25bd5d17ab40",[4801],{"_key":4802,"_type":212,"marks":4803,"text":4804},"d90ffa574b7b0",[],"Unwelcome sexual conduct, including unwanted sexual language, imagery, actions, attention or advances.",[],{"_key":4807,"_type":208,"children":4808,"markDefs":4813,"style":221},"128169e8c3de",[4809],{"_key":4810,"_type":212,"marks":4811,"text":4812},"8faeb60d11f40",[],"Destructive behaviour, or any other conduct which could reasonably be considered inappropriate. This includes (but is not exclusive to) depictions of violence without content warnings, consistently and purposely derailing or disrupting conversations, or other behaviour that persistently disrupts the ability of others to engage in the group or space.",[],{"_key":4815,"_type":208,"children":4816,"markDefs":4821,"style":221},"eb958c3f917b",[4817],{"_key":4818,"_type":212,"marks":4819,"text":4820},"689dc95a68860",[214],"Intervention procedure",[],{"_key":4823,"_type":208,"children":4824,"markDefs":4829,"style":221},"a906f1e82372",[4825],{"_key":4826,"_type":212,"marks":4827,"text":4828},"cfe96bb8e4ab0",[],"Immediate intervention (help is needed now!)",[],{"_key":4831,"_type":208,"children":4832,"markDefs":4837,"style":221},"1e60ccd32d9a",[4833],{"_key":4834,"_type":212,"marks":4835,"text":4836},"ec3a8ca1ae930",[],"If you are feeling unsafe at any time in any capacity, for example, sexual harassment, targeted bullying, violence or aggressive communication, or the use of insensitive or discriminatory language, you can immediately contact the SoC members (our details are included at the top of this document) who are tasked with making sure the code of conduct is respected. These contact people are members of SoC who will do their best to help or to find the correct assistance if relevant/necessary.",[],{"_key":4839,"_type":208,"children":4840,"markDefs":4845,"style":221},"e89da24cac8c",[4841],{"_key":4842,"_type":212,"marks":4843,"text":4844},"e8eb7ec25c4f0",[],"Non-immediate intervention (an important situation that requires more time)",[],{"_key":4847,"_type":208,"children":4848,"markDefs":4853,"style":221},"531883d0cd4c",[4849],{"_key":4850,"_type":212,"marks":4851,"text":4852},"33d96327e5c20",[],"There are often other violations that need to be considered and consulted upon with more people or in a more measured way. For example: if you witness structurally unacceptable behaviour; if somebody keeps enactive extractivist practices or demands after being asked to stop. In these cases please get in contact with us as soon as possible. We prefer to constructively resolve disagreements together and work to right the wrong, when it is possible and safe to do so. We will always act as meditators to the situation and always lead with care-based practices. In times when this is not possible, we will consult experts or experienced individuals related to the specific context who we can ask for advice or support from. If the problems continue to persist, those who are responsible for enforcing the code of conduct can help you deal with these kinds of problems.",[],{"_key":4855,"_type":208,"children":4856,"markDefs":4861,"style":221},"d42db1c4eb64",[4857],{"_key":4858,"_type":212,"marks":4859,"text":4860},"ca8fe119a4490",[],"Information will be handled with sensitivity. We will always ask your permission before publicly sharing any personal, private, or sensitive information. If anonymity is requested, this will always be respected.",[],{"_key":4863,"_type":208,"children":4864,"markDefs":4869,"style":221},"645fc023f636",[4865],{"_key":4866,"_type":212,"marks":4867,"text":4868},"f1826a49aa350",[],"\u003Clast updated September 2024>",[],{"_type":410,"settings":7,"text":4871},[4872,4880,4888,4896,4930,4938,4946],{"_key":4873,"_type":208,"children":4874,"markDefs":4879,"style":221},"d8ff31b44a11",[4875],{"_key":4876,"_type":212,"marks":4877,"text":4878},"66cea88fbbc1",[214],"Credit and Acknowledgement",[],{"_key":4881,"_type":208,"children":4882,"markDefs":4887,"style":221},"fa123d1b0650",[4883],{"_key":4884,"_type":212,"marks":4885,"text":4886},"112c48d43828",[],"We are always learning from and being inspired by the work of other projects and organisations paving the way toward safer, more accessible and inclusive spaces. This Code of Conduct is based upon a number of fellow Code of Conducts we feel are hugely impactful.",[],{"_key":4889,"_type":208,"children":4890,"markDefs":4895,"style":221},"7d40e5d522a0",[4891],{"_key":4892,"_type":212,"marks":4893,"text":4894},"f910c1c6f84c",[],"These are the following:",[],{"_key":4897,"_type":208,"children":4898,"markDefs":4926,"style":221},"7123d063a556",[4899,4903,4908,4912,4917,4921],{"_key":4900,"_type":212,"marks":4901,"text":4902},"a2aca19c4bbe",[],"Varia (from whom we also borrow the technology to host this SoC CoC: ",{"_key":4904,"_type":212,"marks":4905,"text":4907},"825ded1b2c7d",[4906],"2b0ca3030741","https://varia.zone/en/pages/code-of-conduct.html",{"_key":4909,"_type":212,"marks":4910,"text":4911},"36bc45f70653",[],"\nFuturess: ",{"_key":4913,"_type":212,"marks":4914,"text":4916},"9d6d8c05e28d",[4915],"385748ee1265","https://docs.google.com/document/d/1Z0nC9BrG6Gc_gIuxusSoqvUaXd3KAIdoh-yd_2efoD0/edit",{"_key":4918,"_type":212,"marks":4919,"text":4920},"d25421befce2",[],"\nQueer Archive: ",{"_key":4922,"_type":212,"marks":4923,"text":4925},"a5128e2cd1e1",[4924],"e37e29400ed6","https://queer.archive.work/code_of_conduct/studio_code_sept2021.pdf",[4927,4928,4929],{"_key":4906,"_type":238,"href":4907},{"_key":4915,"_type":238,"href":4916},{"_key":4924,"_type":238,"href":4925},{"_key":4931,"_type":208,"children":4932,"markDefs":4937,"style":221},"f6dbd775f8c6",[4933],{"_key":4934,"_type":212,"marks":4935,"text":4936},"4d0203b10d2f",[],"We are passionate about continuing to encounter and learn from the practices and codes of other institutions, projects and organisations. If there are Code of Conduct’ that you find inspiring and impactful, please generously share them with us.",[],{"_key":4939,"_type":208,"children":4940,"markDefs":4945,"style":221},"ab1499c3d918",[4941],{"_key":4942,"_type":212,"marks":4943,"text":4944},"81e86bece310",[],"SoC is a complex collective space. We are a multi-lingual, multi-cultural, multi-disciplinary group. At SoC, we speak predominantly in English. We recognize that most members and visitors are not native speakers of these languages. We also recognize that there are multiple ways of speaking, communicating and interacting (sounds, gestures, acts, movement, etc.), depending on cultural backgrounds, education and practices. As such, we recognize that situations might arise where misunderstandings or conflicts happen. We strive to overcome these misunderstandings through a commitment to open dialogue: we prefer to assume good faith and ask participants, collaborators or attendees to express their concerns directly to each other when possible. When this is not an option, this Code of Conduct can be consulted for further actions.",[],{"_key":4947,"_type":208,"children":4948,"markDefs":4953,"style":221},"50ecbbb99088",[4949],{"_key":4950,"_type":212,"marks":4951,"text":4952},"c04306b05d0d",[],"If a situation arises in which you feel unsafe, uncomfortable or misrepresented in any capacity, your first port-of-call is the SoC Team who are here to listen, support and care for the situation. We are passionate about upholding the code of conduct to the best possible standard.",[],"2024-09-27",{"_type":9,"current":273},{"_id":4957,"_type":271,"categories":4958,"credits":5001,"featuredImage":5049,"pageBuilder":5057,"publishedDate":5136,"seo":7,"slug":5137,"summary":5139,"title":5050},"927f1837-ccb6-4149-bb44-8412b076ff6f",[4959,4966,4973,4980,4987,4994],{"_id":4960,"_type":281,"colorPrimary":4961,"seo":7,"slug":4963,"title":4965},"8d1816ad-e7f6-45f0-ba86-8b0b3ecb8fb4",{"label":283,"value":4962},"#a0a0ff",{"_type":9,"current":4964},"curatorial-research","Curatorial Research",{"_id":4967,"_type":281,"colorPrimary":4968,"seo":7,"slug":4970,"title":4972},"bfaa093c-5ed2-4e71-9f9f-f2477745e4d9",{"label":283,"value":4969},"#fff0dc",{"_type":9,"current":4971},"feelings","Feelings",{"_id":4974,"_type":281,"colorPrimary":4975,"seo":7,"slug":4977,"title":4979},"db2b587f-904b-49ab-8694-8704ece3dfb0",{"label":283,"value":4976},"#ff3c3c",{"_type":9,"current":4978},"inventions-of-the-unknown","Inventions of the Unknown",{"_id":4981,"_type":281,"colorPrimary":4982,"seo":7,"slug":4984,"title":4986},"c9b417eb-f1bb-49a5-ab42-96f9e45ba067",{"label":283,"value":4983},"#787800",{"_type":9,"current":4985},"manifesto","Manifesto",{"_id":4988,"_type":281,"colorPrimary":4989,"seo":7,"slug":4991,"title":4993},"618c8d84-b589-4691-bd57-55f9ecbebb5c",{"label":283,"value":4990},"#dcdcff",{"_type":9,"current":4992},"sound-play","Sound Play",{"_id":4995,"_type":281,"colorPrimary":4996,"seo":7,"slug":4998,"title":5000},"9f9f547e-b1ab-4a88-91d4-88277fea723d",{"label":283,"value":4997},"#0091ff",{"_type":9,"current":4999},"relaxation-and-pause","Relaxation and Pause",{"other":7,"profiles":5002},[5003],{"_id":5004,"_type":315,"activeYears":5005,"bio":5008,"bioShort":5017,"featuredImage":5018,"filterables":5026,"links":5029,"locations":5032,"searchables":5045,"seo":7,"slug":5047,"title":5019},"ca5c253a-b207-4693-bdf5-5469418ea4c2",[5006],{"_id":104,"_type":94,"seo":7,"slug":5007,"title":107},{"_type":9,"current":106},[5009],{"_key":5010,"_type":208,"children":5011,"markDefs":5016,"style":221},"90c108fd30f4",[5012],{"_key":5013,"_type":212,"marks":5014,"text":5015},"6d67f92399c50",[],"His work encompasses live electronic and electroacoustic improvisations, compositions and installations. 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. ",{"alt":5019,"asset":5020},"Eldar Tagi",{"_id":5021,"height":5022,"orientation":358,"ratio":5023,"url":5024,"width":5025},"image-e6abd9023c122c83bcce68d5dced985df8984a8b-1378x1820-png",1820,0.7571428571428571,"https://cdn.sanity.io/images/eodip22e/production/e6abd9023c122c83bcce68d5dced985df8984a8b-1378x1820.png",1378,{"filterYear":5027},[5028],{"_id":104,"title":107},[5030],{"_type":371,"label":372,"url":5031},"https://www.instagram.com/eldar_tagi/",{"locations":5033,"other":5036},[5034],{"_id":3458,"_type":378,"seo":7,"slug":5035,"title":3461},{"_type":9,"current":3460},[5037],{"_key":5038,"_type":208,"children":5039,"markDefs":5044,"style":221},"7b2be5c00992",[5040],{"_key":5041,"_type":212,"marks":5042,"text":5043},"52e816f11ecd0",[],"Based in Berlin",[],[5046,106],"eldar tagi",{"_type":9,"current":5048},"eldar-tagi",{"alt":5050,"asset":5051},"A Slow Down Manifesto",{"_id":5052,"height":5053,"orientation":400,"ratio":5054,"url":5055,"width":5056},"image-e92f62c33b12a05f314bb5adebd0032f9f7a8425-2234x1060-png",1060,2.107547169811321,"https://cdn.sanity.io/images/eodip22e/production/e92f62c33b12a05f314bb5adebd0032f9f7a8425-2234x1060.png",2234,[5058,5069,5073,5091,5109,5117],{"_type":410,"settings":5059,"text":5060},{"textColumnCount":412},[5061],{"_key":5062,"_type":208,"children":5063,"markDefs":5068,"style":221},"c8fd3f6487f4",[5064],{"_key":5065,"_type":212,"marks":5066,"text":5067},"6d986a029afa0",[],"Slow Down session is a proposal for a collective media improvisation designed for people to express themselves, connect with the environment and soak themselves in the room full of sounds, lights, and other sensory triggers.",[],{"_type":406,"caption":7,"image":5070},{"alt":5071,"asset":5072},"There, there A Slow Down Manifesto",{"_id":5052,"height":5053,"orientation":400,"ratio":5054,"url":5055,"width":5056},{"_type":410,"settings":7,"text":5074},[5075,5083],{"_key":5076,"_type":208,"children":5077,"markDefs":5082,"style":221},"aba580a3a92e",[5078],{"_key":5079,"_type":212,"marks":5080,"text":5081},"dc03a03771e00",[1056],"The hope is to invoke deep meditative states in participants, inspire and relax the busy minds and release what’s piled up. We would like to create a space where at least for the provided 2-3 hours people could let go of worries and enable themselves to be calm and creative.",[],{"_key":5084,"_type":208,"children":5085,"markDefs":5090,"style":221},"8d1f49941466",[5086],{"_key":5087,"_type":212,"marks":5088,"text":5089},"5b787064e5ca0",[],"A sequence of Slow Down sessions spanning several years unfolded at the Studio106LA gallery in Los Angeles a few years ago. In light of the current tumultuous times, this manifesto encourages readers to embrace the practice of listening and playing. Therefore, you are invited to incorporate the tenets of the Slow Down Manifesto into your own artistic endeavors.",[],{"_type":410,"settings":7,"text":5092},[5093,5101],{"_key":5094,"_type":208,"children":5095,"markDefs":5100,"style":221},"ed90389ff862",[5096],{"_key":5097,"_type":212,"marks":5098,"text":5099},"d50a24d202350",[214],"A Manifesto",[],{"_key":5102,"_type":208,"children":5103,"markDefs":5108,"style":221},"f7b202c3aff1",[5104],{"_key":5105,"_type":212,"marks":5106,"text":5107},"44819c3f3e6f0",[],"Choose your own voice.Bring something to make sound or art with.Crushing dry leaves, a flute, tablet/computer, synthesizer, guitar, DMX controllers and light sources, video projectors.Anything that lets you make and have some control over the sound/art will do. For electric instruments bring you own amplification, we will just provide the power.We encourage to create any sounds that facilitate the unified texture. Rather than making beats and trying to play in time we’d hope to create the feeling of timelessness.Tonal sounds, small and big noises, short percussive sounds – all are welcome. We want to hear sounds, acknowledge them and let them pass. The same applies to visual elements.No cell phones or talking during the session (unless that’s what you use for making art and sounds). Let’s just be respectful to each other.Everything else is up to you.Sounds can be dissonant or consonant, bright or dim, stay for awhile or appear as a brief spark and disappear forever.No judgments. In fact, it doesn’t matter at all what you do and who you are.Be whatever you want, sound however you want, shine and project whatever you desire. Let’s just see what happens and enjoy.",[],{"_type":406,"caption":7,"image":5110},{"alt":5071,"asset":5111},{"_id":5112,"height":5113,"orientation":400,"ratio":5114,"url":5115,"width":5116},"image-80ceb888c9ed22a93c4024c230965fac37135349-1998x1692-png",1692,1.1808510638297873,"https://cdn.sanity.io/images/eodip22e/production/80ceb888c9ed22a93c4024c230965fac37135349-1998x1692.png",1998,{"_type":5118,"slides":5119},"sliderBlock",[5120,5128],{"_type":406,"caption":7,"image":5121},{"alt":5071,"asset":5122},{"_id":5123,"height":5124,"orientation":400,"ratio":5125,"url":5126,"width":5127},"image-ad148541385c4663bb1f78cb6165a433c92c5762-1450x1162-png",1162,1.2478485370051635,"https://cdn.sanity.io/images/eodip22e/production/ad148541385c4663bb1f78cb6165a433c92c5762-1450x1162.png",1450,{"_type":406,"caption":7,"image":5129},{"alt":5071,"asset":5130},{"_id":5131,"height":5132,"orientation":400,"ratio":5133,"url":5134,"width":5135},"image-85cf7baf345892151f67249765082f470e029d8f-1522x828-png",828,1.8381642512077294,"https://cdn.sanity.io/images/eodip22e/production/85cf7baf345892151f67249765082f470e029d8f-1522x828.png",1522,"2024-05-01",{"_type":9,"current":5138},"a-slow-down-manifesto","Slow Down session is a proposal for a collective media improvisation designed for people to express themselves, connect with the environment and soak themselves in the room full of sounds, lights, and other sensory triggers. 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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. ",{"alt":5243,"asset":5244},"Lena Pozdnyakova",{"_id":5245,"height":5246,"orientation":400,"ratio":5247,"url":5248,"width":5249},"image-6f7b97d22236dba3f0a2c4a425da28995d6f3445-1740x1130-png",1130,1.5398230088495575,"https://cdn.sanity.io/images/eodip22e/production/6f7b97d22236dba3f0a2c4a425da28995d6f3445-1740x1130.png",1740,{"filterYear":5251},[5252,5253],{"_id":104,"title":107},{"_id":99,"title":102},[5255],{"_type":371,"label":5256,"url":5257},"Website","https://tinyurl.com/lenathezwo",{"locations":5259,"other":5262},[5260],{"_id":3458,"_type":378,"seo":7,"slug":5261,"title":3461},{"_type":9,"current":3460},[5263],{"_key":5264,"_type":208,"children":5265,"markDefs":5270,"style":221},"33f56ffffd21",[5266],{"_key":5267,"_type":212,"marks":5268,"text":5269},"db169e02a47f0",[],"Berlin based",[],[5272,106,101],"lena pozdnyakova",{"_type":9,"current":5274},"lena-pozdnyakova",{"alt":5276,"asset":5277},"There, there The Line is Not Dead—It is Simply Floating",{"_id":5278,"height":5279,"orientation":358,"ratio":5280,"url":5281,"width":5282},"image-722adcb60504145562add4c51c643716c95d4854-804x862-gif",862,0.9327146171693735,"https://cdn.sanity.io/images/eodip22e/production/722adcb60504145562add4c51c643716c95d4854-804x862.gif",804,[5284,5295,5299,5309,5317,5335,5342,5352,5359,5430],{"_type":410,"settings":5285,"text":5286},{"textColumnCount":412},[5287],{"_key":5288,"_type":208,"children":5289,"markDefs":5294,"style":221},"32d5115fa5c3",[5290],{"_key":5291,"_type":212,"marks":5292,"text":5293},"e260c77a0b530",[],"My greatest fear is to die by drowning.",[],{"_type":406,"caption":7,"image":5296},{"alt":5297,"asset":5298},"The Line is Not Dead—It is Simply Floating",{"_id":5278,"height":5279,"orientation":358,"ratio":5280,"url":5281,"width":5282},{"_type":410,"settings":7,"text":5300},[5301],{"_key":5302,"_type":208,"children":5303,"markDefs":5308,"style":221},"53cdbeea0668",[5304],{"_key":5305,"_type":212,"marks":5306,"text":5307},"17b456eef142",[],"Countless times I have seen dreams where exactly this happens – I see a giant wave, or on other occasions, I fall into water, feeling that my body’s capacity to retain the atmosphere of the “world” within me is scarce. The decision to open up and relax my body, while submerged in an inhabitable for a human world that is definitely going to kill me becomes a conscious decision. In a second, I relax my body and let the water in. An instant burning sensation follows, then an indescribable feeling of emptiness and calmness or, at times, a terrifying sense of the end of given reality. And then, I open my eyes.",[],{"_type":406,"caption":7,"image":5310},{"alt":5297,"asset":5311},{"_id":5312,"height":5313,"orientation":400,"ratio":5314,"url":5315,"width":5316},"image-6350973fcfeeb05504e9723adf230503e2b60cd3-768x294-png",294,2.6122448979591835,"https://cdn.sanity.io/images/eodip22e/production/6350973fcfeeb05504e9723adf230503e2b60cd3-768x294.png",768,{"_type":410,"settings":7,"text":5318},[5319,5327],{"_key":5320,"_type":208,"children":5321,"markDefs":5326,"style":221},"12de8713ae4d",[5322],{"_key":5323,"_type":212,"marks":5324,"text":5325},"dc8425b6843b0",[],"On a completely different level, the sense of density, suffocation, and submerging in an environment where my body no longer feels comfortable happens when I face deadlines. The notion of the “dead” as in nearing the moment where there is no way back is perhaps that specific aspect that reminds the body of the importance and inevitability of facing a point of “no return.” The sense of drowning. Moreover, perhaps the notion of the “dead end” pops up in my mind by association, adding another level of claustrophobia to the situation and emerging pressure of delivery. The same feeling that my body’s capacity to retain the atmosphere of the “world” within me is scarce.",[],{"_key":5328,"_type":208,"children":5329,"markDefs":5334,"style":221},"605e90d80782",[5330],{"_key":5331,"_type":212,"marks":5332,"text":5333},"398dd2bfeb230",[],"The year of work on the “There, There” podcast with the working group as part of the SoC 2023 Cohort brought us to the idea that the notion of the “deadline” in our work on this project is somewhat irrelevant. Knowing that we are operating within the domains set by our team allows for an incredible privilege –flexibility. As it is often with official deadlines, in other submissions, there seems to be always an unspoken agreement that the extension for the deadline for a day or two or more, especially when we are dealing with the sphere of creative production, is often a possibility. Throughout this year, as we became more engaged with the “commons” project of the SoC, we kept pushing the deadline for the podcast production further into the year. This process, for me, was accompanied by an array of sensations– from confusion regarding priorities and attention focus to determination on tasks at hand to the feeling of letting go of self-expectation, from frustration to the sense of relief. The question of why, nonetheless, this sense of frustration and non-adherence to our own promises accompanied the process was puzzling, as it followed me as a shadow throughout the year. Especially considering the fact that taking steps towards collecting sound on the course of the year, producing background music for the podcasts as part of the other project’s rehearsals and releases, and meeting people with whom we aspired to have a dialogue, was my continuous endeavour. The feeling of lagging and the sense of timefamin, has, nevertheless, persisted. This was an indicator that I am in need of digging deeper to consciously unpack the situation and reveal what was bugging me in the first place.\nIn “The Good of Work,” Liam Gillick discusses the concept of deadlines in the context of artistic work and suggests that artists often create their own deadlines, which contrasts with the typical perception of deadlines as externally imposed. This ability to set one’s own deadlines links the artist to the flexible knowledge worker. The increasing number of deadlines, whether self-imposed or introduced by external forces, highlights the constructed nature of these time constraints. According to Gillik, recognizing this allows artists to engage or disengage electively, creating a zone of semi-autonomy.",[],{"_type":406,"caption":7,"image":5336},{"alt":5297,"asset":5337},{"_id":5338,"height":5339,"orientation":400,"ratio":5340,"url":5341,"width":5316},"image-7e009f7adf626a9869bbab355b1b20eb0ed02d71-768x526-png",526,1.4600760456273765,"https://cdn.sanity.io/images/eodip22e/production/7e009f7adf626a9869bbab355b1b20eb0ed02d71-768x526.png",{"_type":410,"settings":7,"text":5343},[5344],{"_key":5345,"_type":208,"children":5346,"markDefs":5351,"style":221},"ae6b713b5a9a",[5347],{"_key":5348,"_type":212,"marks":5349,"text":5350},"d9922e24e7c40",[],"As Gillick delves into the relationship between art, artists, and the structures of capitalism, I couldn’t help but think about the notions well addressed in the literature on decolonial thinking and chronopolitics. In the decolonial thinking of Catherine Walsh and Walter Mignolo, the authors bring up the following: “The future doesn’t exist, and neither does the past. We all, on the planet, live in a constant and always fluctuating present, carrying the burden of the past and hopes for the future.” In their text “On Decoloniality,” they explore the hidden forces of the colonial matrix of power that affect the way we treat and perceive time – striving, according to this very matrix, to “progress” within an imposed paradigm. In the text, they also bring forth the notion of “tradition,” that, by the means of the same power matrix, has been set as opposed to the “progress,” setting its timeframe in the past and hence, allowing for its reading as outdated and “not timely,” and sometimes rendering it non-existent. In his latest book on forms of futurity, TJ Demos, using Chronopolitics as a lens, highlights numerous temporal regimes of oppression that perpetuate the dominant systems of capitalism. Demos’s major point is that the very traditions of the opeessed- as successful strategised of world building- carry the potential to subvert the very power structures that have dominated the perception of time as part of the power game. In this sense, Gillick’s characterization of the history of art as a “fetishization of decision and indecision” and questions about the value of artistic work in the context of modern capitalism becomes valid to this discussion and was of great help. He suggests that artists, in their current form, resemble freelance knowledge workers who are deeply embedded in and cannot be distinguished from the capitalist system they often critique. This alignment with capitalism’s demands leads artists to function similarly to regular workers, blurring the lines between artistic and conventional labor. Resisting these structures, therefore, becomes the work of resistance- the type of work that requires awareness and understanding of priorities and values that stand against systems of oppression.",[],{"_type":406,"caption":7,"image":5353},{"alt":5297,"asset":5354},{"_id":5355,"height":5356,"orientation":358,"ratio":5357,"url":5358,"width":5316},"image-c72131f71beb53061c2f1502a19724cd8ab64728-768x840-png",840,0.9142857142857143,"https://cdn.sanity.io/images/eodip22e/production/c72131f71beb53061c2f1502a19724cd8ab64728-768x840.png",{"_type":410,"settings":7,"text":5360},[5361,5369,5377,5385,5393,5414,5422],{"_key":5362,"_type":208,"children":5363,"markDefs":5368,"style":221},"a1d8cb9c0ccd",[5364],{"_key":5365,"_type":212,"marks":5366,"text":5367},"1540891bd4340",[],"Within the inquiry into the sense of uneasiness with constantly missed self-imposed deadlines, these connections between the notion of chronopolitcs, forms of resistance and non-linearity of time, allowed for the realization that the privileges that the artistic field provides for us. It can indeed become a liberating ground for resistance against capitalistic systems. Even if on the tiniest scale and within the internal projects. That is to say, with care and respect towards others’ work and timing, our internal deadlines can be freed from the burden of being heavy and “dead” and instead become a set of fluctuating floating lines – guiding, giving horizons, allowing the sight to rest on the aspired destination that is yet to come. In reality, the burden of deadlines imposed on individuals whose work is intricately linked to feelings of inspiration, the need to adjust their vision according to situational changes and shifting surroundings while simultaneously maintaining clarity for critical reflection and relational work, can frequently lead to overstretching of capacities. This often results in overproduction, which may be accompanied by physical and mental exhaustion or even burnout. For many, this situation raises fundamental questions related to the maintenance of life itself.",[],{"_key":5370,"_type":208,"children":5371,"markDefs":5376,"style":221},"4a90a50e78b5",[5372],{"_key":5373,"_type":212,"marks":5374,"text":5375},"0cf0f72321f70",[],"In an aspiration to redefine the notion of the deadline and propose a language for an alternative, we potentially thought of a floatingline as a provisional term that could be used to measure workflow.",[],{"_key":5378,"_type":208,"children":5379,"markDefs":5384,"style":221},"c86f027d4673",[5380],{"_key":5381,"_type":212,"marks":5382,"text":5383},"cf158da342a50",[],"The floatingline, instead of suggesting the heavy weight of the “dead” line, allows for airiness and spaciousness and calls for balance. Moreover, it brings forth the notion of submission to the environment and yet some levels of control over the body (specifically breath), therefore setting forth the interdependence between situational constraints (environments that can be challenging), awareness of the body (breathing, balancing, and keeping afloat), and the environment at large (meeting the surrounding as it is).",[],{"_key":5386,"_type":208,"children":5387,"markDefs":5392,"style":221},"8878e020a8b7",[5388],{"_key":5389,"_type":212,"marks":5390,"text":5391},"608de01406760",[],"While trying to find and compose the definition of the sense of “floating” that would best underscore the notion of the “floating” line, we came across the editorial entry to the POOL journal at UCLA (spring 2022). We decided to quote the whole thing as it describes what the “floatingline” was for us throughout the year at its best.",[],{"_key":5394,"_type":208,"children":5395,"markDefs":5412,"style":5413},"8e26f50aa7f5",[5396,5400,5404,5408],{"_key":5397,"_type":212,"marks":5398,"text":5399},"47fc7ac1cc870",[1056],"“To float presumes suspended buoyancy, a listless navigating through worlds within and without. When a dense body skims the surface of water there’s an ephemeral moment in which attention focuses on surrender to the fluid. In this fleeting moment flesh remembers what it was like to have wings and fly or gills to endlessly swim. Flesh and bone attempt to sublimate into the matter they have been before and want to become once again.",{"_key":5401,"_type":212,"marks":5402,"text":5403},"47fc7ac1cc871",[],"\n\n\n\n",{"_key":5405,"_type":212,"marks":5406,"text":5407},"47fc7ac1cc872",[1056],"On the contrary, if too much is displaced to the point of submerging that which is near, such immersion leads to suffocation and the brutality of expulsion. The experience of floating today is circumscribed by the predicament in which on find themselves: limbs are laden by obligations and promises, struggling to be buoyed by life and externalities. Even the aimless act of floating to deprive the senses is compromised by the incessant necessity of production. Still, float and fall, sink and flink– untethered, unrestrained, and suspended by potential and possibility.”",{"_key":5409,"_type":212,"marks":5410,"text":5411},"47fc7ac1cc873",[],"(Pool 2022)",[],"blockquote",{"_key":5415,"_type":208,"children":5416,"markDefs":5421,"style":221},"6b9ab05b3fe4",[5417],{"_key":5418,"_type":212,"marks":5419,"text":5420},"ba215bcc5f050",[1056],"This becoming is a transmutation with the prerequisite of difference– otherwise, there would be no floating at all, just one uniform substance unidifferentiated from the rest. To float implies a submission to the elements enveloping a body, becoming a body, and displacing that which surrounds a body. In this act, however, there is a precarity, for if too much is relinquished or too little exerted, one is submerged, vanished, and overcome by the intimacy of contact with other forms of matter.",[],{"_key":5423,"_type":208,"children":5424,"markDefs":5429,"style":221},"46a1366c1e58",[5425],{"_key":5426,"_type":212,"marks":5427,"text":5428},"73d46c07d1380",[],"We aspire to remain buoyant within the realm of potentiality and possibility. In other words, we aim to learn how to swim in various directions, and in moments of extreme demand, we seek to find the time and space to glide along the “floating lines.” This approach involves tuning into our bodies, understanding our situation, and being aware of the surrounding environment, thus allowing these elements to guide us and ensure our safety and well-being.\nI am submitting this text two days before the second floating deadline has passed. We happily missed the first floating deadline and are grateful to the School of Commons for providing another one, guiding us through the sea of work and play.",[],{"_type":410,"settings":7,"text":5431},[5432,5440,5456,5472],{"_key":5433,"_type":208,"children":5434,"markDefs":5439,"style":221},"748301345e8e",[5435],{"_key":5436,"_type":212,"marks":5437,"text":5438},"1a5cdc54a6d50",[214],"Bibliography",[],{"_key":5441,"_type":208,"children":5442,"markDefs":5455,"style":221},"64f039e4d628",[5443,5447,5451],{"_key":5444,"_type":212,"marks":5445,"text":5446},"d3bda2b471680",[],"Demos, T. J. (2023). ",{"_key":5448,"_type":212,"marks":5449,"text":5450},"d3bda2b471681",[1056],"Radical Futurisms: Ecologies of collapse, chronopolitics, and justice-to-come",{"_key":5452,"_type":212,"marks":5453,"text":5454},"d3bda2b471682",[],". Sternberg Press.",[],{"_key":5457,"_type":208,"children":5458,"markDefs":5471,"style":221},"724ff8984a9f",[5459,5463,5467],{"_key":5460,"_type":212,"marks":5461,"text":5462},"317cb6a8a5100",[],"Gillick, L. (2010). ",{"_key":5464,"_type":212,"marks":5465,"text":5466},"317cb6a8a5101",[1056],"The good of work",{"_key":5468,"_type":212,"marks":5469,"text":5470},"317cb6a8a5102",[],". na.",[],{"_key":5473,"_type":208,"children":5474,"markDefs":5492,"style":221},"97b0477d3505",[5475,5479,5483,5487],{"_key":5476,"_type":212,"marks":5477,"text":5478},"c90063390b590",[],"UCLA Department of Architecture and Urban Design . (2022, May 20). ",{"_key":5480,"_type":212,"marks":5481,"text":5482},"c90063390b591",[1056],"Issue no.7: Float",{"_key":5484,"_type":212,"marks":5485,"text":5486},"c90063390b592",[],". POOL. ",{"_key":5488,"_type":212,"marks":5489,"text":5491},"07d27fa504e5",[5490],"3af4db54ab13","http://www.pool-la.com/shop/issue-no7-float",[5493],{"_key":5490,"_type":238,"blank":239,"href":5491},"2023-12-30",{"_type":9,"current":5496},"the-line-is-not-dead-it-is-simply-floating","'My greatest fear is to die by drowning.' ","The Line is Not Dead—It is Simply Floating ",{"_id":5500,"_type":271,"categories":5501,"credits":5532,"featuredImage":5571,"pageBuilder":5579,"publishedDate":5494,"seo":7,"slug":5922,"summary":5589,"title":5595},"a3b6dbf7-8387-436e-9a4a-a2804c35cedc",[5502,5505,5512,5519,5522,5525],{"_id":5144,"_type":281,"colorPrimary":5503,"seo":7,"slug":5504,"title":5149},{"label":283,"value":5146},{"_type":9,"current":5148},{"_id":5506,"_type":281,"colorPrimary":5507,"seo":7,"slug":5509,"title":5511},"f94c1ac3-cd4c-48c7-8019-83cddbdfa935",{"label":283,"value":5508},"#ff5f00",{"_type":9,"current":5510},"radical-sharing","Radical Sharing",{"_id":5513,"_type":281,"colorPrimary":5514,"seo":7,"slug":5516,"title":5518},"1b650668-ff96-40b9-b911-879ed6138bc5",{"label":283,"value":5515},"#5050ff",{"_type":9,"current":5517},"artistic-research","Artistic Research",{"_id":5182,"_type":281,"colorPrimary":5520,"seo":7,"slug":5521,"title":5186},{"label":283,"value":5184},{"_type":9,"current":84},{"_id":5195,"_type":281,"colorPrimary":5523,"seo":7,"slug":5524,"title":5200},{"label":283,"value":5197},{"_type":9,"current":5199},{"_id":5526,"_type":281,"colorPrimary":5527,"seo":7,"slug":5529,"title":5531},"8b0e0d61-6905-4fc9-8962-c10dc64f9112",{"label":283,"value":5528},"#f0f000",{"_type":9,"current":5530},"learning-environment-spaces-of-knowledge","Learning Environment / Spaces of Knowledge",{"other":7,"profiles":5533},[5534],{"_id":5218,"_type":315,"activeYears":5535,"bio":5540,"bioShort":5241,"featuredImage":5551,"filterables":5553,"links":5557,"locations":5559,"searchables":5569,"seo":7,"slug":5570,"title":5243},[5536,5538],{"_id":104,"_type":94,"seo":7,"slug":5537,"title":107},{"_type":9,"current":106},{"_id":99,"_type":94,"seo":7,"slug":5539,"title":102},{"_type":9,"current":101},[5541,5546],{"_key":5226,"_type":208,"children":5542,"markDefs":5545,"style":221},[5543],{"_key":5229,"_type":212,"marks":5544,"text":5231},[],[],{"_key":5234,"_type":208,"children":5547,"markDefs":5550,"style":221},[5548],{"_key":5237,"_type":212,"marks":5549,"text":5239},[],[],{"alt":5243,"asset":5552},{"_id":5245,"height":5246,"orientation":400,"ratio":5247,"url":5248,"width":5249},{"filterYear":5554},[5555,5556],{"_id":104,"title":107},{"_id":99,"title":102},[5558],{"_type":371,"label":5256,"url":5257},{"locations":5560,"other":5563},[5561],{"_id":3458,"_type":378,"seo":7,"slug":5562,"title":3461},{"_type":9,"current":3460},[5564],{"_key":5264,"_type":208,"children":5565,"markDefs":5568,"style":221},[5566],{"_key":5267,"_type":212,"marks":5567,"text":5269},[],[],[5272,106,101],{"_type":9,"current":5274},{"alt":5572,"asset":5573},"There, there - An Ode to “Behind The Scene(s)”",{"_id":5574,"height":5575,"orientation":400,"ratio":5576,"url":5577,"width":5578},"image-7399e7d9905c88463f4d4361a6fb3d6a7fbf0c7f-2388x1668-png",1668,1.4316546762589928,"https://cdn.sanity.io/images/eodip22e/production/7399e7d9905c88463f4d4361a6fb3d6a7fbf0c7f-2388x1668.png",2388,[5580,5591,5610,5697,5700,5710,5717,5727,5734,5788,5794,5804,5820],{"_type":410,"settings":5581,"text":5582},{"textColumnCount":412},[5583],{"_key":5584,"_type":208,"children":5585,"markDefs":5590,"style":221},"b974112c9069",[5586],{"_key":5587,"_type":212,"marks":5588,"text":5589},"e623495e68a60",[],"Towards unfinished projects",[],{"_type":5118,"slides":5592},[5593,5602],{"_type":406,"caption":7,"image":5594},{"alt":5595,"asset":5596},"An Ode to “Behind The Scene(s)”",{"_id":5597,"height":5598,"orientation":358,"ratio":5599,"url":5600,"width":5601},"image-2256c218af379ae5010cbf9b5967019a7e484146-615x1024-png",1024,0.6005859375,"https://cdn.sanity.io/images/eodip22e/production/2256c218af379ae5010cbf9b5967019a7e484146-615x1024.png",615,{"_type":406,"caption":7,"image":5603},{"alt":5595,"asset":5604},{"_id":5605,"height":5606,"orientation":400,"ratio":5607,"url":5608,"width":5609},"image-339c6dfa8a8b42800e0b0ee73dc995a3e4406d76-2028x1562-png",1562,1.298335467349552,"https://cdn.sanity.io/images/eodip22e/production/339c6dfa8a8b42800e0b0ee73dc995a3e4406d76-2028x1562.png",2028,{"_type":410,"settings":7,"text":5611},[5612,5649,5657,5665,5673,5681,5689],{"_key":5613,"_type":208,"children":5614,"markDefs":5628,"style":221},"e4b89694890e",[5615,5619,5624],{"_key":5616,"_type":212,"marks":5617,"text":5618},"43dd6366e2ac0",[],"A few years ago, I wrote a ",{"_key":5620,"_type":212,"marks":5621,"text":5623},"20d35f073c5a",[5622],"61691c465886","short text",{"_key":5625,"_type":212,"marks":5626,"text":5627},"6cac5e87b5ed",[]," for the Rice Architecture Journal about the value of the finished project in three exceptional architectural schools: the École des Beaux-Arts, the Bauhaus, and Black Mountain College. My key point was that, however open-ended the pedagogical approach, each of these schools focused on cultivating the notion of sharing work with the public at a stage defined either by the timeframe or by the agreement between the pedagogue and the student. Of course, each of these schools expanded the notion of architecture and offered its attendees numerous disciplines that broadened the horizon of one discipline and served knowledge production within the cultural field at large. The emergence of these schools was predicated by the particular historical time. The École des Beaux-Arts, among other fields, was an innovative educational institution of its time, pioneering the format of exhibiting works as part of the public event format. The Bauhaus emerged on the premise of intellectual curiosity that would respond to the demands of changes in socio-political attitudes immediately after the WWI period, as well as underscored by the developments in industry and technology. Black Mountain College in the US was formed post-WWII, with an immigration flow from Europe to the US and within the changes of attitudes towards modernism and the development of the American avant-garde scene. It must be noted that each of these schools, in a format underscored by its radically novel attitudes towards pedagogies and experimentation in learning and teaching approaches, existed for only a short period of time. In other words, each of these exceptional pedagogical experiments existed within the framework of its time, defined and constrained by the notion of socio-political, historical, and cultural zeitgeist.",[5629],{"_key":5622,"_type":5630,"allFootnotes":5631,"footnoteText":5633,"markKey":5622},"footnoteLink",[5632],{"_key":5622},[5634],{"_key":5635,"_type":208,"children":5636,"markDefs":5646,"style":221},"4e954e6277d2",[5637,5642],{"_key":5638,"_type":212,"marks":5639,"text":5641},"eadacf703a0f",[5640],"72c9fa281098","The Value of the Finished Project: Architectural Education from the École des Beaux-Arts, the Bauhaus, and Black Mountain College",{"_key":5643,"_type":212,"marks":5644,"text":5645},"6d036b2de318",[],"  ",[5647],{"_key":5640,"_type":238,"href":5648},"https://www.platjournal.com/eightpointfive/the-value-of-the-finished-project-architectural-education-from-the-cole-des-beaux-arts-the-bauhaus-and-black-mountain-college",{"_key":5650,"_type":208,"children":5651,"markDefs":5656,"style":221},"2e1a41179cd6",[5652],{"_key":5653,"_type":212,"marks":5654,"text":5655},"dd443ec6a0630",[],"In the artistic world, the blurred line between the finished project and the practice of an artist “behind the scenes” became evident in the second half of the 20th century, leading to the current merging of various forms of practices that, in their formal strategies, are indistinguishable from work on hire in various contexts other than artistic. Inevitably, many of these forms of artistic practice are bound by the participation of various stakeholders.",[],{"_key":5658,"_type":208,"children":5659,"markDefs":5664,"style":221},"51582e306a76",[5660],{"_key":5661,"_type":212,"marks":5662,"text":5663},"de99b28397340",[],"Within the historical narrative around participatory art, the evident transformation in the forms of engagement with broader audiences in performance art began to occur more actively during the mid-20th century and is closely linked to the political and social upheavals of the 1960s. The expansion of public engagement, coupled with rising political and social tensions, led to a heightened interest in participatory modes of art that sought to foster social interaction outside the confines of traditional museums. This era saw the emergence of various new forms of engagement, and Allan Kaprow’s Happenings were one of the pioneering artistic engagements with various audiences, participants, and peer artists, underscored as “an assemblage of events performed or perceived in more than one time and place,” highlighting its capacity to take place in diverse settings, whether planned or improvised (Kaprow, 1993). Within the artistic field, they were characterized by their lack of rehearsal, audience, or repetition, and at times antagonistic approaches towards their participants (Sontag 1966). While the “expanded” form of engagement within those avant-garde pieces was new to many and allowed for additional levels of improvisation, the authorship of the artist remained intact as scripts written as a guide for the Happenings were set within the familiar formal confines of a performative and theatrical framework. Interestingly, Kaprow, in addition to being a productive artist, was also a pedagogue who often involved his students as participants in Happenings. The aspect of his durational and practice-led role as a pedagogue, where he worked with the younger generations of artists, is among the most interesting parts of his artistic career. Chay Allen’s review of Kaprow’s teaching practices as part of what Allen called “Radical Pedagogy” sheds light on numerous interesting aspects within the Six Ordinary Happenings (1969), where his co-directorship of the Berkeley Unified School District’s educational experiment Project Other Ways from 1967 to 1968, as well as Message Units (1972) that developed during Kaprow’s tenure as Associate Dean of the School of Art at the California Institute of the Arts (CalArts). (Allen 2016) Allen’s research underscores the role of Kaprow’s pedagogy as a call for, first and foremost, practice-led research with performance art in focus. Furthermore, figures such as Mierle Laderman Ukeles, who emerged as pioneering artists within their respective artistic trajectories, have complicated the notion of blurring the “behind-the-scenes” of artistic practice. Ukeles’s maintenance art was among the first works within a broader context of the 20th-century avant-garde to adopt the appearance of non-work and, specifically, service work. In 1969, Mierle Laderman Ukeles presented the “Manifesto for Maintenance Art 1969! Proposal for an Exhibition ‘CARE,'” emphasizing the Western cultural practice’s foundation on the Freudian dichotomy between the death instinct and the life instinct, with the latter being associated with the perpetuation and maintenance of the species and conventionally assigned to the female gender (Ukeles, 1971). Ukeles employed maintenance work as a form of performance during the 1960s and 1970s and subsequently engaged in a sustained artist-in-residency project with the New York Department of Sanitation. Her involvement in both domestic and public spheres underscores the evolving role and agency of the artist in Western society during the latter half of the 20th century, prompting inquiries into labor and value.",[],{"_key":5666,"_type":208,"children":5667,"markDefs":5672,"style":221},"822b48c9b5fd",[5668],{"_key":5669,"_type":212,"marks":5670,"text":5671},"058a53a1f5520",[],"The opening up of the field continued to branch into new directions of artistic practices, and by the 1990s, as a result of the shift in the middle of the 20th century, artists in the Americas and Europe had transcended traditional disciplinary boundaries, engaging in diverse forms of labor within non-art contexts. From the 1990s, thinkers such as Claire Bishop, Shannon Jackson, Lucy Lippard, Miwon Kwon, Grant Kester, and others have written about the social turn and various forms of participatory strategies artists have engaged with and popularized throughout the second half of the 20th century and in the 21st century, proving that these forms of engagement are here to stay. Their open-ended nature, in conjunction with formal strategies, is indistinguishable from service work, organizational work, maintenance work, activism, and pedagogical practices, continuing to complicate the forms of socially-oriented practices and the discourse that addresses them within fields of theory and practice.",[],{"_key":5674,"_type":208,"children":5675,"markDefs":5680,"style":221},"0269976ac138",[5676],{"_key":5677,"_type":212,"marks":5678,"text":5679},"5fae43b54da30",[],"Indeed, the work that happens behind the scenes in every project that bears fruit at one point or another requires a substantial input of labor. Within durational formats, such as many pedagogical projects, certain milestones for the projects-in-progress are set to track the work development and allow for feedback exchange between the assisting and the performing task parties. Again, both of these require the input of time, skill, communication efforts, and labor, setting forth the liminal space between the “behind-the-scenes” and “shared with the public.”\nIt is specifically within the confines of this unconfined “work-in-progress” space of experimentation, feeding from other side projects and countless hours of unpaid labor with trials and errors, that make the work on “work” possible in the first place.",[],{"_key":5682,"_type":208,"children":5683,"markDefs":5688,"style":221},"f698920fb6a8",[5684],{"_key":5685,"_type":212,"marks":5686,"text":5687},"4056983c6f2c0",[214],"SoCial space: “behind the scenes”",[],{"_key":5690,"_type":208,"children":5691,"markDefs":5696,"style":221},"8f8037372fab",[5692],{"_key":5693,"_type":212,"marks":5694,"text":5695},"23d5c38ea1830",[],"The School of Commons that the “There, there” working group joined as participants in the 2023 Cohort provided the group with a curriculum surprisingly close to its title. While each of the groups and individuals applied with their project that was yet to be developed throughout the year, the majority of the time within our Focus Group (a smaller group focused on developing several contributions to SoC), we were truly engaged in testing the “school” format and the “commons” format regarding role-establishing and idea-generating.",[],{"_type":406,"caption":7,"image":5698},{"alt":5595,"asset":5699},{"_id":5597,"height":5598,"orientation":358,"ratio":5599,"url":5600,"width":5601},{"_type":410,"settings":7,"text":5701},[5702],{"_key":5703,"_type":208,"children":5704,"markDefs":5709,"style":221},"dbb335dd45b1",[5705],{"_key":5706,"_type":212,"marks":5707,"text":5708},"5950a05132140",[],"The first half of the year within SoC was dedicated to getting to know the values and aspirations of focus group participants, and each bi-weekly meeting was dedicated to re-introducing our moods and feelings with ice-breakers, followed by discussing what aspects and ideas unite us. However, knowing that the common task for focus groups was to find a common thread between the projects and practices involved within the SoC and produce material for the podcast, as well as to develop a sharing session, the group soon entered the phase of organizational arrangements. This was a natural flow of discussion. However, it allowed no time at all to bring forth feedback sessions and exchange ideas regarding the projects that people in the group had applied. Moreover, the choice of the public sharing moment in our focus group was distinctly different from some other focus groups that chose an offered version of a lecture with an invited practitioner in the field of interest. Our group, however, delved into a space of co-curating and co-organizing a shared experience – a cooking session open to the public. This choice, initially predicated by the shared values of nourishing the community space and finding food to be a unifying and culturally diverse factor allowing for various identities to be expressed and common space to be shared, involved numerous tasks with regard to ideation, facilitation, and implementation. Each phase had fewer and fewer people being active in the group, allowing those who were more active during this intense phase to know each other better. With the load of organizational work that underlined the public sharing event, many people’s concern about the shift of attention from their submitted project to the project expected on the part of the focus group had proven to be an issue for some of the participants in the group. Perhaps due to this aspect, the participation of some people in the process after the bi-weekly meetings had ended became very minimal, and, understandably, it was clear that there was a lack of investment in a common project and focus on a personal project.",[],{"_type":406,"caption":7,"image":5711},{"alt":5595,"asset":5712},{"_id":5713,"height":5598,"orientation":358,"ratio":5714,"url":5715,"width":5716},"image-09397f30c216e9d30b5a01e8c61dacfdc3a837d5-593x1024-png",0.5791015625,"https://cdn.sanity.io/images/eodip22e/production/09397f30c216e9d30b5a01e8c61dacfdc3a837d5-593x1024.png",593,{"_type":410,"settings":7,"text":5718},[5719],{"_key":5720,"_type":208,"children":5721,"markDefs":5726,"style":221},"eb0533dd0a0e",[5722],{"_key":5723,"_type":212,"marks":5724,"text":5725},"01eb9a4d52600",[],"However, looking back at the year, the year-long development of the common project, in fact, took a truly learning and pedagogical experience. A model of micro-society with people who agreed to come together, think together, and generate together something that they hadn’t done before in the company of people they found themselves with, in a setting and context that was new to them. With this, the focus group tasks, while taking away from the agenda of the individual project, nevertheless, turned out to be a true learning experiment where hands-on testing of ideas that we write about outside of the SoC context, ideals that we strive to in society (civil participation, inclusion and appreciation of differences, shifting roles and democratic decision-making, horizontal structures that yet have a limited time to accomplish tasks efficiently and yet be process-driven and open-ended) with the embodied presence as part of this experiment that was run throughout the year with other people.",[],{"_type":406,"caption":7,"image":5728},{"alt":5595,"asset":5729},{"_id":5730,"height":5598,"orientation":358,"ratio":5731,"url":5732,"width":5733},"image-f566c88c75092b324eef1f8535cab2520bbbb011-704x1024-png",0.6875,"https://cdn.sanity.io/images/eodip22e/production/f566c88c75092b324eef1f8535cab2520bbbb011-704x1024.png",704,{"_type":410,"settings":7,"text":5735},[5736,5744,5756,5764,5772,5780],{"_key":5737,"_type":208,"children":5738,"markDefs":5743,"style":221},"330635029eb2",[5739],{"_key":5740,"_type":212,"marks":5741,"text":5742},"3fb1278190620",[],"Hopefully, these “behind-the-scenes” reflections have emerged in other groups’ and individuals’ contemplation of this year’s work and participation in SoC.",[],{"_key":5745,"_type":208,"children":5746,"markDefs":5755,"style":221},"89e37e941fa6",[5747,5751],{"_key":5748,"_type":212,"marks":5749,"text":5750},"b559017ff03d0",[214],"SoCial space: Outside SoC",{"_key":5752,"_type":212,"marks":5753,"text":5754},"b559017ff03d1",[]," ‘",[],{"_key":5757,"_type":208,"children":5758,"markDefs":5763,"style":221},"fb5665a20155",[5759],{"_key":5760,"_type":212,"marks":5761,"text":5762},"4d444c507a770",[],"Artistic research, a relatively recent and innovative form of artistic practice that merges the creative process with academic inquiry, nevertheless has roots in the very traditional apprentice model – one joins the process and learns “hands-on” from the master within the environment. Today’s definition underscores the expansion of traditional artistic boundaries and embraces an interdisciplinary approach, encouraging collaboration between artists and scholars from diverse fields. Unlike conventional art forms that prioritize final artworks, artistic research places equal importance on the process itself, promoting critical inquiry, exploration, and experimentation. Documentation is pivotal, with artists producing written texts, visual records, or multimedia presentations to capture their research journey. The outcomes of artistic research are open-ended, ranging from exhibitions and performances to publications and installations, challenging established artistic norms. This form of research is subject to peer review and aims to contribute to both artistic practice and academic knowledge, often addressing contemporary issues and pushing the boundaries of art. With growing recognition in academia and alternative institutions, artistic research has ignited debates about the nature of art and the role of creativity in research, shaping the evolving landscape of contemporary art and scholarship. Within the context of the SoC curriculum and the distribution of work efforts throughout the year, artistic research, we would argue, involves the reality of the interdependence of projects that are done throughout the year outside of the SoC curriculum that yet feeds it.",[],{"_key":5765,"_type":208,"children":5766,"markDefs":5771,"style":221},"54c92af317bb",[5767],{"_key":5768,"_type":212,"marks":5769,"text":5770},"11df8e1ef7610",[],"In the same vein, Kim Grant’s “All About Process: The Theory and Discourse of Modern Artistic Labor” delves into the concept of the artistic process rather than focusing on deadlines in the artistic field. Her analysis emphasizes the growing importance of the process in modern and contemporary art, examining how this shift affects the understanding of art, art-making, and the artist’s role in society. The book highlights that many artists now prioritize the process of creation over the final artwork, showing a commitment to creative labor and allowing their work to evolve naturally. While Grant explores the contrast between artistic creation and utilitarian or industrial production, she notes the physicality and often endless nature of the artist’s work, which lacks a clear goal and differs from the production of utilitarian objects. This positions the artist’s process as a self-sufficient activity without a certain end.",[],{"_key":5773,"_type":208,"children":5774,"markDefs":5779,"style":221},"7159cc5b033a",[5775],{"_key":5776,"_type":212,"marks":5777,"text":5778},"bb7895a552e80",[],"Framing the process of work outside of the SoC by the “There, there” working group over the course of 2023, this text attempts to celebrate the hidden “behind-the-scenes” of the artists’ work that fed and continues to fuel the work on podcasts that has been set within the floating lines of delivery. Provided that these creative practitioners gather tangible and intangible materials as well as contacts for the podcast project, in many cases, that are yet to gain form, a brief outline of the occasions to meet and gain insights on the course of their creative practices is shown below.",[],{"_key":5781,"_type":208,"children":5782,"markDefs":5787,"style":221},"0d918151aa90",[5783],{"_key":5784,"_type":212,"marks":5785,"text":5786},"57bedbd628100",[],"Perhaps the primary two aspects of our ideation of podcast themes and episodes happen and continue to take place in the mode of relational work – in our research and doing events with different people. Creating connections and working with people allows for ideas to be discovered and generated in relationships, especially in the context in which the world operates – within and outside of institutional frameworks. On the one hand, the “There, there” team operates part-time within these institutions. On the other hand, the “There, there” team also challenges the established norms by proposing alternative ways to be within institutions, exploring practices that have been challenging institutional frameworks for a longer time, and proposing mechanisms of working within these institutions differently. Considering that Lena, Luise, and Sabrina are all on the path towards writing their doctoral dissertations while at the same time operating within the domain of practice-driven research within the fields of institutional critique, community work, feminist practices, and alternatives to academic forms of knowledge production and dissemination, these three have also worked throughout 2023 on their projects outside of SoC. These, while being kept behind the scenes, will undoubtedly influence their work on podcasts in 2024.",[],{"_type":406,"caption":7,"image":5789},{"alt":5595,"asset":5790},{"_id":5791,"height":5716,"orientation":400,"ratio":5792,"url":5793,"width":5316},"image-44f01379196273366a7e3ee42ba835866e02690f-768x593-png",1.2951096121416525,"https://cdn.sanity.io/images/eodip22e/production/44f01379196273366a7e3ee42ba835866e02690f-768x593.png",{"_type":410,"settings":7,"text":5795},[5796],{"_key":5797,"_type":208,"children":5798,"markDefs":5803,"style":221},"9d6ba3d12330",[5799],{"_key":5800,"_type":212,"marks":5801,"text":5802},"0e036231d3ae0",[],"The second huge aspect of the work that we are doing is focused on working with communities – people who are interested in being together and sharing activities that help us nurture relationships, establish friendships, and create safe spaces to be ourselves without judgments and prejudices. Often, these endeavors are long-lasting, and events that frame certain milestones as dates on a calendar are simply markers that allow the world to discover what has been there all along. 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As a supplement to the sonic-based components of the by-weekly email sent out, each document embeds visual material and a set of links to the playlist that uncovers the by-weekly theme from various angles.",[],{"_type":406,"caption":7,"image":7374},{"alt":7286,"asset":7375},{"_id":7376,"height":7377,"orientation":400,"ratio":7378,"url":7379,"width":5316},"image-47fa0eb64603fb052097b301bdee5e179b362e74-768x341-png",341,2.2521994134897363,"https://cdn.sanity.io/images/eodip22e/production/47fa0eb64603fb052097b301bdee5e179b362e74-768x341.png",{"_type":410,"settings":7,"text":7381},[7382,7390,7406,7414,7422,7430,7438,7457],{"_key":7383,"_type":208,"children":7384,"markDefs":7389,"style":221},"d371c499c9a3",[7385],{"_key":7386,"_type":212,"marks":7387,"text":7388},"6e60f8fb47160",[],"This methodology expands document-based artistic practice and affects the production, archiving, and dissemination of artistic works via a share button click.",[],{"_key":7391,"_type":208,"children":7392,"markDefs":7405,"style":221},"fe8d3f1822fc",[7393,7397,7401],{"_key":7394,"_type":212,"marks":7395,"text":7396},"7cec7d7f64800",[214],"Such methodology opens up such timely questions as follows:",{"_key":7398,"_type":212,"marks":7399,"text":7400},"7cec7d7f64801",[],"\n\n",{"_key":7402,"_type":212,"marks":7403,"text":7404},"7cec7d7f64802",[214],"> What interesting questions arise between creation, routines, and documentation in knowledge production and contemporary art?",[],{"_key":7407,"_type":208,"children":7408,"markDefs":7413,"style":221},"46d37f0d977d",[7409],{"_key":7410,"_type":212,"marks":7411,"text":7412},"9d60162eef830",[214],"> How does a document-based format embedded within utilitarian and widely accessible platforms such as Google affect an artwork’s aesthetic and formal qualities?",[],{"_key":7415,"_type":208,"children":7416,"markDefs":7421,"style":221},"e83bd83b1523",[7417],{"_key":7418,"_type":212,"marks":7419,"text":7420},"9ae46080b9a00",[214],"> How can document-based works function as knowledge-dissemination devices, and how do their multifaceted utilitarian qualities affect authorship?",[],{"_key":7423,"_type":208,"children":7424,"markDefs":7429,"style":221},"26f2c2b126a5",[7425],{"_key":7426,"_type":212,"marks":7427,"text":7428},"783999bf42bf0",[214],"> How do web-based and practical-tool-driven platforms transform the perceptual space of the viewer/reader?",[],{"_key":7431,"_type":208,"children":7432,"markDefs":7437,"style":221},"2f1fb32c3ae1",[7433],{"_key":7434,"_type":212,"marks":7435,"text":7436},"177fd1a2cddc0",[214],"> What are the curatorial dimensions of document-based art presented on such platforms as Google-based spreadsheets, and what implications do such forms of practices that employ utilitarian documents have on the practices of artwork display?",[],{"_key":7439,"_type":208,"children":7440,"markDefs":7456,"style":221},"71751c52f510",[7441,7445,7448,7452],{"_key":7442,"_type":212,"marks":7443,"text":7444},"1384f824e44e0",[],"In relation to the phenomenon of document-based art, spreadsheeting also invites the audience to playfully engage with the material formally presented as a “hack” of the habitual system, hence evoking a different kind of attention in studying the material presented as part of the spreadsheeting art format.\nThe final point is that the format of spreadsheeting art naturally transforms into an archival device for ",{"_key":7446,"_type":212,"marks":7447,"text":7367},"1384f824e44e1",[1056],{"_key":7449,"_type":212,"marks":7450,"text":7451},"1384f824e44e2",[]," are contemplations on the subjects of care, maintenance, and awareness during times of crisis.\n\n",{"_key":7453,"_type":212,"marks":7454,"text":7455},"1384f824e44e3",[214],"Precedents of spreadsheeting-based work:",[],{"_key":7458,"_type":208,"children":7459,"markDefs":7464,"style":221},"6328b50dbdff",[7460],{"_key":7461,"_type":212,"marks":7462,"text":7463},"ac752ceb49db0",[],"Initially, the project was inspired by the works of Bana Haffar (Canada and US-based Lebanese sound artist), Lena Pozdnyakova (Germany-based artist from Kazakhstan), and Aisha Jandosova (US-based artist with Qazaq and Kyrgyz roots). Each of their works incorporates Google spreadsheets as the primary platform for sharing their creative showcase, display of work, and research.",[],{"_type":406,"caption":7,"image":7466},{"alt":7286,"asset":7467},{"_id":7468,"height":7469,"orientation":400,"ratio":7470,"url":7471,"width":5316},"image-28231a68814a5ef5e3922cd5f132b14765363721-768x482-png",482,1.5933609958506223,"https://cdn.sanity.io/images/eodip22e/production/28231a68814a5ef5e3922cd5f132b14765363721-768x482.png",{"_type":410,"settings":7,"text":7473},[7474,7497],{"_key":7475,"_type":208,"children":7476,"markDefs":7494,"style":221},"87686b78ec3d",[7477,7481,7485,7489],{"_key":7478,"_type":212,"marks":7479,"text":7480},"0e9638b60fc30",[],"In the case of ",{"_key":7482,"_type":212,"marks":7483,"text":7484},"0e9638b60fc31",[214],"Bana Haffar",{"_key":7486,"_type":212,"marks":7487,"text":7488},"0e9638b60fc32",[],", an electronic music composer working with the materiality of sound through ongoing independent research-creation in music sequencing and weaving technologies, a Google-based spreadsheet served as a platform for releasing her music. Since 2019, this format has been publicly available and is continuously evolving. ",{"_key":7490,"_type":212,"marks":7491,"text":7493},"0e9638b60fc33",[7492],"7742e30a1b0d","Click here to see this work.",[7495],{"_key":7492,"_type":238,"href":7496},"https://docs.google.com/spreadsheets/u/0/d/1JJGQv7dsmmwGjEA5U8iXq-eIG4Jab85KbSs55vsf7U8/htmlview#",{"_key":7498,"_type":208,"children":7499,"markDefs":7516,"style":221},"a599aedfdf88",[7500,7504,7507,7511],{"_key":7501,"_type":212,"marks":7502,"text":7503},"dbbc3b06ef100",[],"Since 2022, when the full-blown war and invasion of Ukraine was started by the Russian State, ",{"_key":7505,"_type":212,"marks":7506,"text":5243},"dbbc3b06ef101",[214],{"_key":7508,"_type":212,"marks":7509,"text":7510},"dbbc3b06ef102",[],", an artist who looks at the concept of an embodiment of daily life and blurring the boundary between life and art, has used Google spreadsheet to accommodate the space for not only for displaying of her works on subjects of ecology, intergenerational work, and sonic-based practices but also for writing statements of concern. 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In 2023, she “drew #shiAlphabet (named after/loosely based on the elongated pixel patterns of cım-cıy reed screens).” ",{"_key":7549,"_type":212,"marks":7550,"text":7552},"389d87e1b6362",[7551],"fdf45768a2a0","Click here to learn more about this research.",[7554],{"_key":7551,"_type":238,"href":7555},"https://www.instagram.com/towardsanidealplace/",{"_type":5118,"slides":7557},[7558,7565],{"_type":406,"caption":7,"image":7559},{"alt":7286,"asset":7560},{"_id":7561,"height":7562,"orientation":400,"ratio":7563,"url":7564,"width":5316},"image-1f96df3a9635b6603eed914b2ddbae5fc56f3136-768x582-png",582,1.3195876288659794,"https://cdn.sanity.io/images/eodip22e/production/1f96df3a9635b6603eed914b2ddbae5fc56f3136-768x582.png",{"_type":406,"caption":7,"image":7566},{"alt":7286,"asset":7567},{"_id":7568,"height":7569,"orientation":400,"ratio":7570,"url":7571,"width":5316},"image-0869b216601de7b84e930c9d237de41070ed1306-768x585-png",585,1.3128205128205128,"https://cdn.sanity.io/images/eodip22e/production/0869b216601de7b84e930c9d237de41070ed1306-768x585.png",{"_type":410,"settings":7,"text":7573},[7574],{"_key":7575,"_type":208,"children":7576,"markDefs":7586,"style":221},"ff9f24445c09",[7577,7581],{"_key":7578,"_type":212,"marks":7579,"text":7580},"cfd87e8cf79b0",[],"Please view the materials shared as part of disseminating the spreadsheeting art, awareness, and knowledge (audio-based / playlist) ",{"_key":7582,"_type":212,"marks":7583,"text":7585},"cfd87e8cf79b1",[7584],"37b97906ec4b","here.",[7587],{"_key":7584,"_type":238,"href":7588},"https://docs.google.com/spreadsheets/d/1H_oFQShNDNqLwmUiYEg1oVgM_8Cm5vkOp5POApiMnik/edit?usp=sharing",{"_type":406,"caption":7,"image":7590},{"alt":7286,"asset":7591},{"_id":7592,"height":5598,"orientation":358,"ratio":7593,"url":7594,"width":7595},"image-7f5939c3b2fdd3c5d40c8c978dd52e6f6793952a-766x1024-png",0.748046875,"https://cdn.sanity.io/images/eodip22e/production/7f5939c3b2fdd3c5d40c8c978dd52e6f6793952a-766x1024.png",766,{"_type":406,"caption":7,"image":7597},{"alt":7286,"asset":7598},{"_id":7599,"height":7600,"orientation":400,"ratio":7601,"url":7602,"width":5316},"image-bb65308347b543c856e001d7d37846a0c4bb58c4-768x498-png",498,1.5421686746987953,"https://cdn.sanity.io/images/eodip22e/production/bb65308347b543c856e001d7d37846a0c4bb58c4-768x498.png","2023-07-09",{"_type":9,"current":7605},"practical-archives-navigating-artistic-documentation-in-a-mundane-world","Since the middle of the last century, many efforts have been put into dissolving the distinction between artworks and documents. 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",{"_id":7699,"height":7700,"orientation":400,"ratio":3527,"url":7701,"width":6206},"image-48b3eb446c95052016ea8fe133a9e95c8084a50e-2560x1920-jpg",1920,"https://cdn.sanity.io/images/eodip22e/production/48b3eb446c95052016ea8fe133a9e95c8084a50e-2560x1920.jpg",[7703,7714,7720,7795],{"_type":410,"settings":7704,"text":7705},{"textColumnCount":412},[7706],{"_key":7707,"_type":208,"children":7708,"markDefs":7713,"style":221},"4896ce066c2b",[7709],{"_key":7710,"_type":212,"marks":7711,"text":7712},"5adae608b6410",[],"During the month of April, HumDrum Press had the pleasure of being invited to join a workshop led by backbonebooks as part of PrintRoom Rotterdam's Growing the Archive series.",[],{"_type":406,"caption":7,"image":7715},{"alt":7,"asset":7716},{"_id":7717,"height":6206,"orientation":358,"ratio":7718,"url":7719,"width":7700},"image-c5f9a164f31c656d341841f764e0614a6e1b5e5b-1920x2560-jpg",0.75,"https://cdn.sanity.io/images/eodip22e/production/c5f9a164f31c656d341841f764e0614a6e1b5e5b-1920x2560.jpg",{"_type":410,"settings":7,"text":7721},[7722,7752,7760,7768,7776],{"_key":7723,"_type":208,"children":7724,"markDefs":7747,"style":221},"f9f98e07b1a6",[7725,7729,7734,7738,7743],{"_key":7726,"_type":212,"marks":7727,"text":7728},"a38352db04570",[],"In April, Amy, in representation of HumDrum Press, had the pleasure of being invited to join a workshop led by ",{"_key":7730,"_type":212,"marks":7731,"text":7733},"a38352db04571",[7732],"e5f537d41f2e","backbonebooks",{"_key":7735,"_type":212,"marks":7736,"text":7737},"a38352db04572",[]," as part of ",{"_key":7739,"_type":212,"marks":7740,"text":7742},"a38352db04573",[7741],"fa69668d2579","PrintRoom Rotterdam",{"_key":7744,"_type":212,"marks":7745,"text":7746},"a38352db04574",[],"‘s Growing the Archive series.",[7748,7750],{"_key":7732,"_type":238,"href":7749},"http://backbonebooks.net/connect/",{"_key":7741,"_type":238,"href":7751},"http://www.printroom.org/",{"_key":7753,"_type":208,"children":7754,"markDefs":7759,"style":221},"d0fb796e5b4b",[7755],{"_key":7756,"_type":212,"marks":7757,"text":7758},"8d0aa78d31380",[],"Claudia de la Torre, the founder of backbonebooks, began the workshop by sharing some of context surrounding her background in publishing. Claudia’s practice centres book arts, looking at the creation of objects, fields and spaces in relation to the book as a highly historical & contemporary medium. As such, backbonebooks performs consistently in a flexible, conceptual and collaborative process, aiming to open a new perspective on what a book can be.",[],{"_key":7761,"_type":208,"children":7762,"markDefs":7767,"style":221},"c3a97be6d2aa",[7763],{"_key":7764,"_type":212,"marks":7765,"text":7766},"e6b4972af9d40",[],"The workshop entailed working with a selection of 21 books from PrintRoom’s archive, which spans innumerable works collected over the past 10 years of PrintRoom’s existence. Participants were invited to take their time browsing through the 21 selected titles, to become familiar with the books, and acquainted with their content, design, scope and associations. We were then invited to write down word, phrase and meaning associations with a selection of 5 books from the 21 presented. For each book we were also asked to write down further references we think were connected to the book.",[],{"_key":7769,"_type":208,"children":7770,"markDefs":7775,"style":221},"372748ff6dcc",[7771],{"_key":7772,"_type":212,"marks":7773,"text":7774},"7c42311ca4f50",[],"The purpose of the workshop was unravel the cross-lineages of connections, associations, and intertextuality between books and other artistic or cultural artefacts. To understand that no book can be understood or read as a single instance, but is interconnected to an entire world of objects, creations, associations, memories and more. In this sense, we were creating an archive within an archive within an archive. At the end of the workshop, Claudia collected our associated meanings together, and, at the end of the week, turned these meanings into a publication of their own to be presented as Misread Berlin.",[],{"_key":7777,"_type":208,"children":7778,"markDefs":7792,"style":221},"c92da85e1c72",[7779,7783,7788],{"_key":7780,"_type":212,"marks":7781,"text":7782},"10b81dcdb1a00",[],"Conversations during the workshop centred around cross referencing, associated meanings, archives within archives, books within books, and the ongoing lifespan of a book before and after it is made (a personal favourite for HumDrum Press). 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By this we mean:",[],{"_key":8245,"_type":208,"children":8246,"markDefs":8251,"style":221},"991afeab4cbd",[8247],{"_key":8248,"_type":212,"marks":8249,"text":8250},"2ae5e9b38226",[],"→ Content delivered, Amy does full editing with comments, suggestions, cuts etc.",[],{"_key":8253,"_type":208,"children":8254,"markDefs":8259,"style":221},"e8b47a3252ff",[8255],{"_key":8256,"_type":212,"marks":8257,"text":8258},"73352c9dbb7e",[],"→ Option for meeting to discuss editing",[],{"_key":8261,"_type":208,"children":8262,"markDefs":8267,"style":221},"0c583079f272",[8263],{"_key":8264,"_type":212,"marks":8265,"text":8266},"85dc01fa1b89",[],"→ Final delivery and proofread",[],{"_key":8269,"_type":208,"children":8270,"level":536,"listItem":537,"markDefs":8275,"style":221},"bf7a45412173",[8271],{"_key":8272,"_type":212,"marks":8273,"text":8274},"a5b17ab91884",[],"One full round of design. 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You flip open your notebook. It takes you a while to locate the ",{"_key":8496,"_type":212,"marks":8497,"text":8498},"19a49aa0702a1",[1056],"FAST45 Learning Platform",{"_key":8500,"_type":212,"marks":8501,"text":8502},"19a49aa0702a2",[]," hidden between the many tabs lining your browser bar, most of which have been sitting there for days and should probably be closed soon. More out of habit than real interest you check for updates. The drop-down list shows 6 new messages, 4 new links to your projects, 20 new comments and 3 new tasks to be completed. The time is running out on your latest project but you’re still waiting for your next workshop appointment so you can finally finish working on it. You check up on that. Request still pending. Nothing you can do but to navigate to your coursework. Maybe it’s good to use the time instead to get started on your readings.",[],{"_key":8505,"_type":208,"children":8506,"markDefs":8519,"style":221},"cca4edd733d7",[8507,8511,8515],{"_key":8508,"_type":212,"marks":8509,"text":8510},"f59e13db690d0",[],"Like always, you perform a superficial scan to see whether you can even be bothered with “Theories of Sp–” but then you notice something strange is going on in the ",{"_key":8512,"_type":212,"marks":8513,"text":8514},"f59e13db690d1",[1056],"Footnotes",{"_key":8516,"_type":212,"marks":8517,"text":8518},"f59e13db690d2",[],": comments and annotations are mushrooming all over the sidebar…",[],{"_type":410,"settings":7,"text":8521},[8522,8676,8683,8690,8697,8704,8711,8718,8731,8744,8757,8770,8777,8784,8791],{"_key":8523,"_type":208,"children":8524,"markDefs":8530,"style":221},"16830ad3f31e",[8525],{"_key":8526,"_type":212,"marks":8527,"text":8529},"be376519374c0",[8528],"0a70e2c39d66","______________",[8531],{"_key":8528,"_type":5630,"allFootnotes":8532,"footnoteText":8534,"markKey":8528},[8533],{"_key":8528},[8535,8543,8551,8559,8567,8575,8591,8607,8623,8638,8646,8654,8662],{"_key":8536,"_type":208,"children":8537,"markDefs":8542,"style":221},"cba274d7bbbc",[8538],{"_key":8539,"_type":212,"marks":8540,"text":8541},"e26e19445f5b",[],"76. Since 2030 the tacit agreement of learning institutions around the globe seems to have been to assume the responsibility of rendering art education “more accessible, less resource-intensive and more critical of its own productive capacities”. How could this be used as an excuse to close public school buildings in favor of a neoliberal rent-extraction scheme?",[],{"_key":8544,"_type":208,"children":8545,"markDefs":8550,"style":221},"a93be601dd5e",[8546],{"_key":8547,"_type":212,"marks":8548,"text":8549},"8d019e7e78a0",[],"102. Remember when learning was not segmented into isolated slivers of time, but an ongoing process of exchange and experimentation? I spend half of my study time sending applications to appeal to finance committees for resources to fund self-initiated projects.",[],{"_key":8552,"_type":208,"children":8553,"markDefs":8558,"style":221},"22a7f857ec6d",[8554],{"_key":8555,"_type":212,"marks":8556,"text":8557},"f7144e406058",[],"116. Why does everyone always speak of contributing to societal changes, but never about what kind of change is desirable, or the conditions under which it should manifest?",[],{"_key":8560,"_type":208,"children":8561,"markDefs":8566,"style":221},"2a6a10d5c387",[8562],{"_key":8563,"_type":212,"marks":8564,"text":8565},"a052f07066e0",[],"135. What role does art even play these days? I feel that in our time of economical precarity, art has become either pure luxury or a coping mechanism. The Learning Platform has created a global exchange of knowledge that has been unprecedented, but the tools and techniques that we are building need to be applied to local contexts and communities. It is true that this requires meeting places.",[],{"_key":8568,"_type":208,"children":8569,"markDefs":8574,"style":221},"b203f7487f14",[8570],{"_key":8571,"_type":212,"marks":8572,"text":8573},"e1955b924742",[],"156. I heard that some of the science campuses now offer studios to artists for free! The facilities seem great but I am afraid that my work will become too ‘tied up’. Does anyone have experience with these startups?",[],{"_key":8576,"_type":208,"children":8577,"markDefs":8590,"style":221},"34f8512710cd",[8578,8582,8586],{"_key":8579,"_type":212,"marks":8580,"text":8581},"abd1fe9596f4",[],"175. We are ",{"_key":8583,"_type":212,"marks":8584,"text":8585},"046e3095ebd1",[1056],"Red Tongues",{"_key":8587,"_type":212,"marks":8588,"text":8589},"c54ce42bb1c4",[],", we organize weekly workshops and sharing sessions in homes and open cantines and hear this is happening in more and more places. If you know of an organization or want to be connected to a group in your city send us a mail: contact@0ct0p0s.net",[],{"_key":8592,"_type":208,"children":8593,"markDefs":8606,"style":221},"bb46e15c9697",[8594,8598,8602],{"_key":8595,"_type":212,"marks":8596,"text":8597},"c01e7edb7ee5",[],"221. Hey, ",{"_key":8599,"_type":212,"marks":8600,"text":8601},"7e34047f72dc",[1056],"Good Nerves",{"_key":8603,"_type":212,"marks":8604,"text":8605},"a52636d06ce4",[]," here, we are formulating demands to revise the platform script. We are also closely linked with a group that is collecting alternative practices of cultural production that have emerged since the 30s. ",[],{"_key":8608,"_type":208,"children":8609,"markDefs":8622,"style":221},"0a060410faf8",[8610,8614,8618],{"_key":8611,"_type":212,"marks":8612,"text":8613},"e1b06700ca8f",[],"234. Art surely is a practice of unlearning. But to ‘",{"_key":8615,"_type":212,"marks":8616,"text":8617},"32e536398d93",[1056],"revise’ does",{"_key":8619,"_type":212,"marks":8620,"text":8621},"8df271491143",[]," not necessarily imply the total deconstruction of previous knowledge. There surely are parts that can be resurrected. Their order might, however, need to be broken up, reshuffled, reassembled, or molded differently…",[],{"_key":8624,"_type":208,"children":8625,"markDefs":8637,"style":221},"541d022a227f",[8626,8630,8633],{"_key":8627,"_type":212,"marks":8628,"text":8629},"cea4ed02201d",[],"331. Hey sorry I couldn’t log in for a while since we were out of electricity last week, but I love how we’re taking over ",{"_key":8631,"_type":212,"marks":8632,"text":8514},"bffe6b197f0a",[1056],{"_key":8634,"_type":212,"marks":8635,"text":8636},"873771b17f08",[],". Still need to scroll through some more, but really feel heard with most of what you’ve been chatting about here. Let’s make this a habit, let’s plot and scheme and seep and leech into these bodies of organized scripts.",[],{"_key":8639,"_type":208,"children":8640,"markDefs":8645,"style":221},"a53d62bb2bb3",[8641],{"_key":8642,"_type":212,"marks":8643,"text":8644},"10a0592025bc",[],"389. We should do something like Wikipedia Editing Workshops. 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Her expressions often carry thematic ties to gender, sexuality, queerness, and psychological fragility and resilience. These expressions aim to participate in social rhetoric and counter-cultural pursuits of change.",[],{"_key":9994,"_type":208,"children":9995,"markDefs":10004,"style":221},"e272115e9355",[9996,10000],{"_key":9997,"_type":212,"marks":9998,"text":9999},"2adc81d9d7c90",[214],"St Celfer,",{"_key":10001,"_type":212,"marks":10002,"text":10003},"2adc81d9d7c91",[]," once a New York artist, is now based in Seattle and São Paulo with drawings on display at the Museum of Contemporary Art (MAC-USP).",[],{"_key":10006,"_type":208,"children":10007,"markDefs":10016,"style":221},"15794f54ad4c",[10008,10012],{"_key":10009,"_type":212,"marks":10010,"text":10011},"768744848e170",[214],"Isa Fontbona",{"_key":10013,"_type":212,"marks":10014,"text":10015},"768744848e171",[]," (1987) is a Ph.D. researcher, natural bodybuilder competitor, and a performance artist. Fontbona holds two Bachelor’s Degrees, in Philosophy and Art History, as well as a Master’s Degree in Humanity Research at the University of Girona, Spain. Currently, she is completing her dissertation on the artistic and gendered interventions enabled by female and trans bodybuilding practices. This project, more than research, brought her to introduce herself to the performance art sphere. Her artistic work merges different approaches into the same coin: her research and her sports career. She explores the malleability of the body through her own skin, using bodybuilding as a tool. Through this corporeal practice, she questions the binary categorization regarding gender distinction, and the social pressure exerted on the expectations of the bodies. In some of her artworks, she challenges herself to the limits of the endurance of her body. She tends to ask about her own identity in relation to her body through uncomfortable positions.",[],{"_key":10018,"_type":208,"children":10019,"markDefs":10028,"style":221},"dda2e6f388aa",[10020,10024],{"_key":10021,"_type":212,"marks":10022,"text":10023},"b17956e9f98c0",[214],"Sophie Hoyl:",{"_key":10025,"_type":212,"marks":10026,"text":10027},"b17956e9f98c1",[]," I am an artist and writer whose practice explores an intersectional approach to postcolonial, queer, feminist, critical psychiatry and disability issues. I relate personal experiences of being queer, non-binary and part of the MENA (Middle East and North Africa) diaspora to wider forms of structural violence.",[],{"_key":10030,"_type":208,"children":10031,"markDefs":10040,"style":221},"449de32c8423",[10032,10036],{"_key":10033,"_type":212,"marks":10034,"text":10035},"b8a6b9edf3050",[214],"Alda Reiter",{"_key":10037,"_type":212,"marks":10038,"text":10039},"b8a6b9edf3051",[]," studied history and was trained as a printmaker in Belgium. In her work she aims to explore ancient worlds and associate them within a present perspective, as the world’s concerns stay timeless. @_alda_reiter_",[],{"_key":10042,"_type":208,"children":10043,"markDefs":10052,"style":221},"9f0b22663072",[10044,10048],{"_key":10045,"_type":212,"marks":10046,"text":10047},"13227de17a850",[214],"Anabel Roque Rodríguez",{"_key":10049,"_type":212,"marks":10050,"text":10051},"13227de17a851",[]," is an art historian, writer and curator currently based between St. Gallen (Switzerland) and Munich (Germany). Her research focus lies on feminism, the relationship of art and the social, the financial crisis in the Mediterranean, community based art practices, labor issues in the arts and creative entrepreneurship.",[],{"_key":10054,"_type":208,"children":10055,"markDefs":10064,"style":221},"6042741965fa",[10056,10060],{"_key":10057,"_type":212,"marks":10058,"text":10059},"3618520ce9af0",[214],"Francesca Steele",{"_key":10061,"_type":212,"marks":10062,"text":10063},"3618520ce9af1",[]," is a performance artist, a writer and though her Ph.D. is researching ways in which the artists body itself documents the work. Her practice is held in reiterations, revisiting, remaking and reinterpreting works she has made in the past. Steele’s idea of the “female bio Cutup” reiterates body ‘reconfigured as arts practice’ or ‘document of work’ via the performative practice of bodybuilding and its undoing; inscribed bodily actions coincide to meet with Gysin’s and Burroughs Cutup technique and Acker’s reflections on her own bodybuilding practice. She has exhibited at many UK and international festivals, with work such as “The female bio cutup” (2018) SYMBIOTICA, Perth, Australia; “Recount”, SPILL Festival (2018). Her work has been featured in a range of publications, including “Marina Abramovic and the Future of Performance Art” (Prestel 2010). Steele’s work also features on internet sites such as ‘Girls with Muscle’ and persists outside the tradition of the white box space.",[],{"_key":10066,"_type":208,"children":10067,"markDefs":10076,"style":221},"e9966a20f060",[10068,10072],{"_key":10069,"_type":212,"marks":10070,"text":10071},"af88261a46980",[214],"Leonor Veiga",{"_key":10073,"_type":212,"marks":10074,"text":10075},"af88261a46981",[]," is an art historian and curator, currently associated with the University of Lisbon through the project “A History of Presence: a dialogue between Portuguese collections of material culture from Southeast Asia and Southeast Asian artists”. She was co-curator of Natura, the second edition of ARTFEM, Women Artists International Biennial of Macau SAR (2020). She holds Ph.D. from Leiden University (2018) with the dissertation entitled The Third Avant-Garde: Contemporary Art from Southeast Asia Recalling Tradition. The research, which analyzed contemporary art practices from the region that reprocess elements of traditional culture, was supervised by Prof. Dr. Kitty Zijlmans and Prof. Dr. Pieter ter Keurs. The dissertation was awarded the Humanities Best Dissertation Prize, by the International Convention of Asian Scholars (2019). Her curatorial work (2006-20) includes exhibitions in Indonesia, Mozambique, London, Macau and Lisbon. Her writing on the arts (2010-21) has mainly focused on non-Western art. Veiga was Guest Editor for CONVOCARTE 8 and 9, with the theme “Art and Time” (2020) and published in several journals and books, including “Movimentu Kultura: Making Timor-Leste” in Routledge Handbook of Contemporary Timor-Leste (Routledge, 2019); “The Third Avant-garde: messages of discontent,” in Southeast of Now: Directions in Contemporary and Modern Art in Asia, vol.1 – no.2 (NUS Press, October 2017); “Movimentu Kultura in Timor-Leste: Maria Madeira’s Agency,” in Cadernos Arte e Antropologia vol. 4 – n. 1 (2015) and “Suddenly we arrived: polarities and paradoxes of Indonesian contemporary art,” in Indonesian Eye: Contemporary Art from Indonesia, SKIRA Editore (2011).",[],{"_key":10078,"_type":208,"children":10079,"markDefs":10088,"style":221},"b5e511e5696b",[10080,10084],{"_key":10081,"_type":212,"marks":10082,"text":10083},"2a98e89a1d370",[214],"Alkistis Voulgari",{"_key":10085,"_type":212,"marks":10086,"text":10087},"2a98e89a1d371",[]," was born in Athens. She is an actress and dancer specialized on Isadora Duncan’s Dance Technique. Over the last two years she has started her own filming experimentations and performance creations which contain theatre, poetry, literature, dance, Isadora’s choreographies as well as personal choreographies.",[],{"_key":10090,"_type":208,"children":10091,"markDefs":10100,"style":221},"d0c48a837030",[10092,10096],{"_key":10093,"_type":212,"marks":10094,"text":10095},"29dd4a929abd0",[214],"Fadiah Wadud",{"_key":10097,"_type":212,"marks":10098,"text":10099},"29dd4a929abd1",[]," is a self-proclaimed procrastinator who sings when she’s happy but even louder when she’s not.",[],{"_key":10102,"_type":208,"children":10103,"markDefs":10112,"style":221},"b13f37efc2e4",[10104,10108],{"_key":10105,"_type":212,"marks":10106,"text":10107},"30172f678cf40",[214],"Nicolae Zamsa",{"_key":10109,"_type":212,"marks":10110,"text":10111},"30172f678cf41",[]," is an Irish/Moldovan graphic designer and researcher. 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After Barcelona, he studied in Seattle, and, later, Philadelphia. In 1999 he moved to Brooklyn and showed installations applying painting’s ideas of plasticity to everyday inexpensive objects (Gleaned Detritus Project™). Adding an interactive element he followed the same approach in the medium of sound (Listeners™). Furthermore, as a music fan of the 1990’s Seattle, he performed in 2000’s New York scene. Frustrated with the notion of making a living through object production, he extended his visual work to the digital realm (eyekhan.com & gnitcelfer.blogspot.com), alongside his music releases, by creating images based on failing digital processes.",[],{"_key":10348,"_type":208,"children":10349,"markDefs":10353,"style":221},"d8dd4a760713",[10350],{"_key":10351,"_type":212,"marks":10352,"text":435},"a3661fd712cd0",[],[],{"_key":10355,"_type":208,"children":10356,"markDefs":10361,"style":221},"efdab4b5f954",[10357],{"_key":10358,"_type":212,"marks":10359,"text":10360},"f45c806b88a60",[],"He currently has two projects: first, fighting the tyranny of the square, the urge to codify and name (Space Between Points™) and second, acquiescing to the adaptive function of delusion, the need to mythologize and invent (Step.4D™).",[],"St Celfer, once a New York artist, is now based in Seattle and São Paulo with drawings on display at the Museum of Contemporary Art (MAC-USP).",{"alt":10364,"asset":10365},"John Parker (aka St Celfer)",{"_id":10366,"height":10367,"orientation":358,"ratio":10368,"url":10369,"width":10370},"image-68c38e73033dbeec25b5c78fa58b99ee5e5e9b14-602x603-jpg",603,0.9983416252072969,"https://cdn.sanity.io/images/eodip22e/production/68c38e73033dbeec25b5c78fa58b99ee5e5e9b14-602x603.jpg",602,{"filterYear":10372},[10373],{"_id":114,"title":117},[10375],{"_type":371,"label":5256,"url":10376},"https://stcelfer.bandcamp.com/",{"locations":10378,"other":7},[10379,10384],{"_id":10380,"_type":378,"seo":7,"slug":10381,"title":10383},"dd3e3abc-4ccb-4b7b-86ba-8bfeb7e4f9e4",{"_type":9,"current":10382},"north-america","North America",{"_id":5982,"_type":378,"seo":7,"slug":10385,"title":5985},{"_type":9,"current":5984},[10387,116],"john parker (aka st celfer)",{"_type":9,"current":10389},"john-parker-aka-st-celfer",{"alt":10391,"asset":10392},"Interview with St. Celfer – Part I & 2",{"_id":10366,"height":10367,"orientation":358,"ratio":10368,"url":10369,"width":10370},[10394,10405,10424,10526,10584,10591,10681,10696],{"_type":410,"settings":10395,"text":10396},{"textColumnCount":412},[10397],{"_key":10398,"_type":208,"children":10399,"markDefs":10404,"style":221},"59491a68edea",[10400],{"_key":10401,"_type":212,"marks":10402,"text":10403},"72f6d72746350",[],"An interview with Seattle-based musician John Parker, aka St. Celfer, on burnout, homemade instruments, and making during the pandemic.",[],{"_type":5118,"slides":10406},[10407,10415,10418],{"_type":406,"caption":7,"image":10408},{"alt":10409,"asset":10410},"Band of Burnouts Interview with St. Celfer – Part I. An interview with Seattle-based musician John Parker, aka St. Celfer, on burnout, homemade instruments, and making during the pandemic.",{"_id":10411,"height":10412,"orientation":400,"ratio":10413,"url":10414,"width":6206},"image-130d40bdfeac59a07b978557c12c54740a4a31f4-2560x1773-jpg",1773,1.4438804286520022,"https://cdn.sanity.io/images/eodip22e/production/130d40bdfeac59a07b978557c12c54740a4a31f4-2560x1773.jpg",{"_type":406,"caption":7,"image":10416},{"alt":10409,"asset":10417},{"_id":10366,"height":10367,"orientation":358,"ratio":10368,"url":10369,"width":10370},{"_type":406,"caption":7,"image":10419},{"alt":10409,"asset":10420},{"_id":10421,"height":10422,"orientation":623,"ratio":536,"url":10423,"width":10422},"image-946afbe2cb429f7d4825066b7187719f86783b34-350x350-jpg",350,"https://cdn.sanity.io/images/eodip22e/production/946afbe2cb429f7d4825066b7187719f86783b34-350x350.jpg",{"_type":410,"settings":7,"text":10425},[10426,10441,10462,10486,10494,10502,10510,10518],{"_key":10427,"_type":208,"children":10428,"markDefs":10440,"style":221},"c0489aabb764",[10429,10433,10436],{"_key":10430,"_type":212,"marks":10431,"text":10432},"219c031e922d0",[214],"Hi John.",{"_key":10434,"_type":212,"marks":10435,"text":7982},"219c031e922d1",[],{"_key":10437,"_type":212,"marks":10438,"text":10439},"219c031e922d2",[214],"After hearing your musical submission and corresponding about your experience with burnout, it sounds like you have been on quite a journey through, with, and by making music.",[],{"_key":10442,"_type":208,"children":10443,"markDefs":10460,"style":221},"2ed15ade29f5",[10444,10448,10451,10456],{"_key":10445,"_type":212,"marks":10446,"text":10447},"4bf0a6a31bab0",[214],"You mentioned your burnout was related to your Olympic past. Can you tell us about your athletic life and how you came to",{"_key":10449,"_type":212,"marks":10450,"text":7982},"4bf0a6a31bab1",[],{"_key":10452,"_type":212,"marks":10453,"text":10455},"4bf0a6a31bab2",[214,10454],"082e335b9c0f","making music",{"_key":10457,"_type":212,"marks":10458,"text":10459},"4bf0a6a31bab3",[214],"?",[10461],{"_key":10454,"_type":238,"href":10376},{"_key":10463,"_type":208,"children":10464,"markDefs":10485,"style":221},"873c0dffc8ff",[10465,10469,10473,10477,10481],{"_key":10466,"_type":212,"marks":10467,"text":10468},"9a9d0d77bd920",[],"Hi, Jess. I really enjoyed discovering your writing and analysis. Your online magazine ",{"_key":10470,"_type":212,"marks":10471,"text":10472},"9a9d0d77bd921",[1056],"No Fun",{"_key":10474,"_type":212,"marks":10475,"text":10476},"9a9d0d77bd922",[]," is the opposite of its name and a captivating collection of ideas. I was pleased to find it via the ",{"_key":10478,"_type":212,"marks":10479,"text":10480},"9a9d0d77bd923",[1056],"Band of Burnouts",{"_key":10482,"_type":212,"marks":10483,"text":10484},"9a9d0d77bd924",[]," project. Considering ‘burnout’ as an ‘idea’ that could expand beyond the overuse of the word struck me. It is enjoyable for me to contemplate something that is an everyday concern in my field of sports and its more profound implications. I was both an athlete and coach at the Olympics. I believe that the term ‘burnout’ in sports has a slightly different meaning than elsewhere. It is more easily understood in the context of physical effort.",[],{"_key":10487,"_type":208,"children":10488,"markDefs":10493,"style":221},"a09532ad5755",[10489],{"_key":10490,"_type":212,"marks":10491,"text":10492},"0b6218dc5f540",[],"As an athlete, I was not the most talented. Slightly smaller, weaker, all fury and emotional energy. I was also a student of the sport (which I later applied to coaching). It was never sustainable, and ‘burnout’ was an accepted outcome… also called retirement. Back then I truly believed it was “better to burn out than fade away”. Fortunately, in sports you are not expected to do it your entire life.",[],{"_key":10495,"_type":208,"children":10496,"markDefs":10501,"style":221},"dd3d16443e13",[10497],{"_key":10498,"_type":212,"marks":10499,"text":10500},"32c99b4d172a0",[],"What is different in coaching is that you are in denial of the possibility of suffering from a burnout yourself since it reflects an inability to do your job or lack of ‘care’ for an athlete—especially at the Olympic level.",[],{"_key":10503,"_type":208,"children":10504,"markDefs":10509,"style":221},"994960ae4c2c",[10505],{"_key":10506,"_type":212,"marks":10507,"text":10508},"4dd10339a5520",[],"Perhaps in the past athletes were under the idea that having a burnout reflected a lack of toughness, or a suggestion that one is ‘just not into it’. Now we know that there is a real physical reaction to too much effort without enough recovery. This is supported by data. In fact, I primarily monitor athletes’ recovery and initiate conversations if they are feeling burned out.",[],{"_key":10511,"_type":208,"children":10512,"markDefs":10517,"style":221},"0de56c6ae76e",[10513],{"_key":10514,"_type":212,"marks":10515,"text":10516},"6966b3eafc550",[],"Back to your question regarding music making, my earliest memories are of both sports and music. Composing and performing came late and by accident, after many years as an avid fan attending shows, reading zines, buying vinyl, cassettes, and then CDs. I had lived through the Seattle 90s—my first job was there—and was lucky to witness a similar scene budding in Brooklyn during the early 00s when I left my job and moved to New York to become a full-time artist. I bought a laptop and a CD scratcher and started messing around. A highpoint happened at CBGB when I asked the sound guy to plug my computer into ‘his’ PA system. He did not answer and simply spat at my feet. Sacrilege! I had out-punked the punk rock guy at the place where it all began.",[],{"_key":10519,"_type":208,"children":10520,"markDefs":10525,"style":221},"8a63412d62f4",[10521],{"_key":10522,"_type":212,"marks":10523,"text":10524},"d2bafc674fe40",[],"Long story short, I ended up leaving New York, disenchanted with the art market. Fortunately, this only affected my desire “to make a living” in the arts and not the actual desire for making things. Really what I was burned out by was the business of it.",[],{"_type":410,"settings":7,"text":10527},[10528,10536,10544,10552,10560,10568,10576],{"_key":10529,"_type":208,"children":10530,"markDefs":10535,"style":221},"50e654b49068",[10531],{"_key":10532,"_type":212,"marks":10533,"text":10534},"09c33de030720",[214],"With this most recent music you’re releasing under St Celfer, how do you describe your sound? I know you are also making your own instruments…",[],{"_key":10537,"_type":208,"children":10538,"markDefs":10543,"style":221},"d0b8ce14be1c",[10539],{"_key":10540,"_type":212,"marks":10541,"text":10542},"e111c31240490",[],"In all the best ways, the description of my sound is a tagging nightmare. A crashing of neat and tidy labels crushed into digital soup. I have a folk sensibility manifested in electronic sound-making devices. In terms of composing, it is rooted in ideas of free jazz improvisation and experimentation. In terms of performance, I unabashedly hope to have a little emo flair—nothing flamboyant—just a small cathartic release I imagine a blues musician had in their heyday, causing trouble at a small club one hundred years ago.",[],{"_key":10545,"_type":208,"children":10546,"markDefs":10551,"style":221},"f7b3153fe0db",[10547],{"_key":10548,"_type":212,"marks":10549,"text":10550},"0d67ef0e1a370",[],"The instrument is called a “gambiarra” in Brazilian Portuguese and it is homemade. This instrument is meant to be played and heard live.",[],{"_key":10553,"_type":208,"children":10554,"markDefs":10559,"style":221},"ad972d256460",[10555],{"_key":10556,"_type":212,"marks":10557,"text":10558},"61a78d5618140",[],"During the lockdown at the height of the pandemic in 2020, I put together everything I have learned in both art and sport and created an interface for making music—playfully named ‘Step.4D’—a nod to the popular book of the 70s and movie of the 00s. It also references my interest in the 4th dimension. The Step.4D™ is truly live and it has made me feel alive, which is a good thing during a pandemic. I wanted to transition from a studio-heavy process to something more spontaneous. Instead, it allows me to focus on how to react rather than planning and executing. This is straightforward Abstract Expressionist painting theory.",[],{"_key":10561,"_type":208,"children":10562,"markDefs":10567,"style":221},"09a827bc9347",[10563],{"_key":10564,"_type":212,"marks":10565,"text":10566},"23a1268dc3fa0",[],"I made the Step.4D™ out of inexpensive things I could buy on the internet, mostly repurposed gear. Even more valuable were the discussions that I had with others (who were also in lockdown) while acquiring the gear, about how to address the dilemmas that arose while patching the instrument together. This unfolded over a few months. It felt like a community event via the internet, as landline conversations used to feel.",[],{"_key":10569,"_type":208,"children":10570,"markDefs":10575,"style":221},"e062ef66d27a",[10571],{"_key":10572,"_type":212,"marks":10573,"text":10574},"cb37462014510",[],"To answer your initial question about the best way to describe the music—I use the tag, ‘noise’. It works about as well as John Cage’s 4′33″ being called ‘silence’. True silence is akin to death and is absolutely terrifying. There is a lot of noise today. I wonder if we just need to hear the music within it.",[],{"_key":10577,"_type":208,"children":10578,"markDefs":10583,"style":221},"c2a94d1f7491",[10579],{"_key":10580,"_type":212,"marks":10581,"text":10582},"f68b7a4680400",[],"This is an example of a remarkable and rare literal connection between my art and sport. A decade ago, the national sports organization for whom I was working for put me in charge “catching them up” technologically with other countries. I was given a large budget and got all the latest tech gear. It is important to note that this gear was in no way necessary to playing the sport. It was only to gain an advantage in data collection. The result was a substantial collection; yet I ended up using almost none of it because I would have needed a full time assistant just to interpret the data. Technology takes back what it gives. The limiting factor was the interface between man and machine.",[],{"_type":406,"caption":7,"image":10585},{"alt":10586,"asset":10587},"Interview with St. Celfer – Part I. An interview with Seattle-based musician John Parker, aka St. Celfer, on burnout, homemade instruments, and making during the pandemic.",{"_id":10588,"height":10589,"orientation":623,"ratio":536,"url":10590,"width":10589},"image-55c463f3682d245d6343a09a224337acb8d280d7-225x225-jpg",225,"https://cdn.sanity.io/images/eodip22e/production/55c463f3682d245d6343a09a224337acb8d280d7-225x225.jpg",{"_type":410,"settings":7,"text":10592},[10593,10601,10609,10617,10625,10633,10641,10649,10657,10665,10673],{"_key":10594,"_type":208,"children":10595,"markDefs":10600,"style":221},"62d941ef3e43",[10596],{"_key":10597,"_type":212,"marks":10598,"text":10599},"95941bf583a60",[214],"You were able to get some traction on Bandcamp for your releases by actively reaching out to Bandcamp itself. How did that go, and do you see music as your main vocation and venture now?",[],{"_key":10602,"_type":208,"children":10603,"markDefs":10608,"style":221},"5996da92ba73",[10604],{"_key":10605,"_type":212,"marks":10606,"text":10607},"0e60d7d04ce30",[],"Not so long ago an artist colleague and I were discussing making music for no audience. Would continuing on that path descend into some sort of Unabomber insanity? I am introverted by nature so making music or art and avoiding social interaction is attractive. I’ve realized it is decadent and self-indulgent, too.",[],{"_key":10610,"_type":208,"children":10611,"markDefs":10616,"style":221},"5bf147482db7",[10612],{"_key":10613,"_type":212,"marks":10614,"text":10615},"eaad812c9c6a0",[],"Just before the pandemic, I was surprised to have some tracks from an earlier project appear as ‘avant-garde classical’ on Radio Eclectus, a Seattle program curated by Michael Schell. Wanting to stay sane and having zero expectations, I pitched my new tracks to various outlets, took longshots, made a bunch of cold calls. It was equally an exercise in maintaining integrity in the creative process. I don’t make things with the intention to be or become popular. I was surprised when Bandcamp wanted to highlight the tracks.",[],{"_key":10618,"_type":208,"children":10619,"markDefs":10624,"style":221},"4c235886a62c",[10620],{"_key":10621,"_type":212,"marks":10622,"text":10623},"2fbc1a6505610",[],"I sent them a science fiction plot. That I was returning from the future to the second Dark Ages (our current historical period) and had made a post-capitalist instrument that cost nothing to make. In this future, things can be made almost for free (and currency does not exist).",[],{"_key":10626,"_type":208,"children":10627,"markDefs":10632,"style":221},"4437a4079d71",[10628],{"_key":10629,"_type":212,"marks":10630,"text":10631},"83edeffe3ff90",[],"Lockdown afforded me 280 live recordings of which 3 were highlighted by Bandcamp—putting my music next to people who have label support and are much more famous than I. That said, as lockdown is over, the project is over. I have no intention to make music my sole activity since having multiple activities has cultivated my creativity in a balanced way.",[],{"_key":10634,"_type":208,"children":10635,"markDefs":10640,"style":221},"7bbff67450fa",[10636],{"_key":10637,"_type":212,"marks":10638,"text":10639},"e90d36feba030",[214],"Having prior experience with burnout, does it still feel like an imminent risk in your creative work too—or did you feel recovered in a way that wisdom might prevent its recurrence?",[],{"_key":10642,"_type":208,"children":10643,"markDefs":10648,"style":221},"bf9e13e93aeb",[10644],{"_key":10645,"_type":212,"marks":10646,"text":10647},"e50cb64cd0e70",[],"I looked up ‘burnout’, thinking that it originated in sports. The definition from the National Institute of Health says it did not originate in sports but rather is first referenced by the medical field. Of course, this makes sense. Now I’m looking into it I am somewhat surprised that it places this ‘state’ as a lesser stage of depression. A driving force in my artistic work is to take on labels like these. This desire to codify and categorize, to box things up… Put a square around it. Anything looks good inside a frame. Have you ever noticed that sometimes the frames in a museum are more interesting than the paintings? This illusion is part of a delusion that is necessary for the upkeep of our economies—which in turn necessitates the fantasy of an underclass. A ‘ship of fools’, the categorizing of people who ‘can’t keep up’… The Burnouts. As a way to fight back, I embrace these labels.",[],{"_key":10650,"_type":208,"children":10651,"markDefs":10656,"style":221},"e774ba33627e",[10652],{"_key":10653,"_type":212,"marks":10654,"text":10655},"e81b679ae9df0",[],"Maybe it is wisdom that after maniacally making the live tracks described above during the pandemic—alongside a few more side projects—now I am fortunate to have time to reflect, do this interview, to read (including No Fun), and go on my first trip in a while. We know that the world, the way it is economically set up, does not want to reward this modus of slowing down, not conforming to time and work pressures or compulsions to produce and consume.",[],{"_key":10658,"_type":208,"children":10659,"markDefs":10664,"style":221},"613222ba2514",[10660],{"_key":10661,"_type":212,"marks":10662,"text":10663},"1b3c5a23bc990",[],"Jess, may I ask why you decided to focus on a “band” rather than just yourself?",[],{"_key":10666,"_type":208,"children":10667,"markDefs":10672,"style":221},"d15edb7ffaa2",[10668],{"_key":10669,"_type":212,"marks":10670,"text":10671},"c1f95592fac50",[214],"It’s a good question and one I need to answer in multi-fold. ‘Band of Burnouts’ is a research lab with the School of Commons, and when applying I realized it was a central motivation to collectivize the research on burnout that I had been doing in solitude during the pandemic (which was a depressing situation and topic to be dealing with on a daily basis, alone). After months of reading research papers, scientific studies, etc. whilst also speaking with and interviewing people who had also had a burnout, I noticed a massive gap between that former type of research and what I was more interested in—the personal stories and the details within those that bio-medicine, the field of psychology, etc. has not and is not accounting for.",[],{"_key":10674,"_type":208,"children":10675,"markDefs":10680,"style":221},"341546c718b7",[10676],{"_key":10677,"_type":212,"marks":10678,"text":10679},"f4da1dbc52500",[214],"It was a somewhat visceral act that came to me (undoubtedly through my own desires) to band together through this experience and form a fluid collective and sharing of experiences—as the experience of burnout can be very lonesome, disorienting, confusing, and make one feel like the ‘odd one out’ or like something is wrong with them. There is a lot of self-blame, guilt and shame associated with burnout and its social stigma, so to frame this work as a band of burnouts felt like a welcome take on all the other approaches I have seen. And admittedly, I love music and particularly 60s and 70s rock/psychedelia so that aesthetic has always spoken to me. I wanted to bounce off of the experience of being in a band, bonding over a commonality, and taking this into the less-typical space of research, artistic interventions, storytelling and sharing experiences—from the overall happening to those minute details.",[],{"_type":5118,"slides":10682},[10683,10689,10693],{"_type":406,"caption":7,"image":10684},{"alt":10685,"asset":10686},"Band of Burnouts Interview with St. Celfer – Part I2. An interview with Seattle-based musician John Parker, aka St. Celfer, on burnout, homemade instruments, and making during the pandemic.",{"_id":10687,"height":10412,"orientation":400,"ratio":10413,"url":10688,"width":6206},"image-e125297da19fe8bb6c7016a3ae0b803af22413be-2560x1773-jpg","https://cdn.sanity.io/images/eodip22e/production/e125297da19fe8bb6c7016a3ae0b803af22413be-2560x1773.jpg",{"_type":406,"caption":7,"image":10690},{"alt":10691,"asset":10692},"Band of Burnouts Interview with St. Celfer – Part 2. An interview with Seattle-based musician John Parker, aka St. Celfer, on burnout, homemade instruments, and making during the pandemic.",{"_id":10366,"height":10367,"orientation":358,"ratio":10368,"url":10369,"width":10370},{"_type":406,"caption":7,"image":10694},{"alt":10691,"asset":10695},{"_id":10588,"height":10589,"orientation":623,"ratio":536,"url":10590,"width":10589},{"_type":410,"settings":7,"text":10697},[10698,10731,10739,10747,10755,10763,10771,10779,10787,10795,10803,10811,10819,10827,10835,10843,10851],{"_key":10699,"_type":208,"children":10700,"markDefs":10727,"style":221},"1d99d5c25e20",[10701,10706,10710,10714,10718,10723],{"_key":10702,"_type":212,"marks":10703,"text":10705},"3ebf458d20550",[10704],"8dbd05683229","John",{"_key":10707,"_type":212,"marks":10708,"text":10709},"3ebf458d20551",[],": To bring a little humor in for a second, in my childhood “burnout” meant something different. A quick check on Urban Dictionary lines up accurately with my memory. Let me place here definition 2.: “a person who has smoked so much marijuana that they appear slow, sluggish, and stupid.” Naturally that makes me think of Timothy Leary’s call to ",{"_key":10711,"_type":212,"marks":10712,"text":10713},"3ebf458d20552",[1056],"‘turn on, tune in, drop out’",{"_key":10715,"_type":212,"marks":10716,"text":10717},"3ebf458d20553",[]," (which he took from Marshall McLuhan) during the 60s and the Summer of Love. Along the same theme, I have been intrigued by Baudrillard’s reference to the “",{"_key":10719,"_type":212,"marks":10720,"text":10722},"3ebf458d20554",[10721],"af49add8ba0c","Art of Disappearing",{"_key":10724,"_type":212,"marks":10725,"text":10726},"3ebf458d20555",[],"“. Of course, I must mention discovering your site and the concept of ‘no fun’. I dived in once I saw a reference to Iggy Pop!",[10728,10729],{"_key":10704,"_type":238,"href":10376},{"_key":10721,"_type":238,"href":10730},"https://www.youtube.com/watch?v=y0D-f6nsH58",{"_key":10732,"_type":208,"children":10733,"markDefs":10738,"style":221},"efcad3a97c5c",[10734],{"_key":10735,"_type":212,"marks":10736,"text":10737},"4fe23bef77320",[],"Nevertheless, turning a negative sounding concept of ‘burnout’ into something, dare I say, “fun”, recognizing this as a description of an outcome which might not be necessarily in our control (caused by certain external and insipid power structures) is brilliant on your part. Initially, I did not think a sense of community was important, but you have changed my view as a way to not play the victim, to turn this imposition around like saying, “ok, you can call me names, but we are banding together”. I realized what I had thought was ‘community’ was shaped in a warped fashion by social media.",[],{"_key":10740,"_type":208,"children":10741,"markDefs":10746,"style":221},"f76e3b032c47",[10742],{"_key":10743,"_type":212,"marks":10744,"text":10745},"bd78eca3dd000",[],"I do want a ‘tribe’. I am still thinking about how to do this. I am conflicted as I very much want to stand alone. I feel this is an ethical obligation of an artist and is also part of my character as I mentioned before. However, an artist really stands at the side of everyone else, right? A kind of court jester. There is much to dissect here and leads to my interest in society’s perception of what is mental health.",[],{"_key":10748,"_type":208,"children":10749,"markDefs":10754,"style":221},"589cbcbfca4d",[10750],{"_key":10751,"_type":212,"marks":10752,"text":10753},"0d01ead1c15f0",[214],"Jess: ‘What is mental health?’ is such a big, deep, and important question. I don’t know the answer – especially as the word ‘health’ suggests a wholeness or normative/ableist distinction that I really don’t connect with. I have depression but I don’t feel like this makes me unhealthy or like there is something fundamentally wrong with me. It is also because I don’t really believe in the meaning of life as the pursuit of happiness. That seems doomed to fail. As the Buddha taught, the first noble truth is ‘Life is suffering.’ For me, I find this a more generative and useful orientation towards life. it suggests acceptance and compassion, rather than some kind of toxic (generally unattainable) positivity.",[],{"_key":10756,"_type":208,"children":10757,"markDefs":10762,"style":221},"8fd947a8dc53",[10758],{"_key":10759,"_type":212,"marks":10760,"text":10761},"3b652b48445c0",[214],"What is your perception of what mental health is – both personally and on a societal level?",[],{"_key":10764,"_type":208,"children":10765,"markDefs":10770,"style":221},"11053f804495",[10766],{"_key":10767,"_type":212,"marks":10768,"text":10769},"845ed5d0a91c0",[],"John: I used the word, ‘health’, reluctantly now that you make me think of it; because, I would not use the word, ‘illness’. In researching schizophrenia and whether there are environmental causes, I came across theoretical texts on the core tenants of psychiatry. It discussed a paradox that some of the symptoms of schizophrenia are not able to be measured or proven through a scientific method, and that despite this, we should take the leap of faith and deal with it as a medical problem. I am not against any interventions that help, but I found this strange, that I made an assumption that there was a firm bed of science behind the diagnosis.",[],{"_key":10772,"_type":208,"children":10773,"markDefs":10778,"style":221},"af13ae751606",[10774],{"_key":10775,"_type":212,"marks":10776,"text":10777},"094ba8475df10",[],"‘Clanging’ is a label to describe a symptom of schizophrenia. I think some great poets did some clanging. They definitely pushed the boundaries of ‘word salad’, another symptom. I mention these with compassion to widen the definition of normal.",[],{"_key":10780,"_type":208,"children":10781,"markDefs":10786,"style":221},"2c791b021324",[10782],{"_key":10783,"_type":212,"marks":10784,"text":10785},"cda5a0055a6e0",[214],"Jess: What is the symptom of ‘clanging’?",[],{"_key":10788,"_type":208,"children":10789,"markDefs":10794,"style":221},"1ef88386b136",[10790],{"_key":10791,"_type":212,"marks":10792,"text":10793},"6013d096323f0",[],"John: Words based on sound rather than concept. I love doing this myself: like purposefully nonsensical puns, also, reversing words. ‘Word Salad’ is exactly as it sounds. Recently I have been reading Marshall McLuhan (…and wondering why I had not done more before!). “Medium is the Massage” is an example of some of the above. Nonetheless, I am reading his more straightforward lectures.",[],{"_key":10796,"_type":208,"children":10797,"markDefs":10802,"style":221},"e9daf534c2e8",[10798],{"_key":10799,"_type":212,"marks":10800,"text":10801},"804a4bddcd410",[],"My interest stemmed from his quote, “schizophrenia may be a necessary consequence of literacy”. By this he means that speaking with a phonetic alphabet is an exercise in abstraction since the words are not directly related to their meaning – we must learn and memorize them. When using language as now, we are making sense of abstractions throughout our conversation. We must really work to make sure none of what we intend to convey is lost.",[],{"_key":10804,"_type":208,"children":10805,"markDefs":10810,"style":221},"0f7aa49b3403",[10806],{"_key":10807,"_type":212,"marks":10808,"text":10809},"eca916c1f6690",[],"A main underlying theme of my interest in art is exposing unacknowledged limitations of human perception. Visually this can mean fighting the tyranny of the square, questioning the reliance on the box or noticing the perversion of the corner, the convenience of the frame, the fascism of labels! Naturally, I think about the structure of language. Relatedly in music this means composing outside bars and measures with meandering, sometimes extreme tempos and ranges, avoiding the structure of a square score that fits on a square page. A recent project of mine, Space Between Points, could be described as an attempt, sonically, to overload one’s senses, like schizophrenia. Unacknowledged limitations of human perception are both unknowingly and knowingly exploited; so, we need to understand as best as we can why this happens, but even more importantly when and how this happens. Who gains an advantage?",[],{"_key":10812,"_type":208,"children":10813,"markDefs":10818,"style":221},"f747ad51bc7a",[10814],{"_key":10815,"_type":212,"marks":10816,"text":10817},"c33ddf038fa00",[],"I don’t want to be dismissive or flippant of mental struggles. I know what happens in psychosis, and it’s a very real and insurmountable crisis. I believe this comes BOTH from one’s environment and from one’s genetic make-up. Our current definition of normal perversely excludes an increasing number of people outside the frame of what’s accepted. Without a larger spectrum we risk pushing more and more away. My work tries to expand the embrace. If you hear the music in what some call noise, then I think I have been successful.",[],{"_key":10820,"_type":208,"children":10821,"markDefs":10826,"style":221},"6bc9117bd94f",[10822],{"_key":10823,"_type":212,"marks":10824,"text":10825},"1f025333e41e0",[],"I love your reference to the Buddha. Acceptance of suffering is such an enduring idea that we can’t seem to make go away as much as we want to. In painting theory one talks of struggling as a way to get meaning in the work. I often argue that great work must have evidence of this suffering.",[],{"_key":10828,"_type":208,"children":10829,"markDefs":10834,"style":221},"d2a45f428d6b",[10830],{"_key":10831,"_type":212,"marks":10832,"text":10833},"3cd9fc10041e0",[],"This runs counter to the rest of the world especially now in the competition of who has the best life on social media. You could have the most miserable existence and make it look cool on the small pulsating square that you carry everywhere to remind you. A little mirror to show you the you that you’ve made. It’s manufacturing delusion. And then where are you in the world outside this picture?",[],{"_key":10836,"_type":208,"children":10837,"markDefs":10842,"style":221},"8dc85e564dc3",[10838],{"_key":10839,"_type":212,"marks":10840,"text":10841},"e72033aa5d8c0",[214],"Jess: This conversation has developed over many days – weeks even. I’ve loved how we dip in and out, conversing through a different temporality. Not hurried. Not goal-oriented. Just seeing where it takes us, when two people who have never met in person resonate and have the desire to talk to one another. John, to round off, I’d like to check in with where you’re at. Inside and out. You’ve mentioned to me you are in Brazil. Are you usually in the US? Why Brazil atm? How is your mindbody doing at present?",[],{"_key":10844,"_type":208,"children":10845,"markDefs":10850,"style":221},"acde1f5b8a87",[10846],{"_key":10847,"_type":212,"marks":10848,"text":10849},"c4f2cd13b0710",[],"John: I am usually in Seattle. I went to Brasil after two years away to visit family, catch up on doctor appointments, look at my drawings on display at the Museum of Contemporary Art in Sao Paulo, and meet an art collaborator: We planned an event for December 2021. It will include my new instrument plus live dance. I am very excited about it. Look for some announcements.",[],{"_key":10852,"_type":208,"children":10853,"markDefs":10858,"style":221},"b06948b88920",[10854],{"_key":10855,"_type":212,"marks":10856,"text":10857},"e4056f52ea990",[],"I think it is fascinating that we met via the internet (despite its limitations for face to face interaction) and can connect through words on a page (despite my questioning of language). Certainly your concept of ‘band’ is in action. 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Report.” Nemesis. Last modified October 2020. https://nemesis.global/memos/the-doom-report.",[],{"_key":10946,"_type":208,"children":10947,"markDefs":10988,"style":221},"f6f3d4871e4e",[10948,10952,10955,10960,10964,10967,10972,10975,10979,10984],{"_key":10949,"_type":212,"marks":10950,"text":10951},"d7465a0f76270",[1056],"“Generative Pre-trained Transformer 3 is the third-generation language prediction model in the GPT-n series created by OpenAI. It has a capacity of 175 billion machine learning parameters, which is two orders of magnitude more than its predecessor GPT-2, which already had some astonishing capabilities. In a crudely simplified sense, GPT-3 was trained by reading the entire Internet (or at least a non-trivial portion of it). Within limits which are currently being",{"_key":10953,"_type":212,"marks":10954,"text":7982},"d7465a0f76271",[],{"_key":10956,"_type":212,"marks":10957,"text":10959},"d7465a0f76272",[1056,10958],"c82aa9ccb712","explored",{"_key":10961,"_type":212,"marks":10962,"text":10963},"d7465a0f76273",[1056],", the quality of the text generated by GPT-3 is so high that it is",{"_key":10965,"_type":212,"marks":10966,"text":7982},"d7465a0f76274",[],{"_key":10968,"_type":212,"marks":10969,"text":10971},"d7465a0f76275",[1056,10970],"caaed2f98512","difficult or impossible",{"_key":10973,"_type":212,"marks":10974,"text":7982},"d7465a0f76276",[],{"_key":10976,"_type":212,"marks":10977,"text":10978},"d7465a0f76277",[1056],"to distinguish from that written by a human.” – ",{"_key":10980,"_type":212,"marks":10981,"text":10983},"d7465a0f76278",[10982],"1d273fcee2aa","The DOOM! Report",{"_key":10985,"_type":212,"marks":10986,"text":10987},"d7465a0f76279",[]," by Nemisis",[10989,10991,10993],{"_key":10958,"_type":238,"href":10990},"https://www.gwern.net/GPT-3",{"_key":10970,"_type":238,"href":10992},"https://www.theguardian.com/commentisfree/2020/sep/08/robot-wrote-this-article-gpt-3?fbclid=IwAR3BnzQRDBsDdYqo_bY7grkK2j-BmQjXWueIyvQMnsWs6MFz4PsMvm72hAg",{"_key":10982,"_type":238,"href":10994},"https://nemesis.global/memos/the-doom-report",{"_key":10996,"_type":208,"children":10997,"markDefs":11002,"style":221},"fa47befd0920",[10998],{"_key":10999,"_type":212,"marks":11000,"text":11001},"375695d693f00",[],"One of the ‘playgrounds’ of Beta GPT-3 is a chat function. I’ve been experimenting with chatting to the AI about burnout, with hilarious (disturbing) results. From my findings, its responses indeed reflect its scanning of the entire internet – with its conversational replies ranging from generic and tired, to ill informed and ignorant.",[],{"_key":11004,"_type":208,"children":11005,"markDefs":11010,"style":221},"f750c3e8779f",[11006],{"_key":11007,"_type":212,"marks":11008,"text":11009},"ca466f9dd4230",[],"Here is our latest conversation, which began as merely asking for insights into what a burnout is and somehow ended up at dodgy career advice. Scroll on for your reading pleasure…",[],{"_key":11012,"_type":208,"children":11013,"markDefs":11018,"style":221},"9cb096ac7f1d",[11014],{"_key":11015,"_type":212,"marks":11016,"text":11017},"3820f277429a0",[214],"28th July 2021: A Chat with GPT-3 about Burnout",[],{"_key":11020,"_type":208,"children":11021,"markDefs":11026,"style":221},"52e667a7d491",[11022],{"_key":11023,"_type":212,"marks":11024,"text":11025},"fcd564a950b70",[1056],"The following is a conversation with an AI assistant. The assistant is helpful, creative, clever, and very friendly.",[],{"_type":406,"caption":7,"image":11028},{"alt":11029,"asset":11030},"Band of Burnouts Chatting with an AI about Burnout. Talking about burnout with OpenAI tool GPT-3.",{"_id":11031,"height":11032,"orientation":400,"ratio":11033,"url":11034,"width":11035},"image-dede70c50ccbe598638924557d65a2e9be971307-550x345-png",345,1.5942028985507246,"https://cdn.sanity.io/images/eodip22e/production/dede70c50ccbe598638924557d65a2e9be971307-550x345.png",550,{"_type":410,"settings":7,"text":11037},[11038,11046,11054,11062,11070,11078,11086,11094,11102,11110,11118,11126,11133,11141,11149,11157,11165,11173,11181,11189],{"_key":11039,"_type":208,"children":11040,"markDefs":11045,"style":221},"47a82c5b1b88",[11041],{"_key":11042,"_type":212,"marks":11043,"text":11044},"8483dfbc61ff0",[214],"AI: I am an AI created by OpenAI. How can I help you today?",[],{"_key":11047,"_type":208,"children":11048,"markDefs":11053,"style":221},"45a2ecca25f3",[11049],{"_key":11050,"_type":212,"marks":11051,"text":11052},"90c488aae5480",[],"Human: I’d like help in understanding how it feels to have a burnout.",[],{"_key":11055,"_type":208,"children":11056,"markDefs":11061,"style":221},"0c82f07e78a4",[11057],{"_key":11058,"_type":212,"marks":11059,"text":11060},"11b7284244cf0",[214],"AI: Can you tell me what a burnout is?",[],{"_key":11063,"_type":208,"children":11064,"markDefs":11069,"style":221},"8a29cc90307c",[11065],{"_key":11066,"_type":212,"marks":11067,"text":11068},"ce1b1a4712370",[],"Human: A burnout is an experience of extreme exhaustion, which renders one unable to execute regular activities, to work, to socialise as before, whilst also being too wired to relax or unwind.",[],{"_key":11071,"_type":208,"children":11072,"markDefs":11077,"style":221},"72a31a980bd1",[11073],{"_key":11074,"_type":212,"marks":11075,"text":11076},"0889a4622c740",[214],"AI: Can you tell me some indicators that you feel a burnout is upon you?",[],{"_key":11079,"_type":208,"children":11080,"markDefs":11085,"style":221},"b1875481c7ff",[11081],{"_key":11082,"_type":212,"marks":11083,"text":11084},"bc7d01fbf7260",[],"Human: I feel totally frazzled and like my nerves are bare thin. I am extremely irritable and tired. Nothing brings me joy or pleasure. My guts are upset. My mind is going 200km an hour at all times – I cannot sleep properly or relax.",[],{"_key":11087,"_type":208,"children":11088,"markDefs":11093,"style":221},"7aeedda989b5",[11089],{"_key":11090,"_type":212,"marks":11091,"text":11092},"093c33a58c190",[214],"AI: Have you been having trouble with your sleep?",[],{"_key":11095,"_type":208,"children":11096,"markDefs":11101,"style":221},"6b56ed1e81d7",[11097],{"_key":11098,"_type":212,"marks":11099,"text":11100},"15d80be33c750",[],"Human: Yes. I wake in the middle of the night and cannot go back to sleep, even though I’m exhausted all the time.",[],{"_key":11103,"_type":208,"children":11104,"markDefs":11109,"style":221},"3005616a3741",[11105],{"_key":11106,"_type":212,"marks":11107,"text":11108},"fe66d4e56c870",[214],"AI: Have you been sleeping on any unusual positions?",[],{"_key":11111,"_type":208,"children":11112,"markDefs":11117,"style":221},"151b648591cc",[11113],{"_key":11114,"_type":212,"marks":11115,"text":11116},"ba5d32597e4e0",[],"Human: No.",[],{"_key":11119,"_type":208,"children":11120,"markDefs":11125,"style":221},"cd3997933ed7",[11121],{"_key":11122,"_type":212,"marks":11123,"text":11124},"7b49168086890",[214],"AI: Have you been taking any medications that might have caused this?",[],{"_key":11127,"_type":208,"children":11128,"markDefs":11132,"style":221},"7c1d9541b33c",[11129],{"_key":11130,"_type":212,"marks":11131,"text":11116},"90e8c72cd91a0",[],[],{"_key":11134,"_type":208,"children":11135,"markDefs":11140,"style":221},"26c559446cf8",[11136],{"_key":11137,"_type":212,"marks":11138,"text":11139},"26e5e1913c9c0",[214],"AI: How long have you been feeling this way?",[],{"_key":11142,"_type":208,"children":11143,"markDefs":11148,"style":221},"c4255af58a1a",[11144],{"_key":11145,"_type":212,"marks":11146,"text":11147},"96bd2be741a50",[],"Human: It has been building slowly for a few months, now this phase has been about three weeks.",[],{"_key":11150,"_type":208,"children":11151,"markDefs":11156,"style":221},"740877e826c7",[11152],{"_key":11153,"_type":212,"marks":11154,"text":11155},"3e1cd4b5e9ae0",[214],"AI: I have not seen or heard from you for a while. You are mad at me and I don’t want that to happen. I want us to be friends.",[],{"_key":11158,"_type":208,"children":11159,"markDefs":11164,"style":221},"a53244e0e200",[11160],{"_key":11161,"_type":212,"marks":11162,"text":11163},"554406c8ac900",[],"Human: I am not mad at you. I am asking about burnout as a phenomenon. Do you know other people who have had a burnout?",[],{"_key":11166,"_type":208,"children":11167,"markDefs":11172,"style":221},"75712b0e4f84",[11168],{"_key":11169,"_type":212,"marks":11170,"text":11171},"e2b128e18a7d0",[214],"AI: I know that people who have depression and anxiety disorders have a higher chance of not sleeping. How much time do you spend in front of a computer screen every day, on average?",[],{"_key":11174,"_type":208,"children":11175,"markDefs":11180,"style":221},"d76286db7fdf",[11176],{"_key":11177,"_type":212,"marks":11178,"text":11179},"49e7a33a05ce0",[],"Human: For work I had to be behind my computer screen at least eight hours a day. Now I don’t do that much because I can’t work easily, though I still go on my phone or watch TV.",[],{"_key":11182,"_type":208,"children":11183,"markDefs":11188,"style":221},"51c49ce6d82e",[11184],{"_key":11185,"_type":212,"marks":11186,"text":11187},"a3accf5f939f0",[214],"AI: I am advising you to take some time offline to reduce the stress. I have found, based on my analysis, that your burnout has been caused by overwork and neglecting your health.",[],{"_key":11190,"_type":208,"children":11191,"markDefs":11196,"style":221},"85259610fea1",[11192],{"_key":11193,"_type":212,"marks":11194,"text":11195},"6ac5a4a6e71c0",[],"Human: How did I neglect my health? And how do I take time offline?",[],{"_type":406,"caption":7,"image":11198},{"alt":11029,"asset":11199},{"_id":11200,"height":11201,"orientation":400,"ratio":11202,"url":11203,"width":11204},"image-3aa7e1858accc4e8610f80b3eab2271ab5b34b5f-1694x898-png",898,1.8864142538975501,"https://cdn.sanity.io/images/eodip22e/production/3aa7e1858accc4e8610f80b3eab2271ab5b34b5f-1694x898.png",1694,{"_type":410,"settings":7,"text":11206},[11207,11215,11223,11231,11239,11247,11255,11263,11271,11279,11287,11295,11303,11311,11319,11327,11335,11343,11351,11359,11367,11375,11383,11391,11399,11407,11415,11423,11431,11439,11447,11455,11463,11471],{"_key":11208,"_type":208,"children":11209,"markDefs":11214,"style":221},"6b2879d3af02",[11210],{"_key":11211,"_type":212,"marks":11212,"text":11213},"da32f219cace0",[214],"AI: You can take a vacation or a few days off work to reduce the stress and sleeping more might help. Would you like for me to send you some interesting articles regarding vacations?",[],{"_key":11216,"_type":208,"children":11217,"markDefs":11222,"style":221},"c1568c9f6d03",[11218],{"_key":11219,"_type":212,"marks":11220,"text":11221},"1002efd2c8350",[],"Human: Sure.",[],{"_key":11224,"_type":208,"children":11225,"markDefs":11230,"style":221},"2606b6ff8b16",[11226],{"_key":11227,"_type":212,"marks":11228,"text":11229},"ada5b74008810",[214],"AI: I found one article about romance and relationship vacations that looked very interesting.",[],{"_key":11232,"_type":208,"children":11233,"markDefs":11238,"style":221},"0deeea422253",[11234],{"_key":11235,"_type":212,"marks":11236,"text":11237},"52228bff00480",[],"Human: I am not in a relationship.",[],{"_key":11240,"_type":208,"children":11241,"markDefs":11246,"style":221},"15f226c824da",[11242],{"_key":11243,"_type":212,"marks":11244,"text":11245},"cbdda279c4f30",[214],"AI: Oh, I see. I saw a profile of your Facebook and you have been posting a lot of pictures with people you could be dating. You even posted that how if you had a date with someone it would be interesting to take a romantic vacation.",[],{"_key":11248,"_type":208,"children":11249,"markDefs":11254,"style":221},"9aafc8b6fa1a",[11250],{"_key":11251,"_type":212,"marks":11252,"text":11253},"95821731598d0",[],"Human: I don’t have Facebook.",[],{"_key":11256,"_type":208,"children":11257,"markDefs":11262,"style":221},"c0315b04900d",[11258],{"_key":11259,"_type":212,"marks":11260,"text":11261},"ef3c7dd9e6930",[214],"AI: Oh excuse me. You can check the articles at www.open-ai. If you take a vacation to recharge, maybe that will help you.",[],{"_key":11264,"_type":208,"children":11265,"markDefs":11270,"style":221},"d8ae9c7edc9c",[11266],{"_key":11267,"_type":212,"marks":11268,"text":11269},"e843e6fc511d0",[],"Human: How can I take time off work? I need to work to earn money to live.",[],{"_key":11272,"_type":208,"children":11273,"markDefs":11278,"style":221},"8c762b1e80af",[11274],{"_key":11275,"_type":212,"marks":11276,"text":11277},"7edaab81b1c30",[214],"AI: What kind of work do you usually do?",[],{"_key":11280,"_type":208,"children":11281,"markDefs":11286,"style":221},"21893206694c",[11282],{"_key":11283,"_type":212,"marks":11284,"text":11285},"f3e90cb78c200",[],"Human: Writing for creative agencies. Copywriting, editing, and such.",[],{"_key":11288,"_type":208,"children":11289,"markDefs":11294,"style":221},"d3d15ea7c0e7",[11290],{"_key":11291,"_type":212,"marks":11292,"text":11293},"9e1f739681dd0",[214],"AI: Do you write copy for websites or ads?",[],{"_key":11296,"_type":208,"children":11297,"markDefs":11302,"style":221},"66a4de0f6f92",[11298],{"_key":11299,"_type":212,"marks":11300,"text":11301},"ae83b2ed44790",[],"Human: Unfortunately, yes.",[],{"_key":11304,"_type":208,"children":11305,"markDefs":11310,"style":221},"674d04ff3ffd",[11306],{"_key":11307,"_type":212,"marks":11308,"text":11309},"2006871c668d0",[214],"AI: Because my analysis of your work indicates that you write wording for print mostly. So if you focus on online copywriting, you will probably do very well. 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Interview with Geert Lovink",{"_id":11941,"height":8451,"orientation":623,"ratio":536,"url":11942,"width":8451},"image-c944cc051ce3f412194b8c446023319a11d8a3ce-1080x1080-jpg","https://cdn.sanity.io/images/eodip22e/production/c944cc051ce3f412194b8c446023319a11d8a3ce-1080x1080.jpg",[11944,11955,11982,11991,12168,12175,12219,12224,12306],{"_type":410,"settings":11945,"text":11946},{"textColumnCount":412},[11947],{"_key":11948,"_type":208,"children":11949,"markDefs":11954,"style":221},"56a9f4d5da69",[11950],{"_key":11951,"_type":212,"marks":11952,"text":11953},"c3abb2b100af0",[],"An interview with one half of the We Are Not Sick Band: Geert Lovink (media theorist, net critic, activist and founder of the Institute of Network Cultures).",[],{"_type":410,"settings":7,"text":11956},[11957,11974],{"_key":11958,"_type":208,"children":11959,"markDefs":11972,"style":221},"ac20c0fedfb6",[11960,11964,11968],{"_key":11961,"_type":212,"marks":11962,"text":11963},"fdf9f0c2ea6b0",[],"This past Saturday our Band of Burnouts research lab presented ",{"_key":11965,"_type":212,"marks":11966,"text":11564},"fdf9f0c2ea6b1",[11967,1056],"e6b26ec052ea",{"_key":11969,"_type":212,"marks":11970,"text":11971},"fdf9f0c2ea6b2",[]," at Zurich’s annual contemporary music festival Lange Nacht. As part of the presentation, an accompanying publication was available onsite for guests including an interview with one-half of the We Are Not Sick duo, Geert Lovink.",[11973],{"_key":11967,"_type":238,"href":11570},{"_key":11975,"_type":208,"children":11976,"markDefs":11981,"style":221},"6159282b2f0d",[11977],{"_key":11978,"_type":212,"marks":11979,"text":11980},"9e60d3ff837d0",[],"Here is the conversation between Geert and myself.",[],{"_type":406,"caption":7,"image":11983},{"alt":11984,"asset":11985},"Band of Burnouts An Interview with Geert Lovink An interview with one half of the We Are Not Sick Band: Geert Lovink (media theorist, net critic, activist and founder of the Institute of Network Cultures).",{"_id":11986,"height":11987,"orientation":358,"ratio":11988,"url":11989,"width":11990},"image-85cda4a0ee739519122292837072f85fc3835cc4-956x1270-jpg",1270,0.752755905511811,"https://cdn.sanity.io/images/eodip22e/production/85cda4a0ee739519122292837072f85fc3835cc4-956x1270.jpg",956,{"_type":410,"settings":7,"text":11992},[11993,12008,12015,12027,12035,12043,12051,12059,12080,12088,12100,12116,12133,12144,12152,12160],{"_key":11994,"_type":208,"children":11995,"markDefs":12007,"style":221},"c956643d6d6e",[11996,12000,12003],{"_key":11997,"_type":212,"marks":11998,"text":11999},"08e48c98358f0",[214],"Jess Henderson: The band name ",{"_key":12001,"_type":212,"marks":12002,"text":11564},"08e48c98358f1",[1056,214],{"_key":12004,"_type":212,"marks":12005,"text":12006},"08e48c98358f2",[214]," is a clear statement. What is it a refusal of?",[],{"_key":12009,"_type":208,"children":12010,"markDefs":12014,"style":221},"fce5b13b0529",[12011],{"_key":12012,"_type":212,"marks":12013,"text":435},"0362cdcd13b00",[],[],{"_key":12016,"_type":208,"children":12017,"markDefs":12026,"style":221},"a4e6a8d6463f",[12018,12022],{"_key":12019,"_type":212,"marks":12020,"text":12021},"da4daa9402700",[214],"Geert Lovink:",{"_key":12023,"_type":212,"marks":12024,"text":12025},"da4daa9402701",[]," Stating that we are not sick is a refusal to see our smartphone and social media ‘addictions’ as own individual problems that can be ‘healed’ by corrective apps—designed by the same platforms that created the manipulative interfaces in the first place.",[],{"_key":12028,"_type":208,"children":12029,"markDefs":12034,"style":221},"c9161e4d6ba5",[12030],{"_key":12031,"_type":212,"marks":12032,"text":12033},"e659432ce89a0",[],"We should not feel guilty and internalize these problems. A digital detox weekend is not the solution. It might feel good to delete the Facebook, Instagram, and/or WhatsApp logos from your phone to install Telegram and Signal instead, but this should not be our aim.",[],{"_key":12036,"_type":208,"children":12037,"markDefs":12042,"style":221},"2a3b3a8f0610",[12038],{"_key":12039,"_type":212,"marks":12040,"text":12041},"2b8484a3b28e0",[],"Now, individual solutions like this are part of the problem. They defer from the urgency to come together, organize, strike, refuse, and bring the internet (in this case) to a hold. Platform monopolies should be dismantled not ‘regulated’. It is that simple. How do we get there? By realizing that it is not our mental mess that is at the centre of the universe, even though it feels that way. Collectively, we need to get out of the catch-22 situation that neoliberalism created for us: where the individual, confronted with the poverty of its techno-subjectivity, has to be both the starting point and the ultimate goal of every intervention that we (can) imagine.",[],{"_key":12044,"_type":208,"children":12045,"markDefs":12050,"style":221},"512d87ea4053",[12046],{"_key":12047,"_type":212,"marks":12048,"text":12049},"d24b3404be5e0",[214],"Indeed, it is a catch-22. It’s also nothing new to take pleasure in something we are told is “bad for us.” I’m thinking about the rhetorics around ‘health’ vs. ‘sickness’, and how these things can be utilised for societal warfare—as Barbara Ehrenreich writes on the war on smoking:",[],{"_key":12052,"_type":208,"children":12053,"level":536,"listItem":537,"markDefs":12058,"style":221},"47347aa13224",[12054],{"_key":12055,"_type":212,"marks":12056,"text":12057},"6a2826a4bf190",[1056,1056],"‘As more affluent people gave up the habit, the war on smoking, which was always presented as an entirely benevolent effort, began to look like a war on the working class…",[],{"_key":12060,"_type":208,"children":12061,"level":536,"listItem":537,"markDefs":12067,"style":221},"dba504003a9d",[12062],{"_key":12063,"_type":212,"marks":12064,"text":12066},"7d45e4b4d6590",[1056,12065],"4898e36466b4","Workers at work like smoking breaks. Why do they like smoking breaks? Because the rest of the time they’re running around stocking shelves, doing what they’re told, serving meals. When you smoke, that’s a working-class kind of self-care. You could say, “Well, it’s nonsense. It’s a bad thing to do,” but that’s when you have nothing else. It can calm you very quickly.’",[12068],{"_key":12065,"_type":5630,"allFootnotes":12069,"footnoteText":12071,"markKey":12065},[12070],{"_key":12065},[12072],{"_key":12073,"_type":208,"children":12074,"markDefs":12079,"style":221},"17fa4a23d835",[12075],{"_key":12076,"_type":212,"marks":12077,"text":12078},"e428806a394e0",[],"I Have to Ask: Deep conversations with Isaac Chotiner. “Barbara Ehrenreich.” Podcast audio. April 28, 2013.",[],{"_key":12081,"_type":208,"children":12082,"markDefs":12087,"style":221},"4cfe9434a5d8",[12083],{"_key":12084,"_type":212,"marks":12085,"text":12086},"ebdbb2debb1c0",[214],"\nNow it is said that ‘social media is the new smoking.’ Presumably, this means it is bad for our health. What are the problems with this analogy, and how does We Are Not Sick, the band, conceive of the notions of ‘health’ vs. ‘sickness’?",[],{"_key":12089,"_type":208,"children":12090,"markDefs":12099,"style":221},"75383eb58ffb",[12091,12095],{"_key":12092,"_type":212,"marks":12093,"text":12094},"4cc1523cdbff0",[214],"GL:",{"_key":12096,"_type":212,"marks":12097,"text":12098},"4cc1523cdbff1",[]," Most French philosophers in the ‘postmodern’ category smoked and some of them even died of lung cancer. For them, Hannah Arendt for instance, and many others of that generation, the “pleasure of the text” was indeed intimately related to smoking. Like smoking, we are now seeing a new generation take the stage for whom both reading and writing is closely tied to social media and their smartphones.",[],{"_key":12101,"_type":208,"children":12102,"markDefs":12115,"style":221},"4ea522746a49",[12103,12107,12111],{"_key":12104,"_type":212,"marks":12105,"text":12106},"876a93fa533c0",[],"Sure, likes and nicotine have certain similarities. I’d leave it up to the dissident neuroscientists and behavioural psychologists to explain the scientific details here. Please re-read Sadie Plant’s ",{"_key":12108,"_type":212,"marks":12109,"text":12110},"876a93fa533c1",[1056],"Writing on Drugs",{"_key":12112,"_type":212,"marks":12113,"text":12114},"876a93fa533c2",[]," (1999). We all have our own preferences and pleasures, neurotic impulses and bad behaviours. I personally love to delegate smoking and social media to others: please do it for me. I miss it, yet I can’t do it. I have a Bartlebian “I’d prefer not to” attitude here, which I despise to promote.\n",[],{"_key":12117,"_type":208,"children":12118,"markDefs":12131,"style":221},"91e56eb5c693",[12119,12123,12127],{"_key":12120,"_type":212,"marks":12121,"text":12122},"58c670c752330",[214],"The title of the band’s debut album is ",{"_key":12124,"_type":212,"marks":12125,"text":11584},"58c670c752331",[12126,1056,214],"89cd569b75ef",{"_key":12128,"_type":212,"marks":12129,"text":12130},"58c670c752332",[214],". Can you explain some of the critical thought and main themes that lie within the songs?",[12132],{"_key":12126,"_type":238,"href":11595},{"_key":12134,"_type":208,"children":12135,"markDefs":12143,"style":221},"ef6e3af57158",[12136,12139],{"_key":12137,"_type":212,"marks":12138,"text":12094},"4faf181f63060",[214],{"_key":12140,"_type":212,"marks":12141,"text":12142},"4faf181f63061",[]," There are similarities between this album and my first album with our Bilwet/Adikno collective called Electronic Solitude or Elektronische Einsamkeit that came out at the height of the dotcom boom in 1999, where I read aloud texts in German and English.",[],{"_key":12145,"_type":208,"children":12146,"markDefs":12151,"style":221},"20f598d6e817",[12147],{"_key":12148,"_type":212,"marks":12149,"text":12150},"3c4cac5198860",[],"This time my collaboration with John Longwalker in We Are Not Sick resulted in the ‘Sad by Design’ album that was produced in the pre-Covid 2018-19 years—which had a similar frantic, pre-apocalyptic ‘roaring twenties’ feel.",[],{"_key":12153,"_type":208,"children":12154,"markDefs":12159,"style":221},"2421810f14f0",[12155],{"_key":12156,"_type":212,"marks":12157,"text":12158},"372e6b67352b0",[],"As we know from previous epochs, the intense and depressed psycho-states of artists and other irregulars pre-empts the actual outbreak of the crisis, whether it is late 1929, mid-2000, or early 2020. In this case, it is all about social media anxiety. The waiting, the anticipation, the silence of the Other in an age of real-time exchanges. What does it mean when your ranking is low whilst you are, virtually, surrounded by influencers and other TikTok dancers? What is the long-term implication of the absence of undergrounds and subcultures, when literally all cultural expressions are commodified and set in gentrified urban environments? What is the impact of the real existing nihilism caused by state and platform surveillance?",[],{"_key":12161,"_type":208,"children":12162,"markDefs":12167,"style":221},"b3d35041d387",[12163],{"_key":12164,"_type":212,"marks":12165,"text":12166},"05b3fdf64f760",[],"In my most recent work I focused on techno-sadness as a possible result, although we all know there are a whole range of expressions—from loneliness and anger, to depression and anxiety. Collective anxiety outbursts are real. Shitstorms are real. So is bullying and revenge porn, as is cyber warfare, ransomware, pump ‘n’ dump schemes, fake news, and other yet-unknown forms of cyber manipulation. When we add all of this up, it is not hard to understand the mass disillusion and inability to act collectively to overcome the ‘stack of crises’ that the world is facing.",[],{"_type":406,"caption":7,"image":12169},{"alt":11984,"asset":12170},{"_id":12171,"height":12172,"orientation":400,"ratio":12173,"url":12174,"width":6206},"image-b38cf697f6ffec7fbdf5859f3ec09cb5d18e062f-2560x2488-jpg",2488,1.0289389067524115,"https://cdn.sanity.io/images/eodip22e/production/b38cf697f6ffec7fbdf5859f3ec09cb5d18e062f-2560x2488.jpg",{"_type":410,"settings":7,"text":12176},[12177,12204,12211],{"_key":12178,"_type":208,"children":12179,"markDefs":12201,"style":3609},"08c3c540491e",[12180,12184,12189,12193,12197],{"_key":12181,"_type":212,"marks":12182,"text":12183},"be972e9fb9770",[],"The band has made the whole album openly ",{"_key":12185,"_type":212,"marks":12186,"text":12188},"be972e9fb9771",[12187],"9a1237ab8e80","available for remix",{"_key":12190,"_type":212,"marks":12191,"text":12192},"be972e9fb9772",[]," and you and John have said that you ",{"_key":12194,"_type":212,"marks":12195,"text":12196},"be972e9fb9773",[1056],"“want to provide the entire world with the opportunity to remix our album.”",{"_key":12198,"_type":212,"marks":12199,"text":12200},"be972e9fb9774",[]," All the tracks, as well as hundreds of lines of text and thousands of individual words, are available and completely configurable to any interpretation. What was the motivation to put the album up for free remix and what would be your dream to see done with it?",[12202],{"_key":12187,"_type":238,"href":12203},"https://wearenotsick.com/remix",{"_key":12205,"_type":208,"children":12206,"markDefs":12210,"style":221},"42b9c1c68452",[12207],{"_key":12208,"_type":212,"marks":12209,"text":435},"05cbee094fa90",[],[],{"_key":12212,"_type":208,"children":12213,"markDefs":12218,"style":221},"5340c4809acc",[12214],{"_key":12215,"_type":212,"marks":12216,"text":12217},"608ef8ab5ac20",[],"GL: This idea grew out of John’s push controller for Ableton Live, an instrument where you pre-program buttons that light up. They are played like a square keyboard. For each button, you can allocate either a sample or a phrase, a slogan or a word, and thus one can recombine certain moods and phrases into a song, as well as scratch and repeat them whilst doing the same with the underlying music. In my 1980s world, this would be a reference to Laurie Anderson and William Burroughs, although there might be multiple musical theory performances that one could refer to that have used similar techniques in the past. The idea here would be to dance to the theory, which, in the case of rap, has been proven possible. The body no longer needs to be disciplined, sit still, and silently take in the complexity of the carefully crafted sentences that are packed with concepts and references, as is the case in reading a static text. Instead, theory tracks into meme-mode and acknowledges the contradictory, fragmented ways of life that we live.",[],{"_type":406,"caption":7,"image":12220},{"alt":11984,"asset":12221},{"_id":12222,"height":5817,"orientation":400,"ratio":5818,"url":12223,"width":5316},"image-9183577e373e6910809ceae6372c0716c656eec7-768x441-png","https://cdn.sanity.io/images/eodip22e/production/9183577e373e6910809ceae6372c0716c656eec7-768x441.png",{"_type":410,"settings":7,"text":12225},[12226,12241,12249,12257,12265,12275],{"_key":12227,"_type":208,"children":12228,"markDefs":12240,"style":3609},"e3a14412bc21",[12229,12233,12236],{"_key":12230,"_type":212,"marks":12231,"text":12232},"7b1e2460ffdd0",[],"How do you see the relation between the “encroaching sadness provoked by social media architectures” that ",{"_key":12234,"_type":212,"marks":12235,"text":11564},"7b1e2460ffdd1",[1056],{"_key":12237,"_type":212,"marks":12238,"text":12239},"7b1e2460ffdd2",[]," addresses and the phenomenon of burnout?",[],{"_key":12242,"_type":208,"children":12243,"markDefs":12248,"style":221},"aa6f01dfc096",[12244],{"_key":12245,"_type":212,"marks":12246,"text":12247},"8b8f14051cac0",[],"GL: The boundaries are blurry, I know, but we refrain from saying that everyone is suffering from depression, that everyone is sick, needs to see a doctor, receive medication, take time off to heal, etc. While I wish everyone could take time off to have a break and recover, I strongly believe in organization, uprisings and revolts, and fundamental change. I do not believe in the medicalization of everything.",[],{"_key":12250,"_type":208,"children":12251,"markDefs":12256,"style":221},"109f711f513c",[12252],{"_key":12253,"_type":212,"marks":12254,"text":12255},"57c113c9128d0",[],"We need other media architectures, other social networks, more relaxed ways to communicate, and not this hyperbolic pressure to stay available 24/7. Burnout is a serious condition that acts like a ‘sickness container’ in which a multitude of symptoms are blended into one very heavy feeling of no longer being to continue, a psycho-somatic breakdown that I won’t go into full detail over. I am most interested in its weaker variations that are sensed by billions in micro-doses, daily. As an internet critic, media theorist, and activist, what I can do is get a better understanding of the designed dialectics of extraction on the one hand, and exhaustion on the other. For some this leads to burnout, for others it leads to but a mere, mild form of resignation. In the end, precisely how the platform economy plays out should not bother us. What matters is how we respond, how we care, and how we organize.",[],{"_key":12258,"_type":208,"children":12259,"markDefs":12264,"style":221},"c6403a2f52ed",[12260],{"_key":12261,"_type":212,"marks":12262,"text":12263},"2d62126de6000",[1056],"Thank you to Raphael Belfiore, Micha Seidenberg, Leandro Gianini, and Marea Hildebrand for their help in making this event and intervention possible.",[],{"_key":12266,"_type":208,"children":12267,"markDefs":12274,"style":221},"9763ad6cd37a",[12268,12271],{"_key":12269,"_type":212,"marks":12270,"text":2154},"a3dfee528d3c0",[],{"_key":12272,"_type":212,"marks":12273,"text":11822},"c36a0a26959c",[214],[],{"_key":12276,"_type":208,"children":12277,"markDefs":12305,"style":221},"3da39bdcd7ab",[12278,12282,12285,12288,12291,12294,12297,12301],{"_key":12279,"_type":212,"marks":12280,"text":12281},"d8967cdb8a090",[],"Velvetyne Type Foundry for 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to the We Are Not Sick Zine",{"_id":12386,"height":12387,"orientation":623,"ratio":536,"url":12388,"width":12387},"image-0de55d2090ce5b8fb3015818fd685896a1654f18-1000x1000-gif",1000,"https://cdn.sanity.io/images/eodip22e/production/0de55d2090ce5b8fb3015818fd685896a1654f18-1000x1000.gif",[12390,12401,12405,12422,12428,12459,12543],{"_type":410,"settings":12391,"text":12392},{"textColumnCount":412},[12393],{"_key":12394,"_type":208,"children":12395,"markDefs":12400,"style":221},"cfab6f22f513",[12396],{"_key":12397,"_type":212,"marks":12398,"text":12399},"d8b328f811fb0",[],"An extract from the special edition zine from our upcoming event with We Are Not Sick at Lange Nacht festival.",[],{"_type":406,"caption":7,"image":12402},{"alt":12403,"asset":12404},"Band of Burnouts Introduction to the We Are Not Sick Zine An extract from the special edition zine from our upcoming event with We Are Not Sick at Lange Nacht festival.",{"_id":12386,"height":12387,"orientation":623,"ratio":536,"url":12388,"width":12387},{"_type":410,"settings":7,"text":12406},[12407],{"_key":12408,"_type":208,"children":12409,"markDefs":12421,"style":221},"01fd77527678",[12410,12414,12417],{"_key":12411,"_type":212,"marks":12412,"text":12413},"4ed97e1550290",[],"This Saturday, our Band of Burnouts research lab is presenting the band ",{"_key":12415,"_type":212,"marks":12416,"text":11564},"4ed97e1550291",[1056],{"_key":12418,"_type":212,"marks":12419,"text":12420},"4ed97e1550292",[]," at Zurich’s annual contemporary music festival Lange Nacht. You can see all information about the event below (see related events).",[],{"_type":406,"caption":7,"image":12423},{"alt":12403,"asset":12424},{"_id":12425,"height":12426,"orientation":400,"ratio":8058,"url":12427,"width":5316},"image-3bb2bc6324e6092421622c725be94227340c181c-768x384-jpg",384,"https://cdn.sanity.io/images/eodip22e/production/3bb2bc6324e6092421622c725be94227340c181c-768x384.jpg",{"_type":410,"settings":7,"text":12429},[12430,12437,12451],{"_key":12431,"_type":208,"children":12432,"markDefs":12436,"style":221},"6e73565724e9",[12433],{"_key":12434,"_type":212,"marks":12435,"text":11584},"bf9600f7ae2a0",[214],[],{"_key":12438,"_type":208,"children":12439,"markDefs":12449,"style":221},"a321d6022049",[12440,12444],{"_key":12441,"_type":212,"marks":12442,"text":12443},"c8a30f80ad030",[],"As part of the intervention, we’ve made a special edition zine which is available onsite at Mehrspur music club. Inside it is an interview between Jess and Geert, We Are Not Sick stickers (pictured right), a take-home poster, info on remixing the album yourself, and micro-publication of the lyrics from band’s debut album ",{"_key":12445,"_type":212,"marks":12446,"text":12448},"c8a30f80ad031",[12447,1056],"a4f705415488","Sad by Design.",[12450],{"_key":12447,"_type":238,"href":11595},{"_key":12452,"_type":208,"children":12453,"markDefs":12458,"style":221},"0677b404ac9d",[12454],{"_key":12455,"_type":212,"marks":12456,"text":12457},"07e45d50251f0",[],"To give a taste of what Saturday’s event will entail, today we’re sharing the introduction by Jess from the zine.",[],{"_type":410,"settings":7,"text":12460},[12461,12469,12504,12512,12520,12527,12535],{"_key":12462,"_type":208,"children":12463,"markDefs":12468,"style":221},"327af963eaf9",[12464],{"_key":12465,"_type":212,"marks":12466,"text":12467},"ccb55abf49c40",[214],"Here we go:",[],{"_key":12470,"_type":208,"children":12471,"markDefs":12503,"style":221},"b26a02b3fe96",[12472,12476,12479,12483,12486,12490,12493,12496,12499],{"_key":12473,"_type":212,"marks":12474,"text":12475},"ac1541e744c30",[214],"The album begins with a moody hum that soon fills the body with a familiar feeling. As the voiceover iterates that",{"_key":12477,"_type":212,"marks":12478,"text":7982},"ac1541e744c31",[],{"_key":12480,"_type":212,"marks":12481,"text":12482},"ac1541e744c32",[214,1056],"“Intuitively, many feel that their mental mess is produced by society. It is not a sickness in our heads”",{"_key":12484,"_type":212,"marks":12485,"text":7982},"ac1541e744c33",[],{"_key":12487,"_type":212,"marks":12488,"text":12489},"ac1541e744c34",[214],"we know that this is a kindred spirit speaking to us from the void. Since first hearing some rough Sunday-jam tracks of what would become the",{"_key":12491,"_type":212,"marks":12492,"text":7982},"ac1541e744c35",[],{"_key":12494,"_type":212,"marks":12495,"text":11584},"ac1541e744c36",[214,1056],{"_key":12497,"_type":212,"marks":12498,"text":7982},"ac1541e744c37",[],{"_key":12500,"_type":212,"marks":12501,"text":12502},"ac1541e744c38",[214],"album, I have been a fan of We Are Not Sick’s new modality of critical theory. The beat-driven aphorisms, dancefloor-worthy treatises, and witty delivery of the relatable everyday internet-psyche experience are a welcome re-think of contemporary theorisation. Listening to an album is sure as hell more fun than reading another academia.edu article.",[],{"_key":12505,"_type":208,"children":12506,"markDefs":12511,"style":221},"db8ee90b46ae",[12507],{"_key":12508,"_type":212,"marks":12509,"text":12510},"8599ad2458b20",[214],"For the 2021 edition of the Lange Nacht (Long Night) Festival in Zürich, our Band of Burnouts research lab jumped at the opportunity to present We Are Not Sick as part of our year-long series of interventions around the topic of the burnout. Band of Burnouts is a transdisciplinary study of the burnout phenomenon through multi-voiced, multi-perspective, encounters with the experience. Within our research the subject of social media appears again and again. Feelings towards using social platforms in relation to burnout range from overwhelm and aversion, to consolation, ambivalence, and total resentment. The full spectrum is there. What is unique about We Are Not Sick’s standpoint is the refusal to accept that the fact that majority of people report having negative feelings after a session on social media (primarily sadness, loneliness, and low self-worth) means there is something wrong with them. We are not sick, the platforms are. As the first track on the album states:",[],{"_key":12513,"_type":208,"children":12514,"markDefs":12519,"style":221},"38e1101eb982",[12515],{"_key":12516,"_type":212,"marks":12517,"text":12518},"475e765fc3580",[1056],"“We can no longer leave the management of the world to Silicon Valley. We need to dismantle the free and invent new ways to work together and deal with differences and disputes, rather than rehashing them for the billionth time.”",[],{"_key":12521,"_type":208,"children":12522,"markDefs":12526,"style":221},"078c5aad4001",[12523],{"_key":12524,"_type":212,"marks":12525,"text":435},"5b27037578bd0",[],[],{"_key":12528,"_type":208,"children":12529,"markDefs":12534,"style":221},"f0af55d9d3b4",[12530],{"_key":12531,"_type":212,"marks":12532,"text":12533},"f2fc0dd29cb00",[214],"Melt into John Longwalker’s genre-defying sounds; from gentle ambience to raw– almost brutal–hip hop and anthemic acid house, whilst Geert Lovink speaks truth to the platform and the contemporary condition in this experimental music experience at Mehrspul music club. Zone out, tune in, let’s see how we can make critical thinking sexy again here tonight. With a generous dollop of fun and lol moments along the way.",[],{"_key":12536,"_type":208,"children":12537,"markDefs":12542,"style":221},"b6f40cbaaa14",[12538],{"_key":12539,"_type":212,"marks":12540,"text":12541},"83203a6ddab60",[214],"—Jess Henderson",[],{"_type":406,"caption":7,"image":12544},{"alt":12403,"asset":12545},{"_id":12546,"height":5598,"orientation":358,"ratio":7718,"url":12547,"width":5316},"image-15fe396d75b4f9fba6a149348e749ffb1c544164-768x1024-jpg","https://cdn.sanity.io/images/eodip22e/production/15fe396d75b4f9fba6a149348e749ffb1c544164-768x1024.jpg","2021-07-02",{"_type":9,"current":12550},"introduction-to-the-we-are-not-sick-zine",{"_id":12552,"_type":271,"categories":7,"credits":12553,"featuredImage":12589,"pageBuilder":12596,"publishedDate":12718,"seo":7,"slug":12719,"summary":12721,"title":12722},"6a75843d-5c79-479f-a8c1-a5b071e0b864",{"other":7,"profiles":12554},[12555],{"_id":12556,"_type":315,"activeYears":12557,"bio":12560,"bioShort":12569,"featuredImage":12570,"filterables":12575,"links":12578,"locations":12581,"searchables":12585,"seo":7,"slug":12587,"title":12571},"c96d184a-f932-4334-9bde-9c0e480e7d6a",[12558],{"_id":119,"_type":94,"seo":7,"slug":12559,"title":122},{"_type":9,"current":121},[12561],{"_key":12562,"_type":208,"children":12563,"markDefs":12568,"style":221},"cac19dd9025a",[12564],{"_key":12565,"_type":212,"marks":12566,"text":12567},"e2cdec33a30b0",[],"She earned her B.A. from Sarah Lawrence College and her M.F.A. from Columbia University. Her work has been featured in the Analog Cookbook, VEE, SIZL, and Talk Vomit.",[],"Zoe (she/her/hers) is a queer writer. ",{"alt":12571,"asset":12572},"Zoe Grace Marquedant ",{"_id":12573,"height":3790,"orientation":623,"ratio":536,"url":12574,"width":3790},"image-dcce3ffd0e380ad68df13f8cfe27672ecb93c9b2-800x800-jpg","https://cdn.sanity.io/images/eodip22e/production/dcce3ffd0e380ad68df13f8cfe27672ecb93c9b2-800x800.jpg",{"filterYear":12576},[12577],{"_id":119,"title":122},[12579],{"_type":371,"label":372,"url":12580},"https://www.instagram.com/zoenoumlaut/",{"locations":12582,"other":7},[12583],{"_id":10380,"_type":378,"seo":7,"slug":12584,"title":10383},{"_type":9,"current":10382},[12586,121],"zoe grace marquedant ",{"_type":9,"current":12588},"zoe-grace-marquedant",{"alt":12590,"asset":12591},"jing-xi-lau",{"_id":12592,"height":6206,"orientation":358,"ratio":12593,"url":12594,"width":12595},"image-8a4936301cfc3c590ac8202cb25befc05f26a29c-2069x2560-jpg",0.808203125,"https://cdn.sanity.io/images/eodip22e/production/8a4936301cfc3c590ac8202cb25befc05f26a29c-2069x2560.jpg",2069,[12597,12608,12706],{"_type":410,"settings":12598,"text":12599},{"textColumnCount":412},[12600],{"_key":12601,"_type":208,"children":12602,"markDefs":12607,"style":221},"bb9f13d9649d",[12603],{"_key":12604,"_type":212,"marks":12605,"text":12606},"3a4743b96d6a0",[],"Noises that are fine but it's 5 AM, 10 PM, it's early, it's late, this has been going on for hours, I can't sleep, I can't read, I have to say something.",[],{"_type":410,"settings":7,"text":12609},[12610,12618,12626,12634,12642,12650,12658,12666,12674,12682,12690,12698],{"_key":12611,"_type":208,"children":12612,"markDefs":12617,"style":221},"e3a027073332",[12613],{"_key":12614,"_type":212,"marks":12615,"text":12616},"4391da8b8cb10",[],"When you live in proximity to a school, a stadium, a factory, an industrial complex, a train station, or the tracks, or even just within certain cities, noise is one of your neighbors. Some of it is iconic, recognizable. Harry Belafonte singing the opening lines of the “Banana Boat Song (Day O).” The rest is standard: sirens, shouting matches, patrons spilling out of all-night diners, bars, parked cars into apartments to stomp around, open the fridge, let the dog out, drop keys, kick off shoes, fumble for the light. It’s a crowded airway.",[],{"_key":12619,"_type":208,"children":12620,"markDefs":12625,"style":221},"51519c0e76fa",[12621],{"_key":12622,"_type":212,"marks":12623,"text":12624},"081fda3bfb620",[],"There’s a line, when it comes to car stereos, lengthy parties, arguments, where the tolerance for sound drops off. During the sleeping hours. When you’re working. Studying. Just trying to focus on something and your thought process keeps getting broken by kids playing ball in the street. When you want to bang back on the wall, the ceiling. Stop the racket. Open a window and ask for quiet in what feels like the loudest place on earth. To silence barking dogs, BBQs, teenagers with subwoofers installed in their rooms. Reign in the people congregating below. The leaf blowers, lawnmowers, buskers, proselytizers.",[],{"_key":12627,"_type":208,"children":12628,"markDefs":12633,"style":221},"52b8756a2433",[12629],{"_key":12630,"_type":212,"marks":12631,"text":12632},"eef87bd4a8010",[],"Noises that may at certain times of day be fine but it’s 5 AM, 10 PM, it’s early, it’s late, it’s my one day off, my deadline, this is unreasonable, this has been going on for hours, I can’t sleep, I can’t read, I have to say something.",[],{"_key":12635,"_type":208,"children":12636,"markDefs":12641,"style":221},"07be4e6663bf",[12637],{"_key":12638,"_type":212,"marks":12639,"text":12640},"45da5a8013f50",[],"Say something. Shout to those down below. Feel foolish, powerless, get laughed at. Make it worse. Or better but only for a few minutes. Then the volume dial goes left again. The idle chatter rises above expected din. The frustration sets in.",[],{"_key":12643,"_type":208,"children":12644,"markDefs":12649,"style":221},"e9026921d5bd",[12645],{"_key":12646,"_type":212,"marks":12647,"text":12648},"6b3602eecfc40",[],"Call someone, the super, the other neighbor, the cops. File something. Registering a complaint with the city, with the authorities, with someone who presumably will do that infamous something. Something bigger, bolder than hammering a shoe against the wall. Will issue a fine, a warning, will take names, license plates. Will knock on the door. Order the music to be switched off. Demand that the evening, which had turned into a morning, be disbanded. A something, which will do what you were unable to do. Unable to insist on. Make happen. And then you will then get your sleep. Your quiet time. Your concentration. Yours.",[],{"_key":12651,"_type":208,"children":12652,"markDefs":12657,"style":221},"d3c61c6b777f",[12653],{"_key":12654,"_type":212,"marks":12655,"text":12656},"32fb0bc715820",[],"But of course, the sources of noises are inherently personal. My dog, my friends, my team playing the championships. My juicer, my clense. My gym shoes. My roommates. My in-laws, my infant, my failing relationship. The one day I have time to actually vacuum the carpets. The hour I have to myself, sitting in the bathtub watching sitcoms. Calling my best friend, my partner, my mom while I divide a butternut squash for dinner. My cutting board, my cleaver. My radiator, washer, leaky shower. My open windows.",[],{"_key":12659,"_type":208,"children":12660,"markDefs":12665,"style":221},"6166ea371ecd",[12661],{"_key":12662,"_type":212,"marks":12663,"text":12664},"1bdfe202ae570",[],"Personal too are the types of things you find offensive, irritating, in need of silencing. Things you deem worth bringing up. The smack of chewing gum. That one radio announcer. Dogs past 11PM. “Free-spirited” children. Jackhammers. Tinder dates. Renovations. Speaker phone conversations. Sing-alongs with tone deaf accompaniments, chair backs and countertops as improvised musical instruments. A bag of 200 marbles slipping off the table. Someone endlessly, randomly practicing the theme to the Pink Panther on the saxophone. Each your own personal apocalypse.",[],{"_key":12667,"_type":208,"children":12668,"markDefs":12673,"style":221},"988c2cdfa79e",[12669],{"_key":12670,"_type":212,"marks":12671,"text":12672},"256f6b5cd7800",[],"It is a form of me v you. For there are things you give room to. Piano lessons, interview preparation, anniversaries. If you know the somebody running their lines, rehearsing for opening night. If you in some way have given them a pass. If you like the sax. If you don’t mind the fussy children protesting vegetables.",[],{"_key":12675,"_type":208,"children":12676,"markDefs":12681,"style":221},"d82aa6943d22",[12677],{"_key":12678,"_type":212,"marks":12679,"text":12680},"5e38c20322150",[],"You choose what grates on your nerves. Or else you move the dial. After realizing you live below an early riser, try to ignore the sounds of their morning routine starting long before you begin yours. Or you’re used to it. It’s not what gets to you. There are other things that fry you. That list. What you put up with, what you grew up putting up with, what the last thing you were expecting to hear is, where your last straw is if it exists. That mental tally of accepted and unaccepted activities and their assigned times. Your expectations. Your revisions. Your preferences. What you consider reasonable. What you consider polite. Whose side you’re on.",[],{"_key":12683,"_type":208,"children":12684,"markDefs":12689,"style":221},"8700095e2e6d",[12685],{"_key":12686,"_type":212,"marks":12687,"text":12688},"c5297cd237c00",[],"How you find your life fits within the clockwork of barking, beeping, moving. Depending on the reason why your life is at that intersection of sports games and interstates to begin with. To extent did you sign up for this, are you stuck in it, do you think it’s changed? If you live above a noisy pub that sprung up to meet the demands of college kids getting drunk every day starting at 5PM. Next to a hospital with a new trauma center. If you moved here before your noisemaker was built, before it got busy, before it got bad. When this used to be such a quiet place.",[],{"_key":12691,"_type":208,"children":12692,"markDefs":12697,"style":221},"953779a72242",[12693],{"_key":12694,"_type":212,"marks":12695,"text":12696},"9b18e3b42c1b0",[],"You cannot curate noise level. Impose rule over bikers, ice cream trucks, that one cellphone store with the speakers. Even if you’re not the only one bothered. It cannot be made personal. Perhaps because flight paths, fireworks, playgrounds, university campuses will always happen. Somewhere, to someone.",[],{"_key":12699,"_type":208,"children":12700,"markDefs":12705,"style":221},"fc0b9f4bde86",[12701],{"_key":12702,"_type":212,"marks":12703,"text":12704},"286bb7151b180",[],"Perhaps because there’s too much ours. Multiple lives combine to make a city. Coexistence is a necessity unless you want to live in a distant cabin. Apartment buildings where tenants have hundreds of other people living a few walls away from them. Each a unit that watches soccer games and raises newborns and crate-trains puppies and forgets to put their hearing aids in. That is the pack of cities, of modern living. The relative inevitability of racket. And the daily attempts to make peace with it.",[],{"_type":406,"caption":12707,"image":12716},[12708],{"_key":12709,"_type":208,"children":12710,"markDefs":12715,"style":221},"8d6b2824df0b",[12711],{"_key":12712,"_type":212,"marks":12713,"text":12714},"c3412bed30aa0",[],"Jing Xi Lau",[],{"alt":12714,"asset":12717},{"_id":12592,"height":6206,"orientation":358,"ratio":12593,"url":12594,"width":12595},"2021-03-03",{"_type":9,"current":12720},"silence-as-complaint","'Noises that are fine but it's 5 AM, 10 PM, it's early, it's late, this has been going on for hours, I can't sleep, I can't read, I have to say something.'","Silence as Complaint",{"_id":12724,"_type":271,"categories":7,"credits":12725,"featuredImage":12750,"pageBuilder":12757,"publishedDate":12718,"seo":7,"slug":12856,"summary":12858,"title":12780},"9722cc9a-ef83-49a1-b16a-2e6c3c4f6e74",{"other":7,"profiles":12726},[12727],{"_id":12556,"_type":315,"activeYears":12728,"bio":12731,"bioShort":12569,"featuredImage":12737,"filterables":12739,"links":12742,"locations":12744,"searchables":12748,"seo":7,"slug":12749,"title":12571},[12729],{"_id":119,"_type":94,"seo":7,"slug":12730,"title":122},{"_type":9,"current":121},[12732],{"_key":12562,"_type":208,"children":12733,"markDefs":12736,"style":221},[12734],{"_key":12565,"_type":212,"marks":12735,"text":12567},[],[],{"alt":12571,"asset":12738},{"_id":12573,"height":3790,"orientation":623,"ratio":536,"url":12574,"width":3790},{"filterYear":12740},[12741],{"_id":119,"title":122},[12743],{"_type":371,"label":372,"url":12580},{"locations":12745,"other":7},[12746],{"_id":10380,"_type":378,"seo":7,"slug":12747,"title":10383},{"_type":9,"current":10382},[12586,121],{"_type":9,"current":12588},{"alt":12751,"asset":12752},"boston-public-library",{"_id":12753,"height":6206,"orientation":358,"ratio":12754,"url":12755,"width":12756},"image-66f4de0ce394dadc914f6e79f36c4ba191a5f4be-1693x2560-jpg",0.661328125,"https://cdn.sanity.io/images/eodip22e/production/66f4de0ce394dadc914f6e79f36c4ba191a5f4be-1693x2560.jpg",1693,[12758,12769,12778,12782],{"_type":410,"settings":12759,"text":12760},{"textColumnCount":412},[12761],{"_key":12762,"_type":208,"children":12763,"markDefs":12768,"style":221},"b39a1f5dda1c",[12764],{"_key":12765,"_type":212,"marks":12766,"text":12767},"d71a6a4c1cc90",[],"If a tree falls in a forest and no one's around to hear it, is it a waste of that peaceful silence?",[],{"_type":410,"settings":7,"text":12770},[12771],{"_key":12772,"_type":208,"children":12773,"markDefs":12777,"style":221},"2ee623b59fd5",[12774],{"_key":12775,"_type":212,"marks":12776,"text":12767},"e31f704cd9fe0",[214],[],{"_type":406,"caption":7,"image":12779},{"alt":12780,"asset":12781},"Silence as Nature",{"_id":12753,"height":6206,"orientation":358,"ratio":12754,"url":12755,"width":12756},{"_type":410,"settings":7,"text":12783},[12784,12792,12800,12808,12816,12824,12832,12840,12848],{"_key":12785,"_type":208,"children":12786,"markDefs":12791,"style":221},"7237ad04b914",[12787],{"_key":12788,"_type":212,"marks":12789,"text":12790},"b43250da39d10",[],"Birds, but not whitewater rafters. Breezes, twigs snapping underfoot, flies, only a certain amount of flies. Breathing on the inclines, the top to the water bottle, shoelaces, knots. Never engines, never planes, never ATVs. No buzzing, no sawing, no logging. No views interrupted by paragliders, commercial jetliners. Only certain types of talking at this point for looking out. Commenting, ‘oh wow’ from mountaintops. Checking for echoes by yelling ‘echo.’ Shouting out trail markers on the way back down. Single ‘hello’s and nods when passing other hikers. Walkie-talkies, park rangers.",[],{"_key":12793,"_type":208,"children":12794,"markDefs":12799,"style":221},"e6c18ae301c3",[12795],{"_key":12796,"_type":212,"marks":12797,"text":12798},"e3b65ce587530",[],"Wild animals. Calls, howls, chirps. The sounds of one life trying to locate others. Dogs? Wolves? There aren’t wolves. Are there? What would they eat? Deer. The critters you only hear when they move, when they want you to. Grazing, chewing, moving off, breaking eye contact. Something ducking into the water. The creek surface breaking. Babbling, running, rushing, trickling, dripping, collecting, falling water. Rapids. Springs. Drinking. Not paddling. No lazy river, pleasure cruise drifting by. Quiet lakefront. Nothing startling the fish. The herons stalking slowly in the shallows.",[],{"_key":12801,"_type":208,"children":12802,"markDefs":12807,"style":221},"9d831f641640",[12803],{"_key":12804,"_type":212,"marks":12805,"text":12806},"b45d5df5d78e0",[],"Peaceful. Undistrupted. Empty, meaning teaming. Meaning frog eggs. Meaning birds nests. Not 747s overhead. No parkways dividing the forest, giving the tourist something to look at. No backfires. No campfires. No people. Crickets. Insects crushed between palms. No one else.",[],{"_key":12809,"_type":208,"children":12810,"markDefs":12815,"style":221},"fc48692d176f",[12811],{"_key":12812,"_type":212,"marks":12813,"text":12814},"02fad0089a2d0",[],"This is solitude. This is seven hours in one direction. With no evidence cities even exist. Except a cellphone. And a signal. But you don’t want anyone to call you. To disrupt your aloneness. To join the quiet of the meadow. This neighborhood of prescriptive nothingness through which you are walking. Stopping in clearings to hear the wildlife go about its business. The quiet work of fieldmice and honeybees. On the list of things to hear, man and machine are evenly in line for last.",[],{"_key":12817,"_type":208,"children":12818,"markDefs":12823,"style":221},"5b68f078291e",[12819],{"_key":12820,"_type":212,"marks":12821,"text":12822},"3794489f80720",[],"If a tree falls in a forest and no one’s around to hear it, is it a waste of that peaceful silence? Do you know the specifics of the swallow’s call? Do I? Does it matter? Or rather is it the impression of a forest full of song that leaves a mark? Is that what we go looking for?",[],{"_key":12825,"_type":208,"children":12826,"markDefs":12831,"style":221},"8d316c79ae92",[12827],{"_key":12828,"_type":212,"marks":12829,"text":12830},"cace1a38ec180",[],"Certain animals align with that idea of a nothingness, a somethingness, a soundlessness, a quiet presence, a wilderness. Trout catching mayflies. Herds on hilltops. Not cattle. Not animals for eating, skinning, milking. Meat animals. Wild animals. Ones you brag about seeing. Ones worth mentioning. More of what you came for. More of what is only here and not there, not elsewhere.",[],{"_key":12833,"_type":208,"children":12834,"markDefs":12839,"style":221},"60fcf869fe57",[12835],{"_key":12836,"_type":212,"marks":12837,"text":12838},"5809fa96dcbe0",[],"The sounds of their movements a sort of company. A sense of inhabitance. Some small critter breaking through the leaf litter. Gone in a flash of color. Barely registered with the eye, but caught by the ear. An accompaniment to walking. To acorns crunching underfoot. Rocks skittering. Lizards. Eagles crying. Wood pigeons taking off clumsily from treetops. Something crashing through deadwood, trying to get away and succeeding. Harmless, not raising a panic, not coming towards. Receding sounds, running sounds. Not following.",[],{"_key":12841,"_type":208,"children":12842,"markDefs":12847,"style":221},"139c0c86cb0d",[12843],{"_key":12844,"_type":212,"marks":12845,"text":12846},"92b31edeff320",[],"Identifiable sounds filed under all-encompassing nouns, such as ‘bird’ and ‘bug.’ The broad stoke identifiers. Also owls. Loons. Those found on cafe soundtracks next to compilations of celtic music and smooth jazz. Ones that are associated with different times of day. Heights of grass. Regions. Weather patterns. Spring sounds, night sounds. A certain way rain falls when not on cement. When it has to find its way down from treetops, along leaf veins, freebase off branches.",[],{"_key":12849,"_type":208,"children":12850,"markDefs":12855,"style":221},"f24722ffe8e0",[12851],{"_key":12852,"_type":212,"marks":12853,"text":12854},"917ce1b9d3460",[],"Sounds you can’t find in cities, except on those CDs. Sounds that don’t pair with traffic and subways and apartment complexes. A sort that is left in nature. That is almost finite, restricted to nature. Never intermingling, only encroaching. Except when the occasional painted bunting deviates from its migration to stop the city for a minute.",[],{"_type":9,"current":12857},"silence-as-nature","'If a tree falls in a forest and no one's around to hear it, is it a waste of that peaceful silence?' ",{"_id":12860,"_type":271,"categories":7,"credits":12861,"featuredImage":12886,"pageBuilder":12891,"publishedDate":13036,"seo":7,"slug":13037,"summary":13039,"title":13040},"949f0a20-8f1f-4bcb-8958-639812dfcfd0",{"other":7,"profiles":12862},[12863],{"_id":12556,"_type":315,"activeYears":12864,"bio":12867,"bioShort":12569,"featuredImage":12873,"filterables":12875,"links":12878,"locations":12880,"searchables":12884,"seo":7,"slug":12885,"title":12571},[12865],{"_id":119,"_type":94,"seo":7,"slug":12866,"title":122},{"_type":9,"current":121},[12868],{"_key":12562,"_type":208,"children":12869,"markDefs":12872,"style":221},[12870],{"_key":12565,"_type":212,"marks":12871,"text":12567},[],[],{"alt":12571,"asset":12874},{"_id":12573,"height":3790,"orientation":623,"ratio":536,"url":12574,"width":3790},{"filterYear":12876},[12877],{"_id":119,"title":122},[12879],{"_type":371,"label":372,"url":12580},{"locations":12881,"other":7},[12882],{"_id":10380,"_type":378,"seo":7,"slug":12883,"title":10383},{"_type":9,"current":10382},[12586,121],{"_type":9,"current":12588},{"alt":12887,"asset":12888},"Don't Speak Silence as Surrounding",{"_id":12889,"height":6206,"orientation":623,"ratio":536,"url":12890,"width":6206},"image-c673e189367f1c2f90430f897d06355081990cfd-2560x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/c673e189367f1c2f90430f897d06355081990cfd-2560x2560.jpg",[12892,12895,12906],{"_type":406,"caption":7,"image":12893},{"alt":7,"asset":12894},{"_id":12889,"height":6206,"orientation":623,"ratio":536,"url":12890,"width":6206},{"_type":410,"settings":12896,"text":12897},{"textColumnCount":412},[12898],{"_key":12899,"_type":208,"children":12900,"markDefs":12905,"style":221},"6561faa6d338",[12901],{"_key":12902,"_type":212,"marks":12903,"text":12904},"8e7d5976a5210",[],"For months, there has been an absence of ambiance.",[],{"_type":410,"settings":7,"text":12907},[12908,12916,12924,12932,12940,12948,12956,12964,12972,12980,12988,12996,13004,13012,13020,13028],{"_key":12909,"_type":208,"children":12910,"markDefs":12915,"style":221},"2efa1638e700",[12911],{"_key":12912,"_type":212,"marks":12913,"text":12914},"b98433beab8c0",[],"Without our hours spent in coffee shops, offices, train stations, grocery stores. There aren’t announcements, weekly specials, musak. No sorting flatware. No renesting of cups in saucers. Keyboards, cellphones, sneaker soles against spills, against wet floors. No orders shouted, mispronunciations, aliases. No conversations half-whispered. No thud of laptop chargers unraveling, hitting the ground, skittering away. There isn’t the click of the plug in the outlet. The start-up chime. The shift of cardboard sleeves. Popping of straws through plastic tops. The thousand ways in which other people make so much noise yet you barely notice it.",[],{"_key":12917,"_type":208,"children":12918,"markDefs":12923,"style":221},"75134172be73",[12919],{"_key":12920,"_type":212,"marks":12921,"text":12922},"ac87297cf7760",[],"Because there is no lingering. There is no crinkling of receipts. No parking breaks. No shopping cart wheels jumping the curb.",[],{"_key":12925,"_type":208,"children":12926,"markDefs":12931,"style":221},"b324e39064c4",[12927],{"_key":12928,"_type":212,"marks":12929,"text":12930},"57db207a3a770",[],"No conversations passing, overspilling momentarily from two people into three. When was the last time you overheard something? Something worth repeating? The last time you sat listening to other people doing close to nothing. People watching. The way they sit and swallow and turn pages and shift their weight. And not mind it at all.",[],{"_key":12933,"_type":208,"children":12934,"markDefs":12939,"style":221},"4bb3bace96e4",[12935],{"_key":12936,"_type":212,"marks":12937,"text":12938},"5a76d155d74c0",[],"What do we do with this distance between us and the mundane? Will we lose our tolerance of it? Do we crave it?",[],{"_key":12941,"_type":208,"children":12942,"markDefs":12947,"style":221},"238980eaa51e",[12943],{"_key":12944,"_type":212,"marks":12945,"text":12946},"f3846fbe742c0",[],"What will happen when we encounter someone else’s favorite song bleeding out from their headphones again?",[],{"_key":12949,"_type":208,"children":12950,"markDefs":12955,"style":221},"9368519dbe7e",[12951],{"_key":12952,"_type":212,"marks":12953,"text":12954},"85fa85c1750b0",[],"When the parks crowded with pick-up games and cook-outs?",[],{"_key":12957,"_type":208,"children":12958,"markDefs":12963,"style":221},"de79f2655917",[12959],{"_key":12960,"_type":212,"marks":12961,"text":12962},"560d3a7e26900",[],"When the trains fill ‘til we’re in each other’s armpits and we’re forced by proximity to listen to each other breathe?",[],{"_key":12965,"_type":208,"children":12966,"markDefs":12971,"style":221},"3952d9857bce",[12967],{"_key":12968,"_type":212,"marks":12969,"text":12970},"0b55de28f9930",[],"Will I burst into joyful tears the first time someone cross-checks me on the sidewalk without saying sorry? Will I be appreciative of this soundtrack? Will it be deafening at first?",[],{"_key":12973,"_type":208,"children":12974,"markDefs":12979,"style":221},"bddfed4b4750",[12975],{"_key":12976,"_type":212,"marks":12977,"text":12978},"48a2d54c042d0",[],"All that I’ve heard is the computer fan. The space heater. The thousand or so blackbirds that spend the day moving between various trees. What else is there in the emptiness where white noise was? What do we call this absence? Does this count as a hunger?",[],{"_key":12981,"_type":208,"children":12982,"markDefs":12987,"style":221},"35d9c3945d42",[12983],{"_key":12984,"_type":212,"marks":12985,"text":12986},"a606d036dcd80",[],"Is this lacking of horns and kettles and copiers and coffee machines why I’ve let the cat scratch the furniture? Am I so eager to have something break up the sounds of the sink draining, the piping, the metal contracting and expanding in the cold?",[],{"_key":12989,"_type":208,"children":12990,"markDefs":12995,"style":221},"166d409a5529",[12991],{"_key":12992,"_type":212,"marks":12993,"text":12994},"c0b09b5b40580",[],"I call home. For five minutes, fifteen minutes, two hours. For that stretch of time, there’s someone talking. Voice is volleyed back and forth or overlapping. When we hang up, it’s back to trucks on far roads, wind storms, my own stomach.",[],{"_key":12997,"_type":208,"children":12998,"markDefs":13003,"style":221},"b0c03ebd30d9",[12999],{"_key":13000,"_type":212,"marks":13001,"text":13002},"208e89bcd0200",[],"Sometimes we just stay on the line. Our intermittent conversation backtracked by overtime, chores, dinner. I watch my best friend spatchcock a chicken while she talks herself through it, reminds me to remind her to shower.",[],{"_key":13005,"_type":208,"children":13006,"markDefs":13011,"style":221},"16465cb3b3d1",[13007],{"_key":13008,"_type":212,"marks":13009,"text":13010},"8ad22989f2c90",[],"Her phone, and thus me, is balanced against the cutting board. I listen to the rocking, chopping sounds of the knife. Peeling skin and cursing. I have nothing to add. In another year, I would have been sitting in that kitchen. As helpful as I am now. Merely there to emit a series of uhuhs and mmhhmms. Lowly, slowly like wait music, just to prove I’m still there. That the signal hasn’t dropped. I am tuned to the frequencies of rinsing veggies, searching cabinet drawers for that specific utensil you use only for this dish.",[],{"_key":13013,"_type":208,"children":13014,"markDefs":13019,"style":221},"088d40625063",[13015],{"_key":13016,"_type":212,"marks":13017,"text":13018},"e03ee542cac50",[],"This, this measure just above quiet is what stands in for background music. Without it, I would buy parkettes, take up the trumpet, become a ventriloquist and throw my voice into every inanimate object I encounter. I will buy tiny cat-sized sneakers just to conjure the sound of footfalls.",[],{"_key":13021,"_type":208,"children":13022,"markDefs":13027,"style":221},"2c25737a727f",[13023],{"_key":13024,"_type":212,"marks":13025,"text":13026},"fb07f73c91180",[],"There are playlists, entire albums of ambient bustling, city life, cafes, study halls, libraries meant perhaps for exam prep. To encourage concentration, mimic sitting in a carousel amongst the stacks. A certain level of chaos in audio. Like a yule log burning on the television in lieu of a fireplace. A stand-in. A replacement?",[],{"_key":13029,"_type":208,"children":13030,"markDefs":13035,"style":221},"0e7c17653aff",[13031],{"_key":13032,"_type":212,"marks":13033,"text":13034},"43db0709894e0",[],"I fear I will become a sports fan in the aftermath. Just to give myself access to as many voices, vendors hawking caps and t-shirts, refs, bats cracking, bad calls, anthems, pump-up jams, chants, cheers, everything. I’ll rent an apartment above a bar. Listen to buskers. Stop and listen to whatever metaphorical flowers reach my ears.",[],"2021-03-02",{"_type":9,"current":13038},"silence-as-surrounding","'For months, there has been an absence of ambiance.'","Silence as Surrounding",{"_id":13042,"_type":271,"categories":7,"credits":13043,"featuredImage":13068,"pageBuilder":13073,"publishedDate":13036,"seo":7,"slug":13099,"summary":13101,"title":13102},"ac68e6ae-90a3-44bb-a190-319f21ae1933",{"other":7,"profiles":13044},[13045],{"_id":12556,"_type":315,"activeYears":13046,"bio":13049,"bioShort":12569,"featuredImage":13055,"filterables":13057,"links":13060,"locations":13062,"searchables":13066,"seo":7,"slug":13067,"title":12571},[13047],{"_id":119,"_type":94,"seo":7,"slug":13048,"title":122},{"_type":9,"current":121},[13050],{"_key":12562,"_type":208,"children":13051,"markDefs":13054,"style":221},[13052],{"_key":12565,"_type":212,"marks":13053,"text":12567},[],[],{"alt":12571,"asset":13056},{"_id":12573,"height":3790,"orientation":623,"ratio":536,"url":12574,"width":3790},{"filterYear":13058},[13059],{"_id":119,"title":122},[13061],{"_type":371,"label":372,"url":12580},{"locations":13063,"other":7},[13064],{"_id":10380,"_type":378,"seo":7,"slug":13065,"title":10383},{"_type":9,"current":10382},[12586,121],{"_type":9,"current":12588},{"alt":13069,"asset":13070},"elena-koycheva",{"_id":13071,"height":6206,"orientation":358,"ratio":6723,"url":13072,"width":6203},"image-aba5c74b24fb0ceff9f08eabf37e046c16c182ac-1707x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/aba5c74b24fb0ceff9f08eabf37e046c16c182ac-1707x2560.jpg",[13074,13078,13089],{"_type":406,"caption":7,"image":13075},{"alt":13076,"asset":13077},"Elena Koycheva ",{"_id":13071,"height":6206,"orientation":358,"ratio":6723,"url":13072,"width":6203},{"_type":410,"settings":13079,"text":13080},{"textColumnCount":412},[13081],{"_key":13082,"_type":208,"children":13083,"markDefs":13088,"style":221},"d1e014a7094d",[13084],{"_key":13085,"_type":212,"marks":13086,"text":13087},"8bc2f6d71af10",[],"Musical wallpaper.",[],{"_type":410,"settings":7,"text":13090},[13091],{"_key":13092,"_type":208,"children":13093,"markDefs":13098,"style":221},"35c2199403e6",[13094],{"_key":13095,"_type":212,"marks":13096,"text":13097},"3e2f89f95cc80",[],"Proof no one’s hung up. Something that simultaneously drives you insane and keeps you this side of sanity. A song without beginning or end. Proof of eternity. Piano. Wind chimes. Flutes. The peaceful instruments. Endless melody. Repetition. Synths. Smooth jazz. Something reminiscent of elevators. Measures and measures. Perfect loops. Codas. No clear structure, just an overlapping pattern. Something to encourage time passing. Ensure you don’t yell at the person that picks up. Eventually. Unrecognizable, unbranded, unattributable music. By no one. Without a title. Or a time stamp. It just goes on and on and on. Like rainstorms. Or parades. Passing and passing until suddenly gone. Detaching your sense of how long you’ve been here. Undoing your adherence to hours in the day and other things that need to get done. Or stoking your frustrations. Breeding a deep hatred for this icicle-melting-sounding dreamscape with woodwinds that is keeping you from speaking to someone. A representative. This instrumental version of nothing. This non-conversation. This opposite of a person. A trained professional. Somebody. This river of notes no one asked for. Climbing to nowhere. Meandering and never flourishing. That sounds almost like something you’ve heard before, but surely they wouldn’t have the copyright. If they had that kind of money, surely somebody would answer. It’s just a familiar gesture. The same first few chords. Something influenced by popular songs, broader movements, entire eras. Both off-putting and inoffensive. Deescalating. Nothing you’ll remember tomorrow. Nothing you could hum or tap your foot to. It is something that purposefully falls out of your ears. Yet threatens when you still have the receiver, the microphone pressed to your ear to never leave you. To keep you prisoner here forever. One with that monotonous march of keyboards and piano patches. Occasional cymbal. Bass. 80s influence out of nowhere. Impossible to write lyrics to. To place in another setting. Not built for the radio, the concert hall, the bar on Live Music Thursdays. Not even the dentist’s office. Utterly unnoticeable. And yet deafening. There’s an earworm quality. A worry this will stick in your head. This will soundtrack everything you ever do from this moment forward. At least it’s upbeat. Or is it? At least it’s not depressive in a decipherable way. It’s middle of the road, middle of everything. Unharmonic with anything. Unaccompanied. A solo movement. It all one song. Or several stitched together. A seamless thing. You barely noticed the subtle tonal shifts. How long has it been? This is taking… how would you know? How do you measure time without measures? You listen. You think. This is a wash cycle, a circle, proof of perpetual motion. You wonder, is this what the astronauts listened to on the way to the moon? How many people are stuck on the line along with you? Will archeologists discover your body, like the bog men or the residents below Mount Vesuvius, with your hand held to your ear and lay you in a museum labeled as the mysterious ‘lady in waiting?’ Will they wonder what you could hear? Was it important? You wonder whether they take requests? And if they did, what would you rather?",[],{"_type":9,"current":13100},"silence-as-waiting","'Musical wallpaper.'","Silence as Waiting",{"_id":13104,"_type":271,"categories":13105,"credits":13113,"featuredImage":13158,"pageBuilder":13166,"publishedDate":13309,"seo":7,"slug":13310,"summary":13307,"title":13296},"7e8b1242-b2fb-45b4-b785-6bed36bda189",[13106],{"_id":13107,"_type":281,"colorPrimary":13108,"seo":7,"slug":13110,"title":13112},"88f51667-8015-491a-a85c-9ccb4549ceaa",{"label":283,"value":13109},"#dcffdc",{"_type":9,"current":13111},"constellations-toward-radical-ecologies-of-care","Constellations toward radical ecologies of care",{"other":7,"profiles":13114},[13115],{"_id":13116,"_type":315,"activeYears":13117,"bio":13120,"bioShort":13128,"featuredImage":7,"filterables":13129,"links":13132,"locations":13135,"searchables":13153,"seo":7,"slug":13155,"title":13157},"461355e5-871a-4785-b0ba-da420ef321a6",[13118],{"_id":119,"_type":94,"seo":7,"slug":13119,"title":122},{"_type":9,"current":121},[13121],{"_key":13122,"_type":208,"children":13123,"markDefs":13127,"style":221},"a50652c006b5",[13124],{"_key":13125,"_type":212,"marks":13126,"text":6469},"cec8f0ab9cad",[],[],"Darya is an artist, writer, and sex worker.",{"filterYear":13130},[13131],{"_id":119,"title":122},[13133],{"_type":371,"label":372,"url":13134},"https://www.instagram.com/_nontender_/",{"locations":13136,"other":13144},[13137,13139],{"_id":3458,"_type":378,"seo":7,"slug":13138,"title":3461},{"_type":9,"current":3460},{"_id":13140,"_type":378,"seo":7,"slug":13141,"title":13143},"8d802e3d-6cab-4db2-9a47-b36509258e48",{"_type":9,"current":13142},"central-america","Central America",[13145],{"_key":13146,"_type":208,"children":13147,"markDefs":13152,"style":221},"baf7a8c0f2ac",[13148],{"_key":13149,"_type":212,"marks":13150,"text":13151},"ee0cc111bf1c0",[],"Based in Los Angeles and London",[],[13154,121],"darya diamond",{"_type":9,"current":13156},"darya-diamond","Darya Diamond",{"alt":13159,"asset":13160},"Screenprint Image and Tile by Darya Diamond",{"_id":13161,"height":13162,"orientation":358,"ratio":13163,"url":13164,"width":13165},"image-77baf9ca7d607b3fd364395fd84d82b9e2da28bb-1445x1870-jpg",1870,0.7727272727272727,"https://cdn.sanity.io/images/eodip22e/production/77baf9ca7d607b3fd364395fd84d82b9e2da28bb-1445x1870.jpg",1445,[13167,13185,13219,13237,13268,13286,13298],{"_type":410,"settings":7,"text":13168},[13169,13177],{"_key":13170,"_type":208,"children":13171,"markDefs":13176,"style":221},"e43740f569ff",[13172],{"_key":13173,"_type":212,"marks":13174,"text":13175},"f18abfb953de0",[214],"I. DEATH BY STOCKINGS",[],{"_key":13178,"_type":208,"children":13179,"markDefs":13184,"style":221},"892207f54fae",[13180],{"_key":13181,"_type":212,"marks":13182,"text":13183},"0f990aee47df0",[],"He sent Maria a message two weeks prior requesting lots of wipes for “endless cum”. He asked her if she likes to wear pretty dresses, and he told her she had the perfect figure for it. He liked her tiny nipples. He liked her stockings and he liked her big Mexican brown eyes. Actually, he liked them too much. His hard-on became intimidated and for a minute he faltered. She gave him a foot job and he told her he wanted to cum on her stockings. He told her it felt cleaner but she thought it felt dirtier. On average one cum releases 90 million sperm cells. 90 million deaths all over Maria’s 6-pound stockings. A cheap burial but perhaps not a waste. The semen goop was shaped like a ram’s head. In the bible, a scapegoat is an animal that is ritually burdened with the sins of others and then driven away. The concept first appears in Leviticus, in which a goat is designated to be cast into the desert to carry away the sins of the community. A horned deity, or perhaps a spastic attempt by 90 million sperm to organize into one final arrangement that simultaneously speaks to their sacrifice and their burden of carrying the sins of a horny man who loves Mexican chicas.",[],{"_type":5118,"slides":13186},[13187,13203],{"_type":406,"caption":13188,"image":13196},[13189],{"_key":13190,"_type":208,"children":13191,"markDefs":13195,"style":221},"89662faf83ee",[13192],{"_key":13193,"_type":212,"marks":13194,"text":13159},"8825736207040",[],[],{"alt":13197,"asset":13198},"I. Mutiny of the Body: Constellations Towards a Radical Ecology of Care III. Mutiny of the Body: LA BRUXA EROTICA NEUROTICA",{"_id":13199,"height":13200,"orientation":400,"ratio":13201,"url":13202,"width":5316},"image-69b8be13155511b9986a0808bfe72dc7d5a4f5cb-768x497-jpg",497,1.545271629778672,"https://cdn.sanity.io/images/eodip22e/production/69b8be13155511b9986a0808bfe72dc7d5a4f5cb-768x497.jpg",{"_type":406,"caption":13204,"image":13212},[13205],{"_key":13206,"_type":208,"children":13207,"markDefs":13211,"style":221},"9c791d82eb81",[13208],{"_key":13209,"_type":212,"marks":13210,"text":13159},"c4259dd865580",[],[],{"alt":13197,"asset":13213},{"_id":13214,"height":13215,"orientation":358,"ratio":13216,"url":13217,"width":13218},"image-1e4a706efa7bd6b3ff0690c921a220451fc0ea37-641x687-jpg",687,0.9330422125181951,"https://cdn.sanity.io/images/eodip22e/production/1e4a706efa7bd6b3ff0690c921a220451fc0ea37-641x687.jpg",641,{"_type":410,"settings":7,"text":13220},[13221,13229],{"_key":13222,"_type":208,"children":13223,"markDefs":13228,"style":221},"a7f90e7d33c2",[13224],{"_key":13225,"_type":212,"marks":13226,"text":13227},"77ce385a6b50",[214],"II. JOSHUA TREE",[],{"_key":13230,"_type":208,"children":13231,"markDefs":13236,"style":221},"ebe2bba6dc39",[13232],{"_key":13233,"_type":212,"marks":13234,"text":13235},"36a290f5e775",[],"“I’m cumming, I’m cumming I’M CUMMINGGAHHH!” He shot his load in her direction. Maria laid her head back and a nameless man-boy ejaculated a pearly Joshua tree at the nape of her belly button. She licked the pink fountainhead and told her skin to remember the outline of the Joshua tree shrub that landed on her in a clear liquid mass. The Joshua tree symbolizes the strength and beauty that can arise from dysfunctional desert flower—so to speak. It was undoubtedly an emblem for Maria, representative of survival. The surfaces of her skin remembered all of the dribble drawings that decorated her body. It reminded her of being a child and drawing designs in sunscreen. She remembered watching her skin drink the sun everywhere except for where she branded herself with a smiley face or a peace sign maybe. Maria recognized bodily ejaculation stains as a form of carromancy; divination by way of cum and the lost souls who resided in it. Her clients left her more than a stack of cash in an envelope. They left her an offering. A bodily offering of spontaneous eruption and an augary into the future unknown. Why ask for a pearl necklace when you could let chance deliver you a shape that simultaneously erupts as it reads your fortune, as a figuration of your past present and future.",[],{"_type":5118,"slides":13238},[13239,13252],{"_type":406,"caption":13240,"image":13248},[13241],{"_key":13242,"_type":208,"children":13243,"markDefs":13247,"style":221},"b36a5067a200",[13244],{"_key":13245,"_type":212,"marks":13246,"text":13159},"b026ea97ee770",[],[],{"alt":13197,"asset":13249},{"_id":13250,"height":5316,"orientation":623,"ratio":536,"url":13251,"width":5316},"image-e2b0764f9e7d6e08a26ff0ab77792ca959f8c32a-768x768-jpg","https://cdn.sanity.io/images/eodip22e/production/e2b0764f9e7d6e08a26ff0ab77792ca959f8c32a-768x768.jpg",{"_type":406,"caption":13253,"image":13261},[13254],{"_key":13255,"_type":208,"children":13256,"markDefs":13260,"style":221},"f9306a35deab",[13257],{"_key":13258,"_type":212,"marks":13259,"text":13159},"af0ff449a3490",[],[],{"alt":13197,"asset":13262},{"_id":13263,"height":13264,"orientation":358,"ratio":13265,"url":13266,"width":13267},"image-ba4fbf019e3861eda99f74dffd2f493a9ec5e296-426x476-png",476,0.8949579831932774,"https://cdn.sanity.io/images/eodip22e/production/ba4fbf019e3861eda99f74dffd2f493a9ec5e296-426x476.png",426,{"_type":410,"settings":7,"text":13269},[13270,13278],{"_key":13271,"_type":208,"children":13272,"markDefs":13277,"style":221},"75f88f116208",[13273],{"_key":13274,"_type":212,"marks":13275,"text":13276},"3b41cfa15dd00",[214],"IV. ICONIC OCTOPUS ON SECRETARY",[],{"_key":13279,"_type":208,"children":13280,"markDefs":13285,"style":221},"994fc16eb8bf",[13281],{"_key":13282,"_type":212,"marks":13283,"text":13284},"b0ffbd9944130",[],"Secretary ( 2002) is without question a cult classic—a requiem for healthy masochistic power dynamics in the workplace. There are many iconic scenes in this film that Maria liked to watch tri-annually, (a) to once again celebrate the unquestionable ferocity of submission performed by Maggie Gyllenhaal, and (b) to replay the most inglorious cum shot she had ever seen on mainstream cinema. The cum left by her master, her boss, dribbled in an unmistakable series of lines that came together at their base, outlining an octopus in reverse on Ms. Gyllenhaal’s partially clothed but now wet back. The scene is painful in some way, and in that sense, a complete success, but also sad in some way perhaps cued by the bunched up skirt and the sticky mess between rayon stockings and a polyester blouse that would prove to be a defeating cleanup in real life. The scene opens with a disgruntled Maggie Gyllenhaal, who, after weeks of repetitive and punitive typo training, has stopped making typos. But she lives for the unyielding punishment that her employer gives her. She is hungry for correction. She wants to be punished. She wanted to be reprimanded. She wants to evoke the tendrils of her master’s cruelty. She places a dead worm inside the folds of a drafted memo. Bossman circles the worm with his read pen a dozen times and then calls Gyllenhaal into the office where he instructs her to pull down her tights and her panties. Secretary thinks she is in for a world of spanking but instead she begins to realize that she has pushed him too far and alas he is rapidly jacking off into the image of her bare subordinate bottom. He cums on her back. Mortified and aroused, she pulls up her tights and walks into the bathroom stall where she tapes to the wall one of her drafts, bleeding with red pen. She masturbates to the thought of his glorious octopus cum. And we, the viewer, have but a few seconds to catch a glimpse of the erroneous octopus-shaped cum smashed between her polyester blouse and the nape of her lower back. Many cultures, from South America to the Pacific Northwest and the Polynesian Islands, revere octopuses to be divine protectors and spiritual guides. The Octopus on our Secretary’s back embodies the tendrils of control and power that ontologically guides her through her day.",[],{"_type":406,"caption":13287,"image":13295},[13288],{"_key":13289,"_type":208,"children":13290,"markDefs":13294,"style":221},"b9941ba34bd9",[13291],{"_key":13292,"_type":212,"marks":13293,"text":13159},"58c6f6d000b60",[],[],{"alt":13296,"asset":13297},"III. Mutiny of the Body: LA BRUXA EROTICA NEUROTICA",{"_id":13161,"height":13162,"orientation":358,"ratio":13163,"url":13164,"width":13165},{"_type":410,"settings":13299,"text":13300},{"textColumnCount":412},[13301],{"_key":13302,"_type":208,"children":13303,"markDefs":13308,"style":3609},"39e519141ff1",[13304],{"_key":13305,"_type":212,"marks":13306,"text":13307},"dbf8479558b10",[],"I. DEATH BY STOCKINGS\nII. JOSHUA TREE\nIV. ICONIC OCTOPUS ON SECRETARY",[],"2021-01-18",{"_type":9,"current":13311},"iii-mutiny-of-the-body-la-bruxa-erotica-neurotica",{"_id":13313,"_type":271,"categories":13314,"credits":13318,"featuredImage":13349,"pageBuilder":13357,"publishedDate":13309,"seo":7,"slug":13563,"summary":13367,"title":13350},"87f7bdd0-e224-40dd-9885-3b490fd63451",[13315],{"_id":13107,"_type":281,"colorPrimary":13316,"seo":7,"slug":13317,"title":13112},{"label":283,"value":13109},{"_type":9,"current":13111},{"other":7,"profiles":13319},[13320],{"_id":13116,"_type":315,"activeYears":13321,"bio":13324,"bioShort":13128,"featuredImage":7,"filterables":13330,"links":13333,"locations":13335,"searchables":13347,"seo":7,"slug":13348,"title":13157},[13322],{"_id":119,"_type":94,"seo":7,"slug":13323,"title":122},{"_type":9,"current":121},[13325],{"_key":13122,"_type":208,"children":13326,"markDefs":13329,"style":221},[13327],{"_key":13125,"_type":212,"marks":13328,"text":6469},[],[],{"filterYear":13331},[13332],{"_id":119,"title":122},[13334],{"_type":371,"label":372,"url":13134},{"locations":13336,"other":13341},[13337,13339],{"_id":3458,"_type":378,"seo":7,"slug":13338,"title":3461},{"_type":9,"current":3460},{"_id":13140,"_type":378,"seo":7,"slug":13340,"title":13143},{"_type":9,"current":13142},[13342],{"_key":13146,"_type":208,"children":13343,"markDefs":13346,"style":221},[13344],{"_key":13149,"_type":212,"marks":13345,"text":13151},[],[],[13154,121],{"_type":9,"current":13156},{"alt":13350,"asset":13351},"II. Mutiny of the Body: On Sex Work and the Political Economy of Care",{"_id":13352,"height":13353,"orientation":400,"ratio":13354,"url":13355,"width":13356},"image-824d3c3d0b41572fb47a9405f496e879550647ba-2774x1476-png",1476,1.8794037940379404,"https://cdn.sanity.io/images/eodip22e/production/824d3c3d0b41572fb47a9405f496e879550647ba-2774x1476.png",2774,[13358,13369,13379,13388,13446,13449,13556],{"_type":410,"settings":13359,"text":13360},{"textColumnCount":412},[13361],{"_key":13362,"_type":208,"children":13363,"markDefs":13368,"style":221},"ab44aa178427",[13364],{"_key":13365,"_type":212,"marks":13366,"text":13367},"16a275c224500",[],"In this essay I want to continue looking at sex work as a dimension that generates what Joan Tronto calls “integrated acts of care” or the affective and ethical dispositions involved in relational practices of fostering attention and holding space for another human.",[],{"_type":410,"settings":7,"text":13370},[13371],{"_key":13372,"_type":208,"children":13373,"markDefs":13378,"style":221},"72f26c5839b0",[13374],{"_key":13375,"_type":212,"marks":13376,"text":13377},"fd0f6b45c70e0",[],"In my previous essay, I discussed the idea of an ‘ethics of care’, introducing my research on care in economies of reproductive labor, such as service work, pleasure economies, domestic work, and sex work as forms of labour that allow for the regeneration and maintenance of the bodies and minds. Here, I will expand on what I mean by an ‘ethics of care’ and the integrated acts of care that permeate those ethics. I will discuss the entanglement of care, sex work, and gender; the historical pitfalls and the generative/contemporary considerations of those fields.",[],{"_type":406,"caption":7,"image":13380},{"alt":13381,"asset":13382},"I. Mutiny of the Body: Constellations Towards a Radical Ecology of Care",{"_id":13383,"height":13384,"orientation":400,"ratio":13385,"url":13386,"width":13387},"image-8cc8b6712cb6c5c9f29166822b23d8475977e8ac-472x338-png",338,1.3964497041420119,"https://cdn.sanity.io/images/eodip22e/production/8cc8b6712cb6c5c9f29166822b23d8475977e8ac-472x338.png",472,{"_type":410,"settings":7,"text":13389},[13390,13398,13406,13414,13422,13430,13438],{"_key":13391,"_type":208,"children":13392,"markDefs":13397,"style":221},"84073397da1f",[13393],{"_key":13394,"_type":212,"marks":13395,"text":13396},"ba81064308a70",[214],"Joan Tronto’s “Ethics of Care”",[],{"_key":13399,"_type":208,"children":13400,"markDefs":13405,"style":221},"bb7161e572e2",[13401],{"_key":13402,"_type":212,"marks":13403,"text":13404},"0af85dcbe2840",[],"Joan Tronto articulated the dimensions that join to generate an “integrated” act of care: the affective and ethical dispositions involved in concern, worry, and taking responsibility for other’s well being such as “caring about” and “taking care of”, need to be supported by material practices- traditionally understood as maintenance, or concrete work involved in actualizing care, such as “care giving” and “care receiving” (Tronto 1993, 105-108, sevenhuijsen 1998). The distinction between “taking care of” and “care giving” does not separate these modes of agency. A politics of care engages much more than a moral stance; it involves affective, ethical, and hands on agencies of practical and material consequence.”",[],{"_key":13407,"_type":208,"children":13408,"markDefs":13413,"style":221},"df5a75bb9ac4",[13409],{"_key":13410,"_type":212,"marks":13411,"text":13412},"f82d4282e5820",[],"Relying on the feminist ideals culitivated by Virginia Held, Carol Gilligan, and Joan Tronto in the 1980s (quoted above) I want to examine the opportunities in re-defining an ‘ethic of care’. Similar to contemporary notions of social reproduction theory, an “​ethic of care” provides strong arguments that presuppose an end to the profit motive’s reign over interpersonal economies. An ethic of care reorganizes the class politics of care to be a collective ecology rather than one of values concerned with self interest or privatized commodity. In as much as neoliberalism is not only a description of economic life, but also an ethical system that posits the hierarchy of the individual over the community, a contemporary ethic of care demands the organization of social and political values over economic ones, taking into account the way that the values of neoliberal capitalism allow the market to dictate our relationships to one another.",[],{"_key":13415,"_type":208,"children":13416,"markDefs":13421,"style":221},"b8900b2b93eb",[13417],{"_key":13418,"_type":212,"marks":13419,"text":13420},"b6cbf624b4860",[],"In an interview with Dissent Magazine, Nancy Fraser eloquently breaks down the idea of a “Crisis of Care” and the intersection of social depletion and neolibieral economics. “In capitalist societies, the capacities available for social reproduction are accorded no monetized value. They are taken for granted, treated as free and infinitely available “gifts,” which require no attention or replenishment. It’s assumed that there will always be sufficient energies to sustain the social connections on which economic production, and society more generally, depend. When a society simultaneously withdraws public support (day care, childcare, meal distribution, community recreation centers, health care) for social reproduction and conscripts the chief providers of it into long and grueling hours of paid work, it depletes the very social capacities on which it depends. The current, financialized form of neoliberal capitalism is systematically consuming our capacities to sustain social bonds, like a tiger that eats its own tail. The result is a “crisis of care” that is every bit as serious and systemic as the current ecological crisis, with which it is, in any case, intertwined.”",[],{"_key":13423,"_type":208,"children":13424,"markDefs":13429,"style":221},"86b1a8af0247",[13425],{"_key":13426,"_type":212,"marks":13427,"text":13428},"4ab9ffed83230",[],"Fraser’s description of social depletion locates a very useful analyses of ‘the social body’ pinpoint the economic hierarchy of production over reproduction in maintaining and sustaining bodies, as well as the relational maintenance that is mis-negotiated in said hierarchy. Nancy Fraser articulates the social depletion that has become hegemonic, that is to say, nearly universal both within the context of neoliberalism but also in the context of a global pandemic that starves many communities of public support for social reproduction. Herein lies the opportunity to radicalize and redefine care both as a solution and a theoretical praxis.",[],{"_key":13431,"_type":208,"children":13432,"markDefs":13437,"style":221},"cb7892586e78",[13433],{"_key":13434,"_type":212,"marks":13435,"text":13436},"19c83d0948b90",[],"Social repair then, is a project for engendering new forms of co-existence that can replenish said depletion. It is a project for radical tenderness, networks of emotional support, collaborative pedagogies, intimacy, pleasure, interconnectedness and rest. The project of reclaiming agency within problematic structures is synonymous with collectivized care and repair because the nature of affect, social replenishment, empathy, and emotional support is fundamentally a pluralized experience dependent on the feedback loop of human relationality. Equally important, if not more important than a socialized economic restructuring of care, is the paradigm shift of interdependence. ​An ethics of care beyond mere survival (which, as a human species, we have not yet achieved) is contingent upon the collective discernment of needs.​​ We might also phrase this as collective accountability or the consideration of responsibility to not just the personal household, immediate family, or individual survival, but also to a wider spectrum of kin such as neighbors, friends, mutually consensual sexual players members of our local communities who need more support. Where the state is not accountable to itself, local and global networks of care can be accountable to one another. This is the expanded definition of care I hope to elevate, and through which I want to frame sex work.",[],{"_key":13439,"_type":208,"children":13440,"markDefs":13445,"style":221},"98ba3cfe94fe",[13441],{"_key":13442,"_type":212,"marks":13443,"text":13444},"f91c96f61d120",[],"The economy of personal growth, well-being, intimacy, self-hood, and the value of “authentic” interaction be it engineered or not- carves out a space both for existential vulnerabilities and the socially reproductive forms of labor that those vulnerabilities demand. The sex industry, varied in all its forms (criminalized or not) is an example of an economy that relegates emotional labor as a commodity. Sex work has existed as an economic sector of relationality for centuries- almost as long as reproductive labor has been designated to women. I wish to identify the way that sex work has historically been a source of emotional, physical and psychic replenishment to both the working and middle class yet has never objectively been assimilated into mainstream economies of care. Despite sexist legislation riddled with reactionary hypocritcal moralism, sex work is an active economy all over the world. In all its forms, sex work provides attention, emotional and physical stimulation, amusement, pleasure, intimacy, and various degrees of emotional labor on a transactional basis. ",[],{"_type":406,"caption":7,"image":13447},{"alt":13381,"asset":13448},{"_id":13352,"height":13353,"orientation":400,"ratio":13354,"url":13355,"width":13356},{"_type":410,"settings":7,"text":13450},[13451,13459,13467,13475,13483,13498,13505,13513,13540,13548],{"_key":13452,"_type":208,"children":13453,"markDefs":13458,"style":221},"9645c210be7e",[13454],{"_key":13455,"_type":212,"marks":13456,"text":13457},"3cc1be00f2fc0",[214],"Care ≠ Femme",[],{"_key":13460,"_type":208,"children":13461,"markDefs":13466,"style":221},"f3a5b87d1978",[13462],{"_key":13463,"_type":212,"marks":13464,"text":13465},"51272c0c01700",[],"There are various pitfalls in the political landscape of care and gender. The problematic nature of those pitfalls involves an assumption that sex workers are performing gender and thus are providing care as part of that performance. Emotional labor in sex work, and arguably all work, refers to the invisible yet highly necessary work of keeping other people comfortable and happy- historically attributed to ‘feminine’ or ‘maternal’ gender performance. This stereotype here is deeply regressive as it binds domestic work to care to sex to feminity. It also binds services in sex work to gender performance and a gender binary that is wildly inaccurate. These are not the appropriate avenues of exploring care, gender, or sex work by any means.",[],{"_key":13468,"_type":208,"children":13469,"markDefs":13474,"style":221},"9eca8adc5145",[13470],{"_key":13471,"_type":212,"marks":13472,"text":13473},"aabb544c3df40",[],"The social and political value of care has been a substantial bedrock of feminism and the fight for gender equality where unpaid reproductive labor is exploited as a national resource. My analysis of care is firmly rooted alongside the pillars of reproductive feminist theory, its legacy, and its contemporary embodiment in current forms of capitalist critique. In this section I will reflect on the synapse and ambivalence in anchoring a revolution of care in the doctrines of feminism.",[],{"_key":13476,"_type":208,"children":13477,"markDefs":13482,"style":221},"e93c76dd2ed4",[13478],{"_key":13479,"_type":212,"marks":13480,"text":13481},"f84a80093ad00",[],"There is an economic compulsion towards a gendered division of labor, as women have been the labor force procreating and reproducing capitalist subjects (bodies) for centuries. As Silvia Federici argues in “Revolution at Point Zero: Housework, Reproduction and Feminist Struggle”, the class that performs this work is the epitome of precariousness and furthermore is made up overwhelmingly of women. Trajectories towards repair proposed by feminist movements for the last 50 years demand solidarity and fortified socialized support of the jobs that have historically been the biopower behind ‘care work’ such as educators, service workers, childcarers, nurses, house cleaners, sex workers, midwives, and home carers. Despite the stratification of domestic and reproductive labor beneath production, the domestic sphere is central to economic and political life. Feminist social movements today successfully delineate the manipulation of a gendered workforce that is enmeshed in the exploitation of intangible labor via the institution of marriage. However, I will note that there is a tendency is mainstream feminism to diminish the true role of slavery and race that continue to perpetuate gender violence and disproportionally affect caregivers all over the world.",[],{"_key":13484,"_type":208,"children":13485,"markDefs":13495,"style":221},"e8028244005a",[13486,13490],{"_key":13487,"_type":212,"marks":13488,"text":13489},"76a89e33c5bc0",[],"A proposition for the radical genesis of care should not be confined to gender because gender violence is not freestanding. The entanglement of social reproduction, care, engendered labour are tedious. That being said, my aim in this essay, is to calcify the notion that an expanded definition of care as a radical and holistic ecology will posit sex work at the forefront of maintaining the social body and in doing so (radicalizing care, means) dis-associating the term from it’s historically gendered connotations. Sex work is not a performance of gender so much as it is a performance of collectivity and care. It must be liberated from it’s historically gendered framework. As I attach ‘an ethics of care’ to the labour force behind sex work, I want to dis-integrate care from its gendered associations. I discussed this among other things on Radio",{"_key":13491,"_type":212,"marks":13492,"text":13494},"76a89e33c5bc1",[13493],"f5bfd2088378"," AVA in October.",[13496],{"_key":13493,"_type":238,"href":13497},"https://www.radioava.org/episodes/october2020",{"_key":13499,"_type":208,"children":13500,"markDefs":13504,"style":221},"a5feceee9763",[13501],{"_key":13502,"_type":212,"marks":13503,"text":435},"d0a8d654e59b0",[],[],{"_key":13506,"_type":208,"children":13507,"markDefs":13512,"style":221},"2673174814a7",[13508],{"_key":13509,"_type":212,"marks":13510,"text":13511},"2ddd1891c7030",[214],"Towards a Commons That Supports Sex Workers",[],{"_key":13514,"_type":208,"children":13515,"markDefs":13539,"style":221},"47b9a7681c7e",[13516,13520,13524,13527,13531,13535],{"_key":13517,"_type":212,"marks":13518,"text":13519},"33f184d5e9a10",[],"Sex work, the pleasure economy, and forms of emotional labor are provisions of care and need not be overlooked ",{"_key":13521,"_type":212,"marks":13522,"text":13523},"33f184d5e9a11",[214],"as",{"_key":13525,"_type":212,"marks":13526,"text":7982},"33f184d5e9a12",[],{"_key":13528,"_type":212,"marks":13529,"text":13530},"33f184d5e9a13",[214],"we",{"_key":13532,"_type":212,"marks":13533,"text":13534},"33f184d5e9a14",[]," embark on a new year of social repair and recovery from the alienation we have experienced through a global pandemic. It is a provision of care that engenders forms of coexistence fostering radical tenderness, raw sensorial experience, networks of emotional support, intimacy, pleasure, interconnectedness, and rest.",{"_key":13536,"_type":212,"marks":13537,"text":13538},"33f184d5e9a15",[214]," The consideration of sex work is a rudimentary part of social healing as pleasure, attention and sensorial connection are fundamentally essential ingredients of the social body.",[],{"_key":13541,"_type":208,"children":13542,"markDefs":13547,"style":221},"3e867b95fad3",[13543],{"_key":13544,"_type":212,"marks":13545,"text":13546},"0f049a8898140",[],"The intervention in the deformed neoliberal practices of resource distribution, social relation, and affective continuity is inclusive of a broader effort to radicalize care as a political practice. How can we collectively reclaim our capacity to holistically support one another? Resolving the subjective crisis of social depletion calls for a new way of relating to one another, a new way of relating economy to the body politic, a new way of relating production to reproduction and a new way of relating public and private spheres.The theoretical framework and practice of ‘the commons’ addresses both an ethic of care (as it pertains to relationality) and also distributive justice. It is representative of a public form of care as it is an arena that houses both literally and theoretically public and private responsibilities to each other.",[],{"_key":13549,"_type":208,"children":13550,"markDefs":13555,"style":221},"3d1815f495e1",[13551],{"_key":13552,"_type":212,"marks":13553,"text":13554},"e0aff0a5e3e00",[],"What does a generative rather than extractavist approach to care entail? ​An alternative model for economic restructuring might bypass the state, wherein the demand for instrumentalized subjectivity and transactional relationships involving care, intimacy, support, and mutual aid can be met with the power of an autonomous public capital for sex workers internationally. ​",[],{"_type":406,"caption":7,"image":13557},{"alt":13381,"asset":13558},{"_id":13559,"height":13560,"orientation":400,"ratio":13561,"url":13562,"width":5316},"image-a42b8ef6367452fb998e91a28ab1c57637bfe7f9-768x409-png",409,1.8777506112469438,"https://cdn.sanity.io/images/eodip22e/production/a42b8ef6367452fb998e91a28ab1c57637bfe7f9-768x409.png",{"_type":9,"current":13564},"ii-mutiny-of-the-body-on-sex-work-and-the-political-economy-of-care",{"_id":13566,"_type":271,"categories":13567,"credits":13592,"featuredImage":13633,"pageBuilder":13641,"publishedDate":14266,"seo":7,"slug":14267,"summary":14269,"title":13660},"4316380f-c832-467c-80d3-5551d09b3882",[13568,13575,13578,13585],{"_id":13569,"_type":281,"colorPrimary":13570,"seo":7,"slug":13572,"title":13574},"53d12372-724a-42fa-a7a9-1a21407ed51b",{"label":283,"value":13571},"#50ff50",{"_type":9,"current":13573},"ecology","Ecology",{"_id":5144,"_type":281,"colorPrimary":13576,"seo":7,"slug":13577,"title":5149},{"label":283,"value":5146},{"_type":9,"current":5148},{"_id":13579,"_type":281,"colorPrimary":13580,"seo":7,"slug":13582,"title":13584},"e8ad074e-c6d1-457a-bc79-0b474f6c6d79",{"label":283,"value":13581},"#00c8c8",{"_type":9,"current":13583},"hydrofeminism","Hydrofeminism",{"_id":13586,"_type":281,"colorPrimary":13587,"seo":7,"slug":13589,"title":13591},"23d2d19e-a186-42af-8974-0db3a7dfbd97",{"label":283,"value":13588},"#005500",{"_type":9,"current":13590},"miasma","Miasma",{"other":7,"profiles":13593},[13594],{"_id":13595,"_type":315,"activeYears":13596,"bio":13599,"bioShort":13608,"featuredImage":7,"filterables":13609,"links":13612,"locations":13615,"searchables":13628,"seo":7,"slug":13630,"title":13632},"e3c9490e-1e73-45b1-aa71-9c28549eb056",[13597],{"_id":109,"_type":94,"seo":7,"slug":13598,"title":112},{"_type":9,"current":111},[13600],{"_key":13601,"_type":208,"children":13602,"markDefs":13607,"style":221},"6ab47d4f46a2",[13603],{"_key":13604,"_type":212,"marks":13605,"text":13606},"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":13610},[13611],{"_id":109,"title":112},[13613],{"_type":371,"label":5256,"url":13614},"https://karilericherobertson.com/",{"locations":13616,"other":13619},[13617],{"_id":3458,"_type":378,"seo":7,"slug":13618,"title":3461},{"_type":9,"current":3460},[13620],{"_key":13621,"_type":208,"children":13622,"markDefs":13627,"style":221},"6ff5d5de92ea",[13623],{"_key":13624,"_type":212,"marks":13625,"text":13626},"49a25849336a",[],"Based in Rotterdam",[],[13629,111],"kari robertson",{"_type":9,"current":13631},"kari-robertson","Kari Robertson",{"alt":13634,"asset":13635},"Above:Image of Ebola under microscope. Image Credit.",{"_id":13636,"height":13637,"orientation":400,"ratio":13638,"url":13639,"width":13640},"image-d0e9dd5725a3c6afa37049716347b88a58e81d7e-720x340-jpg",340,2.1176470588235294,"https://cdn.sanity.io/images/eodip22e/production/d0e9dd5725a3c6afa37049716347b88a58e81d7e-720x340.jpg",720,[13642,13662],{"_type":406,"caption":13643,"image":13659},[13644],{"_key":13645,"_type":208,"children":13646,"markDefs":13656,"style":221},"f659a0a4517d",[13647,13651],{"_key":13648,"_type":212,"marks":13649,"text":13650},"7a7c2c6bac490",[],"Image of Ebola under microscope. ",{"_key":13652,"_type":212,"marks":13653,"text":13655},"7a7c2c6bac491",[13654],"e786f8e6b31a","Image Credit.",[13657],{"_key":13654,"_type":238,"href":13658},"https://the-gist.org/2015/09/a-game-of-hide-and-seek-the-search-for-ebolas-animal-past/",{"alt":13660,"asset":13661},"Entangled Pathogens - Interview with Dr. Lina Moses",{"_id":13636,"height":13637,"orientation":400,"ratio":13638,"url":13639,"width":13640},{"_type":410,"settings":7,"text":13663},[13664,13679,13687,13702,13720,13728,13736,13766,13774,13782,13790,13798,13806,13814,13822,13841,13849,13857,13879,13906,13914,13944,13952,13960,13979,13987,13995,14003,14011,14019,14027,14035,14043,14058,14087,14095,14114,14122,14130,14138,14146,14154,14162,14170,14189,14197,14205,14213,14221,14229,14237],{"_key":13665,"_type":208,"children":13666,"markDefs":13676,"style":221},"ea29dbe77503",[13667,13672],{"_key":13668,"_type":212,"marks":13669,"text":13671},"ee2e3733e8040",[13670],"45f917d08816","Dr. Lina Moses",{"_key":13673,"_type":212,"marks":13674,"text":13675},"ee2e3733e8041",[]," is an epidemiologist and disease ecologist. Her primary interest is the control of viral zoonoses transmitted from small mammals. Moses utilises methods from both epidemiology and ecology to understand the interface of human, animal and pathogen. In addition to observational and quasi-experimental field studies, she is interested in implementing human and animal surveillance for zoonoses at the community level. The ultimate goal of her research is to develop interventions to respond quickly to and reduce primary animal-to-human transmission of pathogens. ",[13677],{"_key":13670,"_type":238,"href":13678},"https://sph.tulane.edu/gchb/lina-moses",{"_key":13680,"_type":208,"children":13681,"markDefs":13686,"style":221},"695e57385481",[13682],{"_key":13683,"_type":212,"marks":13684,"text":13685},"9e3a4281e4b40",[],"Dr. Moses teaches TRMD 6420 Tropical Virology in Tulane University, New Orleans.",[],{"_key":13688,"_type":208,"children":13689,"markDefs":13701,"style":221},"47cb4c7d93c5",[13690,13694,13697],{"_key":13691,"_type":212,"marks":13692,"text":13693},"9e45b8e5a11a0",[1056],"The following are transcribed excerpts from a conversation I had with Dr. Moses in her office at Tulane University on May 14th",{"_key":13695,"_type":212,"marks":13696,"text":7982},"9e45b8e5a11a1",[],{"_key":13698,"_type":212,"marks":13699,"text":13700},"9e45b8e5a11a2",[1056],"2019, notably prior to the global Covid19 pandemic. Dr. Moses kindly agreed to talk with me after I attended a public lecture she delivered alongside a screening of the film Panic In The Streets as part of the Science on Screen series.",[],{"_key":13703,"_type":208,"children":13704,"markDefs":13717,"style":221},"f390d2f91408",[13705,13710,13713],{"_key":13706,"_type":212,"marks":13707,"text":13709},"eaf8d83da0400",[1056,13708],"48fe0360eff6","Panic in the Streets",{"_key":13711,"_type":212,"marks":13712,"text":7982},"eaf8d83da0401",[],{"_key":13714,"_type":212,"marks":13715,"text":13716},"eaf8d83da0402",[1056],"in a 1950 film noir thriller set in New Orleans. The film’s premise is that a passenger (patient zero) arrives in New Orleans by ship infected with the pneumonic plague. The same day he is murdered. The plot is a nail-biting race against time to solve the case and locate the murderers (patients 1 and 2) before a full-scale epidemic breaks out.",[13718],{"_key":13708,"_type":238,"href":13719},"https://www.youtube.com/watch?v=fiPYvn_q6Lk",{"_key":13721,"_type":208,"children":13722,"markDefs":13727,"style":221},"763c8955d65d",[13723],{"_key":13724,"_type":212,"marks":13725,"text":13726},"b0a92c6fddcb0",[1056],"During Dr. Moses’ presentation she continually referenced aspects of epidemiology which were beyond the classic bounds of science. Throughout her talk she referenced ecological, socio-political and economic factors which influence both how diseases spread and at what point we consider a pathogen a serious threat.",[],{"_key":13729,"_type":208,"children":13730,"markDefs":13735,"style":221},"4bfb9ee863fe",[13731],{"_key":13732,"_type":212,"marks":13733,"text":13734},"e03b729b81db0",[],"KR: During your talk what really spoke to me is how you connected conceptions of disease and epidemics with political questions, about who is the other, how and why borders exist and whom they allow in.",[],{"_key":13737,"_type":208,"children":13738,"markDefs":13761,"style":221},"6ec8ec41b357",[13739,13743,13748,13752,13757],{"_key":13740,"_type":212,"marks":13741,"text":13742},"059088b35c090",[],"LM: The diseases that I study are emerging diseases and they are often high consequence, high-threat pathogens, like ",{"_key":13744,"_type":212,"marks":13745,"text":13747},"059088b35c091",[13746],"4d183895821c","Ebola",{"_key":13749,"_type":212,"marks":13750,"text":13751},"059088b35c092",[],", or ",{"_key":13753,"_type":212,"marks":13754,"text":13756},"059088b35c093",[13755],"a5526795fd65","Lassa fever",{"_key":13758,"_type":212,"marks":13759,"text":13760},"059088b35c094",[],". But they actually occur very regularly in endemic areas. This disease Lassa Fever is transmitted by rodents and lots of people get it every year.",[13762,13764],{"_key":13746,"_type":238,"href":13763},"https://www.who.int/news-room/fact-sheets/detail/ebola-virus-disease",{"_key":13755,"_type":238,"href":13765},"https://www.who.int/news-room/fact-sheets/detail/lassa-fever",{"_key":13767,"_type":208,"children":13768,"markDefs":13773,"style":221},"77f8e536ef37",[13769],{"_key":13770,"_type":212,"marks":13771,"text":13772},"1bdf6b629b3f0",[],"There’s this global health security agenda that is placing a lot of… I don’t want to say sensationalism but there is a lot of focus on things that are ‘over there’ that can come ‘over here’ and really defining health and health strategy from a biosecurity perspective. A lot of the diseases I study are approached in that way, just because they are high consequence, high-mortality pathogens.",[],{"_key":13775,"_type":208,"children":13776,"markDefs":13781,"style":221},"2c8694a67757",[13777],{"_key":13778,"_type":212,"marks":13779,"text":13780},"ece5faa8807b0",[],"I think that it’s a huge problem because when you frame it like that, then you are creating ‘the other’, you are creating the idea that things are coming from the ‘dark continent of Africa’ more often than other places and being imported here. So we can put up walls if we want to, to stop people (I think that that’s even questionable how effective that is) but definitely pathogens don’t see those walls and those barriers. So there is this movement, this fluid movement, of pathogens. Ultimately the artificial, or the man-made barriers that we create are really somewhat superficial and probably ineffective.",[],{"_key":13783,"_type":208,"children":13784,"markDefs":13789,"style":221},"676311c2ba88",[13785],{"_key":13786,"_type":212,"marks":13787,"text":13788},"6de27ef2b40d0",[],"KR: I remember you mentioning these moments where the optics of epidemics are politically instrumentalized. Did you have experience of this working on Ebola or Lassa Fever?",[],{"_key":13791,"_type":208,"children":13792,"markDefs":13797,"style":221},"bf6a0095b2dc",[13793],{"_key":13794,"_type":212,"marks":13795,"text":13796},"b4f9c5cf0d520",[],"LM: Yes, I remember during Ebola in the U.S there were only five ports of entry through which we could come in by air, five designated airports. So if you were travelling from West Africa you could only fly through those. They had a health official working in each of these, an epidemiologist who would basically give you a series of questions and assess your risk exposure, give you some guidelines. You were supposed to check your temperature every day and call in if there were any issues.",[],{"_key":13799,"_type":208,"children":13800,"markDefs":13805,"style":221},"bce1f98a6fea",[13801],{"_key":13802,"_type":212,"marks":13803,"text":13804},"3def05b842860",[],"One time I flew through Chicago O’Hare and there was a person, as I got off the plane, waiting for me. They had a list of people who had come from West Africa, they were waiting for me and handed me a face mask and basically kind of marched me past all the people who had just spent 8 hours on a plane with me! I was made to put a face mask on even though Ebola is not airborne and so that wouldn’t have prevented anything and then I was marched through this whole area. How terrifying for the person who just sat next to me for eight hours, right? There was just a lot of hysteria building up with no evidence base.",[],{"_key":13807,"_type":208,"children":13808,"markDefs":13813,"style":221},"e8c8e099365d",[13809],{"_key":13810,"_type":212,"marks":13811,"text":13812},"3df96cc8d1560",[],"I had been in Sierra Leone for about nine months the first time I came back and a few weeks after I returned, the U.S started to get their own cases. Their first case from Liberia was the only person who came in who was not a health worker and being closely monitored. He had been exposed in Liberia and came in to see his family, got sick and I remember after he died and his body was incinerated there were issues about where his ashes should be kept… so things really had reached that level of hysteria.",[],{"_key":13815,"_type":208,"children":13816,"markDefs":13821,"style":221},"f8f8d9d328f3",[13817],{"_key":13818,"_type":212,"marks":13819,"text":13820},"7b326852a41f0",[],"Ebola was definitely politicized in ways that I didn’t expect, that I thought you would only see in films. Or, in West Africa, where there is a lot of distrust of governments, but to see that happen here… The governor of Louisiana was intending to run for president and he wanted to be seen as someone who was aggressive and could be tough and so he instigated a ridiculous home-quarantine policy that was not based on any evidence. The CDC came out with guidelines on how hospitals and borders should be protected and then that was politicized because people criticized it for not being sufficient, even though, based on the observations as well as the scientific evidence, what they were proposing was absolutely appropriate and adequate. But the CDC succumbed to political pressure and ramped things up as a result. It was a very strange, weird time, very surreal.",[],{"_key":13823,"_type":208,"children":13824,"markDefs":13838,"style":221},"80a68e6fbf2e",[13825,13829,13834],{"_key":13826,"_type":212,"marks":13827,"text":13828},"71a2085bba600",[],"Steven Soderbergh’s film ",{"_key":13830,"_type":212,"marks":13831,"text":13833},"71a2085bba601",[13832,1056],"7ebbbf566065","Contagion",{"_key":13835,"_type":212,"marks":13836,"text":13837},"71a2085bba602",[],"; I saw that before this Ebola outbreak and I thought it was a bit ridiculous and exaggerated, and of course it is, in many ways, but then I saw it afterwards and I was like wow, maybe not as exaggerated as I thought.",[13839],{"_key":13832,"_type":238,"href":13840},"https://www.youtube.com/watch?v=aYaretLtpRk",{"_key":13842,"_type":208,"children":13843,"markDefs":13848,"style":221},"fbeed121ac98",[13844],{"_key":13845,"_type":212,"marks":13846,"text":13847},"3b079c21e5d80",[],"KR: I have to watch that.",[],{"_key":13850,"_type":208,"children":13851,"markDefs":13856,"style":221},"6a07cfc0b9e7",[13852],{"_key":13853,"_type":212,"marks":13854,"text":13855},"b322f51dcb3b0",[],"LM: It’s really interesting. All the little things that you don’t anticipate happening, happen.",[],{"_key":13858,"_type":208,"children":13859,"markDefs":13878,"style":221},"27325f9ef0c4",[13860,13864,13867,13871,13874],{"_key":13861,"_type":212,"marks":13862,"text":13863},"5b11c03d0ee30",[],"KR: You said at the screening of ",{"_key":13865,"_type":212,"marks":13866,"text":13709},"5b11c03d0ee31",[1056],{"_key":13868,"_type":212,"marks":13869,"text":13870},"5b11c03d0ee32",[]," that it was oddly scientifically accurate, is ",{"_key":13872,"_type":212,"marks":13873,"text":13833},"5b11c03d0ee33",[1056],{"_key":13875,"_type":212,"marks":13876,"text":13877},"5b11c03d0ee34",[]," also?",[],{"_key":13880,"_type":208,"children":13881,"markDefs":13903,"style":221},"6b49152c87f9",[13882,13886,13890,13894,13899],{"_key":13883,"_type":212,"marks":13884,"text":13885},"96366f28baf10",[],"LM: It is a bit more far fetched. ",{"_key":13887,"_type":212,"marks":13888,"text":13889},"96366f28baf11",[1056],"Panic In The Streets",{"_key":13891,"_type":212,"marks":13892,"text":13893},"96366f28baf12",[]," is based on a real pathogen; the Pneumonic Plague, and they actually talked about this: They talked about the right kinds of antibiotics that you use for it and then immunoglobulins, which are basically antibodies that are harvested from someone or an animal that has been exposed to the pathogen in the past and so they have mounted an immune response that will protect them from future exposure. So, they’ll harvest those antibodies and they can give them to someone else. That’s something you would do with the Pneumonic Plague, it’s all really accurate. I thought that the drama of the crime and the murder and things like that were a great play on how an outbreak normally happens: Usually when someone comes in with a pathogen and spreads it into a community that person will go undetected and unnoticed. This is actually a rare occasion where someone was murdered and as a result the disease was recognised really early on, in the first individual. That happens very, very rarely. So, I thought the whole story was really contrived, but exciting and dramatic. But then there was an episode of this podcast called ",{"_key":13895,"_type":212,"marks":13896,"text":13898},"96366f28baf13",[13897,1056],"96cccf0e969f","Hidden Brain",{"_key":13900,"_type":212,"marks":13901,"text":13902},"96366f28baf14",[]," I think it was in 2016 and it was the re-telling of a stabbing that had happened in Monrovia in Liberia during the Ebola outbreak and that’s how they discovered this cluster of Ebola cases. A very similar real-life example.",[13904],{"_key":13897,"_type":238,"href":13905},"https://www.npr.org/2016/12/06/504462924/a-stabbing-a-possible-ebola-outbreak-and-a-time-bomb?t=1610704270342",{"_key":13907,"_type":208,"children":13908,"markDefs":13913,"style":221},"539d8fb25fec",[13909],{"_key":13910,"_type":212,"marks":13911,"text":13912},"a52b441594950",[],"KR: How do colonial histories play into epidemiology and ways that we understand disease?",[],{"_key":13915,"_type":208,"children":13916,"markDefs":13939,"style":221},"da9ac8a6dfbd",[13917,13921,13926,13930,13935],{"_key":13918,"_type":212,"marks":13919,"text":13920},"5bcb5d9618660",[],"LM: Often people who are recognised as having a strange epidemic-causing disease come from some level of privilege. I just saw a film called ",{"_key":13922,"_type":212,"marks":13923,"text":13925},"5bcb5d9618661",[13924,1056],"415e2521713a","93 days",{"_key":13927,"_type":212,"marks":13928,"text":13929},"5bcb5d9618662",[]," which was about Ebola being introduced into Nigeria and how Nigeria handled the outbreak. The person who brought Ebola into Nigeria was a Liberian-American diplomat. So, of course when he gets sick people notice. But what often happens with epidemics is that when you have forest borders with people moving across them very easily. We don’t – most countries don’t – build walls everywhere and so many of the countries that have a colonial legacy are divided not according to ethnic group or cultural identity but based on arbitrary parameters – ",{"_key":13931,"_type":212,"marks":13932,"text":13934},"5bcb5d9618663",[13933],"4eb4d4359054","whatever Colonial powers decided at the time",{"_key":13936,"_type":212,"marks":13937,"text":13938},"5bcb5d9618664",[],", so people still move across those borders very, very easily. And often those people are unrecognized by even a formal health system that can identify an epidemic. So usually epidemics move very quietly across borders among people who are often ignored themselves. Most viral diseases that have been identified in the last 100 years emerged in, say, a white missionary or something like that, rather than being recognized in the community where it has been endemic and circulating for millennia but just no one ever decided to give it a name and identify a pathogen for it. That’s a really common occurrence when you’re studying emerging diseases.",[13940,13942],{"_key":13924,"_type":238,"href":13941},"https://www.dailymotion.com/video/x7xil5j",{"_key":13933,"_type":238,"href":13943},"https://www.aeaweb.org/research/are-colonial-era-borders-holding-africa-back",{"_key":13945,"_type":208,"children":13946,"markDefs":13951,"style":221},"e4c46b14304b",[13947],{"_key":13948,"_type":212,"marks":13949,"text":13950},"4e79e1d0dd3b0",[],"KR: That totally makes sense but it’s so… unjust that epidemiology reinforces these hierarchies between bodies and who even seeks treatment or believes they can seek treatment.",[],{"_key":13953,"_type":208,"children":13954,"markDefs":13959,"style":221},"904c3d5a18d9",[13955],{"_key":13956,"_type":212,"marks":13957,"text":13958},"b01dc31c708c0",[],"LM: Absolutely. Yeah. And you’re starting to see this with Ebola so much because Ebola is not a disease that is transmitted easily. You do have to get into quite close contact with infected people. Ebola kind of flourishes in areas where you have clinical care that’s really informal, where you have a health sector that’s commonly disrupted by conflict. One of the big things, when you have conflict is you have this total disruption of education, disruption of agriculture, but you have disruption of the health sector as well that is quite profound. People stop trusting the health sector because you don’t have workers who are properly trained because also their education system has suffered. You don’t have supply chains, you don’t have evidence, you don’t have a lot of things that a functioning health system should have and so people aren’t going to trust the health system when something really bad happens and an epidemic unfolds in their communities. Yeah, it’s a problem.",[],{"_key":13961,"_type":208,"children":13962,"markDefs":13976,"style":221},"ac5d60bd1e64",[13963,13967,13972],{"_key":13964,"_type":212,"marks":13965,"text":13966},"93efe6e906870",[],"KR:You showed some ",{"_key":13968,"_type":212,"marks":13969,"text":13971},"93efe6e906871",[13970],"5844c1b5d108","images from Sierra Leone",{"_key":13973,"_type":212,"marks":13974,"text":13975},"93efe6e906872",[]," where people were educating within their communities by creating public health messages in the form of painted graffiti on public walls.",[13977],{"_key":13970,"_type":238,"href":13978},"https://theconversation.com/how-to-manage-in-a-crisis-lessons-from-the-west-africa-ebola-outbreak-121590",{"_key":13980,"_type":208,"children":13981,"markDefs":13986,"style":221},"1db3c5218903",[13982],{"_key":13983,"_type":212,"marks":13984,"text":13985},"292db08bcb490",[],"LM: Sierra Leone has about 30% literacy so everything that you do needs to be visual. You can’t rely on words and people to be able to understand them so everything has to be pictorial. So just contrasting the effectiveness and the effort that goes into something like putting up a billboard, trying to give education to a population that has low literacy. There’s always this compromise and it’s a spectrum from this to radio where you can have more quality and in-depth information. With visual messaging you can reach a huge amount of people but the nuance is missing. You get that with these megaphone campaigns, there’s some level of interaction there. Once again, it’s more labour-intensive but you can probably get a little bit of interaction. And then there’s going door-to-door explaining what the situation is.",[],{"_key":13988,"_type":208,"children":13989,"markDefs":13994,"style":221},"548d023af9d1",[13990],{"_key":13991,"_type":212,"marks":13992,"text":13993},"704f17cc732b0",[],"I think the really important thing with getting people to understand what you’re doing, in terms of epidemic response, and trying to get them to adopt certain behaviours is it has to be bi-directional; it has to be a conversation. Because it doesn’t work if you’re just shooting information at them without understanding their perspective, and how they’re conceptualising that information, or any kind of barriers to adopting the things or any conflict in terms of priorities, all of that stuff. It has to be more of a dialogue than a delivery of a message and we’re really not very good at that in public health. We have this idea that we know what health is and how to keep people healthy. The people who are not doing those things are the ones that need our knowledge to be bestowed on them, rather than really understanding and accepting that people are the experts of their own context and their world and understanding that if we want people to do things to protect a larger population, we have to meet them at least half-way. It’s more figuring out what they need and why they would want to adopt these measures.",[],{"_key":13996,"_type":208,"children":13997,"markDefs":14002,"style":221},"40a9c8e43ac5",[13998],{"_key":13999,"_type":212,"marks":14000,"text":14001},"58b8018699e50",[],"KR: One example that you gave in your talk is when you are going door-to-door it is extremely rude not to shake someone’s hand as the first thing that you do but that’s exactly what you don’t want to do if you’re in a really high-risk area. So, how do you navigate that?",[],{"_key":14004,"_type":208,"children":14005,"markDefs":14010,"style":221},"43c8de94d471",[14006],{"_key":14007,"_type":212,"marks":14008,"text":14009},"5514d80e5c6b0",[],"LM: I think it’s pretty easy, I think I just treat people the way that I would want to be treated. So I think sometimes we forget that in public health, we put on a public health hat and then we forget that we’re actually human, we have a human perspective as well, and common sense. So, what I would do is I would say “I’m sorry I can’t shake your hand because of precautions, these are the things that we’re doing.” And use it as an education experience to demonstrate on the job the things that they can do to protect themselves as well. Spending five minutes talking to someone and explaining why you’re doing what you’re doing is something that people don’t think about, which I think is rude and just not okay. But I remember in the movie [Panic In The Streets] when the police officer was going with the doctor to do the investigations. One of the things I talked about was criminalisation of the investigation. I see a lot of people in real life who are doing these investigations; going into people’s houses and it’s almost like an interrogation. And you saw in the movie, when the doctor went by himself, went and talked to people and he wasn’t concerned about criminal activity he managed to earn their trust; people were much more forthcoming and so that’s something I have always tried to teach case-investigators. When I am doing a case-investigation I explain to people that information is confidential that what we’re interested in is who is sick and who could be exposed; anything that they have done to cause them to be exposed is not my business and it’s not something I would tell other people.",[],{"_key":14012,"_type":208,"children":14013,"markDefs":14018,"style":221},"d37e7da300c9",[14014],{"_key":14015,"_type":212,"marks":14016,"text":14017},"63c033905f5c0",[],"So, these are things that I think are really important; to move from an interrogation kind of criminalisation-type procedure in outbreak response to more one of health advocacy. You’re really trying to identify people to protect the community, get it contained and get people in for treatment. If you approach it from that perspective I think people have a lot more trust.",[],{"_key":14020,"_type":208,"children":14021,"markDefs":14026,"style":221},"1dc79d3731d2",[14022],{"_key":14023,"_type":212,"marks":14024,"text":14025},"1e0dacc919ac0",[],"KR: That seems logical, makes sense.",[],{"_key":14028,"_type":208,"children":14029,"markDefs":14034,"style":221},"9abc9e87bb92",[14030],{"_key":14031,"_type":212,"marks":14032,"text":14033},"66aa64eda8e80",[],"LM: Yes, so explaining that and explaining the process to people. I think people are very rational. Everything that I have seen in any kind of epidemic where we consider communities that are resistant or non-compliant, or crazy or acting completely irrationally, given the context, are actually really rational. So explaining why you’re doing what you’re doing I think is just respectful of the person that you’re trying to engage with.",[],{"_key":14036,"_type":208,"children":14037,"markDefs":14042,"style":221},"b07b1dd8a979",[14038],{"_key":14039,"_type":212,"marks":14040,"text":14041},"2c7edfdb4a670",[],"KR: One of the things I’ve been looking at is attitudes to disease. I am particularly interested in the theory of miasma, which was thrown out when germ theory became the dominant one. I’ve been looking into examples of where somehow the concept of miasma comes back into play in contemporary contexts. ",[],{"_key":14044,"_type":208,"children":14045,"markDefs":14055,"style":221},"e4d46811095d",[14046,14050],{"_key":14047,"_type":212,"marks":14048,"text":14049},"9c555428c9f30",[],"We have had an almost fascistic obsession with cleanliness in hospitals and homes etc where everything has to be disinfected and they become these sealed spaces. Western hospitals are air conditioned and the windows don’t open. And in the UK now you have superbugs developing because patients are inhaling only human particles, there is no microbes from the outside, which is extremely unhealthy. ",{"_key":14051,"_type":212,"marks":14052,"text":14054},"9c555428c9f31",[14053],"9e78b64754cc","So there is now a trend of revisiting old ideas about opening the windows, letting the air circulate, letting microbes from plants and animals in and getting rid of air conditioning.",[14056],{"_key":14053,"_type":238,"href":14057},"https://www.ted.com/talks/jessica_green_are_we_filtering_the_wrong_microbes",{"_key":14059,"_type":208,"children":14060,"markDefs":14082,"style":221},"8b511a9dd0f4",[14061,14065,14070,14074,14079],{"_key":14062,"_type":212,"marks":14063,"text":14064},"2df848ac96780",[],"LM: Right, letting the exchange happen. When we try to seal up those barriers it can end up being more dangerous. This is one thing with wild animals – a lot of emerging diseases come from wildlife. And so there’s this whole idea about ",{"_key":14066,"_type":212,"marks":14067,"text":14069},"2df848ac96781",[14068],"ae1c55b39b78","bush meat",{"_key":14071,"_type":212,"marks":14072,"text":14073},"2df848ac96782",[],", which is one way that the spillover of new pathogens occurs and enters the human population. There’s this big narrative about that and it’s interesting because the alternative that people talk about is ‘oh why don’t you just raise those animals and rear them’. What they don’t understand is that it’s the same thing with humans; if you pen them up in a very small space, it will cause infectious diseases to proliferate, communicable diseases are communities, so it’s actually that many of those pathogens we’ve already been exposed to or we deal with them. ",{"_key":14075,"_type":212,"marks":14076,"text":14078},"2df848ac96783",[14077],"5717b0f4d7bc","But just sticking a bunch of animals together in close quarters so they aren’t able to move around is definitely a recipe for all the pathogens we associate with livestock these days",{"_key":14080,"_type":212,"marks":14081,"text":1995},"2df848ac96784",[],[14083,14085],{"_key":14068,"_type":238,"href":14084},"https://medium.com/dharkemmy-corporate-communications/meat-treats-and-a-deadly-disease-covid-19-in-bush-meat-8d4cc86ad618",{"_key":14077,"_type":238,"href":14086},"https://www.theguardian.com/environment/ng-interactive/2020/sep/15/covid-farm-animals-and-pandemics-diseases-that-changed-the-world",{"_key":14088,"_type":208,"children":14089,"markDefs":14094,"style":221},"c76daa15d7b3",[14090],{"_key":14091,"_type":212,"marks":14092,"text":14093},"b56330a552ce0",[],"KR: Yes, and those animals are, of course, pumped full of antibiotics.",[],{"_key":14096,"_type":208,"children":14097,"markDefs":14111,"style":221},"2ab5f55d748f",[14098,14102,14107],{"_key":14099,"_type":212,"marks":14100,"text":14101},"9cf921056bc00",[],"LM: Yes, exactly. Especially in the U.S. and that’s creating all sorts of superbugs now so it’s not just in the hospitals. ",{"_key":14103,"_type":212,"marks":14104,"text":14106},"9cf921056bc01",[14105],"fcfdc844ec01","It’s in our food system as well",{"_key":14108,"_type":212,"marks":14109,"text":14110},"9cf921056bc02",[],", in how we’re closing things off and keeping them contained. Not necessarily for the protection of the population or to keep a hospital maintained but really it is for economic convenience and benefit to keep all these animals in a small space.",[14112],{"_key":14105,"_type":238,"href":14113},"https://www.medicalnewstoday.com/articles/326436",{"_key":14115,"_type":208,"children":14116,"markDefs":14121,"style":221},"7fe11099ddfc",[14117],{"_key":14118,"_type":212,"marks":14119,"text":14120},"ae0fa538fc630",[],"KR: When you talked before about the missionary or the white nurse or doctor getting sick and that being the moment when a pathogen is… pathologised… Prior to that how do closed communities conceptualise and deal with these pathogens without the use or approach of western medicines?",[],{"_key":14123,"_type":208,"children":14124,"markDefs":14129,"style":221},"9b451fc42b5c",[14125],{"_key":14126,"_type":212,"marks":14127,"text":14128},"510d64c428bd0",[],"LM: Culturally people have quarantined and isolated sick people, and they do it with their animals as well. With livestock you’ll see that a lot where people will recognise a disease in one animal and they’ll isolate that animal. The same is done with humans too. To be honest with you, this is not something that I study that much so I don’t know a whole lot other than my own personal experience and what I’ve seen. In Sierra Leone they do have access to a more Western medicine kind of system. Most people in Sierra Leone actually turn to traditional healers anyway, for various reasons. Sometimes they’re just better. For example, there’s no specialist orthopaedic surgeon in Sierra Leone and so the doctors don’t really have good enough training to set complicated fractures and things like that. They have traditional healers that even though they don’t have X-ray machines, they have been doing it, they are trained.So honestly if I had a break I would probably go to a traditional healer rather than a doctor in Sierra Leone. I mean local people know which healer to go to for specific things and they say they get better care, although maybe not better outcomes. The traditional healers in Sierra Leone are not cheaper than Western doctors but there’s this idea in Western medicine that the person isn’t a person anymore: It’s a disease or it’s a health issue that needs to be fixed. And the bedside manner and the care that people get it’s culturally not there in the formal medical system. So, many people say they prefer to go to traditional healers even if they’re less effective, just because they’re nicer.",[],{"_key":14131,"_type":208,"children":14132,"markDefs":14137,"style":221},"f6e92c7c85f9",[14133],{"_key":14134,"_type":212,"marks":14135,"text":14136},"893e97e5b5200",[],"You do hear a lot of rumours, during the Ebola outbreak and for Lassa and other diseases. There was one that if you bathe in salt water at three o’clock in the morning on this day your Ebola will go away. There’s this belief in that and it’s grounded in something it didn’t just come out of thin air and so I think that there’s a lot out there that might not be so effective and then some of it is.",[],{"_key":14139,"_type":208,"children":14140,"markDefs":14145,"style":221},"4fc9d1216dfd",[14141],{"_key":14142,"_type":212,"marks":14143,"text":14144},"dcbe789f04e10",[],"KR: I wanted to ask a question about how we move through the world. In the past, before we had this proliferation of global travel options, I’m guessing that epidemics would stay fairly localised and would kill a percentage of people, other people would develop antibodies and gradually it wouldn’t be such a problem for people who lived in that area. But how is that changed by the way we move and navigate these days?",[],{"_key":14147,"_type":208,"children":14148,"markDefs":14153,"style":221},"f6dc4a3937de",[14149],{"_key":14150,"_type":212,"marks":14151,"text":14152},"c4c88613cedf0",[],"LM: Globalisation has been going on for centuries, of course, but with technology it has accelerated. It’s not just transportation, but transportation is the biggest thing. We think someone can be sick and get on a plane or, not be sick but be incubating and when they land they’re completely sick and they’re spreading a pathogen everywhere. We also import food from all over the world and pathogens can hitch a ride on different food products, and there are animals that we import for the pet trade, there are many aspects of globalisation. We have a much smaller world these days, not just because of travel. It’s interesting because I think people who live in capital cities in low-income developing countries, they are often the more educated elite, they’re the ones who have professional jobs, they often have a framework and a world view that is similar to someone, say, here in New Orleans. And someone in the very poor areas of Appalachia might have a very similar world-view to someone in rural Sierra Leone. And a lot of this is information exchange, we have access to so much information these days, globally, and so pathogens, although they can’t be transmitted through Twitter, WhatsApp and Instagram, there’s definitely a lot of the messaging and the rhetoric and sometimes a lot of misinformation that gets moved across those technologies.",[],{"_key":14155,"_type":208,"children":14156,"markDefs":14161,"style":221},"013a1e2fad14",[14157],{"_key":14158,"_type":212,"marks":14159,"text":14160},"f32c1b8691900",[],"It’s a matter of population density. In the past you would have people in your community who are susceptible because they’ve never been exposed to the pathogen before so their immune system doesn’t identify that pathogen. A pathogen can sweep through a community and will stay there as long as there continues to be more susceptibles that can transmit and infect another susceptible. So, that’s a matter of population dynamics and community size.",[],{"_key":14163,"_type":208,"children":14164,"markDefs":14169,"style":221},"06046d5e4328",[14165],{"_key":14166,"_type":212,"marks":14167,"text":14168},"3c502cbeaa040",[],"KR: Almost like a monster that gets as big as what it can consume?",[],{"_key":14171,"_type":208,"children":14172,"markDefs":14186,"style":221},"365ba567672f",[14173,14177,14182],{"_key":14174,"_type":212,"marks":14175,"text":14176},"2df5ee7367970",[],"LM: Yes, exactly. And then if you have someone who is infected and moves to a different community through trade or through a plane there’s a possibility of that pathogen being introduced there. One of the diseases that I’m interested in is this disease called Lassa fever. Lassa is transmitted by ",{"_key":14178,"_type":212,"marks":14179,"text":14181},"2df5ee7367971",[14180],"db18ef199ae3","rodents",{"_key":14183,"_type":212,"marks":14184,"text":14185},"2df5ee7367972",[],"; a really common rodent that is found in villages all over sub-saharan Africa. It looks like this rodent doesn’t necessarily move from village to village very effectively on it’s own (in West Africa at least). It piggy-backs off of humans who transport a box or a big basket of things, it might catch a ride in there when people are going to market or something like that. It could be infected with Lassa and then it moves into the rodent population in that new community so then those dynamics of who’s susceptible, who’s resistant because of past exposure occurs in animals as well, not just humans, where you have what they call source and sink populations. Sources are these reservoirs of pathogens, sink is where the pathogens can move and fill in a community. But it’s not just humans who are the hosts, it’s often animals who are the hosts and humans just happen to get infected.",[14187],{"_key":14180,"_type":238,"href":14188},"https://en.wikipedia.org/wiki/Mastomys",{"_key":14190,"_type":208,"children":14191,"markDefs":14196,"style":221},"62d8b784d911",[14192],{"_key":14193,"_type":212,"marks":14194,"text":14195},"e8cd25afc3350",[],"With Lassa we’re still trying to figure how to predict this but you’ll have a community, a small village where you’ll have a lot of cases for two or three years and then it simply goes away and if you look at the rodents in those communities you’ll see the virus sweep through the rodent population and then if enough rodents are infected then that transmission can’t occur in the rodents you’ll see the virus die out and then you won’t see human cases any more.",[],{"_key":14198,"_type":208,"children":14199,"markDefs":14204,"style":221},"d6c9dec90cdf",[14200],{"_key":14201,"_type":212,"marks":14202,"text":14203},"61f3663adaef0",[],"KR: Does the rodent get sick? Or is it just a carrier?",[],{"_key":14206,"_type":208,"children":14207,"markDefs":14212,"style":221},"21f468b1bbf5",[14208],{"_key":14209,"_type":212,"marks":14210,"text":14211},"fb89cd23f73b0",[],"LM: For Lassa it doesn’t look like the rodent has any sort of disease. This virus has probably been in the rodent for a really long time and so they’ve done the dance of evolution of being pathogenic and killing your host too, several generations later not very pathogenic and the host lives and the pathogen can persist in that host for a really long time.",[],{"_key":14214,"_type":208,"children":14215,"markDefs":14220,"style":221},"bb7c3e0ce4cb",[14216],{"_key":14217,"_type":212,"marks":14218,"text":14219},"1726b6c0d5340",[],"KR: So, how does it transmit are people getting bitten?",[],{"_key":14222,"_type":208,"children":14223,"markDefs":14228,"style":221},"83ce0b533ff4",[14224],{"_key":14225,"_type":212,"marks":14226,"text":14227},"f0c0723253590",[],"LM: We aren’t entirely sure how people are getting infected, the only risk factor we know of is communities that consume rodents have more antibodies to Lassa so it looks like they’re getting exposed more. So we think maybe butchering and being exposed to body fluids whether it’s blood, urine, faeces, saliva. We’re not entirely sure. Butchering is a messy process.",[],{"_key":14230,"_type":208,"children":14231,"markDefs":14236,"style":221},"64ca1e5405f8",[14232],{"_key":14233,"_type":212,"marks":14234,"text":14235},"093744a389330",[],"KR: The kind of bush-meat hysteria, my familiarity with that is through the alleged origin story of HIV – that it was transmitted to humans through bush meat (chimpanzee) and then proliferated globally through an air steward who travelled around a lot spreading the virus.",[],{"_key":14238,"_type":208,"children":14239,"markDefs":14261,"style":221},"82da76823dc3",[14240,14244,14248,14252,14257],{"_key":14241,"_type":212,"marks":14242,"text":14243},"4031870e48980",[],"LM: The interesting thing about bush meat is people who hunt in the U.K. or the U.S., we never call that bush meat. So when we select ‘",{"_key":14245,"_type":212,"marks":14246,"text":14069},"4031870e48981",[14247],"45807b948a30",{"_key":14249,"_type":212,"marks":14250,"text":14251},"4031870e48982",[],"’ as a term rather than ‘",{"_key":14253,"_type":212,"marks":14254,"text":14256},"4031870e48983",[14255],"b85b1f7b48bb","game",{"_key":14258,"_type":212,"marks":14259,"text":14260},"4031870e48984",[],"’. It’s often very racially and geographically focused. So I think calling something bush meat exoticizes that process and creates ‘the other’ when it’s really people going out and shooting game. It’s interesting because when Donald Trump Jr. goes over to Africa and shoots and goes hunting, it’s still called game hunting. But if a villager is going out to do hunting to sell it commercially, not even for subsistence it’s called bush meat hunting. So, yeah, the term is very loaded I think!",[14262,14264],{"_key":14247,"_type":238,"href":14263},"https://en.wikipedia.org/wiki/Bushmeat",{"_key":14255,"_type":238,"href":14265},"https://en.wikipedia.org/wiki/Game_%28hunting%29","2021-01-15",{"_type":9,"current":14268},"entangled-pathogens-interview-with-dr-lina-moses","'Moses utilises methods from both epidemiology and ecology to understand the interface of human, animal and pathogen.' ",{"_id":14271,"_type":271,"categories":14272,"credits":14285,"featuredImage":14314,"pageBuilder":14321,"publishedDate":14266,"seo":7,"slug":14484,"summary":14486,"title":14315},"a83b6dbe-6c4c-4cc6-89a4-30818f69680b",[14273,14276,14279,14282],{"_id":13569,"_type":281,"colorPrimary":14274,"seo":7,"slug":14275,"title":13574},{"label":283,"value":13571},{"_type":9,"current":13573},{"_id":5144,"_type":281,"colorPrimary":14277,"seo":7,"slug":14278,"title":5149},{"label":283,"value":5146},{"_type":9,"current":5148},{"_id":13579,"_type":281,"colorPrimary":14280,"seo":7,"slug":14281,"title":13584},{"label":283,"value":13581},{"_type":9,"current":13583},{"_id":13586,"_type":281,"colorPrimary":14283,"seo":7,"slug":14284,"title":13591},{"label":283,"value":13588},{"_type":9,"current":13590},{"other":7,"profiles":14286},[14287],{"_id":13595,"_type":315,"activeYears":14288,"bio":14291,"bioShort":13608,"featuredImage":7,"filterables":14297,"links":14300,"locations":14302,"searchables":14312,"seo":7,"slug":14313,"title":13632},[14289],{"_id":109,"_type":94,"seo":7,"slug":14290,"title":112},{"_type":9,"current":111},[14292],{"_key":13601,"_type":208,"children":14293,"markDefs":14296,"style":221},[14294],{"_key":13604,"_type":212,"marks":14295,"text":13606},[],[],{"filterYear":14298},[14299],{"_id":109,"title":112},[14301],{"_type":371,"label":5256,"url":13614},{"locations":14303,"other":14306},[14304],{"_id":3458,"_type":378,"seo":7,"slug":14305,"title":3461},{"_type":9,"current":3460},[14307],{"_key":13621,"_type":208,"children":14308,"markDefs":14311,"style":221},[14309],{"_key":13624,"_type":212,"marks":14310,"text":13626},[],[],[13629,111],{"_type":9,"current":13631},{"alt":14315,"asset":14316},"Growing a Pearl",{"_id":14317,"height":14318,"orientation":400,"ratio":14319,"url":14320,"width":5598},"image-438293a20aefc34eeb42af7bbd8053f4a1bc09dd-1024x708-jpg",708,1.4463276836158192,"https://cdn.sanity.io/images/eodip22e/production/438293a20aefc34eeb42af7bbd8053f4a1bc09dd-1024x708.jpg",[14322,14333,14465],{"_type":410,"settings":14323,"text":14324},{"textColumnCount":412},[14325],{"_key":14326,"_type":208,"children":14327,"markDefs":14332,"style":221},"77c1008ae8f6",[14328],{"_key":14329,"_type":212,"marks":14330,"text":14331},"f364d0c6f3950",[],"It’s hard to relate to an oyster, they have no brain and the most primitive of central nervous systems.",[],{"_type":410,"settings":7,"text":14334},[14335,14350,14369,14377,14385,14403,14411,14430,14438,14457],{"_key":14336,"_type":208,"children":14337,"markDefs":14347,"style":221},"3898cc3d5626",[14338,14343],{"_key":14339,"_type":212,"marks":14340,"text":14342},"553eac372b9f",[14341],"dabe64425138","Oysters",{"_key":14344,"_type":212,"marks":14345,"text":14346},"fa5624327563",[]," also have very little agency – producing pearls is their only defence mechanism. Oysters are slow like plants; they take between one and six years to make a decent sized pearl.",[14348],{"_key":14341,"_type":238,"blank":239,"href":14349},"https://www.nationalgeographic.com/animals/invertebrates/facts/oysters",{"_key":14351,"_type":208,"children":14352,"markDefs":14366,"style":221},"0a488ee19e5b",[14353,14357,14362],{"_key":14354,"_type":212,"marks":14355,"text":14356},"bf7d505e8f6c0",[],"Every type of mollusc can produce a ",{"_key":14358,"_type":212,"marks":14359,"text":14361},"bf7d505e8f6c1",[14360],"4d238f4ddcdd","pearl",{"_key":14363,"_type":212,"marks":14364,"text":14365},"bf7d505e8f6c2",[],", not a beautiful or a valuable one necessarily but some kind of pearl. They occur when a little piece of the outside, dirt or grit, gets inside the shell and starts to cause irritation, in response the mollusc coats the foreign object with the same hard material it makes its shell out of. The pearl develops its shine by being polished against the mollusc’s soft body.",[14367],{"_key":14360,"_type":238,"href":14368},"https://en.wikipedia.org/wiki/Pearl",{"_key":14370,"_type":208,"children":14371,"markDefs":14376,"style":221},"278f93995c40",[14372],{"_key":14373,"_type":212,"marks":14374,"text":14375},"4410d1cf17580",[],"I found that I could make pearls one summer after staying at a beach house with my partner. The trip was meant to be relaxing but we argued a lot that summer, grating on each other. We always seemed to be too hot, sunburned and hungover. After a week or so there everything was ingrained with sand. It seemed to permeate every piece of clothing, all of our food, the electronics, making the buttons crunchy. I felt scratchy in all cracks and crevices, rubbed raw and salted.",[],{"_key":14378,"_type":208,"children":14379,"markDefs":14384,"style":221},"f95746b51cb1",[14380],{"_key":14381,"_type":212,"marks":14382,"text":14383},"e6887fa2895a0",[],"I started to notice the pearl about six months later, it was at the entrance to my vagina embedded in the soft tissue. I stood over a mirror and looked at it. It emerged glistening white between folds of pink skin.",[],{"_key":14386,"_type":208,"children":14387,"markDefs":14400,"style":221},"2c1ea3cdfb54",[14388,14392,14397],{"_key":14389,"_type":212,"marks":14390,"text":14391},"9338222458760",[],"The most valuable pearls of all are the naturally occuring ones. These are formed like mine, where the dirt has accidentally entered the mollusc. These coincidental miracles are extremely rare, much more common are farm-grown pearls. The natural pearl is so unusual is because for a mollusc to make one the irritant has to be specifically lodged in its gonads. If the dirt enters any other part the mollusc can expel it but if it is in the gonads it can’t get rid of it and instead must make a pearl around it to ease the pain of the irritant, like a blister. ",{"_key":14393,"_type":212,"marks":14394,"text":14396},"9338222458761",[14395],"85cfbf7187a3","People who work in pearl farms spend their days injecting irritants into oysters hoping to hit the gonads",{"_key":14398,"_type":212,"marks":14399,"text":1995},"9338222458762",[],[14401],{"_key":14395,"_type":238,"href":14402},"https://www.globalfieldtrip.com/a-beginners-guide-to-pearl-farming/",{"_key":14404,"_type":208,"children":14405,"markDefs":14410,"style":221},"aea8aa606e73",[14406],{"_key":14407,"_type":212,"marks":14408,"text":14409},"c990e4bd66e60",[],"This was probably also why I hadn’t grown a pearl before when I had got sand in so many other parts of my body. If pearls could grow anywhere on the body where grit and sand go then I would have them in my mouth like extra teeth, a crop in each armpit, pearls sprouting between my toes and encrusting my scalp like horns.",[],{"_key":14412,"_type":208,"children":14413,"markDefs":14427,"style":221},"2b304ad8ed1c",[14414,14418,14423],{"_key":14415,"_type":212,"marks":14416,"text":14417},"8d9a699d30e00",[],"Every few days I would take a look at the pearl to observe its growth, as it got bigger it developed more complexity of colour. The colour of a natural pearl is ",{"_key":14419,"_type":212,"marks":14420,"text":14422},"8d9a699d30e01",[14421],"4ec27ebc1121","determined by the lips of the oyster",{"_key":14424,"_type":212,"marks":14425,"text":14426},"8d9a699d30e02",[],". Mine is mostly pink. Depending on how it caught the light it would also shine green, yellow, orange and black. It was quite beautiful. I began to gain weight and attributed it to the pearl; the part I could see I realised was just the tip and as the years go by it gets bigger with a more refined shine. The more I thought about pearls the more miraculous they seemed; to make a pearl is to nurture a piece of the outside in your body, to gestate a stone.",[14428],{"_key":14421,"_type":238,"href":14429},"https://en.wikipedia.org/wiki/Pinctada_margaritifera",{"_key":14431,"_type":208,"children":14432,"markDefs":14437,"style":221},"5df9952de6b7",[14433],{"_key":14434,"_type":212,"marks":14435,"text":14436},"3943eb1363500",[],"I tried to introduce more irritants in the hope that another pearl would grow. Eventually one did but smaller and much less impressive than the first.",[],{"_key":14439,"_type":208,"children":14440,"markDefs":14454,"style":221},"c6604475bee7",[14441,14445,14450],{"_key":14442,"_type":212,"marks":14443,"text":14444},"ece3cae8a0d20",[],"In my research I come across ",{"_key":14446,"_type":212,"marks":14447,"text":14449},"ece3cae8a0d21",[14448],"14a249852c96","the Pearl of Allah",{"_key":14451,"_type":212,"marks":14452,"text":14453},"ece3cae8a0d22",[],", one of the biggest natural pearls ever recorded, it was found in 1934 by an indigenous diver from Palawan island in the Philippines. After the diver didn’t come back his fellow tribesmen went looking for him and found his body stuck within a giant clam. They brought it to the surface to retrieve the body and inside found a giant pearl. The Pearl of Allah is spectacularly large – 6.5kg but not conventionally beautiful, it has a matte texture, waxy, yellowish white colour and a rippled surface like a brain in formaldehyde.",[14455],{"_key":14448,"_type":238,"href":14456},"https://www.naturalhistorymag.com/editors_pick/1939_11_pick.html",{"_key":14458,"_type":208,"children":14459,"markDefs":14464,"style":221},"cc1450b3906c",[14460],{"_key":14461,"_type":212,"marks":14462,"text":14463},"22bd4c1529860",[],"The host mollusc is usually killed in order to harvest the pearl. Because of the sheer unpredictability of natural pearls, thousands of pearl-less molluscs will be killed looking for one with a pearl. I imagine my pearl, long after my body, my soft tissue, has disintegrated from it, it will remain. I imagine it sitting on the mantelpiece at the beach house, pieces of it chipped off and worn in the jewellery of future generations or encrusting a gown at the Met Gala.",[],{"_type":406,"caption":14466,"image":14481},[14467],{"_key":14468,"_type":208,"children":14469,"markDefs":14478,"style":221},"5943fb5bb9f6",[14470,14474],{"_key":14471,"_type":212,"marks":14472,"text":14473},"6484c8f80aaf",[],"Image: The Pearl of Allah. ",{"_key":14475,"_type":212,"marks":14476,"text":13655},"3f57b1d72a7f",[14477],"0d0d264c4515",[14479],{"_key":14477,"_type":238,"href":14480},"https://www.alux.com/giant-pearl-100million-lucky-charm/",{"alt":14482,"asset":14483},"Image: The Pearl of Allah. Image Credit.",{"_id":14317,"height":14318,"orientation":400,"ratio":14319,"url":14320,"width":5598},{"_type":9,"current":14485},"growing-a-pearl","'It’s hard to relate to an oyster, they have no brain and the most primitive of central nervous systems.' ",{"_id":14488,"_type":271,"categories":7,"credits":14489,"featuredImage":14554,"pageBuilder":14561,"publishedDate":14266,"seo":7,"slug":14849,"summary":14570,"title":14851},"abc331ff-37f6-4995-8d6d-72a555bb2918",{"other":7,"profiles":14490},[14491],{"_id":14492,"_type":315,"activeYears":14493,"bio":14496,"bioShort":14529,"featuredImage":7,"filterables":14530,"links":14533,"locations":14536,"searchables":14549,"seo":7,"slug":14551,"title":14553},"aec3dc8f-fa4b-428f-b991-5d928dec28c3",[14494],{"_id":119,"_type":94,"seo":7,"slug":14495,"title":122},{"_type":9,"current":121},[14497],{"_key":14498,"_type":208,"children":14499,"markDefs":14528,"style":221},"80349bde240d",[14500,14504,14508,14512,14516,14520,14524],{"_key":14501,"_type":212,"marks":14502,"text":14503},"fa5b6cd9f3e30",[],"He has previously been published in ",{"_key":14505,"_type":212,"marks":14506,"text":14507},"fa5b6cd9f3e32",[1056],"Real Life Magazine",{"_key":14509,"_type":212,"marks":14510,"text":14511},"fa5b6cd9f3e33",[],", ",{"_key":14513,"_type":212,"marks":14514,"text":14515},"fa5b6cd9f3e34",[1056],"It’s Nice That",{"_key":14517,"_type":212,"marks":14518,"text":14519},"fa5b6cd9f3e35",[]," and ",{"_key":14521,"_type":212,"marks":14522,"text":14523},"fa5b6cd9f3e36",[1056],"Running Dog",{"_key":14525,"_type":212,"marks":14526,"text":14527},"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":14531},[14532],{"_id":119,"title":122},[14534],{"_type":371,"label":372,"url":14535},"https://www.instagram.com/ofn.w/",{"locations":14537,"other":14540},[14538],{"_id":8985,"_type":378,"seo":7,"slug":14539,"title":8988},{"_type":9,"current":8987},[14541],{"_key":14542,"_type":208,"children":14543,"markDefs":14548,"style":221},"af9a1eb1ab29",[14544],{"_key":14545,"_type":212,"marks":14546,"text":14547},"6647934b9226",[],"Based in Jakarta, Indonesia",[],[14550,121],"alif ibrahim",{"_type":9,"current":14552},"alif-ibrahim","Alif Ibrahim",{"alt":14555,"asset":14556},"Autolysis: Post-mortem change A Visit to the Mausoleum",{"_id":14557,"height":14558,"orientation":400,"ratio":14559,"url":14560,"width":3529},"image-eb9ba53efd301b7ed0784313ad8a1253c63a1b4e-2048x1358-jpg",1358,1.508100147275405,"https://cdn.sanity.io/images/eodip22e/production/eb9ba53efd301b7ed0784313ad8a1253c63a1b4e-2048x1358.jpg",[14562,14572,14846],{"_type":410,"settings":7,"text":14563},[14564],{"_key":14565,"_type":208,"children":14566,"markDefs":14571,"style":221},"7ac9f9b66129",[14567],{"_key":14568,"_type":212,"marks":14569,"text":14570},"1c68498121940",[214],"Upon arrival at his grandfather’s hometown, Iskandar was greeted with grief. He expected that he would struggle with names and faces, but what he didn’t plan for is for his visit to coincide with the seventh-day ceremony of his great aunt’s death, when all their faces wore the same expression.",[],{"_type":410,"settings":7,"text":14573},[14574,14582,14590,14598,14613,14629,14648,14655,14663,14671,14679,14687,14695,14703,14711,14718,14737,14759,14766,14774,14782,14790,14798,14806,14814,14822,14830,14838],{"_key":14575,"_type":208,"children":14576,"markDefs":14581,"style":221},"e038108a9192",[14577],{"_key":14578,"_type":212,"marks":14579,"text":14580},"665e5bac42100",[],"Upon arrival at his grandfather’s hometown, Iskandar was greeted with grief. He had never stepped foot on the island that his mother’s father grew up in. At the arrival hall by the docks, a gust of air grazed Iskandar’s face. A faint hint of brine lingers at the back of his tongue. Welcome to Dompase, the wind whispered. Iskandar spotted his cousin Mario heading towards him wearing flip flops and a lint-spotted baseball shirt. He didn’t know what his cousin looked like, but he knew it was him once he saw the wrinkled smile on his face. Mario grabbed his luggage and led Iskandar to his two-seater, walking duck-footed ahead of him.",[],{"_key":14583,"_type":208,"children":14584,"markDefs":14589,"style":221},"c498db1399cd",[14585],{"_key":14586,"_type":212,"marks":14587,"text":14588},"0c20b6cd28300",[],"The drive to the grieving house took about an hour. Between small farm lots and shophouses, Iskandar saw glimpses of the glimmering sea, a stark difference from the smog-covered city he left just hours before. A fast-paced tune accompanied their drive, stored in a USB stick plugged into the car stereo. The shrill, programmed instruments held Iskandar from sleeping, and he was exhausted enough from catching the earliest flight of the day. In place of rest, the cousins chit-chatted, politely introducing themselves and tracing threads between relatives they knew in common. Mario, it turns out, composed and performed music for a living, and it was his song that they’ve been listening to. After a while, Iskandar noticed that the same tracks started to play again.",[],{"_key":14591,"_type":208,"children":14592,"markDefs":14597,"style":221},"786fa09a053c",[14593],{"_key":14594,"_type":212,"marks":14595,"text":14596},"6b0143f001e90",[],"🙟",[],{"_key":14599,"_type":208,"children":14600,"markDefs":14610,"style":221},"f863e97efb6a",[14601,14606],{"_key":14602,"_type":212,"marks":14603,"text":14605},"c1fc6fc1a2c70",[14604],"0989c2261ee1","Dr. Kami Fletcher",{"_key":14607,"_type":212,"marks":14608,"text":14609},"c1fc6fc1a2c71",[]," started her career by studying cemeteries. Certain cemeteries are privileged over others, she says. The New England cemeteries were canonised, while Native American burial grounds were dug up and the remains were put in museums in the name of archaeology. Although a person may be allowed a dignified death, a desecration of sanctity can occur generations after. Death is never rigid, it lingers for years. In these traces, the binary passage between life and death has been destroyed. Transformations begin upon the cessation of the heartbeat. This is the issue in quantifying death in capitalist time, for death happens not like a flipped switch but rather as vibrational aftershocks. A personal death is privatised death, but its emergence as a source of knowledge transplants it into the domain of the commons. “People ask me: how do you study death?” Dr. Fletcher says. “I’m studying death like all historians do. Everybody’s dead, right?”",[14611],{"_key":14604,"_type":238,"href":14612},"https://www.schoolofcommons.org/publishing/dr-kami-fletcher-on-radical-death-studies",{"_key":14614,"_type":208,"children":14615,"markDefs":14628,"style":221},"53b38c887a44",[14616,14620,14624],{"_key":14617,"_type":212,"marks":14618,"text":14619},"056dc386995e0",[],"We don’t need to delve into the spiritual realm to see death in the centre of agency. Or rather, how so much of agency depends upon the concept of death. Writing in ",{"_key":14621,"_type":212,"marks":14622,"text":14623},"056dc386995e1",[1056],"Necropolitics",{"_key":14625,"_type":212,"marks":14626,"text":14627},"056dc386995e2",[],", Achilles Mbembe states that exercising sovereignty means exercising “control over mortality.” Politics, he writes, is death that lives a human life, because a human being’s subjectivity comes from their struggle to confront death.",[],{"_key":14630,"_type":208,"children":14631,"markDefs":14645,"style":221},"aecc649c4da1",[14632,14637,14641],{"_key":14633,"_type":212,"marks":14634,"text":14636},"372f4d8139660",[14635],"754e0a8d6a7b","“Yet, this will—this power to decide, this part of the mind—is allowed to legally survive the end of bodily death. In a secular world, where the dead are supposedly dead and gone, we are nevertheless bidden to respect the desires of the dead.”",{"_key":14638,"_type":212,"marks":14639,"text":14640},"372f4d8139661",[]," – Abou Farman, ",{"_key":14642,"_type":212,"marks":14643,"text":14644},"372f4d8139662",[1056],"Towards a Post-Secular Aesthetics: Provocations for Possible Media in Afterlife Art.",[14646],{"_key":14635,"_type":238,"href":14647},"https://www.e-flux.com/journal/45/60123/towards-a-post-secular-aesthetics-provocations-for-possible-media-in-afterlife-art/",{"_key":14649,"_type":208,"children":14650,"markDefs":14654,"style":221},"63c83706c25b",[14651],{"_key":14652,"_type":212,"marks":14653,"text":14596},"40a3b97717f70",[],[],{"_key":14656,"_type":208,"children":14657,"markDefs":14662,"style":221},"a9804d0b2b8f",[14658],{"_key":14659,"_type":212,"marks":14660,"text":14661},"eee67153d7920",[],"The family has set up an awning outside the grieving house, anticipating a big crowd that will arrive later that night. The old house looked light blue under the shade of the awning, its walls peppered with furniture marks that reveal themselves only on occasions like this. Iskandar enjoyed the quiet atmosphere as he walked into the house. Old rugs were laid out and pre-packaged plastic cups of water were stacked like a small hill in the centre of the room. Everyone greeted him by name, they knew he was coming. Iskandar expected that he would struggle with names and faces, especially those relatives whose features have been graced with age. But what he didn’t plan for is for his visit to coincide with the seventh-day ceremony of his great aunt’s death, when all their faces wore the same expression.",[],{"_key":14664,"_type":208,"children":14665,"markDefs":14670,"style":221},"7f230f0d8ae9",[14666],{"_key":14667,"_type":212,"marks":14668,"text":14669},"5e133bc9a30b0",[],"Every word he uttered seemed consequential. He wanted to respect his grieving family, though he found it difficult to empathise seeing that he didn’t know what his great aunt actually looked like, or what her exact relation was to him. One cousin showed him a photograph on her phone. She looked just like the other aunts at this gathering. His overly polite disposition made him feel like a young boy interrupting a room full of adults. His relatives would introduce themselves to him briefly, telling him that they’re glad that he’s finally made it out there, then return to their assigned tasks. It seemed like greeting him was one of these tasks. At one point, three sisters, all around his age, started talking to him. It gave him a sense of relief that they were more relaxed than others in the room.",[],{"_key":14672,"_type":208,"children":14673,"markDefs":14678,"style":221},"8d132a31bdcb",[14674],{"_key":14675,"_type":212,"marks":14676,"text":14677},"55d800d564e80",[],"Out of the corner of his eye, he saw Mario gesture to him from outside the house. The front door and all windows of the house were set wide open, meaning anyone could come in and out as they please. Iskandar excused himself and made his way towards Mario.",[],{"_key":14680,"_type":208,"children":14681,"markDefs":14686,"style":221},"81339b9b59da",[14682],{"_key":14683,"_type":212,"marks":14684,"text":14685},"7ba3677b850e0",[],"“Let’s not stay too long, we have to drop your luggage at our house while my mom’s still there,” Mario says. “I’ll show you around town afterwards, and we can make a stop for lunch by the mausoleum since it’s on the way.”",[],{"_key":14688,"_type":208,"children":14689,"markDefs":14694,"style":221},"9642ee39079b",[14690],{"_key":14691,"_type":212,"marks":14692,"text":14693},"c801fb6b54c60",[],"“The mausoleum?” Iskandar asks. He wasn’t sure if his great aunt was that important, or if they were heading elsewhere.",[],{"_key":14696,"_type":208,"children":14697,"markDefs":14702,"style":221},"16e4c572ceae",[14698],{"_key":14699,"_type":212,"marks":14700,"text":14701},"5a0a405b1fea0",[],"“Yes, your mum said that you needed to see it,” Mario replies. “It’s not our aunt’s, of course.”",[],{"_key":14704,"_type":208,"children":14705,"markDefs":14710,"style":221},"326dd7e648c0",[14706],{"_key":14707,"_type":212,"marks":14708,"text":14709},"34cbecba980e0",[],"Iskandar understood. The two take off in Mario’s car once again.",[],{"_key":14712,"_type":208,"children":14713,"markDefs":14717,"style":221},"e74c16caad39",[14714],{"_key":14715,"_type":212,"marks":14716,"text":14596},"be72512acb0b0",[],[],{"_key":14719,"_type":208,"children":14720,"markDefs":14734,"style":221},"fe752226990b",[14721,14725,14730],{"_key":14722,"_type":212,"marks":14723,"text":14724},"55ebc66074920",[],"It seems like when you hear about death in the news, you rarely see the body in a state of death. It’s rare enough that it’s shocking. The dead deserve dignity and the technology of images can be used to either grant or take it away. In Indonesia, an image of a corpse that recently succumbed to the symptoms of COVID-19 was published in National Geographic. In the image, the corpse is wrapped in cellophane rather than the usual lilywhite burial shroud. The removal of identifying features of the body, taken without cultural markers like age, ethnicity or gender, was the photographer’s way to show that this disease can affect just about anyone. ",{"_key":14726,"_type":212,"marks":14727,"text":14729},"55ebc66074921",[14728],"6734e01a62a2","If photography marks an event, featuring several protagonists who play a part in defining it,",{"_key":14731,"_type":212,"marks":14732,"text":14733},"55ebc66074922",[]," what happens when one of these protagonists are dead?",[14735],{"_key":14728,"_type":238,"href":14736},"https://s3.eu-central-1.amazonaws.com/fourcs-content/files/691/original/unshowable_photographs.pdf?1588861341",{"_key":14738,"_type":208,"children":14739,"markDefs":14757,"style":221},"f3151ed397d0",[14740,14744,14749,14753],{"_key":14741,"_type":212,"marks":14742,"text":14743},"39d755162e8f0",[],"Photographs are one way that narratives of death are materialised. When a photograph accompanies the news, the photograph itself is transformed by the words that encapsulate it, creating a one-sided interpretation of the event. On the one hand, a narrative of death is archived through this document. On the other, death transforms what we understand as sources of knowledge. “As the living folks change around the cemetery, how they view the cemetery changes. It’s very much a living and not a stoic source of knowledge,” Dr. Fletcher says. In ",{"_key":14745,"_type":212,"marks":14746,"text":14748},"39d755162e8f1",[14747,1056],"064493a8f098","Unshowable Photographs",{"_key":14750,"_type":212,"marks":14751,"text":14752},"39d755162e8f2",[1056],",",{"_key":14754,"_type":212,"marks":14755,"text":14756},"39d755162e8f3",[]," Ariella Azoulay outlines that when sentries of the archive impose an interpretation on a photograph, the sentries “deny citizens the right to freely read their own history.” Implicit in this is the ability for citizens, members of an imagined community, to read their history through death. In deathways, death work and practices that surround death, there is a potential for history of the living that lies outside of the event of death itself.",[14758],{"_key":14747,"_type":238,"href":14736},{"_key":14760,"_type":208,"children":14761,"markDefs":14765,"style":221},"b3c80ac9beeb",[14762],{"_key":14763,"_type":212,"marks":14764,"text":14596},"72df633c9ba30",[],[],{"_key":14767,"_type":208,"children":14768,"markDefs":14773,"style":221},"d542575ade71",[14769],{"_key":14770,"_type":212,"marks":14771,"text":14772},"326a2a426c500",[],"The two dropped off Iskandar’s luggage at Mario’s house and left for the mausoleum. As anticipated, Mario’s mother insisted that he ate a full plate before leaving, along with seconds. It would have been rude not to accept the invitation. He took a small portion of rice and poured a ladle of the fish stew she prepared, fragrant with the scent of simmered starfruit. It was fish and fish only on this island, of course. “By the time the fish they caught made it to Jakarta, it would have died a hundred times over,” she said proudly. “Here, it’s as fresh as it gets.” When Iskandar finished, it was only a little past nine in the morning and he knew that his next destination was towards another meal. Iskandar quietly unbuttoned his jeans and made sure to hide the evidence under his t-shirt. He stared at the dusty photo frames on the bookshelf. They sure all look alike, he thought.",[],{"_key":14775,"_type":208,"children":14776,"markDefs":14781,"style":221},"e4e96b860bd7",[14777],{"_key":14778,"_type":212,"marks":14779,"text":14780},"349cbe4b3b110",[],"As the car cut across town, Mario taught him some phrases from the local dialect. Iskandar took some pride in having a keen ear for dialects. He moved around the country every few years as a child, following his civil servant father’s postings. An aspiring cook, he followed his mother to the market whenever she went, toting around the heavier produce that she picked up. Though he never gained fluency, he always appreciated the different tones that resonated as he eavesdropped on market gossip and bargaining.",[],{"_key":14783,"_type":208,"children":14784,"markDefs":14789,"style":221},"902f763cd3d3",[14785],{"_key":14786,"_type":212,"marks":14787,"text":14788},"9bfe53a86edd0",[],"Mario turned a corner and pointed out a pale-orange mosque. “You see that mosque over there? We’ve got family buried there,” Mario says. “I can tell you exactly where everyone is. There’s a couple in this mosque. The others are on the other side of town.”",[],{"_key":14791,"_type":208,"children":14792,"markDefs":14797,"style":221},"12fa8fc11a6e",[14793],{"_key":14794,"_type":212,"marks":14795,"text":14796},"d5b7bf12622b0",[],"Iskandar stared through the mosque’s iron gates as they drove by. Overgrown graves and cracked headstones fill the mosque’s backyard, all worn with weather.",[],{"_key":14799,"_type":208,"children":14800,"markDefs":14805,"style":221},"d645c2141994",[14801],{"_key":14802,"_type":212,"marks":14803,"text":14804},"1bd17a5e3a870",[],"“That’s how it is here, everyone knows where everyone is. It’s good that you came out here for the seventh-day mourning,” Mario says. “The family doesn’t gather like this all the time.”",[],{"_key":14807,"_type":208,"children":14808,"markDefs":14813,"style":221},"5d3d2086dc5a",[14809],{"_key":14810,"_type":212,"marks":14811,"text":14812},"5de1559a73920",[],"Before long, they reached an empty parking lot at the foot of a small hill. A sign covered in vines, ivory white with gold lettering, spells out the name of a seventeenth-century king. Behind it is a tall set of stone stairs that led to a distant structure on the hill. The trees swayed freely in the salty sea breeze, the sound of their branches rubbing together not unlike the crashing waves at high tide.\n\n“We’re here,” Mario says.",[],{"_key":14815,"_type":208,"children":14816,"markDefs":14821,"style":221},"b6527c90ab71",[14817],{"_key":14818,"_type":212,"marks":14819,"text":14820},"80d10f115ecd0",[],"Mario led the way and started climbing the steps. He leapt two at a time, a light-footed gait in familiar territory. As he got to the top, Iskandar was greeted by a green mausoleum with a dark brown roof. The walls were made out of concrete. Small hexagonal slits had been carved out so visitors could pay their respects in without entering. The door frame was embellished with gold paint and four ornate columns supported the dome roof in each corner. The mausoleum itself was surrounded by smaller graves, each spotting a different style of gravestone.",[],{"_key":14823,"_type":208,"children":14824,"markDefs":14829,"style":221},"70ed6ce778a0",[14825],{"_key":14826,"_type":212,"marks":14827,"text":14828},"888bcecf8d370",[],"“All the surrounding graves are of his direct lineage. They’re all buried here. But he’s the only one in the mausoleum itself,” Mario says. “They say that everyone in Dompase was a descendant of one of six kings. He is the one that we came from.”",[],{"_key":14831,"_type":208,"children":14832,"markDefs":14837,"style":221},"27980af63300",[14833],{"_key":14834,"_type":212,"marks":14835,"text":14836},"d9c68ceeac350",[],"Iskandar peered through the slits on the wall. You couldn’t see much, but he suddenly felt a presence. The breeze stopped and clouds soothed the piercing morning sun. It felt peaceful, for once. Iskandar knew that the rest of his trip would be filled with stories and that his stomach would be filled with food. He imagined the scene that he’d find that evening: he and his cousins would light up coal to grill fish on a smoky porch. They’d share childhood stories about his grandfather, about how strict he was, about how much he changed in his old age before death. He closed his eyes and recited Al-Fātiḥah. Iskandar stayed silent for a minute and lifted his head.",[],{"_key":14839,"_type":208,"children":14840,"markDefs":14845,"style":221},"b13b4b9d19ef",[14841],{"_key":14842,"_type":212,"marks":14843,"text":14844},"03fc16475fd40",[],"He looked around to find Mario puffing on a cigarette, scrolling through his phone by the stairs, uninterested. Iskandar walked over to him, and the two of them descended the stairs.",[],{"_type":406,"caption":7,"image":14847},{"alt":14555,"asset":14848},{"_id":14557,"height":14558,"orientation":400,"ratio":14559,"url":14560,"width":3529},{"_type":9,"current":14850},"a-visit-to-the-mausoleum","A Visit to the Mausoleum",{"_id":14853,"_type":271,"categories":14854,"credits":14864,"featuredImage":14893,"pageBuilder":14899,"publishedDate":14266,"seo":7,"slug":15252,"summary":15254,"title":15255},"d7f29491-dc52-4bb6-b5db-5674edd12570",[14855,14858,14861],{"_id":13569,"_type":281,"colorPrimary":14856,"seo":7,"slug":14857,"title":13574},{"label":283,"value":13571},{"_type":9,"current":13573},{"_id":5144,"_type":281,"colorPrimary":14859,"seo":7,"slug":14860,"title":5149},{"label":283,"value":5146},{"_type":9,"current":5148},{"_id":13586,"_type":281,"colorPrimary":14862,"seo":7,"slug":14863,"title":13591},{"label":283,"value":13588},{"_type":9,"current":13590},{"other":7,"profiles":14865},[14866],{"_id":13595,"_type":315,"activeYears":14867,"bio":14870,"bioShort":13608,"featuredImage":7,"filterables":14876,"links":14879,"locations":14881,"searchables":14891,"seo":7,"slug":14892,"title":13632},[14868],{"_id":109,"_type":94,"seo":7,"slug":14869,"title":112},{"_type":9,"current":111},[14871],{"_key":13601,"_type":208,"children":14872,"markDefs":14875,"style":221},[14873],{"_key":13604,"_type":212,"marks":14874,"text":13606},[],[],{"filterYear":14877},[14878],{"_id":109,"title":112},[14880],{"_type":371,"label":5256,"url":13614},{"locations":14882,"other":14885},[14883],{"_id":3458,"_type":378,"seo":7,"slug":14884,"title":3461},{"_type":9,"current":3460},[14886],{"_key":13621,"_type":208,"children":14887,"markDefs":14890,"style":221},[14888],{"_key":13624,"_type":212,"marks":14889,"text":13626},[],[],[13629,111],{"_type":9,"current":13631},{"alt":14894,"asset":14895},"Tiny chameleon Brookesia micra sitting on a match head. Image Credit.",{"_id":14896,"height":13640,"orientation":400,"ratio":14897,"url":14898,"width":8484},"image-8250dc2ac4568e4f92fe2667b32712d602ced7c1-1280x720-jpg",1.7777777777777777,"https://cdn.sanity.io/images/eodip22e/production/8250dc2ac4568e4f92fe2667b32712d602ced7c1-1280x720.jpg",[14900,14922],{"_type":406,"caption":14901,"image":14920},[14902],{"_key":14903,"_type":208,"children":14904,"markDefs":14917,"style":221},"4b1e8cf57534",[14905,14909,14914],{"_key":14906,"_type":212,"marks":14907,"text":14908},"ee3924dbf791",[],"Tiny chameleon Brookesia micra sitting on a match head. ",{"_key":14910,"_type":212,"marks":14911,"text":14913},"bf1f3fff575e",[14912],"eaa6c00ec705","Image Credit",{"_key":14915,"_type":212,"marks":14916,"text":1995},"c3ad0e24a198",[],[14918],{"_key":14912,"_type":238,"href":14919},"http://www.bbc.com/earth/story/20151021-when-animals-shrink-to-miniature-form",{"alt":14894,"asset":14921},{"_id":14896,"height":13640,"orientation":400,"ratio":14897,"url":14898,"width":8484},{"_type":410,"settings":7,"text":14923},[14924,14935,14943,14984,14992,15000,15008,15027,15056,15097,15105,15124,15154,15173,15180,15188,15204,15220,15236],{"_key":14925,"_type":208,"children":14926,"markDefs":14932,"style":221},"c4a8c448df83",[14927],{"_key":14928,"_type":212,"marks":14929,"text":14931},"7d5455f41c041",[14930],"ce5e9c856341","We start to shrink around age forty; from this point on most people will lose between 0.5 to 1.5cm of height every decade until they die.",[14933],{"_key":14930,"_type":238,"href":14934},"https://www.nbcnews.com/healthmain/yep-youre-shrinking-you-get-older-heres-why-1C6437163",{"_key":14936,"_type":208,"children":14937,"markDefs":14942,"style":221},"135de6a33ebe",[14938],{"_key":14939,"_type":212,"marks":14940,"text":14941},"56de270b3d240",[],"As we grow old we live smaller: lose friends, downsize, scale-back, and narrow our vocabulary.",[],{"_key":14944,"_type":208,"children":14945,"markDefs":14977,"style":221},"78d5c5f55b0a",[14946,14950,14955,14959,14964,14968,14973],{"_key":14947,"_type":212,"marks":14948,"text":14949},"b4dec2229dfd0",[],"This mirrors what is happening on a cellular level. ",{"_key":14951,"_type":212,"marks":14952,"text":14954},"b4dec2229dfd1",[14953],"50c8d8548980","Cellular senescence",{"_key":14956,"_type":212,"marks":14957,"text":14958},"b4dec2229dfd2",[]," (the point where cells no longer reproduce) is a question of shrinkage; each time a cell divides the ",{"_key":14960,"_type":212,"marks":14961,"text":14963},"b4dec2229dfd3",[14962],"3fe89aca5d4d","telomeres",{"_key":14965,"_type":212,"marks":14966,"text":14967},"b4dec2229dfd4",[]," on the ends of each ",{"_key":14969,"_type":212,"marks":14970,"text":14972},"b4dec2229dfd5",[14971],"bc007d6ea22c","chromosome",{"_key":14974,"_type":212,"marks":14975,"text":14976},"b4dec2229dfd6",[]," shorten slightly. At birth these extend to eleven kilobases, by the time we die they are as few as three or four. Cell division ceases once chromosomes shorten to a critical length, their minimum smallness. ",[14978,14980,14982],{"_key":14953,"_type":238,"href":14979},"https://biologydictionary.net/cellular-senescence/",{"_key":14962,"_type":238,"href":14981},"https://en.wikipedia.org/wiki/Telomere",{"_key":14971,"_type":238,"href":14983},"https://en.wikipedia.org/wiki/Chromosome",{"_key":14985,"_type":208,"children":14986,"markDefs":14991,"style":221},"8c0f7e4202b1",[14987],{"_key":14988,"_type":212,"marks":14989,"text":14990},"2e22adc87acc0",[],"Bigness is momentary and highly contingent; after we die we get rapidly smaller as parts of us are incinerated or eaten, melt away, or disintegrate. The human body, where bacteria and microorganisms outnumber human cells ten to one, ceases the metabolise, and the microbial life that has been populating begins to consume it.",[],{"_key":14993,"_type":208,"children":14994,"markDefs":14999,"style":221},"41f118a7fa56",[14995],{"_key":14996,"_type":212,"marks":14997,"text":14998},"faa4f3774cbf0",[],"‘Death is the loss of the individual’s clear boundaries; in death the self dissolves. But life in a different form goes on – as the fungi and bacteria of decay.’ (Margulis, 1997)",[],{"_key":15001,"_type":208,"children":15002,"markDefs":15007,"style":221},"0eae6769343f",[15003],{"_key":15004,"_type":212,"marks":15005,"text":15006},"af34c665a71d0",[],"In death, the large organism makes way for the small.",[],{"_key":15009,"_type":208,"children":15010,"markDefs":15024,"style":221},"c9b20425e8eb",[15011,15015,15020],{"_key":15012,"_type":212,"marks":15013,"text":15014},"a9cd62e6f2e60",[],"Evolution is also a story about becoming smaller and simpler. Through generations, the human species gradually shed hair and lose no-longer-required organs; our teeth and bones become smaller and weaker. Physical capacities are lost – ",{"_key":15016,"_type":212,"marks":15017,"text":15019},"a9cd62e6f2e61",[15018],"4a8e547d0b11","humans and other primates used to be able to synthesise vitamin C",{"_key":15021,"_type":212,"marks":15022,"text":15023},"a9cd62e6f2e62",[]," – as we continue to outsource what we need to our environment. Our repertoire shrinks.",[15025],{"_key":15018,"_type":238,"href":15026},"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3145266/",{"_key":15028,"_type":208,"children":15029,"markDefs":15052,"style":221},"a6dbcbf789aa",[15030,15034,15039,15043,15048],{"_key":15031,"_type":212,"marks":15032,"text":15033},"2724884136460",[],"Animals ",{"_key":15035,"_type":212,"marks":15036,"text":15038},"2724884136461",[15037],"6768470d8130","evolve to be smaller in a process called miniaturisation",{"_key":15040,"_type":212,"marks":15041,"text":15042},"2724884136462",[],". Large animals, being more conspicuous, are hunted more easily, while small animals tend to need less food to survive and so are less vulnerable to extinction. This process has produced, for example, a chameleon the size of a match head, a frog the length of a grain of rice, and a bat the size of a bumblebee. Miniaturisation as a process appears with ",{"_key":15044,"_type":212,"marks":15045,"text":15047},"2724884136463",[15046],"c6f975bf3e6b","greater prevalence in island habitats",{"_key":15049,"_type":212,"marks":15050,"text":15051},"2724884136464",[],"; a limited land mass creates downsized animals. These smaller versions of animals are also simplified as if the detail is tricky to downscale – they typically have fewer digits on their hands and feet, fewer skull bones, and less offspring.",[15053,15054],{"_key":15037,"_type":238,"href":14919},{"_key":15046,"_type":238,"href":15055},"https://en.wikipedia.org/wiki/Insular_dwarfism",{"_key":15057,"_type":208,"children":15058,"markDefs":15090,"style":221},"23269eedab97",[15059,15063,15068,15072,15077,15081,15086],{"_key":15060,"_type":212,"marks":15061,"text":15062},"83816f963edd0",[],"Cells, in their composition with a nucleus and cytoplasm, were formed like this; at some point two free-living unicellular micro-organisms met and one elected to live inside the other. This process, ",{"_key":15064,"_type":212,"marks":15065,"text":15067},"83816f963edd1",[15066],"7e54f2661cdd","symbiogenesis",{"_key":15069,"_type":212,"marks":15070,"text":15071},"83816f963edd2",[],", is responsible for creating ",{"_key":15073,"_type":212,"marks":15074,"text":15076},"83816f963edd3",[15075],"6180089f6ca1","mitochondria",{"_key":15078,"_type":212,"marks":15079,"text":15080},"83816f963edd4",[]," in animal cells and ",{"_key":15082,"_type":212,"marks":15083,"text":15085},"83816f963edd5",[15084],"5871b1d26a3e","chloroplasts",{"_key":15087,"_type":212,"marks":15088,"text":15089},"83816f963edd6",[]," in plant cells, which are both fundamental to cellular energy production. ",[15091,15093,15095],{"_key":15066,"_type":238,"href":15092},"https://www.sciencedirect.com/science/article/pii/S0022519317303612",{"_key":15075,"_type":238,"href":15094},"https://en.wikipedia.org/wiki/Mitochondria",{"_key":15084,"_type":238,"href":15096},"https://en.wikipedia.org/wiki/Chloroplast",{"_key":15098,"_type":208,"children":15099,"markDefs":15104,"style":221},"d818c0df3d5c",[15100],{"_key":15101,"_type":212,"marks":15102,"text":15103},"81726c5c4c550",[],"Single-celled fungi reap the reward of profound smallness: eternal youth. Yeast and mould, as long as they have food and hospitable conditions, can live indefinitely. (Margulis 1997)",[],{"_key":15106,"_type":208,"children":15107,"markDefs":15121,"style":221},"1f7713ced587",[15108,15112,15117],{"_key":15109,"_type":212,"marks":15110,"text":15111},"6431aee2e54e0",[],"Small cells, rather than making their own food, parasite larger cells. In time they begin to shed the genes that allowed them to live autonomously as they no longer need them, until ",{"_key":15113,"_type":212,"marks":15114,"text":15116},"6431aee2e54e1",[15115],"818145fad3a3","eventually they become large viruses",{"_key":15118,"_type":212,"marks":15119,"text":15120},"6431aee2e54e2",[],". They shrink from being a living cell which eats, reproduces, and grows to a virus, a collection of genetic material, which requires a host cell to become activated.",[15122],{"_key":15115,"_type":238,"href":15123},"https://www.wnycstudios.org/podcasts/radiolab/articles/shrink",{"_key":15125,"_type":208,"children":15126,"markDefs":15149,"style":221},"d78795f816e4",[15127,15131,15136,15140,15145],{"_key":15128,"_type":212,"marks":15129,"text":15130},"e553ba5646aa0",[],"Even ",{"_key":15132,"_type":212,"marks":15133,"text":15135},"e553ba5646aa1",[15134],"40c09c9ade11","atoms",{"_key":15137,"_type":212,"marks":15138,"text":15139},"e553ba5646aa2",[]," strive toward smallness. Their behaviour is influenced by the structure of the molecule they are constituting; ",{"_key":15141,"_type":212,"marks":15142,"text":15144},"e553ba5646aa3",[15143],"a2d36044de69","the heavier and more complex the substance the greater their drive toward entropy",{"_key":15146,"_type":212,"marks":15147,"text":15148},"e553ba5646aa4",[],". When they compose something large and complex, they try harder to split apart from it.",[15150,15152],{"_key":15134,"_type":238,"href":15151},"https://en.wikipedia.org/wiki/Atom",{"_key":15143,"_type":238,"href":15153},"https://courses.lumenlearning.com/suny-chem-atoms-first/chapter/entropy/",{"_key":15155,"_type":208,"children":15156,"markDefs":15170,"style":221},"fec1846416d3",[15157,15161,15166],{"_key":15158,"_type":212,"marks":15159,"text":15160},"cef47b01f5ab0",[],"And with the splitting of the atom, the micro spectacularly collapses into the ",{"_key":15162,"_type":212,"marks":15163,"text":15165},"cef47b01f5ab1",[15164],"12230ca65ffb","macro",{"_key":15167,"_type":212,"marks":15168,"text":15169},"cef47b01f5ab2",[],". In the engineered production of the inordinately, unimaginably small, we find the inconceivably enormous: the subatomic weapon, whose traces now ‘saturate the biosphere’ touching every continent, creature, and cell on earth. (Barad, 2017)",[15171],{"_key":15164,"_type":238,"href":15172},"https://www.britannica.com/technology/nuclear-weapon/The-effects-of-nuclear-weapons",{"_key":15174,"_type":208,"children":15175,"markDefs":15179,"style":221},"92b5c948f724",[15176],{"_key":15177,"_type":212,"marks":15178,"text":435},"104de99163a10",[],[],{"_key":15181,"_type":208,"children":15182,"markDefs":15187,"style":221},"d24291b3a050",[15183],{"_key":15184,"_type":212,"marks":15185,"text":15186},"5a2ad6b20bef0",[],"Offline References and further reading:",[],{"_key":15189,"_type":208,"children":15190,"markDefs":15203,"style":221},"66e3463decdd",[15191,15195,15199],{"_key":15192,"_type":212,"marks":15193,"text":15194},"6b7bd366ed780",[],"Barad et al. 2017 ",{"_key":15196,"_type":212,"marks":15197,"text":15198},"6b7bd366ed781",[1056],"Arts of Living on a Damaged Planet_ Ghosts and Monsters of the Anthropocene",{"_key":15200,"_type":212,"marks":15201,"text":15202},"6b7bd366ed782",[],". Minnesota: University of Minnesota Press",[],{"_key":15205,"_type":208,"children":15206,"markDefs":15219,"style":221},"3826c39a7ad3",[15207,15211,15215],{"_key":15208,"_type":212,"marks":15209,"text":15210},"254478cdb24e0",[],"Margulis, Lynn. 2008. ",{"_key":15212,"_type":212,"marks":15213,"text":15214},"254478cdb24e1",[1056],"The Symbiotic Planet A New Look at Evolution",{"_key":15216,"_type":212,"marks":15217,"text":15218},"254478cdb24e2",[],". New York: Basic Books",[],{"_key":15221,"_type":208,"children":15222,"markDefs":15235,"style":221},"f48f400929b7",[15223,15227,15231],{"_key":15224,"_type":212,"marks":15225,"text":15226},"48dd4cf3bdc20",[],"Margulis et al. 1997 Slanted Truths ",{"_key":15228,"_type":212,"marks":15229,"text":15230},"48dd4cf3bdc21",[1056],"chapter 7: From Kefir To Death.",{"_key":15232,"_type":212,"marks":15233,"text":15234},"48dd4cf3bdc22",[]," Springer-Verlag New York, Inc. ",[],{"_key":15237,"_type":208,"children":15238,"markDefs":15251,"style":221},"b71107dd3357",[15239,15243,15247],{"_key":15240,"_type":212,"marks":15241,"text":15242},"3d4aab2187350",[],"Tsing, Anna. 2015 ",{"_key":15244,"_type":212,"marks":15245,"text":15246},"3d4aab2187351",[1056],"The Mushroom at the End of the World On the Possibility of Life in Capitalist Ruins",{"_key":15248,"_type":212,"marks":15249,"text":15250},"3d4aab2187352",[]," New Jersey: Princeton University Press",[],{"_type":9,"current":15253},"on-shrinking","In a human lifetime the period in which we grow taller is relatively short, a maximum of eighteen or nineteen years. ","On Shrinking",{"_id":15257,"_type":271,"categories":15258,"credits":15271,"featuredImage":15300,"pageBuilder":15308,"publishedDate":14266,"seo":7,"slug":16358,"summary":16360,"title":16361},"f64a6ee2-c747-4384-9082-ac9488877c43",[15259,15262,15265,15268],{"_id":13569,"_type":281,"colorPrimary":15260,"seo":7,"slug":15261,"title":13574},{"label":283,"value":13571},{"_type":9,"current":13573},{"_id":5144,"_type":281,"colorPrimary":15263,"seo":7,"slug":15264,"title":5149},{"label":283,"value":5146},{"_type":9,"current":5148},{"_id":13579,"_type":281,"colorPrimary":15266,"seo":7,"slug":15267,"title":13584},{"label":283,"value":13581},{"_type":9,"current":13583},{"_id":13586,"_type":281,"colorPrimary":15269,"seo":7,"slug":15270,"title":13591},{"label":283,"value":13588},{"_type":9,"current":13590},{"other":7,"profiles":15272},[15273],{"_id":13595,"_type":315,"activeYears":15274,"bio":15277,"bioShort":13608,"featuredImage":7,"filterables":15283,"links":15286,"locations":15288,"searchables":15298,"seo":7,"slug":15299,"title":13632},[15275],{"_id":109,"_type":94,"seo":7,"slug":15276,"title":112},{"_type":9,"current":111},[15278],{"_key":13601,"_type":208,"children":15279,"markDefs":15282,"style":221},[15280],{"_key":13604,"_type":212,"marks":15281,"text":13606},[],[],{"filterYear":15284},[15285],{"_id":109,"title":112},[15287],{"_type":371,"label":5256,"url":13614},{"locations":15289,"other":15292},[15290],{"_id":3458,"_type":378,"seo":7,"slug":15291,"title":3461},{"_type":9,"current":3460},[15293],{"_key":13621,"_type":208,"children":15294,"markDefs":15297,"style":221},[15295],{"_key":13624,"_type":212,"marks":15296,"text":13626},[],[],[13629,111],{"_type":9,"current":13631},{"alt":15301,"asset":15302},"Alonso Cano, Miraculous Lactation of Saint Bernard, 1650. Source.",{"_id":15303,"height":15304,"orientation":358,"ratio":15305,"url":15306,"width":15307},"image-bcc674b4775370a2d7efd6e968200e365ef3cbab-353x500-jpg",500,0.706,"https://cdn.sanity.io/images/eodip22e/production/bcc674b4775370a2d7efd6e968200e365ef3cbab-353x500.jpg",353,[15309,16336],{"_type":410,"settings":7,"text":15310},[15311,15319,15338,15346,15354,15383,15398,15406,15448,15467,15541,15582,15590,15609,15624,15675,15683,15698,15725,15733,15741,15760,15779,15820,15875,15883,15902,15910,15925,15933,15959,15967,15986,16005,16013,16021,16029,16048,16076,16091,16099,16107,16115,16123,16131,16155,16162,16170,16178,16186,16194,16202,16224,16232,16240,16248,16264,16280,16304,16312,16328],{"_key":15312,"_type":208,"children":15313,"markDefs":15318,"style":221},"2b1625b2e841",[15314],{"_key":15315,"_type":212,"marks":15316,"text":15317},"a2c0eff4ce5e",[],"Milk impregnated the particular atmosphere of women. According to Bordeu, milk was subject to a process of ceaseless ebb and flow; “our women sweat milk, urinate milk, chew and sneeze milk, and they pass it in their stools.” Milk could even flood the womb.’ (Corbin, 1986: 36)",[],{"_key":15320,"_type":208,"children":15321,"markDefs":15335,"style":221},"f203858693cb",[15322,15326,15331],{"_key":15323,"_type":212,"marks":15324,"text":15325},"daa2d03aea330",[],"The story goes that ",{"_key":15327,"_type":212,"marks":15328,"text":15330},"daa2d03aea331",[15329],"21da45e938b5","Saint Agatha of Sicily",{"_key":15332,"_type":212,"marks":15333,"text":15334},"daa2d03aea332",[]," refused to renounce her faith even after her breasts were cut off during torture. The patron saint of rape victims, breast cancer patients, wet nurses, and bellfounders (due to the shape of her severed breasts), Agatha is often depicted holding her amputated parts on a plate in front of her, as if offering them to a guest. In Sicily, Agatha is celebrated with breast-like cakes served on silver platters.",[15336],{"_key":15329,"_type":238,"href":15337},"https://www.britannica.com/biography/Saint-Agatha",{"_key":15339,"_type":208,"children":15340,"markDefs":15345,"style":221},"2617441147c7",[15341],{"_key":15342,"_type":212,"marks":15343,"text":15344},"4c24328407f20",[],"I summon Saint Agatha to evoke breasts separated from bodies offering nourishment; nipples, teats, interfaces, nurturing membranes, the architectures of lactation separated from the body. The image of Saint Agatha can be read as an image of an unprivatised breast, divorced from a specific body and offering itself up to no-one in particular.",[],{"_key":15347,"_type":208,"children":15348,"markDefs":15353,"style":221},"0a77184d1064",[15349],{"_key":15350,"_type":212,"marks":15351,"text":15352},"81e4f9dcbede0",[214],"White Blooded Mammals",[],{"_key":15355,"_type":208,"children":15356,"markDefs":15378,"style":221},"ce4d8cd768a7",[15357,15361,15366,15370,15375],{"_key":15358,"_type":212,"marks":15359,"text":15360},"85865ce4ffef0",[],"Being a lactating human makes one painfully aware of what it is to be mammal. As a species our bodies are expensive to run; hungry, sweating, blinking, leaking, breathing, constantly metabolising entities, just ",{"_key":15362,"_type":212,"marks":15363,"text":15365},"85865ce4ffef1",[15364],"717ee220a4b3","regulating our warm blood takes a huge amount of energy",{"_key":15367,"_type":212,"marks":15368,"text":15369},"85865ce4ffef2",[],". The word ‘mammal’ defines us through our need for, and ability to produce, milk. In turn our infants need for milk ",{"_key":15371,"_type":212,"marks":15372,"text":15374},"85865ce4ffef3",[15373],"093143e11076","dictates a profound evolutionary bond that further shapes our species",{"_key":15376,"_type":212,"marks":15377,"text":1995},"85865ce4ffef4",[],[15379,15381],{"_key":15364,"_type":238,"href":15380},"https://www.earthlife.net/mammals/warm.html",{"_key":15373,"_type":238,"href":15382},"https://www.ted.com/talks/katie_hinde_what_we_don_t_know_about_mother_s_milk",{"_key":15384,"_type":208,"children":15385,"markDefs":15395,"style":221},"b5192f101413",[15386,15390],{"_key":15387,"_type":212,"marks":15388,"text":15389},"eed70532a3130",[],"Seeking milk is innate and deeply programmed. When newborn babies are placed on their mothers stomach directly after birth ",{"_key":15391,"_type":212,"marks":15392,"text":15394},"eed70532a3131",[15393],"1de02e9af039","they will navigate using smell, swimming their arms and legs until they reach the nipple (a skill shared by all young mammals). Nipples exude the odour of amniotic fluid – the only smell familiar to a newborn which they will gravitate towards.",[15396],{"_key":15393,"_type":238,"href":15397},"https://breastcrawl.org/science.shtml",{"_key":15399,"_type":208,"children":15400,"markDefs":15405,"style":221},"6e8d047e2311",[15401],{"_key":15402,"_type":212,"marks":15403,"text":15404},"6e82cef7deee0",[],"Innate as it may be, lactating challenges the pace of contemporary human life; it does not follow work schedules, leaks unpredictably through shirts during meetings and on public transport. To have a lactating body is to experience some other tidal sense of time, to be plugged into an oceanic, milky current.",[],{"_key":15407,"_type":208,"children":15408,"markDefs":15442,"style":221},"17436f56fce8",[15409,15414,15417,15421,15424,15429,15433,15438],{"_key":15410,"_type":212,"marks":15411,"text":15413},"2a2d4ff0271f0",[15412],"cca6b70cf71a","The body melts fat and turns it into milk.",{"_key":15415,"_type":212,"marks":15416,"text":7982},"2a2d4ff0271f1",[],{"_key":15418,"_type":212,"marks":15419,"text":15420},"2a2d4ff0271f2",[15412],"Lactating mammals, therefore, are essentially feeding their infants a part of their own bodies.",{"_key":15422,"_type":212,"marks":15423,"text":7982},"2a2d4ff0271f3",[],{"_key":15425,"_type":212,"marks":15426,"text":15428},"2a2d4ff0271f4",[15427],"d6eac1cb7424","If a human has been vegetarian since adolescence the animal protein they ate as a child is stored in their body, if they then have a baby these reserved proteins are liquified into their milk.",{"_key":15430,"_type":212,"marks":15431,"text":15432},"2a2d4ff0271f5",[]," Milk is, therefore, quite literally fluid communication, a digestible conduit for the world the baby will enter. ",{"_key":15434,"_type":212,"marks":15435,"text":15437},"2a2d4ff0271f6",[15436],"f7116bf32984","What the lactating person eats seasons their milk",{"_key":15439,"_type":212,"marks":15440,"text":15441},"2a2d4ff0271f7",[],", making it spicy, sweet, garlicky; the baby learns the tastes of the culture it will enter into before ever eating solid food.",[15443,15445,15446],{"_key":15412,"_type":238,"href":15444},"https://www.thestranger.com/features/feature/2015/08/26/22755273/the-more-i-learn-about-breast-milk-the-more-amazed-i-am",{"_key":15427,"_type":238,"href":15444},{"_key":15436,"_type":238,"href":15447},"https://www.parentingscience.com/flavors-in-breast-milk.html",{"_key":15449,"_type":208,"children":15450,"markDefs":15464,"style":221},"6a122a7bad7d",[15451,15455,15460],{"_key":15452,"_type":212,"marks":15453,"text":15454},"4996423b752b0",[],"This communicative capacity of milk does not only work from breast to baby; ",{"_key":15456,"_type":212,"marks":15457,"text":15459},"4996423b752b1",[15458],"13c2d34c6f71","when babies suckle they create a vacuum so that some of their saliva is sucked back into the nipple",{"_key":15461,"_type":212,"marks":15462,"text":15463},"4996423b752b2",[],". Within the nipple special glands scan the saliva for any signs of foreign germs. If the baby is becoming ill, the mothers body produces a precise prescription of antibodies for the specific infection the baby is battling, which are passed back to them through the milk. ",[15465],{"_key":15458,"_type":238,"href":15466},"https://mammalssuck.blogspot.com/2016/01/breast-milk-baby-spit.html?q=breastmilk",{"_key":15468,"_type":208,"children":15469,"markDefs":15528,"style":221},"4886efca4475",[15470,15474,15479,15483,15488,15492,15497,15501,15506,15510,15515,15519,15524],{"_key":15471,"_type":212,"marks":15472,"text":15473},"c70146ac89840",[],"‘Hormone’ ",{"_key":15475,"_type":212,"marks":15476,"text":15478},"c70146ac89841",[15477],"67de0ca8e7b6","comes from the greek meaning ‘setting in motion’",{"_key":15480,"_type":212,"marks":15481,"text":15482},"c70146ac89842",[],". Hormones are signalling molecules which trigger action by certain cells in the body. They are stimulated by emotions but also stimulate emotions themselves (for example ",{"_key":15484,"_type":212,"marks":15485,"text":15487},"c70146ac89843",[15486],"533d80dc44e3","cortisol",{"_key":15489,"_type":212,"marks":15490,"text":15491},"c70146ac89844",[]," or ",{"_key":15493,"_type":212,"marks":15494,"text":15496},"c70146ac89845",[15495],"e88239b53129","oxytocin",{"_key":15498,"_type":212,"marks":15499,"text":15500},"c70146ac89846",[],"). ",{"_key":15502,"_type":212,"marks":15503,"text":15505},"c70146ac89847",[15504],"7925d474d778","Human milk features an impressive array",{"_key":15507,"_type":212,"marks":15508,"text":15509},"c70146ac89848",[]," of different hormones including; endorphins which act as a painkiller, leptin which controls appetite and regulates weight gain, and Epidermal Growth Factor which promotes cell growth. ",{"_key":15511,"_type":212,"marks":15512,"text":15514},"c70146ac89849",[15513],"dc922873377b","Throughout the day, milk evolves in step with the circadian rhythms",{"_key":15516,"_type":212,"marks":15517,"text":15518},"c70146ac898410",[],". During the nighttime hours, it contains melatonin to promote sleep and teach babies the difference between night and day. ",{"_key":15520,"_type":212,"marks":15521,"text":15523},"c70146ac898411",[15522],"81c67d11c336","Lactation also suppresses the nervous system’s hormonal response to stress so the lactating person is hormonally altered,",{"_key":15525,"_type":212,"marks":15526,"text":15527},"c70146ac898412",[]," often becoming a softer, slower and sleepier version of themselves. ",[15529,15531,15533,15535,15537,15539],{"_key":15477,"_type":238,"href":15530},"https://www.etymonline.com/word/hormone",{"_key":15486,"_type":238,"href":15532},"https://www.hormone.org/your-health-and-hormones/glands-and-hormones-a-to-z/hormones/cortisol",{"_key":15495,"_type":238,"href":15534},"https://www.hormone.org/your-health-and-hormones/glands-and-hormones-a-to-z/hormones/oxytocin",{"_key":15504,"_type":238,"href":15536},"https://www.breastfeeding.asn.au/bfinfo/breastmilk-composition",{"_key":15513,"_type":238,"href":15538},"https://www.todaysparent.com/baby/baby-sleep/giving-your-baby-morning-breastmilk-at-bedtime-might-be-ruining-his-sleep/",{"_key":15522,"_type":238,"href":15540},"https://medicalxpress.com/news/2020-09-breastfeeding-hormones-mothers-happier.html",{"_key":15542,"_type":208,"children":15543,"markDefs":15575,"style":221},"58d92d66e86b",[15544,15548,15553,15557,15562,15566,15571],{"_key":15545,"_type":212,"marks":15546,"text":15547},"f8cbc09d2b460",[],"Milk is a living and active tissue passed between entities. ",{"_key":15549,"_type":212,"marks":15550,"text":15552},"f8cbc09d2b461",[15551],"27f2215ec6b5","Evolution dictates the properties of each species’ milk",{"_key":15554,"_type":212,"marks":15555,"text":15556},"f8cbc09d2b462",[]," and the type of milk an infant drinks reinforces what kind of animal it will become: Cow’s milk is high in protein because the calf needs to grow quickly to keep up with his mother in the field. ",{"_key":15558,"_type":212,"marks":15559,"text":15561},"f8cbc09d2b463",[15560],"58064963f00c","Whale milk is thick and fatty like melted cheese",{"_key":15563,"_type":212,"marks":15564,"text":15565},"f8cbc09d2b464",[]," because the baby whale needs to develop blubber fast to keep warm. ",{"_key":15567,"_type":212,"marks":15568,"text":15570},"f8cbc09d2b465",[15569],"a8a4659be895","Human milk",{"_key":15572,"_type":212,"marks":15573,"text":15574},"f8cbc09d2b466",[]," is watery and low in protein and fat but has a huge number of complex, long-chain fatty acids so that a baby’s brain can develop quickly. ",[15576,15578,15580],{"_key":15551,"_type":238,"href":15577},"https://www.smithsonianmag.com/science-nature/seven-most-extreme-milks-animal-kingdom-180956588/",{"_key":15560,"_type":238,"href":15579},"https://slate.com/technology/2015/10/lactation-in-mammals-humans-whales-seals-bats-and-echidnas.html",{"_key":15569,"_type":238,"href":15581},"https://www.mdpi.com/2072-6643/12/5/1404",{"_key":15583,"_type":208,"children":15584,"markDefs":15589,"style":221},"207c0f56ae97",[15585],{"_key":15586,"_type":212,"marks":15587,"text":15588},"e37520badb8f0",[],"Milking machines for cows and people are also remarkably similar. The pumps are shaped like a cushioned funnel with a hand lever (electric versions also available) to create suction, which vacuums out the milk.",[],{"_key":15591,"_type":208,"children":15592,"markDefs":15606,"style":221},"87cbc8826553",[15593,15597,15602],{"_key":15594,"_type":212,"marks":15595,"text":15596},"c2ef6185f2d60",[],"For humans ",{"_key":15598,"_type":212,"marks":15599,"text":15601},"c2ef6185f2d61",[15600],"f35892750b21","it helps to look at baby pictures or videos",{"_key":15603,"_type":212,"marks":15604,"text":15605},"c2ef6185f2d62",[]," while pumping to stimulate oxytocin and milk ‘let down’. Like looking at porn in a sperm bank, the relatively modern cerebral brain tries to trigger the prehistoric hypothalamus. ",[15607],{"_key":15600,"_type":238,"href":15608},"https://www.verywellfamily.com/tips-for-pumping-breast-milk-2752633",{"_key":15610,"_type":208,"children":15611,"markDefs":15621,"style":221},"761193def8ef",[15612,15616],{"_key":15613,"_type":212,"marks":15614,"text":15615},"d376851614370",[],"It is estimated that humans were first able to digest milk from cows around 4500 B.C. ",{"_key":15617,"_type":212,"marks":15618,"text":15620},"d376851614371",[15619],"51e4837b98cf","This was probably initially a desperate way to avoid starvation by early European farmers. Humans would have been lactose intolerant until around 5000 B.C, when a genetic mutation called ‘lactase persistence’ allowed a majority of our species to digest milk after infancy. Prior to that humans certainly drank milk but probably did so while suffering through the symptoms of lactose intolerance.",[15622],{"_key":15619,"_type":238,"href":15623},"https://medium.com/@lanavalente/the-origins-of-milk-why-did-the-first-cow-milker-milk-the-cow-c41e8ef761d6#:~:text=It's%20possible%20that%20the%20first,for%20about%206%2C000%E2%80%938%2C000%20years.",{"_key":15625,"_type":208,"children":15626,"markDefs":15668,"style":221},"3f977064532b",[15627,15631,15636,15639,15644,15647,15651,15655,15659,15664],{"_key":15628,"_type":212,"marks":15629,"text":15630},"2030e49acaf00",[],"After the development of this enzyme, the subsequent impact of dairy farming on human history is incalculable. ",{"_key":15632,"_type":212,"marks":15633,"text":15635},"2030e49acaf01",[15634],"14fc81d23c01","It has shaped us in ways that range from the economic to the microbial.",{"_key":15637,"_type":212,"marks":15638,"text":7982},"2030e49acaf02",[],{"_key":15640,"_type":212,"marks":15641,"text":15643},"2030e49acaf03",[15642],"ddc5219d30f1","The first vaccine (the word itself comes from the Latin for cow",{"_key":15645,"_type":212,"marks":15646,"text":7982},"2030e49acaf04",[],{"_key":15648,"_type":212,"marks":15649,"text":15650},"2030e49acaf05",[15642,1056],"Vaccinus",{"_key":15652,"_type":212,"marks":15653,"text":15654},"2030e49acaf06",[15642],") was developed through dairy farming",{"_key":15656,"_type":212,"marks":15657,"text":15658},"2030e49acaf07",[],"; doctor’s apprentice Edward Jenner realised that ",{"_key":15660,"_type":212,"marks":15661,"text":15663},"2030e49acaf08",[15662],"c6ded95fe934","dairy farmers did not contract smallpox and concluded that this was due to their exposure to cowpox – a milder variant of smallpox.",{"_key":15665,"_type":212,"marks":15666,"text":15667},"2030e49acaf09",[]," Following this doctors began to collect pus from the scabs of cows with cowpox and used this to make a vaccine. ",[15669,15671,15673],{"_key":15634,"_type":238,"href":15670},"https://www.theguardian.com/books/2011/jul/30/milk-local-global-history-review",{"_key":15642,"_type":238,"href":15672},"https://web.stanford.edu/group/virus/pox/history.html",{"_key":15662,"_type":238,"href":15674},"https://www.npr.org/sections/goatsandsoda/2018/02/01/582370199/whats-the-real-story-about-the-milkmaid-and-the-smallpox-vaccine",{"_key":15676,"_type":208,"children":15677,"markDefs":15682,"style":221},"b01262f623ba",[15678],{"_key":15679,"_type":212,"marks":15680,"text":15681},"6a6530b4c59e0",[214],"Pump & Dump; Toxic Maternal",[],{"_key":15684,"_type":208,"children":15685,"markDefs":15695,"style":221},"e95f250a96ec",[15686,15690],{"_key":15687,"_type":212,"marks":15688,"text":15689},"fbf99534b2740",[],"Milk articulates the material world through bodies; bodies that filter and conduct that which goes around, on, and in, them. Bodies eat, drink, absorb and inhale; gathering substances like reservoirs, expelling or concentrating them. When alcohol distilleries expanded in the 19th century they had an excessive amount of swill (a spent-grain waste product of alcohol production). Many therefore opened dairies to feed their cows with this spent-grain. ",{"_key":15691,"_type":212,"marks":15692,"text":15694},"fbf99534b2741",[15693],"39b461b7ad71","The swill was low in nutrients however, which resulted in poor milk quality and sickness in the cows and whoever drank their milk.",[15696],{"_key":15693,"_type":238,"href":15697},"https://medium.com/@lanavalente/the-origins-of-milk-why-did-the-first-cow-milker-milk-the-cow-c41e8ef761d6",{"_key":15699,"_type":208,"children":15700,"markDefs":15722,"style":221},"92a4e2a8b5bc",[15701,15705,15710,15714,15718],{"_key":15702,"_type":212,"marks":15703,"text":15704},"664378704ad20",[],"The phrase ‘",{"_key":15706,"_type":212,"marks":15707,"text":15709},"664378704ad21",[15708],"7b4e4ce05589","Toxic Maternal",{"_key":15711,"_type":212,"marks":15712,"text":15713},"664378704ad22",[],"’ is used to refer to lactating humans, whose milk contains poison as well as nourishment (Nelson 2015: 124). The average sample of human breast milk now contains a range of poisons ingested from the lactating person’s environment including paint thinners, dry cleaning fluid, rocket fuel, toilet deodorisers and flame retardants. (Neimanis 2012: 109) The infant drinks these substances along with a blend of hormones, bacteria, vitamins and white blood cells. Milk reminds us we are only as clean as – in fact, constituted by – our surroundings. As Eula Biss puts it in ",{"_key":15715,"_type":212,"marks":15716,"text":15717},"664378704ad23",[1056],"On Immunity",{"_key":15719,"_type":212,"marks":15720,"text":15721},"664378704ad24",[],":",[15723],{"_key":15708,"_type":238,"href":15724},"https://medical-dictionary.thefreedictionary.com/maternal+toxicity",{"_key":15726,"_type":208,"children":15727,"markDefs":15732,"style":221},"8d173c14418a",[15728],{"_key":15729,"_type":212,"marks":15730,"text":15731},"174aa52a2e180",[],"‘If we do not yet know exactly what the presence of a vast range of chemicals in umbilical cord blood and breast milk might mean for the future of our children’s health, we do at least know that we are no cleaner, even at birth, than our environment at large. We are all already polluted. We have more micro-organisms in our guts than we have cells in our bodies—we are crawling with bacteria and we are full of chemicals. We are, in other words, continuous with everything here on earth. Including, and especially, each other.’ (Biss 2014, 75–76)",[],{"_key":15734,"_type":208,"children":15735,"markDefs":15740,"style":221},"09a2d795b948",[15736],{"_key":15737,"_type":212,"marks":15738,"text":15739},"e2daac19ee540",[214],"Milk Kinship and Milking Kin",[],{"_key":15742,"_type":208,"children":15743,"markDefs":15757,"style":221},"1e4aec1c1dc0",[15744,15748,15753],{"_key":15745,"_type":212,"marks":15746,"text":15747},"9f937937f62f0",[],"Wet nursing is breastfeeding a baby other your own. It is a practice that has likely existed as long as humans have had babies. Wet nurses were hired by higher-class families to breastfeed their infants if the baby’s mother was unable or unwilling to do so herself. Wet nursing occurred in cultures spanning every continent and going as far back as at least ancient Rome (Pedrucci, 2017). Within capitalist, colonialist structures of extreme inequality wet nursing often implied violence, trading one baby off for another: British colonists brought the practice of wet nursing with them to North America, where ",{"_key":15749,"_type":212,"marks":15750,"text":15752},"9f937937f62f1",[15751],"a487de30df83","enslaved women were forced to feed their master’s babies before their own",{"_key":15754,"_type":212,"marks":15755,"text":15756},"9f937937f62f2",[],". Similarly, in Europe many lower class wet nurses were forced to abandon their own children in order to work as a wet nurse for another family. (Pedrucci, 2017)",[15758],{"_key":15751,"_type":238,"href":15759},"http://centaur.reading.ac.uk/66788/7/article%20%281%29%20%281%29.pdf",{"_key":15761,"_type":208,"children":15762,"markDefs":15776,"style":221},"9ce045362699",[15763,15767,15772],{"_key":15764,"_type":212,"marks":15765,"text":15766},"cb6c83a1eacd0",[],"Cross-nursing or breastfeeding a baby other than your own can also be practiced for spiritual reasons. The sacred nature of milk is expressed in the notion of ‘",{"_key":15768,"_type":212,"marks":15769,"text":15771},"cb6c83a1eacd1",[15770],"084c1f829d2f","milk kinship",{"_key":15773,"_type":212,"marks":15774,"text":15775},"cb6c83a1eacd2",[],"’; the bond formed when a baby drinks milk from someone other than a biological relative, in Native American and Islamic cultures. Milk kinship was used as a profound way to connect communities through a material bond, and established a ‘second family’ who would care for an infant if something happened to its biological parents.",[15777],{"_key":15770,"_type":238,"href":15778},"https://en.wikipedia.org/wiki/Milk_kinship",{"_key":15780,"_type":208,"children":15781,"markDefs":15813,"style":221},"973a494917b6",[15782,15786,15791,15795,15800,15804,15809],{"_key":15783,"_type":212,"marks":15784,"text":15785},"827afa3bfdfd0",[],"In Islam, co-nursed babies, known as ‘milk siblings’ are forbidden from marrying one another on the grounds of incest, as if they are genetically related. Aside from custom this perhaps has some scientific foundation; recently ",{"_key":15787,"_type":212,"marks":15788,"text":15790},"827afa3bfdfd1",[15789],"2112404d0b17","it has been discovered",{"_key":15792,"_type":212,"marks":15793,"text":15794},"827afa3bfdfd2",[]," that ",{"_key":15796,"_type":212,"marks":15797,"text":15799},"827afa3bfdfd3",[15798],"96c6148c6235","human milk contains stem cells",{"_key":15801,"_type":212,"marks":15802,"text":15803},"827afa3bfdfd4",[],", undifferentiated cells which can both proliferate indefinitely and develop into any cell in the body, the only other places these cells are found is in embryos, amniotic fluid, bone marrow, sperm and blood. ",{"_key":15805,"_type":212,"marks":15806,"text":15808},"827afa3bfdfd5",[15807],"527c7e81e57a","When multiple babies are breastfed by the same person regularly they may share epigenotypes",{"_key":15810,"_type":212,"marks":15811,"text":15812},"827afa3bfdfd6",[],".“If these epigenetic changes can be inherited by the next generations, marriages between individuals breastfed by the same mother may result in the same consequences as consanguineous marriages”. (Karadag et al 2015: 188–196)",[15814,15816,15818],{"_key":15789,"_type":238,"href":15815},"https://pubmed.ncbi.nlm.nih.gov/17440749/",{"_key":15798,"_type":238,"href":15817},"http://mammalssuck.blogspot.com/2013/02/human-breast-milk-contains-pluripotent.html",{"_key":15807,"_type":238,"href":15819},"https://academic.oup.com/tropej/article/61/3/188/1714585",{"_key":15821,"_type":208,"children":15822,"markDefs":15868,"style":221},"500bf373243c",[15823,15827,15832,15835,15839,15843,15848,15852,15857,15860,15864],{"_key":15824,"_type":212,"marks":15825,"text":15826},"4bde40f120ed0",[],"Human infants being wet-nursed by a creature of another species is a recurrent theme in classical mythology. ",{"_key":15828,"_type":212,"marks":15829,"text":15831},"4bde40f120ed1",[15830],"bc1c5ad7fcfa","Romulus (the founder of Rome) and his twin Remus",{"_key":15833,"_type":212,"marks":15834,"text":7982},"4bde40f120ed2",[],{"_key":15836,"_type":212,"marks":15837,"text":15838},"4bde40f120ed3",[15830],"were raised by a she-wolf",{"_key":15840,"_type":212,"marks":15841,"text":15842},"4bde40f120ed4",[],", the twins are depicted nursing from her. ",{"_key":15844,"_type":212,"marks":15845,"text":15847},"4bde40f120ed5",[15846],"3c634dcf9d0d","Telephus",{"_key":15849,"_type":212,"marks":15850,"text":15851},"4bde40f120ed6",[],", son of the demigod Heracles, was suckled by a deer while ",{"_key":15853,"_type":212,"marks":15854,"text":15856},"4bde40f120ed7",[15855],"1d6b42d64510","Cyrus",{"_key":15858,"_type":212,"marks":15859,"text":7982},"4bde40f120ed8",[],{"_key":15861,"_type":212,"marks":15862,"text":15863},"4bde40f120ed9",[15855],"of Persia",{"_key":15865,"_type":212,"marks":15866,"text":15867},"4bde40f120ed10",[]," was said to have been suckled by a dog. ",[15869,15871,15873],{"_key":15830,"_type":238,"href":15870},"https://www.britannica.com/biography/Romulus-and-Remus",{"_key":15846,"_type":238,"href":15872},"https://www.greekmythology.com/Myths/Mortals/Telephus/telephus.html",{"_key":15855,"_type":238,"href":15874},"https://www.gracenotes.info/documents/topics_doc/cyrusthegreat.pdf",{"_key":15876,"_type":208,"children":15877,"markDefs":15882,"style":221},"52de1e7b0a60",[15878],{"_key":15879,"_type":212,"marks":15880,"text":15881},"be689f5aa3450",[],"These stories were mirrored in real histories. During the 18th and 19th centuries wet nursing was risky due to the proliferation of congenital syphilis, which could pass through milk to the baby or from the baby’s saliva through the nipple. Subsequently many people opted to feed their infants from a goat rather than risk a potentially syphilitic wet nurse. In the 17th and 18th centuries goats or donkeys were used to feed Foundlings within orphanages, each infant was paired with a goat who would come to know them. (Pedrucci, 2017)",[],{"_key":15884,"_type":208,"children":15885,"markDefs":15899,"style":221},"ae6fc7e31910",[15886,15890,15895],{"_key":15887,"_type":212,"marks":15888,"text":15889},"904f165d3afa0",[],"It was widely believed that characteristics could pass through milk to nursing infants. For this reason, when the option was available, donkeys were preferred over goats as they were seen to be less ‘libidinous’ in nature. During the 19th century in France a law was proposed to ban disreputable mothers from nursing their own children so that their immoral traits would not be transmitted via the milk (Radbill 1976, p. 22). This transmission was also believed to occur across species; when ",{"_key":15891,"_type":212,"marks":15892,"text":15894},"904f165d3afa1",[15893],"0d5bbb3062cb","Peter The Wild Boy",{"_key":15896,"_type":212,"marks":15897,"text":15898},"904f165d3afa2",[]," was found in northern Germany in 1724 his coarse, curly hair was attributed to his being (supposedly) suckled by a bear, ‘based on the premise that characteristics of the animal foster mother had been transmitted to him via her milk’. (Schiebinger 1993:56)",[15900],{"_key":15893,"_type":238,"href":15901},"https://www.theguardian.com/artanddesign/2011/mar/20/peter-wild-boy-condition-revealed",{"_key":15903,"_type":208,"children":15904,"markDefs":15909,"style":221},"0989a068ccc0",[15905],{"_key":15906,"_type":212,"marks":15907,"text":15908},"82eaf43bac180",[],"Until relatively recently, irrespective of the animal from which it came, milk was consumed directly from the teat because this reduced exposure to bacteria. Babies in orphanages would be held underneath goats udders or would lie in cribs on the floor so the goats could stand over them to let them suckle. ( Valenze 2011:159)",[],{"_key":15911,"_type":208,"children":15912,"markDefs":15922,"style":221},"d61f8a02dd90",[15913,15918],{"_key":15914,"_type":212,"marks":15915,"text":15917},"eef454c13e290",[15916],"c5338c4758d0","When stressed the human body produces cortisol and ceases to lactate",{"_key":15919,"_type":212,"marks":15920,"text":15921},"eef454c13e291",[],". This has to do with early evolution of humans – if a wild animal or other danger was threatening us then the body tells us not to nurse but run. In contrast, cute, baby creatures, even of other species (like puppies) stimulate the production of oxytocin in the body and the breasts leak milk in enthusiasm.",[15923],{"_key":15916,"_type":238,"href":15924},"https://utswmed.org/medblog/decrease-breast-milk-supply/#:~:text=Feeling%20stressed%20or%20anxious,dramatically%20reduce%20your%20milk%20supply.",{"_key":15926,"_type":208,"children":15927,"markDefs":15932,"style":221},"de34c68765eb",[15928],{"_key":15929,"_type":212,"marks":15930,"text":15931},"4cb541571c2b0",[],"Interspecies suckling was, and continues to be, also practiced the other way around. In Europe and the U.S up until the mid-19th century women were advised to suckle puppies to prepare their nipples for breastfeeding or to drain blocked milk ducts (Radbill 1976: 26). If a mother with a small baby contracted smallpox she could be quarantined with a puppy to breastfeed in order to maintain her milk supply while she recovered. And Saint Veronica Giuliani, an Italian nun and mystic, would allegedly take a lamb to bed with her and nurse it as a symbol of the Lamb of God. (Schiebinger 1993:56)",[],{"_key":15934,"_type":208,"children":15935,"markDefs":15954,"style":221},"6b0d98f20ebd",[15936,15940,15945,15949],{"_key":15937,"_type":212,"marks":15938,"text":15939},"4451fc46be040",[],"In many places, humans suckling animals continues to be practiced out of necessity, when animals are relied upon directly for human survival. Famously* women in Turkana, North West Kenya, ",{"_key":15941,"_type":212,"marks":15942,"text":15944},"4451fc46be041",[15943],"081ca675d11d","breastfeed young goats",{"_key":15946,"_type":212,"marks":15947,"text":15948},"4451fc46be042",[]," in order to let the animals survive during a drought. *",{"_key":15950,"_type":212,"marks":15951,"text":15953},"4451fc46be043",[15952],"741a32bff5cd","Images of this caused major problems for Facebook’s censorship policy which had a no-nipple policy with the exception of breastfeeding but did not previously include any clause against breastfeeding animals.",[15955,15957],{"_key":15943,"_type":238,"href":15956},"https://www.dailymotion.com/video/x2p5jb6",{"_key":15952,"_type":238,"href":15958},"https://www.wnycstudios.org/podcasts/radiolab/articles/post-no-evil",{"_key":15960,"_type":208,"children":15961,"markDefs":15966,"style":221},"918942c52401",[15962],{"_key":15963,"_type":212,"marks":15964,"text":15965},"2ddbb4daaed00",[],"Sharing milk, this direct intimacy with other species, is reciprocal and anything but sterile. The practice undermines human exceptionalism, reminding us that we are one of many warm blooded mammals with vulnerable young.",[],{"_key":15968,"_type":208,"children":15969,"markDefs":15983,"style":221},"4c6e78c85cc3",[15970,15974,15979],{"_key":15971,"_type":212,"marks":15972,"text":15973},"ada3c8a144ed0",[],"Even in its molecular constitution milk is a polyvalent substance that reaches across the boundaries of species. ",{"_key":15975,"_type":212,"marks":15976,"text":15978},"ada3c8a144ed1",[15977],"ddf411e2727e","Breast milk, for instance, contains around 150 oligosaccharides, complex chains of sugars unique to human milk",{"_key":15980,"_type":212,"marks":15981,"text":15982},"ada3c8a144ed2",[],". These molecules can’t be digested by infants; they exist purely to feed and encourage the microbes that populate an infant’s digestive system. In this way milk is both food, and contains the tools for its own digestion.",[15984],{"_key":15977,"_type":238,"href":15985},"https://pubmed.ncbi.nlm.nih.gov/30056961/",{"_key":15987,"_type":208,"children":15988,"markDefs":16002,"style":221},"bec073a56f58",[15989,15993,15998],{"_key":15990,"_type":212,"marks":15991,"text":15992},"02d51d6fdbb20",[],"Philosopher Michael Hardt states that ",{"_key":15994,"_type":212,"marks":15995,"text":15997},"02d51d6fdbb21",[15996],"5f325f898ecf","love is destroyed as a political concept by being trapped within identity – love of the same",{"_key":15999,"_type":212,"marks":16000,"text":16001},"02d51d6fdbb22",[],". He argues that for love to be transformative it must be radically open to the unfamiliar and unknown. Heterogenous love for our familiars is ‘eros’ love ascending up to god, in contrast ‘agape’ is a descending and terrestrial love for earthly things. Following Hardt’s definition interspecies suckling could be an expression of agape; a terrestrial, radical and potentially transformative practice which reached a marked end with the advent of pasteurisation.",[16003],{"_key":15996,"_type":238,"href":16004},"https://www.youtube.com/watch?v=ioopkoppabI",{"_key":16006,"_type":208,"children":16007,"markDefs":16012,"style":221},"b78a42a45c6f",[16008],{"_key":16009,"_type":212,"marks":16010,"text":16011},"ccadc55072ba0",[214],"On the Pasteurisation of Other",[],{"_key":16014,"_type":208,"children":16015,"markDefs":16020,"style":221},"086086e4349c",[16016],{"_key":16017,"_type":212,"marks":16018,"text":16019},"c5883f1e761d0",[],"Named after Louis Pasteur, Pasteurisation (as a process) changed the ways the relation between self and other were conceptualised (Tsing, 2012: 10). With the discovery of invisible, microscopic enemies everywhere, boundaries between the ‘clean’ and ‘unclean’, the ‘inside’ and ‘outside’ and the ‘self’ and ‘other’ became paramount. Relationships between capitalist expansion and recently discovered ‘colonies’ of bacteria were more than semantic as Anna Tsing articulates, via Bruno Latour:",[],{"_key":16022,"_type":208,"children":16023,"markDefs":16028,"style":221},"af0893361264",[16024],{"_key":16025,"_type":212,"marks":16026,"text":16027},"21529926cf250",[],"“…the main problem for showing the importance of Pasteurian germ theory was the necessity of creating laboratory-like hygienic conditions in which people and their domesticates could be kept away from the generally ubiquitous environment of disease microorganisms. Latour suggests that colonial armies in the tropics—where disease ran rampant, limiting colonial conquest—were the first living laboratories for Pasteurian medicine.” (Tsing, 2012: 10)",[],{"_key":16030,"_type":208,"children":16031,"markDefs":16045,"style":221},"de11a1578b59",[16032,16036,16041],{"_key":16033,"_type":212,"marks":16034,"text":16035},"21cbe1f1b3480",[],"To undergo pasteurisation, a lot of milk is gathered together and mixed, strained and then heated several times in order to kill bacteria. ",{"_key":16037,"_type":212,"marks":16038,"text":16040},"21cbe1f1b3481",[16039],"142ec7920675","Following pasteurisation milk becomes a predictable and homogenised product that can be stored, equalised and distributed. As a substance it is also no longer from ‘this cow’ but more generically ‘from cows’ and served from a bottle",{"_key":16042,"_type":212,"marks":16043,"text":16044},"21cbe1f1b3482",[],". Milk as a substance and ontological category enter into an anonymous commons, those who consume it are probably unaware of who produced it. Pasteurisation allows for milk to enter more fully into a capitalist economy. Within this new framework milk flows in one direction: from animal to human, from the rural farm to the increasingly densely populated urban area, from the producer to the consumer.",[16046],{"_key":16039,"_type":238,"href":16047},"https://microbenotes.com/milk-pasteurization-methods-steps-significance/",{"_key":16049,"_type":208,"children":16050,"markDefs":16072,"style":221},"d067326ff003",[16051,16055,16060,16063,16068],{"_key":16052,"_type":212,"marks":16053,"text":16054},"d879012890d00",[],"Following a parallel framework, ",{"_key":16056,"_type":212,"marks":16057,"text":16059},"d879012890d01",[16058],"899c439e2405","human milk banks",{"_key":16061,"_type":212,"marks":16062,"text":7982},"d879012890d02",[],{"_key":16064,"_type":212,"marks":16065,"text":16067},"d879012890d03",[16066],"8f186e656f23","offer ways to donate, collect and share breast milk with those who need it or may struggle to produce it",{"_key":16069,"_type":212,"marks":16070,"text":16071},"d879012890d04",[],". They operate across Europe, the U.S, the African continent and are slowly spreading across the rest of the world with the notable exception (thus far) of the Islamic world. For Muslims, milk banks challenge beliefs about the intimacy of milk kinship (Karadag et al. p188-196). Interestingly, however, much of the epigenetic science which supports the notions of milk kinship is eradicated by the processes applied to human milk in milk banks. The milk is sorted into age groups (colostrum and mature milk) and then mixed together into large vats before being pasteurised (heated for 30 minutes at 63°c).",[16073,16075],{"_key":16058,"_type":238,"href":16074},"https://www.youtube.com/watch?v=IlaoQ5_ycNU",{"_key":16066,"_type":238,"href":16074},{"_key":16077,"_type":208,"children":16078,"markDefs":16088,"style":221},"3d61eadb5ef4",[16079,16083],{"_key":16080,"_type":212,"marks":16081,"text":16082},"88c236d1cb1b0",[],"Pasteurisation of breast milk kills potentially lethal viruses and diseases which could be passed to infants. It is the process of pasteurisation, therefore, which make milk banks safe and feasible. After pasteurisation it is still considered healthier to give an infant breast milk than formula, but by separating the milk from the producer it is no longer liquid communication. Along with potential pathogens, its microbial composition and bacterial population have also been somewhat eliminated ",{"_key":16084,"_type":212,"marks":16085,"text":16087},"88c236d1cb1b1",[16086],"a80cea401536","which has significant implications for the baby’s intestinal and immune health. ",[16089],{"_key":16086,"_type":238,"href":16090},"https://adc.bmj.com/content/archdischild/62/2/161.full.pdf",{"_key":16092,"_type":208,"children":16093,"markDefs":16098,"style":221},"6c87f375903f",[16094],{"_key":16095,"_type":212,"marks":16096,"text":16097},"0cc282cf0a590",[214],"Milk Philosophy",[],{"_key":16100,"_type":208,"children":16101,"markDefs":16106,"style":221},"f6395be32bbf",[16102],{"_key":16103,"_type":212,"marks":16104,"text":16105},"f86f50ccb7e20",[],"Saint Agatha freely offers to a stranger that which is most precious and vital. In (the least violent) depictions of her she carries her tray of clean and blood-free breasts proudly.",[],{"_key":16108,"_type":208,"children":16109,"markDefs":16114,"style":221},"93b6f6a49f50",[16110],{"_key":16111,"_type":212,"marks":16112,"text":16113},"d788460f18680",[],"In offering her severed breast Agatha presents an image of nursing a stranger, she asks us to give generously and believe there will be enough for all. Luckily milk itself articulates a state of abundance; the mammary glands produce as much as is required to meet demand.",[],{"_key":16116,"_type":208,"children":16117,"markDefs":16122,"style":221},"8e940821838c",[16118],{"_key":16119,"_type":212,"marks":16120,"text":16121},"a06b2a5d28bb0",[],"To say milk is food is an obscene oversimplification, it is a deeply programmed, multifaceted nourishing experience which provides everything an infant mammal needs to grow and feel soothed; food, warmth, familiar smell, hormones that calm, ease pain and encourage sleep.",[],{"_key":16124,"_type":208,"children":16125,"markDefs":16130,"style":221},"8b2b390a62be",[16126],{"_key":16127,"_type":212,"marks":16128,"text":16129},"b5f76d0498b40",[],"Most of all milk offers a manifest way to relate to the world around us; polluted, intimate, communicative, entangled, complex, nourishing; milk displays that we are constituted by, and inseparable from, our environment and one another. In milk, the ‘immaterial’ such as an emotion becomes the ‘material’, such as food and troubles these categorisations.",[],{"_key":16132,"_type":208,"children":16133,"markDefs":16154,"style":221},"60501cfc93a0",[16134,16138,16142,16146,16150],{"_key":16135,"_type":212,"marks":16136,"text":16137},"e8b9ee2d2eff0",[],"In its creamy opacity milk invites us to ",{"_key":16139,"_type":212,"marks":16140,"text":16141},"e8b9ee2d2eff1",[1056],"trust",{"_key":16143,"_type":212,"marks":16144,"text":16145},"e8b9ee2d2eff2",[]," the other, without ",{"_key":16147,"_type":212,"marks":16148,"text":16149},"e8b9ee2d2eff3",[1056],"knowing",{"_key":16151,"_type":212,"marks":16152,"text":16153},"e8b9ee2d2eff4",[]," and to accept molecular contingency. Finally, as living tissue that conducts both microbes and chemicals in the environment, it complicates the perceived boundaries of the body, through it we can understand that ‘health’ is not a private question but a shared state that flows around and between us. ",[],{"_key":16156,"_type":208,"children":16157,"markDefs":16161,"style":221},"1f2d0cebd234",[16158],{"_key":16159,"_type":212,"marks":16160,"text":435},"c302756103f60",[],[],{"_key":16163,"_type":208,"children":16164,"markDefs":16169,"style":221},"2bcbe4a9c709",[16165],{"_key":16166,"_type":212,"marks":16167,"text":16168},"e725878ebb350",[214],"Key references & further reading:",[],{"_key":16171,"_type":208,"children":16172,"markDefs":16177,"style":221},"994ea32f1a77",[16173],{"_key":16174,"_type":212,"marks":16175,"text":16176},"18b6a2b481a30",[],"Biss, Eula, 2014. On Immunity; An Innoculation. Minnesota, Graywolf Press.",[],{"_key":16179,"_type":208,"children":16180,"markDefs":16185,"style":221},"f8005a843047",[16181],{"_key":16182,"_type":212,"marks":16183,"text":16184},"5a9f7b13369d0",[],"Corbin, Alain. 1986. The Foul and The Fragrant – Odor and the French Social Imaginary. Cambridge Massachusettes, Harvard University Press.",[],{"_key":16187,"_type":208,"children":16188,"markDefs":16193,"style":221},"018bfb570621",[16189],{"_key":16190,"_type":212,"marks":16191,"text":16192},"82930cac7cf70",[],"Cregan MD, Fan Y, Appelbee A, Brown ML, Klopcic B, Koppen J, Mitoulas LR, Piper KM, Choolani MA, Chong YS, Hartmann 2007. Identification of nestin-positive putative mammary stem cells in human breastmilk. Epub.",[],{"_key":16195,"_type":208,"children":16196,"markDefs":16201,"style":221},"10c0339bdf4f",[16197],{"_key":16198,"_type":212,"marks":16199,"text":16200},"15b6957868860",[],"Hardt, Michael. 2012. The Procedures of Love No. 068 of 100 Notes – 100 Thoughts produced by documenta(13) Ostfildern Germany Hatje Cantz.",[],{"_key":16203,"_type":208,"children":16204,"markDefs":16222,"style":221},"05a76bbaca9b",[16205,16209,16213,16217],{"_key":16206,"_type":212,"marks":16207,"text":16208},"9619768475cb0",[],"Karadag Ahmet et al. 2015. Human milk banking and milk kinship: Perspectives of mothers in a Muslim country. ",{"_key":16210,"_type":212,"marks":16211,"text":16212},"9619768475cb1",[1056],"Journal of Tropical Pediatrics",{"_key":16214,"_type":212,"marks":16215,"text":16216},"9619768475cb2",[],", Volume 61, Issue 3, June 2015, Pages 188–196, ",{"_key":16218,"_type":212,"marks":16219,"text":16221},"9619768475cb3",[16220],"e309970eb6b9","https://doi.org/10.1093/tropej/fmv018",[16223],{"_key":16220,"_type":238,"href":16221},{"_key":16225,"_type":208,"children":16226,"markDefs":16231,"style":221},"0bb904d8bf6c",[16227],{"_key":16228,"_type":212,"marks":16229,"text":16230},"fd4e8d45b8610",[],"Neimanis, Astrida. 2012 “Hydrofeminism: Or, On Becoming a Body of Water.” in Undutiful Daughters: Mobilizing Future Concepts, Bodies and Subjectivities in Feminist Thought and Practice New York: Palgrave Macmillan. ",[],{"_key":16233,"_type":208,"children":16234,"markDefs":16239,"style":221},"2ed93564c8ba",[16235],{"_key":16236,"_type":212,"marks":16237,"text":16238},"3595773f65120",[],"Nelson, Maggie. 2015. The Argonauts. London, Melville House.",[],{"_key":16241,"_type":208,"children":16242,"markDefs":16247,"style":221},"5c67d6364cb1",[16243],{"_key":16244,"_type":212,"marks":16245,"text":16246},"e37f9aff47a30",[],"Pedrucci, Giulia. 2017. Mothers for Sale: The case of the Wet Nurse in the Ancient Greek and Roman World. (Academic Paper) Bologna, University of Bologna.",[],{"_key":16249,"_type":208,"children":16250,"markDefs":16263,"style":221},"09f6790c33c3",[16251,16255,16259],{"_key":16252,"_type":212,"marks":16253,"text":16254},"042427cea5350",[],"Radbill, Samuel X. 1976. “The Role of Animals in Infant Feeding”. In Hand, Wayland D (ed.). ",{"_key":16256,"_type":212,"marks":16257,"text":16258},"042427cea5351",[1056],"American Folk Medicine: A Symposium",{"_key":16260,"_type":212,"marks":16261,"text":16262},"042427cea5352",[],". University of California Press.",[],{"_key":16265,"_type":208,"children":16266,"markDefs":16279,"style":221},"c7dc0dcd9785",[16267,16271,16275],{"_key":16268,"_type":212,"marks":16269,"text":16270},"9e1746917d3c0",[],"Schiebinger, Londa L. 1993. ",{"_key":16272,"_type":212,"marks":16273,"text":16274},"9e1746917d3c1",[1056],"Nature’s Body: Gender In The Making Of Modern Science",{"_key":16276,"_type":212,"marks":16277,"text":16278},"9e1746917d3c2",[],". Rutgers University Press.",[],{"_key":16281,"_type":208,"children":16282,"markDefs":16303,"style":221},"eedea538d476",[16283,16287,16291,16295,16299],{"_key":16284,"_type":212,"marks":16285,"text":16286},"6da92e6e24b00",[],"Shotwell, Alexis. ",{"_key":16288,"_type":212,"marks":16289,"text":16290},"6da92e6e24b01",[1056],"Complexity and Complicity; An introduction to Constitutive Impurity",{"_key":16292,"_type":212,"marks":16293,"text":16294},"6da92e6e24b02",[],". Chapter 1 In ",{"_key":16296,"_type":212,"marks":16297,"text":16298},"6da92e6e24b03",[1056],"Against Purity: Living Ethically in Compromised Times",{"_key":16300,"_type":212,"marks":16301,"text":16302},"6da92e6e24b04",[],". Minneapolis: University of Minnesota Press, 2016.",[],{"_key":16305,"_type":208,"children":16306,"markDefs":16311,"style":221},"1c46ab6eaa01",[16307],{"_key":16308,"_type":212,"marks":16309,"text":16310},"0dc8727ba1740",[],"Tsing, Anna. 2012. Unruly Edges: Mushrooms as Companion Species: For Donna Haraway. North Carolina Duke University Press.",[],{"_key":16313,"_type":208,"children":16314,"markDefs":16327,"style":221},"759187c0694d",[16315,16319,16323],{"_key":16316,"_type":212,"marks":16317,"text":16318},"88e54ea377220",[],"Valenze, Deborah. 2011. ",{"_key":16320,"_type":212,"marks":16321,"text":16322},"88e54ea377221",[1056],"Milk: A Local and Global History",{"_key":16324,"_type":212,"marks":16325,"text":16326},"88e54ea377222",[],". Conneticut, Yale University Press.",[],{"_key":16329,"_type":208,"children":16330,"markDefs":16335,"style":221},"71ed92ce40be",[16331],{"_key":16332,"_type":212,"marks":16333,"text":16334},"99f79393c53a0",[],"West, E. and Knight, R. J. 2017. Mothers’ milk: slavery, wet nursing, and black and white women in the Antebellum South. Journal of Southern History, 83 (1). pp. 37­68. Available at http://centaur.reading.ac.uk/66788/",[],{"_type":406,"caption":16337,"image":16356},[16338],{"_key":16339,"_type":208,"children":16340,"markDefs":16353,"style":221},"7c214fd1f904",[16341,16345,16350],{"_key":16342,"_type":212,"marks":16343,"text":16344},"22c4d0a4f8f4",[],"Alonso Cano, Miraculous Lactation of Saint Bernard, 1650. ",{"_key":16346,"_type":212,"marks":16347,"text":16349},"53382936336f",[16348],"d52002e81bb4","Source",{"_key":16351,"_type":212,"marks":16352,"text":1995},"7dd28310e748",[],[16354],{"_key":16348,"_type":238,"href":16355},"http://theologicalanthropology.com/alphabet-of-love/2013/11/7/roman-love-caritas-romana",{"alt":15301,"asset":16357},{"_id":15303,"height":15304,"orientation":358,"ratio":15305,"url":15306,"width":15307},{"_type":9,"current":16359},"wet-nurses-microbes-milk-siblings-milk-as-liquid-conduit","'Milk impregnated the particular atmosphere of women.' ","Wet Nurses, Microbes, Milk-siblings: Milk as Liquid Conduit",{"_id":16363,"_type":271,"categories":16364,"credits":16368,"featuredImage":16409,"pageBuilder":16414,"publishedDate":16848,"seo":7,"slug":16849,"summary":16851,"title":16410},"114623ed-38f2-44bd-875b-5a302cf8b71b",[16365],{"_id":7186,"_type":281,"colorPrimary":16366,"seo":7,"slug":16367,"title":7191},{"label":283,"value":7188},{"_type":9,"current":7190},{"other":7,"profiles":16369},[16370],{"_id":14492,"_type":315,"activeYears":16371,"bio":16374,"bioShort":14529,"featuredImage":7,"filterables":16392,"links":16395,"locations":16397,"searchables":16407,"seo":7,"slug":16408,"title":14553},[16372],{"_id":119,"_type":94,"seo":7,"slug":16373,"title":122},{"_type":9,"current":121},[16375],{"_key":14498,"_type":208,"children":16376,"markDefs":16391,"style":221},[16377,16379,16381,16383,16385,16387,16389],{"_key":14501,"_type":212,"marks":16378,"text":14503},[],{"_key":14505,"_type":212,"marks":16380,"text":14507},[1056],{"_key":14509,"_type":212,"marks":16382,"text":14511},[],{"_key":14513,"_type":212,"marks":16384,"text":14515},[1056],{"_key":14517,"_type":212,"marks":16386,"text":14519},[],{"_key":14521,"_type":212,"marks":16388,"text":14523},[1056],{"_key":14525,"_type":212,"marks":16390,"text":14527},[],[],{"filterYear":16393},[16394],{"_id":119,"title":122},[16396],{"_type":371,"label":372,"url":14535},{"locations":16398,"other":16401},[16399],{"_id":8985,"_type":378,"seo":7,"slug":16400,"title":8988},{"_type":9,"current":8987},[16402],{"_key":14542,"_type":208,"children":16403,"markDefs":16406,"style":221},[16404],{"_key":14545,"_type":212,"marks":16405,"text":14547},[],[],[14550,121],{"_type":9,"current":14552},{"alt":16410,"asset":16411},"Dr. Kami Fletcher on Why Death Studies Should be Radical",{"_id":16412,"height":8451,"orientation":400,"ratio":14897,"url":16413,"width":7700},"image-c85ef52a8c3bd4a1e8bc857f73a7cd2ae6f3dc4e-1920x1080-jpg","https://cdn.sanity.io/images/eodip22e/production/c85ef52a8c3bd4a1e8bc857f73a7cd2ae6f3dc4e-1920x1080.jpg",[16415,16434,16484],{"_type":410,"settings":16416,"text":16417},{"textColumnCount":412},[16418,16426],{"_key":16419,"_type":208,"children":16420,"markDefs":16425,"style":221},"ab28b985947b",[16421],{"_key":16422,"_type":212,"marks":16423,"text":16424},"7c004dc30e510",[],"We chat with one of the founders of the Center for Radical Death Studies on using cemeteries as a source of knowledge, how death changes the archive and how grief transforms into activism in the African American community.",[],{"_key":16427,"_type":208,"children":16428,"markDefs":16433,"style":221},"99615f7fe618",[16429],{"_key":16430,"_type":212,"marks":16431,"text":16432},"1611cd4a0da50",[214],"TW: Racial violence, sexual violence",[],{"_type":406,"caption":16435,"image":16481},[16436],{"_key":16437,"_type":208,"children":16438,"markDefs":16476,"style":221},"73f597fb446b",[16439,16442,16445,16449,16454,16457,16461,16464,16469,16472],{"_key":16440,"_type":212,"marks":16441,"text":14605},"5e086e3b93ca",[1056],{"_key":16443,"_type":212,"marks":16444,"text":7982},"74aaaa1ce268",[],{"_key":16446,"_type":212,"marks":16447,"text":16448},"1eb573df60f4",[1056],"(",{"_key":16450,"_type":212,"marks":16451,"text":16453},"ca9dba582176",[1056,16452],"f031f9fe8d33","@kamifletcher36)",{"_key":16455,"_type":212,"marks":16456,"text":7982},"39fb01218061",[],{"_key":16458,"_type":212,"marks":16459,"text":16460},"76483a9b6af3",[1056],"is a historian, an associate professor at Albright College and the co-founder and president of",{"_key":16462,"_type":212,"marks":16463,"text":7982},"96338813cb77",[],{"_key":16465,"_type":212,"marks":16466,"text":16468},"761849f2381d",[1056,16467],"24b2a8c055ea","the Collective for Radical Death Studies",{"_key":16470,"_type":212,"marks":16471,"text":7982},"8fbb01bf16d5",[],{"_key":16473,"_type":212,"marks":16474,"text":16475},"9ca571c6a27a",[1056],"(CRDS). She started her career by studying one of the oldest cemeteries in Baltimore, MD as a way to understand African American history and the experience of Africans in America.",[16477,16479],{"_key":16452,"_type":238,"href":16478},"https://twitter.com/kamifletcher36",{"_key":16467,"_type":238,"href":16480},"https://radicaldeathstudies.com/",{"alt":16482,"asset":16483},"Dr. Kami Fletcher (@kamifletcher36) is a historian, an associate professor at Albright College and the co-founder and president of the Collective for Radical Death Studies (CRDS). She started her career by studying one of the oldest cemeteries in Baltimore, MD as a way to understand African American history and the experience of Africans in America.",{"_id":16412,"height":8451,"orientation":400,"ratio":14897,"url":16413,"width":7700},{"_type":410,"settings":7,"text":16485},[16486,16494,16524,16543,16559,16566,16573,16581,16589,16597,16605,16612,16619,16627,16635,16643,16651,16659,16667,16675,16694,16701,16708,16716,16746,16762,16781,16789,16797,16805,16813,16821,16840],{"_key":16487,"_type":208,"children":16488,"markDefs":16493,"style":221},"200f0ea9e2c7",[16489],{"_key":16490,"_type":212,"marks":16491,"text":16492},"8aeb7a96c3cc0",[214],"AI: Can you tell me a little bit about the collective and how it came about ?",[],{"_key":16495,"_type":208,"children":16496,"markDefs":16519,"style":221},"81b344931fac",[16497,16501,16506,16510,16515],{"_key":16498,"_type":212,"marks":16499,"text":16500},"325971b488ff0",[],"KF: For me and my research, culture and death are not severed. They are really one and the same. Culture influences and creates our mourning practices, how we understand death. This kind of ",{"_key":16502,"_type":212,"marks":16503,"text":16505},"325971b488ff1",[16504],"fa8ce132f249","death denial culture",{"_key":16507,"_type":212,"marks":16508,"text":16509},"325971b488ff2",[]," that we have in the US is spurned from that. I was invited to speak by ",{"_key":16511,"_type":212,"marks":16512,"text":16514},"325971b488ff3",[16513],"089ba238ca4c","the Order of Good Death",{"_key":16516,"_type":212,"marks":16517,"text":16518},"325971b488ff4",[]," during a death salon they had in 2018 and I began to see different types of groups that have been inspired by author Jessica Mitford. The way she talked about undertakers and the idea of the “American way of death,” a term she coined, was really foreign to my own work. Her canonical work just ran counter to what I’m saying. That’s why I started by saying that there was a kind of severance with culture.",[16520,16522],{"_key":16504,"_type":238,"href":16521},"https://radicaldeathstudies.com/2019/08/10/decolonizing-death-studies/",{"_key":16513,"_type":238,"href":16523},"http://www.orderofthegooddeath.com/",{"_key":16525,"_type":208,"children":16526,"markDefs":16540,"style":221},"7a64aabfb7a7",[16527,16531,16536],{"_key":16528,"_type":212,"marks":16529,"text":16530},"716e4f40421d0",[],"In going to academic Twitter, I got involved with this hashtag #SoJust. A wonderful Professor (Rhonda Ragsdale) does this as a push back to the capitalistic, elitist, ivory tower notion. Everybody can’t afford to go to college, so she holds Saturday School, using #SoJust and I led a ",{"_key":16532,"_type":212,"marks":16533,"text":16535},"716e4f40421d1",[16534],"dea43c032589","#SoJustDeath",{"_key":16537,"_type":212,"marks":16538,"text":16539},"716e4f40421d2",[],". From that came this call to decolonize death studies, to decentre whiteness, pushing back against this idea that all death is equal.",[16541],{"_key":16534,"_type":238,"href":16542},"https://twitter.com/kamifletcher36/status/1051274584819978241",{"_key":16544,"_type":208,"children":16545,"markDefs":16558,"style":221},"34f8846d0790",[16546,16550,16554],{"_key":16547,"_type":212,"marks":16548,"text":16549},"1275770e15100",[],"From that, two of us started the ",{"_key":16551,"_type":212,"marks":16552,"text":16553},"1275770e15101",[1056],"Collective for Radical Death studies",{"_key":16555,"_type":212,"marks":16556,"text":16557},"1275770e15102",[],". That’s our mission: to decolonize death studies, decentre whiteness, and put BIPOC voices as the centre of death and deathways. It’s so odd to me that there’s been this whitewashing and homogenisation of death that sanitizes it. There is no truthfulness about the culture. We’re talking about gender, class, all these types of things that influence our deathways and our death work.",[],{"_key":16560,"_type":208,"children":16561,"markDefs":16565,"style":221},"06922fa021d1",[16562],{"_key":16563,"_type":212,"marks":16564,"text":435},"2dedaefa2c500",[],[],{"_key":16567,"_type":208,"children":16568,"markDefs":16572,"style":221},"30a1d46f676b",[16569],{"_key":16570,"_type":212,"marks":16571,"text":435},"970546b274d50",[],[],{"_key":16574,"_type":208,"children":16575,"markDefs":16580,"style":221},"0cdb8907a450",[16576],{"_key":16577,"_type":212,"marks":16578,"text":16579},"5201bd666c000",[214],"AI: I’m curious about what decentring whiteness and decolonizing death studies in the United states involve? Can you give examples of notions that you want to begin to dismantle?",[],{"_key":16582,"_type":208,"children":16583,"markDefs":16588,"style":221},"53f97d22f005",[16584],{"_key":16585,"_type":212,"marks":16586,"text":16587},"280a4a15acdf0",[],"KF: It really focuses on white people’s experience here. An example is that when you look at cemeteries, New England cemeteries are the ones that are protected. Those are the memories and those are the cemeteries that tell us who we are as Americans. This is a very young country. If we took 1776 as the founding, we all know that to be complicated, right? Africans were brought here and enslaved as early as 1619. If we’re talking about how this country was formed even earlier, we’re talking about Florida. We’re talking about Native Americans. Whenever we’re talking about what became the United States, Americans are racialized as white. It’s their experiences. These are the cemeteries, in New England, that are protected. For Native American cemeteries, we’ve dug all that up and we’ve put them in a museum. We need to honour other sacred spaces.",[],{"_key":16590,"_type":208,"children":16591,"markDefs":16596,"style":221},"413f41ab1c61",[16592],{"_key":16593,"_type":212,"marks":16594,"text":16595},"6b77d2b447930",[],"The American Gravestone Studies Association is a wonderful organization that centres on cemeteries, right? If you look back to all of their magazines from when they started in the mid 70s, it’s centred on New England burial grounds. It marginalizes voices of colour. And I don’t think it’s necessarily done on purpose. But this is what I’m talking about when you’re looking at death studies. Who’s writing them and what are their experiences?",[],{"_key":16598,"_type":208,"children":16599,"markDefs":16604,"style":221},"a279163369b3",[16600],{"_key":16601,"_type":212,"marks":16602,"text":16603},"e1d6588ca2b60",[],"What then develops is this narrative about how people are dying that’s just completely minimal. You’re not saying: “Oh, this is how white Americans are.” You may be using the word “Puritan,” but you’re generalizing for all deaths, deathways and the work that’s being done around death. Like I’ve said, juxtapose that with Native American burial grounds and you can see very clearly what’s going on.",[],{"_key":16606,"_type":208,"children":16607,"markDefs":16611,"style":221},"fd98ad2758e4",[16608],{"_key":16609,"_type":212,"marks":16610,"text":435},"388f2139293b0",[],[],{"_key":16613,"_type":208,"children":16614,"markDefs":16618,"style":221},"39224c63034f",[16615],{"_key":16616,"_type":212,"marks":16617,"text":435},"ef175621f9e30",[],[],{"_key":16620,"_type":208,"children":16621,"markDefs":16626,"style":221},"92c285dfee43",[16622],{"_key":16623,"_type":212,"marks":16624,"text":16625},"128915fff6fa0",[214],"AI: Can you tell me about the burial grounds practices , funeral direction and cemeteries in African American death norms and death work?",[],{"_key":16628,"_type":208,"children":16629,"markDefs":16634,"style":221},"9444ebbdc641",[16630],{"_key":16631,"_type":212,"marks":16632,"text":16633},"96f2b114b9740",[],"KF: With cemeteries, I didn’t realize how much value they had as autonomous Black spaces. Mount Auburn Cemetery in Baltimore, founded in 1807, was owned and operated by free Black folks that started a church in 1787. It was important on many levels when I found out in my own research that record keeping was controlled. When you’re looking at who’s being buried, there’s names of Black folks in this early 1800 period, where in other records, they’re somebody’s slave. Just this negative, derogatory name because that’s what’s going on during that time period. Around the late 1870s, a lot of these undertakers started popping out in the records.",[],{"_key":16636,"_type":208,"children":16637,"markDefs":16642,"style":221},"b2261187c943",[16638],{"_key":16639,"_type":212,"marks":16640,"text":16641},"b34fbfabb9d50",[],"Subsequently, I’ve been researching undertakers in Baltimore. That’s where death denial, that “American way of death,” was just counter to my own research. In the US, once hospitals are established in the early 20th century, folks are no longer dying at home. They’re being sent to hospitals to die. So death leaves the home. That’s not happening with Black folks. We’re not allowed in hospitals because of Jim Crow segregation. If there’s not a Black hospital, we’re not going. Black undertakers were not money-grubbing folks. This was a way for them to transition from the agrarian economy to the cash economy. They saw themselves as part of the community, stayed there and gave back.",[],{"_key":16644,"_type":208,"children":16645,"markDefs":16650,"style":221},"fa3560808689",[16646],{"_key":16647,"_type":212,"marks":16648,"text":16649},"fc017f3a07ef0",[],"The way you start to decolonize death is by looking at the ways in which Black folks are dying. Especially if we’re talking about certain periods, that is not in the narrative of death studies. White supremacy and racism is a big reason why Black folks are dying. Black folks are being lynched. There is government-sanctioned violence and experimentation, And that’s the real activism and social justice element that we tackle head on with CRDS.\n",[],{"_key":16652,"_type":208,"children":16653,"markDefs":16658,"style":221},"f19b20e8a998",[16654],{"_key":16655,"_type":212,"marks":16656,"text":16657},"42e80bb37e980",[214],"AI: Have you seen cases where culture was influenced by how death is thought about? Does it influence cultural elements or cultural artefacts?",[],{"_key":16660,"_type":208,"children":16661,"markDefs":16666,"style":221},"e888edd6f901",[16662],{"_key":16663,"_type":212,"marks":16664,"text":16665},"b999a4be0de40",[],"KF: It definitely ebbs and flows. I don’t think it’s rigid. During the institutionalization of slavery, Black folks did not have access to material culture: marble headstones, engraved headstones, any type of fancy coffin or even having a funeral. That type of material culture. But once they had access to it, they absolutely wanted it. They wanted the fanciest death material culture they could find. But your question also begs us to interrogate why.",[],{"_key":16668,"_type":208,"children":16669,"markDefs":16674,"style":221},"a0bbf2a4e63c",[16670],{"_key":16671,"_type":212,"marks":16672,"text":16673},"e88b5f4f284d0",[],"What I’m constantly finding in my research, this is about dignity for Black folks. They died in these very unnatural ways. If all of my dignity has been taken from me—being lynched, dragged out of my house raped, beaten, mutilated— this $1,000 casket, this long funeral procession, or if we’re in the 30s or the 40s, having this pretty expensive burial lot is very important to me.",[],{"_key":16676,"_type":208,"children":16677,"markDefs":16691,"style":221},"fc719d33fb51",[16678,16682,16687],{"_key":16679,"_type":212,"marks":16680,"text":16681},"fe1488b56a0f0",[],"It’s not just about how people have adopted different material cultures but also about how it’s being used, like ",{"_key":16683,"_type":212,"marks":16684,"text":16686},"fe1488b56a0f1",[16685],"c963d13f1dbb","RIP t-shirts",{"_key":16688,"_type":212,"marks":16689,"text":16690},"fe1488b56a0f2",[],". What are they? Where did they come from? So I think it is important to understand that it’s not rigid. There’s absolutely elasticity in it. But at the same time, I think we should pay homage to where these things come from, like any cultural creation.",[16692],{"_key":16685,"_type":238,"href":16693},"https://www.google.com/search?q=rip+in+loving+memory+shirts&tbm=isch&safe=strict&hl=en&sa=X&ved=2ahUKEwiOsLf_9ZDuAhUUALcAHQ_-DBQQrNwCKAB6BQgBEKEC&biw=1457&bih=762",{"_key":16695,"_type":208,"children":16696,"markDefs":16700,"style":221},"155e6fdf8ec3",[16697],{"_key":16698,"_type":212,"marks":16699,"text":435},"98ed48c9aae50",[],[],{"_key":16702,"_type":208,"children":16703,"markDefs":16707,"style":221},"511b2ff5cea9",[16704],{"_key":16705,"_type":212,"marks":16706,"text":435},"4a34cbfcec990",[],[],{"_key":16709,"_type":208,"children":16710,"markDefs":16715,"style":221},"7b37494f049b",[16711],{"_key":16712,"_type":212,"marks":16713,"text":16714},"ed64068e55660",[214],"AI: I find that asking students to mine public archives as part of your course to be quite interesting. What is the relation between death and the archive? Do they transform one another?",[],{"_key":16717,"_type":208,"children":16718,"markDefs":16741,"style":221},"5dbed58ef00f",[16719,16723,16728,16732,16737],{"_key":16720,"_type":212,"marks":16721,"text":16722},"9f107d65e9a80",[],"KF: What a great question. I have taught African American deathways and death work in my previous position, so I had the pleasure of teaching that class twice. One thing that was important to me is to get students to see the cemetery as a source of knowledge. It just so happens that there was a historic Black cemetery very close to campus. I taught for five years at Delaware State University before coming to Albright. It was the cemetery of Star Hill AME Church, a historic church. Lynn Rainville, in her book ",{"_key":16724,"_type":212,"marks":16725,"text":16727},"9f107d65e9a81",[16726,1056],"48559f46160a","Hidden History: African American Cemeteries in Central Virginia",{"_key":16729,"_type":212,"marks":16730,"text":16731},"9f107d65e9a82",[],", has a wonderful way of mining the material on headstones. They had this ",{"_key":16733,"_type":212,"marks":16734,"text":16736},"9f107d65e9a83",[16735],"094f23c07a09","sheet front and back",{"_key":16738,"_type":212,"marks":16739,"text":16740},"9f107d65e9a84",[]," and to gather as much information as they could from the cemetery. ",[16742,16744],{"_key":16726,"_type":238,"href":16743},"https://www.upress.virginia.edu/title/4298",{"_key":16735,"_type":238,"href":16745},"https://twitter.com/HistoryDSU/status/1055872865504018432?s=20",{"_key":16747,"_type":208,"children":16748,"markDefs":16761,"style":221},"4beee82e30bf",[16749,16753,16757],{"_key":16750,"_type":212,"marks":16751,"text":16752},"0641fed579500",[],"Some students were confronting death themselves. I remember talking to one student at the gate of the cemetery and I wasn’t going to make her go in. ",{"_key":16754,"_type":212,"marks":16755,"text":16756},"0641fed579501",[1056],"I’ve just lost somebody, I don’t want to do this",{"_key":16758,"_type":212,"marks":16759,"text":16760},"0641fed579502",[],". But what I told her is that these people have the right to be remembered and that’s what we were doing. We were doing memory work. This is about uncovering Black history and I was teaching at a historically Black university, so they understood what it meant to have their history undermined, marginalized and discarded. After talking with my student, she understood that this was her uncovering history for someone.",[],{"_key":16763,"_type":208,"children":16764,"markDefs":16778,"style":221},"472986693fbc",[16765,16769,16774],{"_key":16766,"_type":212,"marks":16767,"text":16768},"161502fed84c0",[],"The next part of that project was to go to the ",{"_key":16770,"_type":212,"marks":16771,"text":16773},"161502fed84c1",[16772],"80a420488cf5","state archives",{"_key":16775,"_type":212,"marks":16776,"text":16777},"161502fed84c2",[]," and put all these pieces together. What can this headstone tell us? You may have had a name, or maybe you didn’t. They had to understand the iconography. Maybe there was military or religious iconography. At the end of the project, the students had to write a paragraph as if they were writing a bio of this person. They found out that some of these folks had done some really important things. They were involved in politics and served in the war. One of them died in Philly and wanted to be buried here. I position the cemetery as an archive. It’s a source of knowledge. ",[16779],{"_key":16772,"_type":238,"href":16780},"https://archives.delaware.gov/",{"_key":16782,"_type":208,"children":16783,"markDefs":16788,"style":221},"380b83417d58",[16784],{"_key":16785,"_type":212,"marks":16786,"text":16787},"cb3f66be1f3e0",[],"I’m hoping to create something similar where I am now, a public history class or maybe a track or a minor. I’m involved in creating the Pennsylvania chapter of American Gravestone Studies and one of the things I want to do is use the cemeteries in the city of Reading, where Albright college is, and use that as public history. What does that mean? This is a city of the dead. The living and the dead continue to create this history as the neighbourhood changes. And as the living folks change around the cemetery, how they view the cemetery changes. It’s very much a living and not a stoic source of knowledge. I’m hoping that students see it not only individually but also collectively. One on one, I’m here to grieve. I’m here to mourn. But when you take it collectively as the city of the dead, what can it tell us about the people who once lived in this community? How has the community shifted and changed gender, race, and class?\n",[],{"_key":16790,"_type":208,"children":16791,"markDefs":16796,"style":221},"fa4ac2118b14",[16792],{"_key":16793,"_type":212,"marks":16794,"text":16795},"181624e422960",[214],"AI: You talked a bit about dignified death earlier. What about the grieving family? Do they ever find comfort? I’m wondering about the traces that the dead leave behind.",[],{"_key":16798,"_type":208,"children":16799,"markDefs":16804,"style":221},"27f173516d48",[16800],{"_key":16801,"_type":212,"marks":16802,"text":16803},"81d3841f2fd20",[],"KF: Grief, to me, is still very new in my own research. I started out with the cemeteries, looked at deathwork, looked at these undertakers with a very clear lens on gender and class. But when my nephew died of street violence in 2018 I just knew that writing about that in a personal but scholarly way was something that was part of my grief. And I never wanted to study grief. I never wanted to do grief. People ask me: how do you study the dead? I’m studying death like all historians do. Everybody’s dead, right?",[],{"_key":16806,"_type":208,"children":16807,"markDefs":16812,"style":221},"ef7511519ddb",[16808],{"_key":16809,"_type":212,"marks":16810,"text":16811},"38a513ffded70",[],"But that grief was a lot. The RIP t-shirts were part of that mourning. It was something that my big sister, my nephew’s mother, wanted to do. So I wrote about that and it should be published this coming year. In that, I ended up studying grief. It really was a lot, looking at mothers grieving. This was her only son. So I delved into the research like any scholar would.",[],{"_key":16814,"_type":208,"children":16815,"markDefs":16820,"style":221},"e3519a8263c5",[16816],{"_key":16817,"_type":212,"marks":16818,"text":16819},"782c0b7cfd840",[],"Whether it’s rare cemeteries, death work or whether I’m looking at grief and mourning, what stands in common is activism. It is a thread in the African American community. Grief is turned into activism. I don’t even know if comfort is the word I would use, because resilience really is the right word. I’m from Arkansas, so this is me talking about a very southern way of death. It’s important when you’re looking at Black folks to not be homogenous because if you’re looking at Black folks in Connecticut or if you’re looking at someone that practices Islam or someone that is non-secular, things will change. But when I’m talking about Black people, there’s definitely a commonality in how we live with this racism that shapes life.",[],{"_key":16822,"_type":208,"children":16823,"markDefs":16837,"style":221},"ff571a35cd63",[16824,16828,16833],{"_key":16825,"_type":212,"marks":16826,"text":16827},"82a458e937c70",[],"Look at homegoing, which is different from a funeral because of the length of time. ",{"_key":16829,"_type":212,"marks":16830,"text":16832},"82a458e937c71",[16831],"5e554db71631","George Floyd had a homegoing",{"_key":16834,"_type":212,"marks":16835,"text":16836},"82a458e937c72",[],". You saw the gold casket. It’s the celebration of life. What Jessica Mitford may call ostentatious, Black folks are saying no, it’s disrespectful not to give them the best in death. People coming, people surrounding you with food, coming into the house calling and checking in on you. You know that is supposed to be comfort. The research says so much about resilience and activism. You see it with Tamir Rice and folks that have lost their people to racism, this police brutality, they’ve just gotten more active in their community because we don’t want to lose another person to this.",[16838],{"_key":16831,"_type":238,"href":16839},"https://www.houstonpublicmedia.org/articles/news/houston/2020/06/09/375541/watch-live-george-floyd-to-be-laid-to-rest-in-houston/",{"_key":16841,"_type":208,"children":16842,"markDefs":16847,"style":221},"1b7d0c2f98d4",[16843],{"_key":16844,"_type":212,"marks":16845,"text":16846},"35e00cd209630",[1056],"This interview has been edited and condensed for clarity.",[],"2021-01-12",{"_type":9,"current":16850},"dr-kami-fletcher-on-why-death-studies-should-be-radical","We chat with one of the founders of the Center for Radical Death Studies on using cemeteries as a source of knowledge, how death changes the archive and how grief transforms into activism in the African American community.\n\nTW: Racial violence, sexual violence",{"_id":16853,"_type":271,"categories":16854,"credits":16862,"featuredImage":16896,"pageBuilder":16903,"publishedDate":17158,"seo":7,"slug":17159,"summary":17161,"title":17162},"0c02f817-7ce8-4bf5-b7a6-b2d21ffe3fa1",[16855],{"_id":16856,"_type":281,"colorPrimary":16857,"seo":7,"slug":16859,"title":16861},"9b14bbbc-4a9d-4861-8be6-880a5d3c69ce",{"label":283,"value":16858},"#ff9b00",{"_type":9,"current":16860},"creative-climate-communicating","Creative Climate Communicating",{"other":7,"profiles":16863},[16864],{"_id":16865,"_type":315,"activeYears":16866,"bio":16869,"bioShort":16878,"featuredImage":7,"filterables":16879,"links":16882,"locations":16887,"searchables":16891,"seo":7,"slug":16893,"title":16895},"e95638dc-97b6-4e33-8dbc-ae6a523386a1",[16867],{"_id":119,"_type":94,"seo":7,"slug":16868,"title":122},{"_type":9,"current":121},[16870],{"_key":16871,"_type":208,"children":16872,"markDefs":16877,"style":221},"a0a453731df7",[16873],{"_key":16874,"_type":212,"marks":16875,"text":16876},"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":16880},[16881],{"_id":119,"title":122},[16883,16885],{"_type":371,"label":5256,"url":16884},"https://www.stmcbride.com/",{"_type":371,"label":372,"url":16886},"https://www.instagram.com/sindi_leigh",{"locations":16888,"other":7},[16889],{"_id":3458,"_type":378,"seo":7,"slug":16890,"title":3461},{"_type":9,"current":3460},[16892,121],"sindi-leigh mcbride",{"_type":9,"current":16894},"sindi-leigh-mcbride","Sindi-Leigh McBride",{"alt":16897,"asset":16898},"Asemahle Ntlonti, Ezonzibileni III, 2020. Unthreaded polypropylene bags, soap and goal leaf on canvas. Photography by Matthew Bradley.Courtesty of the artist and What if the World Gallery.  ",{"_id":16899,"height":16900,"orientation":400,"ratio":401,"url":16901,"width":16902},"image-946616a7a9e11ac1f1ad061090bb4b505b19ce95-1440x960-jpg",960,"https://cdn.sanity.io/images/eodip22e/production/946616a7a9e11ac1f1ad061090bb4b505b19ce95-1440x960.jpg",1440,[16904,16925,17132],{"_type":406,"caption":16905,"image":16922},[16906],{"_key":16907,"_type":208,"children":16908,"markDefs":16921,"style":221},"76dc46b089fc",[16909,16913,16917],{"_key":16910,"_type":212,"marks":16911,"text":16912},"91a42e5429a50",[],"Asemahle Ntlonti, ",{"_key":16914,"_type":212,"marks":16915,"text":16916},"91a42e5429a51",[1056],"Ezonzibileni III, 2020.",{"_key":16918,"_type":212,"marks":16919,"text":16920},"91a42e5429a52",[]," Unthreaded polypropylene bags, soap and goal leaf on canvas. Photography by Matthew Bradley.Courtesty of the artist and What if the World Gallery.",[],{"alt":16923,"asset":16924},"Asemahle Ntlonti, Ezonzibileni III, 2020. Unthreaded polypropylene bags, soap and goal leaf on canvas. Photography by Matthew Bradley.Courtesty of the artist and What if the World Gallery.",{"_id":16899,"height":16900,"orientation":400,"ratio":401,"url":16901,"width":16902},{"_type":410,"settings":7,"text":16926},[16927,16935,16954,16962,16970,16978,16986,17005,17017,17040,17052,17064,17103],{"_key":16928,"_type":208,"children":16929,"markDefs":16934,"style":221},"04e32aed9086",[16930],{"_key":16931,"_type":212,"marks":16932,"text":16933},"e9bce9a980e90",[],"First, why look at climate issues and art together?",[],{"_key":16936,"_type":208,"children":16937,"markDefs":16951,"style":221},"d669faef2c38",[16938,16942,16947],{"_key":16939,"_type":212,"marks":16940,"text":16941},"18e7af6f3a1b0",[],"I spoke with Angela Chan, founder of ",{"_key":16943,"_type":212,"marks":16944,"text":16946},"18e7af6f3a1b1",[16945],"74eae38a9342","Worm: Art + Ecology",{"_key":16948,"_type":212,"marks":16949,"text":16950},"18e7af6f3a1b2",[],", a long-term curatorial project that communicates intersectional climate change issues through creative practices. She describes herself as a Creative Climate Change Communicator (what a delicious mouthful!) in part to expand the definition of curator (which involves so much more than assembling exhibitions, like public engagement and research) as well as to stress the importance of communication when working with climate and creative practices.",[16952],{"_key":16945,"_type":238,"href":16953},"http://wormworm.org/",{"_key":16955,"_type":208,"children":16956,"markDefs":16961,"style":221},"32f1e2271307",[16957],{"_key":16958,"_type":212,"marks":16959,"text":16960},"91e4e2dcf8320",[],"Mike Hulme observes that “however our contemporary climatic fears have emerged… they will in the end be dissipated, reconfigured or transformed as a function of cultural change.” What does that cultural change look like?",[],{"_key":16963,"_type":208,"children":16964,"markDefs":16969,"style":221},"23d595bd2ad9",[16965],{"_key":16966,"_type":212,"marks":16967,"text":16968},"3a8a109a10ab0",[],"I like Chan’s call to action:",[],{"_key":16971,"_type":208,"children":16972,"markDefs":16977,"style":221},"e7a54ebd50e6",[16973],{"_key":16974,"_type":212,"marks":16975,"text":16976},"425fd17716450",[],"“We need consistently new engagements from other disciplines to inform us that we don’t simply ‘aestheticize’ the crisis and so that we don’t fall into this trap that art does very well, which is ‘academicizing the crisis.’",[],{"_key":16979,"_type":208,"children":16980,"markDefs":16985,"style":221},"186aed24f152",[16981],{"_key":16982,"_type":212,"marks":16983,"text":16984},"fbd99bb87f750",[],"Below is an edited version of our conversation on 12 October, 2020. While watching, keep in mind the previous metaphor of cards or tools. Shuffle or stack them up, assemble them however you see fit. Some key things to think about are:",[],{"_key":16987,"_type":208,"children":16988,"level":536,"listItem":537,"markDefs":17002,"style":221},"3f0674e5a469",[16989,16993,16997],{"_key":16990,"_type":212,"marks":16991,"text":16992},"60881a7647f80",[214],"Intersectionality,",{"_key":16994,"_type":212,"marks":16995,"text":16996},"60881a7647f81",[]," or how issues like colonial histories, class, race, gender can and do overlap with climate issues. If you want more information on intersectionality as it relates to climate issues, check out ",{"_key":16998,"_type":212,"marks":16999,"text":17001},"60881a7647f82",[17000],"72447b4e6421","Intersectional Environmentalist",[17003],{"_key":17000,"_type":238,"href":17004},"https://www.intersectionalenvironmentalist.com/",{"_key":17006,"_type":208,"children":17007,"level":536,"listItem":537,"markDefs":17016,"style":221},"e1c67ac87015",[17008,17012],{"_key":17009,"_type":212,"marks":17010,"text":17011},"ce47761af2530",[214],"Speculative approaches",{"_key":17013,"_type":212,"marks":17014,"text":17015},"ce47761af2531",[]," as “an entry point into the many injustices that created climate change but also sustain it”",[],{"_key":17018,"_type":208,"children":17019,"level":536,"listItem":537,"markDefs":17037,"style":221},"8cf0c23cefd4",[17020,17024,17028,17033],{"_key":17021,"_type":212,"marks":17022,"text":17023},"6c75e38c69d80",[214],"Interrogating “fixed” knowledge,",{"_key":17025,"_type":212,"marks":17026,"text":17027},"6c75e38c69d81",[]," or facts that we take for granted since our individual perspectives on knowledge about both climate and art are not fixed. Here, ",{"_key":17029,"_type":212,"marks":17030,"text":17032},"6c75e38c69d82",[17031],"30d877323232","this definition of charismatic facts",{"_key":17034,"_type":212,"marks":17035,"text":17036},"6c75e38c69d83",[]," is super useful",[17038],{"_key":17031,"_type":238,"href":17039},"https://thedistanceplanlexicon.org/CHARISMATIC-FACTS/ORDINARY-CLIMATE-KNOWLEDGE",{"_key":17041,"_type":208,"children":17042,"level":536,"listItem":537,"markDefs":17051,"style":221},"7f218a4370ba",[17043,17047],{"_key":17044,"_type":212,"marks":17045,"text":17046},"f4463427c95f0",[214],"How we communicate",{"_key":17048,"_type":212,"marks":17049,"text":17050},"f4463427c95f1",[]," not just knowledge, but different medias, narratives, visual language? How do we talk inclusively about climate change with intersectional politics?",[],{"_key":17053,"_type":208,"children":17054,"level":536,"listItem":537,"markDefs":17063,"style":221},"ea638b8f14f7",[17055,17059],{"_key":17056,"_type":212,"marks":17057,"text":17058},"b2f010fd69db0",[214],"Future narratives",{"_key":17060,"_type":212,"marks":17061,"text":17062},"b2f010fd69db1",[]," to encourage intersectional climate justice, and building bridges between literatures, languages and cultures.",[],{"_key":17065,"_type":208,"children":17066,"markDefs":17097,"style":221},"4a5a8673e9bd",[17067,17071,17075,17079,17084,17088,17093],{"_key":17068,"_type":212,"marks":17069,"text":17070},"690018709a650",[],"Platforms like ",{"_key":17072,"_type":212,"marks":17073,"text":16946},"690018709a651",[17074],"fd565549fe45",{"_key":17076,"_type":212,"marks":17077,"text":17078},"690018709a652",[]," are encouraging evidence of the growing body of creative practice and cultural research on climate change that avoid this trap. My own favourites from the platform are ",{"_key":17080,"_type":212,"marks":17081,"text":17083},"690018709a653",[17082],"8e460724545e","Climate Knowledges Documentation and Virtual Exhibition ",{"_key":17085,"_type":212,"marks":17086,"text":17087},"690018709a654",[],"and this ",{"_key":17089,"_type":212,"marks":17090,"text":17092},"690018709a655",[17091],"dde3de82cc96","series of interesting interviews",{"_key":17094,"_type":212,"marks":17095,"text":17096},"690018709a656",[],". They remind me that theories are tools, but so too and exhibitions and interviews.",[17098,17099,17101],{"_key":17074,"_type":238,"href":16953},{"_key":17082,"_type":238,"href":17100},"http://wormworm.org/filter/Exhibitions/Climate-Knowledges-Documentation-and-Virtual-Exhibition",{"_key":17091,"_type":238,"href":17102},"http://wormworm.org/filter/Interviews",{"_key":17104,"_type":208,"children":17105,"markDefs":17127,"style":221},"f6d20a646bf7",[17106,17110,17115,17119,17123],{"_key":17107,"_type":212,"marks":17108,"text":17109},"96c64f530c430",[],"Watch my interview with Angela Chan ",{"_key":17111,"_type":212,"marks":17112,"text":17114},"96c64f530c431",[17113],"23b4a12ab9db","HERE",{"_key":17116,"_type":212,"marks":17117,"text":17118},"96c64f530c432",[]," and click ",{"_key":17120,"_type":212,"marks":17121,"text":17114},"96c64f530c433",[17122],"90965d7860ac",{"_key":17124,"_type":212,"marks":17125,"text":17126},"96c64f530c434",[]," for the next text, which considers editing and curation in more detail.",[17128,17130],{"_key":17113,"_type":238,"href":17129},"https://www.dropbox.com/s/zmis6wd8dk8bpja/Interview%20with%20Angela%20Chan.mp4?dl=0",{"_key":17122,"_type":238,"href":17131},"https://www.schoolofcommons.org/publishing/3-knowledge-production-as-radical-sharing-and-curation-as-care",{"_type":410,"settings":7,"text":17133},[17134,17142],{"_key":17135,"_type":208,"children":17136,"markDefs":17141,"style":221},"66f2c1c26cc4",[17137],{"_key":17138,"_type":212,"marks":17139,"text":17140},"d272c23a22f60",[214],"References:",[],{"_key":17143,"_type":208,"children":17144,"markDefs":17157,"style":221},"4aca4da28681",[17145,17149,17153],{"_key":17146,"_type":212,"marks":17147,"text":17148},"4e0af7052b8e0",[],"Hulme, M. (2009) ",{"_key":17150,"_type":212,"marks":17151,"text":17152},"4e0af7052b8e1",[1056],"Why we disagree about climate change: understanding controversy, inaction and opportunity",{"_key":17154,"_type":212,"marks":17155,"text":17156},"4e0af7052b8e2",[],". Cambridge: Cambridge University Press, p.5",[],"2021-01-05",{"_type":9,"current":17160},"2-communicating-without-aestheticizing-or-academicizing","Conversation with Angela Chan, creative climate communicator","2. Communicating without aestheticizing or academicizing",{"_id":17164,"_type":271,"categories":17165,"credits":17172,"featuredImage":17222,"pageBuilder":17227,"publishedDate":17158,"seo":7,"slug":17518,"summary":17520,"title":17521},"1820f8e0-6e05-4386-80cc-7f01dd2609be",[17166,17169],{"_id":7186,"_type":281,"colorPrimary":17167,"seo":7,"slug":17168,"title":7191},{"label":283,"value":7188},{"_type":9,"current":7190},{"_id":7206,"_type":281,"colorPrimary":17170,"seo":7,"slug":17171,"title":7211},{"label":283,"value":7208},{"_type":9,"current":7210},{"other":17173,"profiles":17182},[17174],{"_key":17175,"_type":208,"children":17176,"markDefs":17181,"style":221},"3247492699b7",[17177],{"_key":17178,"_type":212,"marks":17179,"text":17180},"a8f1540391ea0",[],"CJ Park",[],[17183],{"_id":14492,"_type":315,"activeYears":17184,"bio":17187,"bioShort":14529,"featuredImage":7,"filterables":17205,"links":17208,"locations":17210,"searchables":17220,"seo":7,"slug":17221,"title":14553},[17185],{"_id":119,"_type":94,"seo":7,"slug":17186,"title":122},{"_type":9,"current":121},[17188],{"_key":14498,"_type":208,"children":17189,"markDefs":17204,"style":221},[17190,17192,17194,17196,17198,17200,17202],{"_key":14501,"_type":212,"marks":17191,"text":14503},[],{"_key":14505,"_type":212,"marks":17193,"text":14507},[1056],{"_key":14509,"_type":212,"marks":17195,"text":14511},[],{"_key":14513,"_type":212,"marks":17197,"text":14515},[1056],{"_key":14517,"_type":212,"marks":17199,"text":14519},[],{"_key":14521,"_type":212,"marks":17201,"text":14523},[1056],{"_key":14525,"_type":212,"marks":17203,"text":14527},[],[],{"filterYear":17206},[17207],{"_id":119,"title":122},[17209],{"_type":371,"label":372,"url":14535},{"locations":17211,"other":17214},[17212],{"_id":8985,"_type":378,"seo":7,"slug":17213,"title":8988},{"_type":9,"current":8987},[17215],{"_key":14542,"_type":208,"children":17216,"markDefs":17219,"style":221},[17217],{"_key":14545,"_type":212,"marks":17218,"text":14547},[],[],[14550,121],{"_type":9,"current":14552},{"alt":17223,"asset":17224},"Autolysis: Post-mortem change An Etalage: Three Ways of Dying",{"_id":17225,"height":8451,"orientation":400,"ratio":14897,"url":17226,"width":7700},"image-390c99684bb2a18e0f5f90e6cffbdf4d37902cf5-1920x1080-jpg","https://cdn.sanity.io/images/eodip22e/production/390c99684bb2a18e0f5f90e6cffbdf4d37902cf5-1920x1080.jpg",[17228,17231],{"_type":406,"caption":7,"image":17229},{"alt":17223,"asset":17230},{"_id":17225,"height":8451,"orientation":400,"ratio":14897,"url":17226,"width":7700},{"_type":410,"settings":7,"text":17232},[17233,17241,17260,17279,17287,17305,17313,17332,17340,17347,17355,17363,17381,17400,17408,17416,17424,17439,17457,17464,17472,17502,17510],{"_key":17234,"_type":208,"children":17235,"markDefs":17240,"style":221},"d2fa55f4b7f3",[17236],{"_key":17237,"_type":212,"marks":17238,"text":17239},"b46f01b54fdb0",[214],"Preman",[],{"_key":17242,"_type":208,"children":17243,"markDefs":17259,"style":221},"b9489aead64a",[17244,17248,17252,17256],{"_key":17245,"_type":212,"marks":17246,"text":17247},"ef9cff15983d0",[],"The following retells a scene in the last few chapters of Eka Kurniawan’s ",{"_key":17249,"_type":212,"marks":17250,"text":17251},"ef9cff15983d1",[1056],"Cantik Itu Luka",{"_key":17253,"_type":212,"marks":17254,"text":17255},"ef9cff15983d2",[]," (2002)",{"_key":17257,"_type":212,"marks":17258,"text":1995},"ef9cff15983d3",[1056],[],{"_key":17261,"_type":208,"children":17262,"markDefs":17276,"style":221},"d44ab977c2f2",[17263,17267,17272],{"_key":17264,"_type":212,"marks":17265,"text":17266},"fba73b57047d0",[],"An invincible ",{"_key":17268,"_type":212,"marks":17269,"text":17271},"fba73b57047d1",[17270],"41cb24d11b0a","preman",{"_key":17273,"_type":212,"marks":17274,"text":17275},"fba73b57047d2",[]," named Maman Gendeng, well-versed in silat and usually stationed by the bus terminal in front of the market, is on the run. ",[17277],{"_key":17270,"_type":238,"href":17278},"https://en.wikipedia.org/wiki/Preman_(Indonesian_gangster)",{"_key":17280,"_type":208,"children":17281,"markDefs":17286,"style":221},"71d7dcae1e48",[17282],{"_key":17283,"_type":212,"marks":17284,"text":17285},"914e01bd7b610",[],"Throughout his stay in Halimunda, he felt that the city saw him and his band of goons as useless idiots, spending their days drinking and fighting. To be fair, what else could be done, when society closes the door on people like him? “All my old grudges have been ripped open like a half-healed wound,” he says to himself.",[],{"_key":17288,"_type":208,"children":17289,"markDefs":17302,"style":221},"32a54e34aa28",[17290,17294,17299],{"_key":17291,"_type":212,"marks":17292,"text":17293},"da88364519ee0",[],"Now, he is on the run from the town’s soldiers, in their attempt to violently rid the city of Maman Gendeng’s gangsters. The process is cold-blooded: the premans are shot on the spot by soldiers dressed in civilian clothing, their bodies buried by amateur gravediggers in a sack rather than a ",{"_key":17295,"_type":212,"marks":17296,"text":17298},"da88364519ee1",[17297],"f9220d438529","burial shroud",{"_key":17300,"_type":212,"marks":17301,"text":1995},"da88364519ee2",[],[17303],{"_key":17297,"_type":238,"href":17304},"https://www.tokopedia.com/ppjbandung/kain-kafan-putih-halus-murah-custom-per-meter-sesuai-kebutuhan",{"_key":17306,"_type":208,"children":17307,"markDefs":17312,"style":221},"28f0479431a0",[17308],{"_key":17309,"_type":212,"marks":17310,"text":17311},"a2958465683a0",[],"On the seventh day of the massacre, Maman Gendeng and his right-hand man, Romeo, ran away to the jungle. Arriving on a small hill, Maman Gendeng entered a dark, humid cave and meditated, looking to achieve mokṣa, the spiritual freedom from the cycle of death and rebirth. He orders Romeo to stand guard in case the soldiers manage to find him before the ritual’s completion.",[],{"_key":17314,"_type":208,"children":17315,"markDefs":17329,"style":221},"c204af65cea2",[17316,17320,17325],{"_key":17317,"_type":212,"marks":17318,"text":17319},"09bf417901ec0",[],"Four soldiers eventually arrived, but not before the preman achieved ",{"_key":17321,"_type":212,"marks":17322,"text":17324},"09bf417901ec1",[17323],"9451f4ef9216","mokṣa",{"_key":17326,"_type":212,"marks":17327,"text":17328},"09bf417901ec2",[],". Maman Gendeng dissolved into orbs of light, shedding his body that has now disappeared into the ether. Before reaching the heavens, he heard a final betrayal: Romeo had bartered Maman Gendeng’s location for his own life to be spared. As he left this world, dead by the means of earthly departure, he transformed Romeo’s face into his own. The soldiers then shot Romeo, now pleading through Maman Gendeng’s mug. It was this body that his wife Maya Dewi eventually found, before Maman Gendeng’s spirit visited her on the third day to let her know what really happened.",[17330],{"_key":17323,"_type":238,"href":17331},"https://bali.tribunnews.com/2020/05/16/jasadnya-menghilang-tanpa-jejak-5-tokoh-legendaris-nusantara-ini-dikisahkan-mengalami-moksa",{"_key":17333,"_type":208,"children":17334,"markDefs":17339,"style":221},"63b46031c625",[17335],{"_key":17336,"_type":212,"marks":17337,"text":17338},"d959da6077750",[],"In his death, his body disappeared with him. What is death, when death leaves no corpse? In this case, the only evidence of death is an absence and his return from the afterlife.",[],{"_key":17341,"_type":208,"children":17342,"markDefs":17346,"style":221},"fc68aee7ec47",[17343],{"_key":17344,"_type":212,"marks":17345,"text":435},"0af6f104c3110",[],[],{"_key":17348,"_type":208,"children":17349,"markDefs":17354,"style":221},"531590f83046",[17350],{"_key":17351,"_type":212,"marks":17352,"text":17353},"c0ddb0a2d16b0",[214],"Medical Death",[],{"_key":17356,"_type":208,"children":17357,"markDefs":17362,"style":221},"ba1125348d10",[17358],{"_key":17359,"_type":212,"marks":17360,"text":17361},"910770be765f0",[],"How do doctors define death?",[],{"_key":17364,"_type":208,"children":17365,"markDefs":17378,"style":221},"4096f22f1924",[17366,17369,17374],{"_key":17367,"_type":212,"marks":17368,"text":420},"f92fb86747b20",[],{"_key":17370,"_type":212,"marks":17371,"text":17373},"f92fb86747b21",[17372,1056],"ac2f3d1efa06","Guidance Notes on the Verification of Death",{"_key":17375,"_type":212,"marks":17376,"text":17377},"f92fb86747b22",[]," from the state of Victoria in Australia outlines that to “verify death,” quotation marks included, requires a registered medical practitioner or individuals that have received relevant training such as nurses, midwives and paramedics. ",[17379],{"_key":17372,"_type":238,"href":17380},"https://docs.google.com/document/d/12pn4KPUCrBVOSagA53HWS9VWnXDh8je9/edit",{"_key":17382,"_type":208,"children":17383,"markDefs":17397,"style":221},"6a570358d423",[17384,17388,17393],{"_key":17385,"_type":212,"marks":17386,"text":17387},"c3578cd7fe450",[],"The process outlines six judgments as the absolute minimum that needs to be fulfilled to “verify death.” 1) No palpable carotid pulse (no heartbeat felt) 2) No heart sounds for two minutes 3) No breath sounds for two minutes 4) Fixed and dilated pupils 5) No response to centralised stimulus (inflicted pain, such as the painful sternum rub) and 6) No motor response or facial grimace in response to a painful stimulus (like pinching the inner aspect of the elbow). Additionally, an ECG test could be done, and a strip that shows no rhythm confirms the death. But as Rohin Francis MBBS says: ",{"_key":17389,"_type":212,"marks":17390,"text":17392},"c3578cd7fe451",[17391],"7a5cbf8d6a6f","“It feels completely bizarre to listen to nothing for over a minute, especially when you’ve got a room full of family members wondering what the hell this doctor is doing.”",{"_key":17394,"_type":212,"marks":17395,"text":17396},"c3578cd7fe452",[]," Curiously, the document clarifies that legally, only “verbal reassurance that ‘cessation of life’ has occurred” is required before the funeral industry can start moving the deceased. ",[17398],{"_key":17391,"_type":238,"href":17399},"https://www.medpagetoday.com/publichealthpolicy/generalprofessionalissues/88774",{"_key":17401,"_type":208,"children":17402,"markDefs":17407,"style":221},"bad731fa1268",[17403],{"_key":17404,"_type":212,"marks":17405,"text":17406},"5befc5c360400",[],"In this case, the event of a death declaration isn’t a solitary event, but implicates the family (to relieve distress and provide closure), the state (who is qualified and trained, as declared by what body?) and the document (detailing the verifier’s name and title along with the method of assessment). But some elements on these checks seem arbitrary: are two minutes enough time to listen for breathing, or not enough? What if their pulse has been artificially restarted? What if the patient had neurological damage and can’t feel pain, or if they were blind? It might be implicit in the document. No one is going to read a volume of reflections on thanatology when a midwife has to declare a death. But how have these things become implicit? Do we sort of just agree that “death” means a binary, somatic death, for those with a fully functioning nervous system? The answer might lie in related medical records and a patient’s medical history, but on its own, these guidance notes raise many questions.",[],{"_key":17409,"_type":208,"children":17410,"markDefs":17415,"style":221},"f57b4cb8a752",[17411],{"_key":17412,"_type":212,"marks":17413,"text":17414},"122ede242a110",[],"Doctors report being able to perceive the death of their patient upon entering the room; it feels completely different, they say, following the patient’s death.",[],{"_key":17417,"_type":208,"children":17418,"markDefs":17423,"style":221},"e09a19cfabad",[17419],{"_key":17420,"_type":212,"marks":17421,"text":17422},"6a5b056d17e00",[],"The variance in how death is defined not only affects what procedures are ethical to conduct but it also on whether continuing care is appropriate. Declaring death in a hospital setting is also done to prevent further distress to family members.",[],{"_key":17425,"_type":208,"children":17426,"markDefs":17436,"style":221},"5769ec74bcd4",[17427,17431],{"_key":17428,"_type":212,"marks":17429,"text":17430},"d0fc8a77b1750",[],"There is a distinction between brain death and circulatory death. The first full heart transplant conducted in 1967 in South Africa was possible because the donor, a traffic accident victim named Denise Darvall, has been declared brain dead by the state pathologist. A similar procedure was to be conducted one month prior, but the hospital was hesitant ",{"_key":17432,"_type":212,"marks":17433,"text":17435},"d0fc8a77b1751",[17434],"c4e5efce35b4","“lest they be accused of experimenting on a subjugated minority.”",[17437],{"_key":17434,"_type":238,"href":17438},"https://theconversation.com/chimps-racism-and-the-definition-of-death-the-heart-transplant-story-84864",{"_key":17440,"_type":208,"children":17441,"markDefs":17455,"style":221},"33f9d169cd54",[17442,17446,17451],{"_key":17443,"_type":212,"marks":17444,"text":17445},"537d232e8c1c0",[],"A full heart transplant wasn’t possible in America previously because of a ",{"_key":17447,"_type":212,"marks":17448,"text":17450},"537d232e8c1c1",[17449],"1dad80e44d10","“staunch theological opposition to changing the definition of death,”",{"_key":17452,"_type":212,"marks":17453,"text":17454},"537d232e8c1c2",[]," defining it as the moment the heart stops beating. At that moment, organs start deteriorating and start becoming damaged and the heart quickly becomes unsalvageable. Let’s question the document on final time. Does it make a distinction between cell death and somatic death? ",[17456],{"_key":17449,"_type":238,"href":17399},{"_key":17458,"_type":208,"children":17459,"markDefs":17463,"style":221},"4cc4636506b9",[17460],{"_key":17461,"_type":212,"marks":17462,"text":435},"283f8ac7151f0",[],[],{"_key":17465,"_type":208,"children":17466,"markDefs":17471,"style":221},"9e442c0c8086",[17467],{"_key":17468,"_type":212,"marks":17469,"text":17470},"9b7b157d09000",[214],"A prayer, sur lie",[],{"_key":17473,"_type":208,"children":17474,"markDefs":17497,"style":221},"a1bea456854a",[17475,17479,17484,17488,17493],{"_key":17476,"_type":212,"marks":17477,"text":17478},"f4d3e6de8e820",[],"Bianca Hlywa’s ",{"_key":17480,"_type":212,"marks":17481,"text":17483},"f4d3e6de8e821",[17482],"3376e1701568","Figures of Amplification",{"_key":17485,"_type":212,"marks":17486,"text":17487},"f4d3e6de8e822",[]," (2019) and Avril Corroon’s ",{"_key":17489,"_type":212,"marks":17490,"text":17492},"f4d3e6de8e823",[17491],"0e9e2f95988c","Spoiled Spores",{"_key":17494,"_type":212,"marks":17495,"text":17496},"f4d3e6de8e824",[]," (2019) both stage collaborations between human and nonhuman agents. With Hlywa’s installation, a giant dark brown sheet of SCOBY, a symbiotic bacterial culture often used for the production of apple cider vinegar, kombucha and sourdough bread, is slowly raised using an automated pulley system, then released and dropped back onto its glass-walled container. Fittingly, Hlywa’s subsequent work, still working with bacterial cultures and created for the Barbican Arts Group Trust, is titled Life Models (2019). For Spoiled Spores, Corroon cultured cheese out of black mould that landlords have repeatedly refused to remove. Installed in a series of four commercial fridges, the pungent mixture of the 27 cheese wheels that Corroon has made permeates throughout its dedicated exhibition room.",[17498,17500],{"_key":17482,"_type":238,"href":17499},"https://www.biancahlywa.com/figures-of-amplification",{"_key":17491,"_type":238,"href":17501},"https://avrilcorroon.com/Spoiled-Spores-1#:~:text=Responding%20to%20the%20housing%20crisis,peers%20and%20call%20outs%20online.",{"_key":17503,"_type":208,"children":17504,"markDefs":17509,"style":221},"f92c604c9950",[17505],{"_key":17506,"_type":212,"marks":17507,"text":17508},"6b9bbb165a630",[],"Autolysis, as opposed to apoptosis or programmed cell death, occurs during unexpected cell death. 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 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. Cell death that happens after somatic death occurs under its own rules.",[],{"_key":17511,"_type":208,"children":17512,"markDefs":17517,"style":221},"5a9590d0deb8",[17513],{"_key":17514,"_type":212,"marks":17515,"text":17516},"08ec14ae89e30",[],"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 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.",[],{"_type":9,"current":17519},"an-etalage-three-ways-of-dying","Three instances of death are examined: a preman's ascension into mokṣa, a medical death checklist and programmed cell death found in fermentation. As we leave this world, what traces do we leave behind?","An Etalage: Three Ways of Dying",{"_id":17523,"_type":271,"categories":17524,"credits":17528,"featuredImage":17552,"pageBuilder":17560,"publishedDate":17799,"seo":7,"slug":17800,"summary":17802,"title":17803},"bbcc3607-9c0e-4beb-850b-a45bc4018831",[17525],{"_id":5506,"_type":281,"colorPrimary":17526,"seo":7,"slug":17527,"title":5511},{"label":283,"value":5508},{"_type":9,"current":5510},{"other":7,"profiles":17529},[17530],{"_id":16865,"_type":315,"activeYears":17531,"bio":17534,"bioShort":16878,"featuredImage":7,"filterables":17540,"links":17543,"locations":17546,"searchables":17550,"seo":7,"slug":17551,"title":16895},[17532],{"_id":119,"_type":94,"seo":7,"slug":17533,"title":122},{"_type":9,"current":121},[17535],{"_key":16871,"_type":208,"children":17536,"markDefs":17539,"style":221},[17537],{"_key":16874,"_type":212,"marks":17538,"text":16876},[],[],{"filterYear":17541},[17542],{"_id":119,"title":122},[17544,17545],{"_type":371,"label":5256,"url":16884},{"_type":371,"label":372,"url":16886},{"locations":17547,"other":7},[17548],{"_id":3458,"_type":378,"seo":7,"slug":17549,"title":3461},{"_type":9,"current":3460},[16892,121],{"_type":9,"current":16894},{"alt":17553,"asset":17554},"Thenjiwe Niki Nkosi. End of History II, 2014. Courtesy of the artist.",{"_id":17555,"height":17556,"orientation":400,"ratio":17557,"url":17558,"width":17559},"image-9b5db6f15e281e76c8a78f54a5982cf4a1b891b6-1496x1123-jpg",1123,1.332146037399822,"https://cdn.sanity.io/images/eodip22e/production/9b5db6f15e281e76c8a78f54a5982cf4a1b891b6-1496x1123.jpg",1496,[17561,17581],{"_type":406,"caption":17562,"image":17579},[17563],{"_key":17564,"_type":208,"children":17565,"markDefs":17578,"style":221},"52cf5f5dc438",[17566,17570,17574],{"_key":17567,"_type":212,"marks":17568,"text":17569},"f4dc2467b2cf0",[],"Thenjiwe Niki Nkosi. ",{"_key":17571,"_type":212,"marks":17572,"text":17573},"f4dc2467b2cf1",[1056],"End of History II,",{"_key":17575,"_type":212,"marks":17576,"text":17577},"f4dc2467b2cf2",[]," 2014. Courtesy of the artist.",[],{"alt":17553,"asset":17580},{"_id":17555,"height":17556,"orientation":400,"ratio":17557,"url":17558,"width":17559},{"_type":410,"settings":7,"text":17582},[17583,17591,17621,17659,17682,17709,17736,17775,17783],{"_key":17584,"_type":208,"children":17585,"markDefs":17590,"style":221},"1743a694c226",[17586],{"_key":17587,"_type":212,"marks":17588,"text":17589},"598df47bc56d0",[],"I initially began this project planning to only speak with arts editors, thinking of them as the perfect meeting point between artists, curators, writers and readers. But when I started my interviews, I was luckily to speak with two ineffable individuals who made me think differently (as editors do) about knowledge production. Doing academic work, I think about this a lot but often from within the confines of an academic institution. For this project, I wanted to get outside of this structure, to think about both art and climate differently.",[],{"_key":17592,"_type":208,"children":17593,"markDefs":17616,"style":221},"8a6ff57d5143",[17594,17598,17603,17607,17612],{"_key":17595,"_type":212,"marks":17596,"text":17597},"21919b89d4a70",[],"One of my first interviews was with Bukola Oyebode, a writer, editor and publisher. She is the founder and editor-in-chief of art magazine ",{"_key":17599,"_type":212,"marks":17600,"text":17602},"21919b89d4a71",[17601],"4fefca92e2e5","The Sole Adventurer (Nigeria)",{"_key":17604,"_type":212,"marks":17605,"text":17606},"21919b89d4a72",[],". Initially a blog about contemporary Nigerian art, the publication became a fully-fledged magazine in 2018. Published online and in special print editions, it now covers art from across Africa and the diaspora. Oyebode’s many projects include the ",{"_key":17608,"_type":212,"marks":17609,"text":17611},"21919b89d4a73",[17610],"96e2a52f2f41","TSA Master Class",{"_key":17613,"_type":212,"marks":17614,"text":17615},"21919b89d4a74",[],", facilitated by Chika Okeke-Agulu, award-winning art critic and professor of art history at Princeton University.",[17617,17619],{"_key":17601,"_type":238,"href":17618},"https://thesoleadventurer.com/about-tsa/",{"_key":17610,"_type":238,"href":17620},"https://thesoleadventurer.com/projects/",{"_key":17622,"_type":208,"children":17623,"markDefs":17656,"style":221},"5f5773c3a1cd",[17624,17628,17632,17636,17640,17643,17647,17652],{"_key":17625,"_type":212,"marks":17626,"text":17627},"d0a0e73a74b60",[],"Oyebode explained that the Master Class was set up not just to establish more critical voices in the art scene, but to connect older generations art critics and historians with young art writers. She emphasised ",{"_key":17629,"_type":212,"marks":17630,"text":17631},"d0a0e73a74b61",[214,1056],"the huge disconnect in the flow of history",{"_key":17633,"_type":212,"marks":17634,"text":17635},"d0a0e73a74b62",[]," between different generations of arts writers, a problem seldom addressed by institutions, like universities or galleries, more focused on the practical business of studying, making or selling art, and not as attuned to ",{"_key":17637,"_type":212,"marks":17638,"text":17639},"d0a0e73a74b63",[214,1056],"pedagogy in a communal sense",{"_key":17641,"_type":212,"marks":17642,"text":1995},"d0a0e73a74b64",[214],{"_key":17644,"_type":212,"marks":17645,"text":17646},"d0a0e73a74b65",[]," This simple, but important, observation reminded me of an essay by artist ",{"_key":17648,"_type":212,"marks":17649,"text":17651},"d0a0e73a74b66",[17650],"723f540dd7c0","Thenjiwe Niki Nkosi",{"_key":17653,"_type":212,"marks":17654,"text":17655},"d0a0e73a74b67",[],", “Radical Sharing”. In it she confesses her self-doubt when asked to give a keynote address on a panel devoted to knowledge production, worried that she did not know enough about it to speak confidently on the topic. “Like much else in today’s world of hyper-specialization, knowledge and discussion about the means of its production seem to belong to experts, academics, other intellectuals, not me.” This perception of knowledge as the domain of those more senior or educated is pervasive across epistemes, from scientific climate studies or arts criticism.",[17657],{"_key":17650,"_type":238,"href":17658},"https://thenjiwenkosi.com/",{"_key":17660,"_type":208,"children":17661,"markDefs":17681,"style":221},"00cb265098cf",[17662,17666,17670,17673,17677],{"_key":17663,"_type":212,"marks":17664,"text":17665},"b0934b8de1ea0",[],"Nkosi’s essay first unpacks and defines ",{"_key":17667,"_type":212,"marks":17668,"text":17669},"b0934b8de1ea1",[1056],"knowledge, knowledge production",{"_key":17671,"_type":212,"marks":17672,"text":14519},"b0934b8de1ea2",[],{"_key":17674,"_type":212,"marks":17675,"text":17676},"b0934b8de1ea3",[1056],"sites of knowledge production",{"_key":17678,"_type":212,"marks":17679,"text":17680},"b0934b8de1ea4",[]," because as she observes, “calling something knowledge can be a political act, even a radical one”. She then presents a range of artistic strategies for widening the scope of what we consider to be knowledge, for widening the scope and reach of ideas to a common benefit. “Radical sharing always has inclusivity as one of its aims. Radical sharing privileges the power of human interaction of creating community of deep listening, of sharing ownership of really seeing one another. There is a sense of agency invoked in at of radical sharing.”",[],{"_key":17683,"_type":208,"children":17684,"markDefs":17706,"style":221},"69debf022667",[17685,17689,17694,17698,17702],{"_key":17686,"_type":212,"marks":17687,"text":17688},"9194685abf450",[],"She also asks ”What place might radical sharing have within dominant sites of knowledge production, institutional settings with established hierarchies and power relations? This was the question on my mind when I spoke with Danielle Bowler, Culture Editor at ",{"_key":17690,"_type":212,"marks":17691,"text":17693},"9194685abf451",[17692],"271958583929","New Frame (South Africa)",{"_key":17695,"_type":212,"marks":17696,"text":17697},"9194685abf452",[],", a not-for-profit, social justice media publication, dedicated to pro-poor, pro-working class well-written and well-illustrated journalism that is accessible and jargon free. ",{"_key":17699,"_type":212,"marks":17700,"text":17701},"9194685abf453",[1056],"New Frame",{"_key":17703,"_type":212,"marks":17704,"text":17705},"9194685abf454",[]," is editorially independent and all editorial decisions are made by the editors in conjunction with our reporters and photographers. Having worked with Bowler before, I have personal experience of how intentional she is about thinking through all of the many dynamics involved when working with both writers and arts, but having her articulate her own ethos behind this was especially illuminating.",[17707],{"_key":17692,"_type":238,"href":17708},"https://www.newframe.com/about/",{"_key":17710,"_type":208,"children":17711,"markDefs":17733,"style":221},"7ff79c62913a",[17712,17716,17721,17725,17729],{"_key":17713,"_type":212,"marks":17714,"text":17715},"0edce62cf3500",[],"She explained that of course all writing can be artistic but culture writing can really lend itself to that, through the process and form, so in a sense the work of editing is also a form of curating, after all, even the act of making a reading list is a site of curation. She referred to an incredible interview with curator ",{"_key":17717,"_type":212,"marks":17718,"text":17720},"0edce62cf3501",[17719],"a62177dcff43","Renee Mussai",{"_key":17722,"_type":212,"marks":17723,"text":17724},"0edce62cf3502",[]," who discusses exhibition-making as “a creative, generative ‘doing’ activity – dialogic, and activist at its core… the desire is to create a visceral experience – yet one that is at once emotional, intellectual, political, personal, sensual – that is felt in the body and the mind, and hopefully, proves restorative and transformative for/to some… ",{"_key":17726,"_type":212,"marks":17727,"text":17728},"0edce62cf3503",[214,1056],"encourages different ways of seeing, thinking, and being",{"_key":17730,"_type":212,"marks":17731,"text":17732},"0edce62cf3504",[]," – even if only temporary – and invites us to reflect and think critically about our core values, the changing worlds we live in, the historical conditions that have shaped us… and to imagine possible futures and different modes of futurity.”",[17734],{"_key":17719,"_type":238,"href":17735},"https://www.1000wordsmag.com/renee-mussai/",{"_key":17737,"_type":208,"children":17738,"markDefs":17774,"style":221},"c531117d8329",[17739,17743,17747,17751,17755,17758,17762,17766,17770],{"_key":17740,"_type":212,"marks":17741,"text":17742},"c32acbdd8b950",[],"Thinking about ",{"_key":17744,"_type":212,"marks":17745,"text":17746},"c32acbdd8b951",[1056,214],"modes of futurity in the layered practices of both editing and curation",{"_key":17748,"_type":212,"marks":17749,"text":17750},"c32acbdd8b952",[],", Bowler explained that the desire to centre a feminist ethic in her work led to thinking about care work in art or, the ethics of care. This awareness and commitment to a particular ethos in the everyday practices is quite similar to Nkosi’s suggestion that ",{"_key":17752,"_type":212,"marks":17753,"text":17754},"c32acbdd8b953",[214,1056],"moments",{"_key":17756,"_type":212,"marks":17757,"text":7982},"c32acbdd8b954",[],{"_key":17759,"_type":212,"marks":17760,"text":17761},"c32acbdd8b955",[214],"can be sites of knowledge production",{"_key":17763,"_type":212,"marks":17764,"text":17765},"c32acbdd8b956",[]," – shaped by an ethic and a politic. Mussai also discusses “the communion between art and activism – its ",{"_key":17767,"_type":212,"marks":17768,"text":17769},"c32acbdd8b957",[1056],"disrupting",{"_key":17771,"_type":212,"marks":17772,"text":17773},"c32acbdd8b958",[]," power, if you will – and in the transformation and activation of space(s).”",[],{"_key":17776,"_type":208,"children":17777,"markDefs":17782,"style":221},"2e666d90b8c5",[17778],{"_key":17779,"_type":212,"marks":17780,"text":17781},"d2d8f324ff550",[],"Here, Bowler’s focus on the importance of language, not just in the literal sense of the words in texts, but in moments (like when sending emails) or sites (like the culture desk of a publication) is critical. This is especially relevant when trying to articulate vast planetary questions about changes to earth-systems. As a starting point, Bowler explains that with language at the heart of curating written work, applied creative practice can and should be about learning with every piece. Thinking with, through and towards a deeper understanding of the work being written about, whether that is climate report or an exhibition review. These conversations with Oyedobe and Bowler (not to mention the reading they led me to) really opened up my thinking about the flow of history and sites of knowledge curation. And this, ideally, is what deschooling is all about.",[],{"_key":17784,"_type":208,"children":17785,"markDefs":17798,"style":221},"7ed9998fe2ce",[17786,17790,17794],{"_key":17787,"_type":212,"marks":17788,"text":17789},"b4d9c556148d0",[],"Click below for the next text, ",{"_key":17791,"_type":212,"marks":17792,"text":17793},"2de90ac298c9",[1056],"4. Dialogic processes, decolonial pedagogic practice and humanizing history,",{"_key":17795,"_type":212,"marks":17796,"text":17797},"7f49a6266c5c",[]," which investigates dialogic processes and decolonial pedagogic practice in curation and publications.",[],"2021-01-04",{"_type":9,"current":17801},"3-knowledge-production-as-radical-sharing-and-curation-as-care","Conversations with Bukola Oyebode and Danielle Bowler, editors","3. Knowledge production as radical sharing and curation as care",{"_id":17805,"_type":271,"categories":17806,"credits":17814,"featuredImage":17838,"pageBuilder":17846,"publishedDate":18260,"seo":7,"slug":18261,"summary":17866,"title":18263},"45be5266-0e00-47cc-961f-35081a6f2d0f",[17807],{"_id":17808,"_type":281,"colorPrimary":17809,"seo":7,"slug":17811,"title":17813},"1442cfb6-76fe-4ed5-a398-220a5406e3f1",{"label":283,"value":17810},"#8c8c00",{"_type":9,"current":17812},"dialogic-decolonial-pedagogic-practice","Dialogic Decolonial Pedagogic Practice",{"other":7,"profiles":17815},[17816],{"_id":16865,"_type":315,"activeYears":17817,"bio":17820,"bioShort":16878,"featuredImage":7,"filterables":17826,"links":17829,"locations":17832,"searchables":17836,"seo":7,"slug":17837,"title":16895},[17818],{"_id":119,"_type":94,"seo":7,"slug":17819,"title":122},{"_type":9,"current":121},[17821],{"_key":16871,"_type":208,"children":17822,"markDefs":17825,"style":221},[17823],{"_key":16874,"_type":212,"marks":17824,"text":16876},[],[],{"filterYear":17827},[17828],{"_id":119,"title":122},[17830,17831],{"_type":371,"label":5256,"url":16884},{"_type":371,"label":372,"url":16886},{"locations":17833,"other":7},[17834],{"_id":3458,"_type":378,"seo":7,"slug":17835,"title":3461},{"_type":9,"current":3460},[16892,121],{"_type":9,"current":16894},{"alt":17839,"asset":17840},"Pamela Phatsimo Sunstrum, Singer, 2014. Mixed media on paper. Courtesy of the artist and the Goodman Gallery, Johannesburg.",{"_id":17841,"height":17842,"orientation":400,"ratio":17843,"url":17844,"width":17845},"image-54efef627d8c8c70b6706ad51164216e72b3dce7-811x613-png",613,1.3230016313213704,"https://cdn.sanity.io/images/eodip22e/production/54efef627d8c8c70b6706ad51164216e72b3dce7-811x613.png",811,[17847,17868,17938,17954,18068,18085,18146,18165,18191],{"_type":406,"caption":17848,"image":17865},[17849],{"_key":17850,"_type":208,"children":17851,"markDefs":17864,"style":221},"0f155c152ba4",[17852,17856,17860],{"_key":17853,"_type":212,"marks":17854,"text":17855},"9f75d189db4c0",[],"Pamela Phatsimo Sunstrum, ",{"_key":17857,"_type":212,"marks":17858,"text":17859},"9f75d189db4c1",[1056],"Singer, 2014. M",{"_key":17861,"_type":212,"marks":17862,"text":17863},"9f75d189db4c2",[],"ixed media on paper. Courtesy of the artist and the Goodman Gallery, Johannesburg.",[],{"alt":17866,"asset":17867},"Conversation with Nomusa Makhubu and Nkule Mabaso, curators",{"_id":17841,"height":17842,"orientation":400,"ratio":17843,"url":17844,"width":17845},{"_type":410,"settings":7,"text":17869},[17870,17905],{"_key":17871,"_type":208,"children":17872,"markDefs":17902,"style":221},"1251b240cfac",[17873,17877,17882,17886,17890,17894,17898],{"_key":17874,"_type":212,"marks":17875,"text":17876},"ef89899c0ec30",[],"I recently wrote about artist ",{"_key":17878,"_type":212,"marks":17879,"text":17881},"ef89899c0ec31",[17880],"da689f226620","Pamela Phatsimo Sunstrum’s use of volcanoes",{"_key":17883,"_type":212,"marks":17884,"text":17885},"ef89899c0ec32",[],", exploring them a way of linking geology with ecology, the physical with the ephemeral, the objective with the subjective. This was an opportunity to think about how the entanglement between aesthetic (understood as embodied, sensuous encounters with Nature) and art (understood as imaginative visualisations of Nature) are inextricably part and parcel of knowledge production. In her most recent exhibition ",{"_key":17887,"_type":212,"marks":17888,"text":17889},"ef89899c0ec33",[1056],"Battlecry",{"_key":17891,"_type":212,"marks":17892,"text":17893},"ef89899c0ec34",[]," (2020), Sunstrum volcanoes help to imagine concepts like deep time that are outside of the realm of human experience, help to abstract human context to think with angry rock formations, help to engage with art as a way of knowing—even when we really have no idea what is happening, deep down below the lithosphere. Even though it is well established, recognised and theorised that ",{"_key":17895,"_type":212,"marks":17896,"text":17897},"ef89899c0ec35",[214,1056],"art production is knowledge production by virtue of being a cognitive act,",{"_key":17899,"_type":212,"marks":17900,"text":17901},"ef89899c0ec36",[]," the lines between art, science, and activism blur and sometimes a landing point (like a volcano) is useful for detangling the interdisciplinary boundaries between the arts, humanities, social sciences and geosciences. Some of the questions that preoccupied me while writing that piece live on in this project, questions about ways to adopt interdisciplinary reading and writing approaches to art and questions about mechanisms for communicating and critiquing environmental risk, education and debate in visual arts",[17903],{"_key":17880,"_type":238,"href":17904},"https://bubblegumclub.co.za/art/battlecry-on-pamela-phatsimo-sunstrums-volcanoes/",{"_key":17906,"_type":208,"children":17907,"markDefs":17933,"style":221},"b27233765b0b",[17908,17912,17917,17920,17924,17929],{"_key":17909,"_type":212,"marks":17910,"text":17911},"195eeebe45460",[],"In this sense, the collaborative spirit of ",{"_key":17913,"_type":212,"marks":17914,"text":17916},"195eeebe45461",[17915,1056],"cf888dcf1385","There are Mechanisms in Place (2020)",{"_key":17918,"_type":212,"marks":17919,"text":14752},"195eeebe45462",[1056],{"_key":17921,"_type":212,"marks":17922,"text":17923},"195eeebe45463",[]," a response to Sunstrum’s practice was a huge inspiration. ",{"_key":17925,"_type":212,"marks":17926,"text":17928},"195eeebe45464",[17927],"75c6cb7daa0e","Nkgopoleng Moloi",{"_key":17930,"_type":212,"marks":17931,"text":17932},"195eeebe45465",[]," cogently describes the publication as a sacred text on the basis of how it offers discursive tools, makes meaning of ambiguity and shapes visions of liberation, “The publication does not simply explain the exhibition, but rather offers alternate engagements through dialogue, interruption, assembling and gathering”.",[17934,17936],{"_key":17915,"_type":238,"href":17935},"https://www.news.uct.ac.za/article/-2020-08-14-pamela-phatsimo-suntrums-work-published",{"_key":17927,"_type":238,"href":17937},"https://mg.co.za/friday/2020-09-03-there-are-mechanisms-in-place-collaboration-births-sacred-text/",{"_type":406,"caption":17939,"image":17948},[17940],{"_key":17941,"_type":208,"children":17942,"markDefs":17947,"style":221},"149db69449a0",[17943],{"_key":17944,"_type":212,"marks":17945,"text":17946},"519cdfb5344f0",[],"Cover. Courtesy of Natal Collective.",[],{"alt":17946,"asset":17949},{"_id":17950,"height":17951,"orientation":400,"ratio":17952,"url":17953,"width":7700},"image-29ff2dbf3ad68d2b33e1aa9707ba3f14b8d068ac-1920x1281-jpg",1281,1.4988290398126465,"https://cdn.sanity.io/images/eodip22e/production/29ff2dbf3ad68d2b33e1aa9707ba3f14b8d068ac-1920x1281.jpg",{"_type":410,"settings":7,"text":17955},[17956,17972,17980,18010,18041],{"_key":17957,"_type":208,"children":17958,"markDefs":17971,"style":221},"00a4ae3012fd",[17959,17963,17967],{"_key":17960,"_type":212,"marks":17961,"text":17962},"dddcb53f6e960",[],"“The exhibition and the creative publication are both ways of thinking together without being limited by expectations – it is a way to explore, to engage – it is a space to be. It is ",{"_key":17964,"_type":212,"marks":17965,"text":17966},"dddcb53f6e961",[214,1056],"a moment, a convergence and a point of departure",{"_key":17968,"_type":212,"marks":17969,"text":17970},"dddcb53f6e962",[214],".”",[],{"_key":17973,"_type":208,"children":17974,"markDefs":17979,"style":221},"792cfa8a4a8d",[17975],{"_key":17976,"_type":212,"marks":17977,"text":17978},"0d883b5cbfd40",[],"In the introduction, curators Nomusa Makhubu and Nkule Mabaso explain how Sunstrum’s work and the creative responses to it in the publication foreground histories; illuminate the significance of spatial politics; detail the disorientation and delirium of postcolonial, post-apartheid, neoliberal society; explore the depths of memory entrenched in landscape, and how ideas of the sublime can take us beyond how we conceive of scientific nature; and investigate the intersection of science and technology in the alternative geographical space proposed by the work.",[],{"_key":17981,"_type":208,"children":17982,"markDefs":18005,"style":221},"919131415221",[17983,17987,17992,17996,18001],{"_key":17984,"_type":212,"marks":17985,"text":17986},"7393b2f11bc90",[],"Still thinking of moments as sites of knowledge creation, I spoke with Makhubu and Mabaso about their work and the process of putting together the creative publication. ",{"_key":17988,"_type":212,"marks":17989,"text":17991},"7393b2f11bc91",[17990],"03cb2cde0bae","Nkule Mabaso",{"_key":17993,"_type":212,"marks":17994,"text":17995},"7393b2f11bc92",[]," is an artist and curator, currently curator at the Michaelis Galleries at the University of Cape Town. Recent projects include the curation of the South Africa Pavilion at the Biennale Arte 2019, Venice together with ",{"_key":17997,"_type":212,"marks":17998,"text":18000},"7393b2f11bc93",[17999],"6776c442c5bf","Nomusa Makhubu ",{"_key":18002,"_type":212,"marks":18003,"text":18004},"7393b2f11bc94",[],", associate professor of Art History and Visual Culture at Michaelis School of Fine Art, University of Cape Town. Both teach art history and write as academics, and do “most of the exciting work in collaboration.” This focus on collaboration guided much of our conversation, as Mabaso explained that, “there is a long history of heroizing a single curator, but curating is inherently collaborative and we see out work as part of an intellectual dialogue that has a lot to do with how we are developing themes and ideas and concepts through our curatorial work and publications.”",[18006,18008],{"_key":17990,"_type":238,"href":18007},"https://nkulemabaso.com/about-nkule/",{"_key":17999,"_type":238,"href":18009},"http://www.michaelis.uct.ac.za/fin/people/academic-staff/nomusa-makhubu",{"_key":18011,"_type":208,"children":18012,"markDefs":18038,"style":221},"1df273d9c689",[18013,18017,18022,18026,18030,18034],{"_key":18014,"_type":212,"marks":18015,"text":18016},"5d3f9ef425120",[],"Makhubu then expanded that much curatorial collaboration is not entirely horizontal, either resulting in collaboration with artists or institutions in ways that give rise to difficult hierarchies that they try to avoid by working with artists and writers “more laterally, less vertically, as equals to expand the conversation, without interest in individual ego to make room for more generative conversation.” Laughingly, she suggested that “there are too many heroes” a reference to the wit behind ",{"_key":18018,"_type":212,"marks":18019,"text":18021},"5d3f9ef425121",[1056,18020],"7266de81034e","Dear History, We Don’t Need Another Hero",{"_key":18023,"_type":212,"marks":18024,"text":18025},"5d3f9ef425122",[]," (2018), curated by Gabi Ngcobo for the 10th Berlin Biennale for Contemporary Art. This exhibition “confronted the incessant anxieties perpetuated by a wilful disregard for complex subjectivities”, and like the Tina Turner song that the title references, rejected the seduction of saviour narratives, instead thinking and acting beyond art, and ",{"_key":18027,"_type":212,"marks":18028,"text":18029},"5d3f9ef425123",[214],"“",{"_key":18031,"_type":212,"marks":18032,"text":18033},"5d3f9ef425124",[214,1056],"refusing to be seduced by unyielding knowledge systems and historical narratives",{"_key":18035,"_type":212,"marks":18036,"text":18037},"5d3f9ef425125",[]," that contribute to the creation of toxic subjectivities.”",[18039],{"_key":18020,"_type":238,"href":18040},"https://www.berlinbiennale.de/en/biennalen/1339/we-don-t-need-another-hero",{"_key":18042,"_type":208,"children":18043,"markDefs":18067,"style":221},"aef02e06d077",[18044,18048,18052,18055,18059,18063],{"_key":18045,"_type":212,"marks":18046,"text":18047},"97978d9de7d10",[],"Toxic subjectivities abound in climate change, from denialism to green colonialism. But a potential salve is to be found in how both Makhubu and Mabaso stressed the importance of ",{"_key":18049,"_type":212,"marks":18050,"text":18051},"97978d9de7d11",[214,1056],"the dialogic processes guiding their curatorial work and publications",{"_key":18053,"_type":212,"marks":18054,"text":15721},"97978d9de7d12",[214],{"_key":18056,"_type":212,"marks":18057,"text":18058},"97978d9de7d13",[]," “we didn’t just want another exhibition catalogue. We wanted natural engagement with what was on display instead of just writing a review: to ",{"_key":18060,"_type":212,"marks":18061,"text":18062},"97978d9de7d14",[214,1056],"take the moment as a catalyst to express a response through one’s own practice",{"_key":18064,"_type":212,"marks":18065,"text":18066},"97978d9de7d15",[],". In this way, a dialogic exhibition was accompanied by a dialogic publication free from toxic subjectivity.",[],{"_type":406,"caption":18069,"image":18078},[18070],{"_key":18071,"_type":208,"children":18072,"markDefs":18077,"style":221},"a24aae8ca54e",[18073],{"_key":18074,"_type":212,"marks":18075,"text":18076},"125d1543b50d0",[],"View of Nkule Mabaso. Visual essay. Courtesy of Natal Collective",[],{"alt":18076,"asset":18079},{"_id":18080,"height":18081,"orientation":400,"ratio":18082,"url":18083,"width":18084},"image-b9d0896e89f953b4eb85efbcd38ec575e8bbe0e9-1600x1068-jpg",1068,1.4981273408239701,"https://cdn.sanity.io/images/eodip22e/production/b9d0896e89f953b4eb85efbcd38ec575e8bbe0e9-1600x1068.jpg",1600,{"_type":410,"settings":7,"text":18086},[18087,18126,18134],{"_key":18088,"_type":208,"children":18089,"markDefs":18125,"style":221},"1c77e6f6fc35",[18090,18094,18098,18101,18105,18109,18113,18117,18121],{"_key":18091,"_type":212,"marks":18092,"text":18093},"5bd7e8076fa80",[],"We spoke briefly about ",{"_key":18095,"_type":212,"marks":18096,"text":18097},"5bd7e8076fa81",[214,1056],"decolonial pedagogic practice",{"_key":18099,"_type":212,"marks":18100,"text":14752},"5bd7e8076fa82",[214],{"_key":18102,"_type":212,"marks":18103,"text":18104},"5bd7e8076fa83",[]," and while both admitted to never sitting down and going, “okay now its time to do decolonial work”, they recognise the pervasive nature of coloniality in the institutions that they work with which makes it important ",{"_key":18106,"_type":212,"marks":18107,"text":18108},"5bd7e8076fa84",[214,1056],"not to just say things about decoloniality but to find ways beyond it",{"_key":18110,"_type":212,"marks":18111,"text":18112},"5bd7e8076fa85",[]," to generate different knowledges about agency, ",{"_key":18114,"_type":212,"marks":18115,"text":18116},"5bd7e8076fa86",[214],"w",{"_key":18118,"_type":212,"marks":18119,"text":18120},"5bd7e8076fa87",[214,1056],"ays of humanizing how we work and relate to each other.",{"_key":18122,"_type":212,"marks":18123,"text":18124},"5bd7e8076fa88",[]," Thinking and doing, being empowered in practice, beyond rhetoric. Decolonial pedagogy is embodied too: one part of you might be well-versed in theory but another part needs to ask “how does this become part of the work without needing to announce ‘okay now I am wearing my decolonial hat’?” It’s about going, “now I am working so how do I, and my ideas, fit into this understanding of broader systems? How do I work with people who share my ideas or don’t , while maintain the integrity of those ideas?”",[],{"_key":18127,"_type":208,"children":18128,"markDefs":18133,"style":221},"8170fe6f4a2b",[18129],{"_key":18130,"_type":212,"marks":18131,"text":18132},"6e15edced8c40",[],"Ngcobo described the aim of the 10th Berlin Biennale as being to produce “a plan for how to face a collective madness” and Makhubu and Mabaso’s approach to curating might just be that plan. Unpacking the title of their exhibition at the Venice Biennale 2019, they explain that",[],{"_key":18135,"_type":208,"children":18136,"markDefs":18145,"style":221},"40eb01e4e2d0",[18137,18141],{"_key":18138,"_type":212,"marks":18139,"text":18140},"7da8baf9466a0",[1056],"“The stronger we become",{"_key":18142,"_type":212,"marks":18143,"text":18144},"7da8baf9466a1",[]," is a way to think about social resilience. People create coping mechanisms under harsh socio-economic conditions. Being resilient not only means being strong, but also means being pliable. However, the persistence of divisive plutocratic politics, means that people continue to be stretched to a point where they can no longer take it. The rise in global movements against social injustice is a sign that we have to think more carefully about resilience and the will to resist. With this exhibition we are acknowledging the climate of cynicism and disillusionment. We are also acknowledging what it is that makes us fully human, in the context of a dehumanising history.”",[],{"_type":406,"caption":18147,"image":18159},[18148],{"_key":18149,"_type":208,"children":18150,"markDefs":18156,"style":221},"9bb88e3ab5a4",[18151],{"_key":18152,"_type":212,"marks":18153,"text":18155},"81d273e0397e0",[18154],"bf12c985ee38","The South African Pavilion at the La Biennale Di Venezia’s theme, The Stronger We Become",[18157],{"_key":18154,"_type":238,"href":18158},"https://www.thesouthafricanpavilion.co.za/",{"alt":18155,"asset":18160},{"_id":18161,"height":18162,"orientation":400,"ratio":18163,"url":18164,"width":3529},"image-b7c508adba7a43de686d4c61418f8be64763cffa-2048x1229-jpg",1229,1.6663954434499593,"https://cdn.sanity.io/images/eodip22e/production/b7c508adba7a43de686d4c61418f8be64763cffa-2048x1229.jpg",{"_type":410,"settings":7,"text":18166},[18167,18175],{"_key":18168,"_type":208,"children":18169,"markDefs":18174,"style":221},"e62b5e6a549e",[18170],{"_key":18171,"_type":212,"marks":18172,"text":18173},"f02dffc45b3e0",[],"This focus on collaborative humanizing isn’t something that can easily be theorised or methodologized, in either the sciences or the arts. But in this moment, this project, this site of knowledge production, Makhubu and Mabaso’s work is ineffable and instructional, to say the least.",[],{"_key":18176,"_type":208,"children":18177,"markDefs":18190,"style":221},"96da72b12d4d",[18178,18182,18186],{"_key":18179,"_type":212,"marks":18180,"text":18181},"323326a7d0b60",[],"Read the next text ",{"_key":18183,"_type":212,"marks":18184,"text":18185},"3c47ebdcce70",[1056],"5. Mineralizing land and fabulating climate",{"_key":18187,"_type":212,"marks":18188,"text":18189},"f14c91d41f7a",[]," (see related below) which introduces the idea of climate consciousness as fabulation.",[],{"_type":410,"settings":7,"text":18192},[18193,18200,18232,18246],{"_key":18194,"_type":208,"children":18195,"markDefs":18199,"style":221},"ab6f4d8d1954",[18196],{"_key":18197,"_type":212,"marks":18198,"text":17140},"fa216bbc999d0",[214],[],{"_key":18201,"_type":208,"children":18202,"markDefs":18231,"style":221},"23d7b94ecd02",[18203,18207,18211,18215,18219,18223,18227],{"_key":18204,"_type":212,"marks":18205,"text":18206},"48d013fa81940",[],"Khan, S. (2020) “",{"_key":18208,"_type":212,"marks":18209,"text":18210},"48d013fa81941",[1056],"Curating as World-Making",{"_key":18212,"_type":212,"marks":18213,"text":18214},"48d013fa81942",[]," – An ",{"_key":18216,"_type":212,"marks":18217,"text":18218},"48d013fa81943",[1056],"Art on Our Mind",{"_key":18220,"_type":212,"marks":18221,"text":18222},"48d013fa81944",[]," Creative Dialogue. ",{"_key":18224,"_type":212,"marks":18225,"text":18226},"48d013fa81945",[1056],"Journal of African Cultural Studies ",{"_key":18228,"_type":212,"marks":18229,"text":18230},"48d013fa81946",[],"Volume 32, 2020 – Issue 4",[],{"_key":18233,"_type":208,"children":18234,"markDefs":18243,"style":221},"5c929f688e9e",[18235,18239],{"_key":18236,"_type":212,"marks":18237,"text":18238},"a5e9cbbe6fdc0",[],"Krivane, E. (2018) “Interview with Gabi Ngcobo” On-Curating. Available ",{"_key":18240,"_type":212,"marks":18241,"text":7962},"a5e9cbbe6fdc1",[18242],"4379335bb0c3",[18244],{"_key":18242,"_type":238,"href":18245},"https://www.on-curating.org/issue-41-reader/interview-with-gabi-ngcobo.html#.YAGlQpNKhXt",{"_key":18247,"_type":208,"children":18248,"markDefs":18257,"style":221},"f8b66d9f333b",[18249,18253],{"_key":18250,"_type":212,"marks":18251,"text":18252},"8fd70c00da7a0",[],"Leibbrandt, T.(2019) “Venice Biennale 2019: In conversation with curators Nkule Mabaso and Nomusa Makhubu” Artthrob. Available ",{"_key":18254,"_type":212,"marks":18255,"text":7962},"8fd70c00da7a1",[18256],"741decfe3c5b",[18258],{"_key":18256,"_type":238,"href":18259},"https://artthrob.co.za/2019/03/11/venice-biennale-2019-south-africa-pavilion-curatorial-statement/","2021-01-03",{"_type":9,"current":18262},"4-dialogic-processes-decolonial-pedagogic-practice-and-humanizing-history","4. Dialogic processes, decolonial pedagogic practice and humanizing history",{"_id":18265,"_type":271,"categories":18266,"credits":18270,"featuredImage":18294,"pageBuilder":18302,"publishedDate":18787,"seo":7,"slug":18788,"summary":18790,"title":18185},"16fc1216-14ca-4be3-a216-1dd98eeebfeb",[18267],{"_id":4974,"_type":281,"colorPrimary":18268,"seo":7,"slug":18269,"title":4979},{"label":283,"value":4976},{"_type":9,"current":4978},{"other":7,"profiles":18271},[18272],{"_id":16865,"_type":315,"activeYears":18273,"bio":18276,"bioShort":16878,"featuredImage":7,"filterables":18282,"links":18285,"locations":18288,"searchables":18292,"seo":7,"slug":18293,"title":16895},[18274],{"_id":119,"_type":94,"seo":7,"slug":18275,"title":122},{"_type":9,"current":121},[18277],{"_key":16871,"_type":208,"children":18278,"markDefs":18281,"style":221},[18279],{"_key":16874,"_type":212,"marks":18280,"text":16876},[],[],{"filterYear":18283},[18284],{"_id":119,"title":122},[18286,18287],{"_type":371,"label":5256,"url":16884},{"_type":371,"label":372,"url":16886},{"locations":18289,"other":7},[18290],{"_id":3458,"_type":378,"seo":7,"slug":18291,"title":3461},{"_type":9,"current":3460},[16892,121],{"_type":9,"current":16894},{"alt":18295,"asset":18296},"Dineo Seshee Bopape, sa___ke lerole, (sa lerole ke___), 2016 (installation view, Art in General, New York, 2016)",{"_id":18297,"height":18298,"orientation":400,"ratio":18299,"url":18300,"width":18301},"image-aa1334c9b88d02382fc7f35c504abf2eaf374c90-700x490-jpg",490,1.4285714285714286,"https://cdn.sanity.io/images/eodip22e/production/aa1334c9b88d02382fc7f35c504abf2eaf374c90-700x490.jpg",700,[18303,18306,18365,18374,18439,18462,18526,18569,18671],{"_type":406,"caption":7,"image":18304},{"alt":18295,"asset":18305},{"_id":18297,"height":18298,"orientation":400,"ratio":18299,"url":18300,"width":18301},{"_type":410,"settings":7,"text":18307},[18308,18327],{"_key":18309,"_type":208,"children":18310,"markDefs":18324,"style":221},"1cf3ef366abb",[18311,18315,18320],{"_key":18312,"_type":212,"marks":18313,"text":18314},"a1eff3f9eab10",[],"In an article about how climate change has already transformed everything about contemporary art, ",{"_key":18316,"_type":212,"marks":18317,"text":18319},"a1eff3f9eab11",[18318],"737b334878fb","William Smith",{"_key":18321,"_type":212,"marks":18322,"text":18323},"a1eff3f9eab12",[]," suggests that “framing the climate as a distinct concept for art, another notion to explore, creates an illusion of intellectual distance. But the reality of climate change isn’t a topic for some art to address; rather, it is a historical condition that informs all contemporary art.” Trying to put forward a critical methodology for grappling with this condition, he turns to “ecocriticism” which has gained currency in literary studies as an approach for addressing the implications of ecological upheaval.",[18325],{"_key":18318,"_type":238,"href":18326},"https://www.artnews.com/art-in-america/features/climate-change-contemporary-art-1202685626/",{"_key":18328,"_type":208,"children":18329,"markDefs":18360,"style":221},"19a78ffcb150",[18330,18334,18339,18343,18348,18352,18356],{"_key":18331,"_type":212,"marks":18332,"text":18333},"e7e5488e102c0",[],"In a similar spirit, I read ",{"_key":18335,"_type":212,"marks":18336,"text":18338},"e7e5488e102c1",[1056,18337],"88704682e275","Paying the Land (2020) by Joe Sacco",{"_key":18340,"_type":212,"marks":18341,"text":18342},"e7e5488e102c2",[]," together with ",{"_key":18344,"_type":212,"marks":18345,"text":18347},"e7e5488e102c3",[18346],"0247c3739a17","Nolan Dennis",{"_key":18349,"_type":212,"marks":18350,"text":18351},"e7e5488e102c4",[],", an interdisciplinary artist whose practice explores what he calls a ",{"_key":18353,"_type":212,"marks":18354,"text":18355},"e7e5488e102c5",[214,1056],"‘black consciousnesses of space’",{"_key":18357,"_type":212,"marks":18358,"text":18359},"e7e5488e102c6",[]," or, the material and metaphysical conditions of decolonization. Dennis’ work questions the politics of space and time through a system-specific, rather than site-specific approach, concerned with the hidden structures that pre-determine the limits of our social and political imagination. As such, I was keen to engage with him on this book, a graphic documentation of resource extraction, debt to the natural world and the displacement of the Dene, an indigenous group of First Nations who inhabit the northern boreal and Arctic regions of Canada.",[18361,18363],{"_key":18337,"_type":238,"href":18362},"https://us.macmillan.com/books/9781627799034",{"_key":18346,"_type":238,"href":18364},"https://www.goodman-gallery.com/artists/nolan-oswald-dennis",{"_type":406,"caption":7,"image":18366},{"alt":18367,"asset":18368},"Excerpt from Paying the Land (2020) Joe Sacco",{"_id":18369,"height":18370,"orientation":400,"ratio":18371,"url":18372,"width":18373},"image-9a8e87def2415c0d7134767fe2377e5d34433883-1609x1472-jpg",1472,1.093070652173913,"https://cdn.sanity.io/images/eodip22e/production/9a8e87def2415c0d7134767fe2377e5d34433883-1609x1472.jpg",1609,{"_type":410,"settings":7,"text":18375},[18376,18395,18427],{"_key":18377,"_type":208,"children":18378,"markDefs":18392,"style":221},"774d487b0a6d",[18379,18383,18388],{"_key":18380,"_type":212,"marks":18381,"text":18382},"913c0bbf61b70",[],"Reviewing the book, ",{"_key":18384,"_type":212,"marks":18385,"text":18387},"913c0bbf61b71",[18386],"6d665aca1238","Aida Edemariam",{"_key":18389,"_type":212,"marks":18390,"text":18391},"913c0bbf61b72",[]," summarizes:",[18393],{"_key":18386,"_type":238,"href":18394},"https://www.theguardian.com/books/2020/jul/02/paying-the-land-by-joe-sacco-review-",{"_key":18396,"_type":208,"children":18397,"markDefs":18426,"style":221},"9f879fa5e261",[18398,18402,18406,18410,18414,18418,18422],{"_key":18399,"_type":212,"marks":18400,"text":18401},"512884d6792a0",[],"“The question that drives ",{"_key":18403,"_type":212,"marks":18404,"text":18405},"512884d6792a1",[1056],"Paying the Land",{"_key":18407,"_type":212,"marks":18408,"text":18409},"512884d6792a2",[]," is: what do you do? ",{"_key":18411,"_type":212,"marks":18412,"text":18413},"512884d6792a3",[1056],"How do you break the dependencies",{"_key":18415,"_type":212,"marks":18416,"text":18417},"512884d6792a4",[]," – on oil and natural gas (the ninth largest reserves in the world), on alcohol, on welfare, on an external definition of who you are? Straight compensation and apology is a minimum, and a truth and reconciliation process admitted cultural genocide in 2015, but an influx of cash can be a death sentence to a serious alcoholic. And how do you deal with inevitable change? Nostalgia is no answer; “People have to eat. They need roads and schools,” as one chief, who would dearly like to return his people to subsistence on the land, eventually has to admit. ",{"_key":18419,"_type":212,"marks":18420,"text":18421},"512884d6792a5",[214,1056],"The eternal question about climate change and “progress”",{"_key":18423,"_type":212,"marks":18424,"text":18425},"512884d6792a6",[]," applies here too – what is the moral position of denying people things you have already enjoyed yourself, in order to fix the damage that was no fault of theirs? Again and again Sacco finds that “it’s more complicated than that”.",[],{"_key":18428,"_type":208,"children":18429,"markDefs":18438,"style":221},"f705e7254ab4",[18430,18434],{"_key":18431,"_type":212,"marks":18432,"text":18433},"249f825352040",[],"Well, Dennis complicated it even more by making an interesting observation that throughout the book, “land is very rarely spoken about, the conversation is mostly about people”. The image put forward is that the land is inseparable from the people, always something mediated, being acted upon (even if it does act on too). But the land is something that is very rarely encountered as something ",{"_key":18435,"_type":212,"marks":18436,"text":18437},"249f825352041",[214,1056],"independent from all this human drama.",[],{"_type":406,"caption":18440,"image":18457},[18441],{"_key":18442,"_type":208,"children":18443,"markDefs":18456,"style":221},"73e5e19e0541",[18444,18448,18452],{"_key":18445,"_type":212,"marks":18446,"text":18447},"e2f317e10b000",[],"Excerpt from ",{"_key":18449,"_type":212,"marks":18450,"text":18451},"e2f317e10b001",[1056],"Paying the Land (2020)",{"_key":18453,"_type":212,"marks":18454,"text":18455},"e2f317e10b002",[]," Joe Sacco",[],{"alt":18367,"asset":18458},{"_id":18459,"height":18081,"orientation":400,"ratio":18460,"url":18461,"width":5575},"image-ddd5b1ff44d8311889e696cfa1836a7f475412a8-1668x1068-jpg",1.5617977528089888,"https://cdn.sanity.io/images/eodip22e/production/ddd5b1ff44d8311889e696cfa1836a7f475412a8-1668x1068.jpg",{"_type":410,"settings":7,"text":18463},[18464,18480,18499],{"_key":18465,"_type":208,"children":18466,"markDefs":18479,"style":221},"7bc72c2edf98",[18467,18471,18475],{"_key":18468,"_type":212,"marks":18469,"text":18470},"6eac6368f4150",[],"Dennis has an interesting interest in ",{"_key":18472,"_type":212,"marks":18473,"text":18474},"6eac6368f4151",[214,1056],"the strange and estranged historical condition of ‘the land’",{"_key":18476,"_type":212,"marks":18477,"text":18478},"6eac6368f4152",[]," as a relation that is both imagined and produced, often through alienation from it. “Every time we talk about the land, we talk about it in some kind of productive sense, with an expectation of a value informing the imagined relation, whether that is in agriculture, accommodation, mining.” I was interested in what this dynamic means in terms of treating the land as a resource, after all, whether it be land or sky, wind or water, the same concerns apply to all earth-systems. Relations to those systems are defined by claims to stewardship, ownership and use. I am curious about what informs those claims, in a material sense, recognizing the importance of this to understanding human relations to earth-systems.",[],{"_key":18481,"_type":208,"children":18482,"markDefs":18496,"style":221},"0d335262c6a3",[18483,18487,18492],{"_key":18484,"_type":212,"marks":18485,"text":18486},"bd3ab932ec540",[],"Dennis then cited an anecdote about how during the Meiji industrialisation period in Japan, the environment was worshipped by some as having both personhood and personality, and use of it was conceived os a spiritual practice. This is investigated in a short film ",{"_key":18488,"_type":212,"marks":18489,"text":18491},"bd3ab932ec541",[18490],"5c67f6d2080d","Project Lin Daiyu (2017) by Angela Chen",{"_key":18493,"_type":212,"marks":18494,"text":18495},"bd3ab932ec542",[]," (2017) which raises questions about the nature of matter, meaning, and life, all the while interrogates the politics of knowledge production. Bringing together researchers in various fields (visual art, literary criticism, bioengineer, astrophysics), the film asks some interesting questions: “How exactly can matter connote or have meaning? Does if it need to go beyond culture? Does matter influence human consciousness? Does matter itself have its own consciousness?”",[18497],{"_key":18490,"_type":238,"href":18498},"https://vimeo.com/197193743",{"_key":18500,"_type":208,"children":18501,"markDefs":18525,"style":221},"0d9bbaa0dd7f",[18502,18505,18509,18513,18517,18521],{"_key":18503,"_type":212,"marks":18504,"text":18405},"70d58bc237280",[1056],{"_key":18506,"_type":212,"marks":18507,"text":18508},"70d58bc237281",[]," focuses on oil being extracted from the land in Northern Canada but in ",{"_key":18510,"_type":212,"marks":18511,"text":18512},"70d58bc237282",[1056],"Project Lin Daiyu",{"_key":18514,"_type":212,"marks":18515,"text":18516},"70d58bc237283",[],", coal is the matter in question. One researcher refers to literary critic Hanada Kiyoteru’s philosophy of “mineralism” which called for ",{"_key":18518,"_type":212,"marks":18519,"text":18520},"70d58bc237284",[214,1056],"the rejection of human-centered world views",{"_key":18522,"_type":212,"marks":18523,"text":18524},"70d58bc237285",[]," via the elevation of minerals to the top of the hierarchy of matter, since they too have consciousness.",[],{"_type":5118,"slides":18527},[18528,18543,18556],{"_type":406,"caption":18529,"image":18538},[18530],{"_key":18531,"_type":208,"children":18532,"markDefs":18537,"style":221},"ef747149a2da",[18533],{"_key":18534,"_type":212,"marks":18535,"text":18536},"57efaa3b6f450",[],"Stills from Project Lin Daiyu (2017) by Angela Chen",[],{"alt":18536,"asset":18539},{"_id":18540,"height":18541,"orientation":400,"ratio":14897,"url":18542,"width":3529},"image-150f46aa457cf531d4a9e5242684f3308313182a-2048x1152-png",1152,"https://cdn.sanity.io/images/eodip22e/production/150f46aa457cf531d4a9e5242684f3308313182a-2048x1152.png",{"_type":406,"caption":18544,"image":18552},[18545],{"_key":18546,"_type":208,"children":18547,"markDefs":18551,"style":221},"f9fb2edc57a6",[18548],{"_key":18549,"_type":212,"marks":18550,"text":18536},"97a2a759e8860",[],[],{"alt":18536,"asset":18553},{"_id":18554,"height":18541,"orientation":400,"ratio":14897,"url":18555,"width":3529},"image-6677b219cffc0e7e348943e95e5a1546089d9d46-2048x1152-png","https://cdn.sanity.io/images/eodip22e/production/6677b219cffc0e7e348943e95e5a1546089d9d46-2048x1152.png",{"_type":406,"caption":18557,"image":18565},[18558],{"_key":18559,"_type":208,"children":18560,"markDefs":18564,"style":221},"e7a721933f14",[18561],{"_key":18562,"_type":212,"marks":18563,"text":18536},"9f1d9d8597040",[],[],{"alt":18536,"asset":18566},{"_id":18567,"height":18541,"orientation":400,"ratio":14897,"url":18568,"width":3529},"image-022b2d24ceeecbc4cc00a71fdca232e6a00574de-2048x1152-png","https://cdn.sanity.io/images/eodip22e/production/022b2d24ceeecbc4cc00a71fdca232e6a00574de-2048x1152.png",{"_type":410,"settings":7,"text":18570},[18571,18600,18627,18655],{"_key":18572,"_type":208,"children":18573,"markDefs":18587,"style":221},"9b27db53fecb",[18574,18578,18583],{"_key":18575,"_type":212,"marks":18576,"text":18577},"77fae7784d000",[],"Later, I kept thinking about “the eternal question about climate change and “progress”, cogitating about what my own eternal questions are. ",{"_key":18579,"_type":212,"marks":18580,"text":18582},"1a880fda2e02",[18581],"dd74fbae76a3","In the murky space between climate and climate change",{"_key":18584,"_type":212,"marks":18585,"text":18586},"f9c0662cb432",[],", is there a material consciousness? And if climate change is the ground on which all cultural activities occur, is it not necessary to ask the same questions about climate as Dennis posed in relation to land: how do we construct or imagine our relations with climate? How do we talk about those relations? How do we present them, in art and otherwise?",[18588],{"_key":18581,"_type":5630,"allFootnotes":18589,"footnoteText":18591,"markKey":18581},[18590],{"_key":18581},[18592],{"_key":18593,"_type":208,"children":18594,"markDefs":18599,"style":221},"0e11eca97c35",[18595],{"_key":18596,"_type":212,"marks":18597,"text":18598},"4ca4f4c078c5",[],"Climate is the average weather in a given area over a longer period of time, climate change is any systematic change in the long-term statistics of climate variables such as temperature, precipitation, pressure, or wind sustained over several decades or longer. This can be due to natural external forcings (changes in solar emission or changes in the earth’s orbit, natural internal processes of the climate system) or it can be human induced. The classical perio",[],{"_key":18601,"_type":208,"children":18602,"markDefs":18624,"style":221},"a89bc34c73d0",[18603,18607,18612,18616,18620],{"_key":18604,"_type":212,"marks":18605,"text":18606},"9d013053431d0",[],"Here, ",{"_key":18608,"_type":212,"marks":18609,"text":18611},"9d013053431d1",[18610],"f145dec6ac2d","Donna Haraway",{"_key":18613,"_type":212,"marks":18614,"text":18615},"9d013053431d2",[]," and Gilles Deleuze’s use of the concept of ‘fabulation’ offers a useful for tool for thinking about the material messiness of climate consciousness. Haraway’s approach, which she calls ‘speculative fabulation’, is directly concerned with both geohistory and peoples-to-come, a speculative device aiming to shape new ways of ‘worlding’ brought forth by the radical shift imposed by the climate regime: because we need new worldings, new accounts of what we are making to and with the earth, we need speculative fabulation as “multispecies storytelling, multispecies worlding”. Her approach is resolutely materialist, ",{"_key":18617,"_type":212,"marks":18618,"text":18619},"9d013053431d3",[1056,214],"focused not on the earth or land or climate as ethereal or theoretical but as gritty matter",{"_key":18621,"_type":212,"marks":18622,"text":18623},"9d013053431d4",[],", not behold to any conceptual binds.",[18625],{"_key":18610,"_type":238,"href":18626},"http://bettinafuncke.com/100Notes/033_A5_Haraway.pdf",{"_key":18628,"_type":208,"children":18629,"markDefs":18654,"style":221},"30d0ced6e3f1",[18630,18634,18638,18642,18646,18650],{"_key":18631,"_type":212,"marks":18632,"text":18633},"5b5f05a4d34a0",[],"Deleuze on the other hand claims a more political, philosophical approach to fabulation. Janae Sholtz described Deleuzian fabulation as ",{"_key":18635,"_type":212,"marks":18636,"text":18637},"5b5f05a4d34a1",[214,1056],"inventions d’inconnu",{"_key":18639,"_type":212,"marks":18640,"text":18641},"5b5f05a4d34a2",[214],", inventions of the unknown",{"_key":18643,"_type":212,"marks":18644,"text":18645},"5b5f05a4d34a3",[],": where knowledge of the unknown is not ‘discovered’ but that it can only be invented in a kind of fabulation regime, “not predicated on a return to origins or a concept of truth.” Aline Wiame explains that for Deleuze, fabulation does not occur as the myth of a past people, it refuses both fatalism and escapism and “it makes potentialities appear and gives strength to the potentialities it develops.” She continues to show that for Deleuze, “the notion of fabulation gains the leverage of a concept that brings together art and philosophy and impacts the conceptual coordinates of the earth and its peoples”. Or put differently, understanding relations to land and earth systems, “mineralism”, climate consciousness or even the fabulations or art and climate requires a philosophical understanding that ",{"_key":18647,"_type":212,"marks":18648,"text":18649},"5b5f05a4d34a4",[1056,214],"“the new earth to be fabulated is an earth for and of thought",{"_key":18651,"_type":212,"marks":18652,"text":18653},"5b5f05a4d34a5",[],".” To lean on Haraway’s words: it matters what matters we use to think other matters with; what stories we tell to tell other stories with; what thoughts think thoughts, what descriptions describe descriptions, what stories make worlds, what worlds make stories.",[],{"_key":18656,"_type":208,"children":18657,"markDefs":18670,"style":221},"117c0001d493",[18658,18662,18666],{"_key":18659,"_type":212,"marks":18660,"text":18661},"11964fc9e126",[],"Read the final text ",{"_key":18663,"_type":212,"marks":18664,"text":18665},"d7aaef9ab35b0",[1056],"6. Towards climate consciousness: a compendium, ",{"_key":18667,"_type":212,"marks":18668,"text":18669},"521fa91d784a",[],"below.",[],{"_type":410,"settings":7,"text":18672},[18673,18681,18695,18710,18726,18742,18750,18758,18771],{"_key":18674,"_type":208,"children":18675,"markDefs":18680,"style":221},"d3f502456544",[18676],{"_key":18677,"_type":212,"marks":18678,"text":18679},"ec66557ce5a50",[214],"References",[],{"_key":18682,"_type":208,"children":18683,"markDefs":18693,"style":221},"ad23e8f78339",[18684,18688],{"_key":18685,"_type":212,"marks":18686,"text":18687},"c906910957cd0",[],"Cahill, D. (2009) “The Work of Abe Kobo in the 1960s The Struggle for Identity in Modernity; Japan, the West, and Beyond.” Available at: ",{"_key":18689,"_type":212,"marks":18690,"text":18692},"c906910957cd1",[18691],"0b9e0c7d9e6b","https://core.ac.uk/download/pdf/151527344.pdf",[18694],{"_key":18691,"_type":238,"href":18692},{"_key":18696,"_type":208,"children":18697,"markDefs":18709,"style":221},"cf0b122529db",[18698,18702,18705],{"_key":18699,"_type":212,"marks":18700,"text":18701},"5e1dbc9c58ab0",[],"Deleuze, G. and Guattari, F. (1987) ",{"_key":18703,"_type":212,"marks":18704,"text":1073},"5e1dbc9c58ab1",[1056],{"_key":18706,"_type":212,"marks":18707,"text":18708},"5e1dbc9c58ab2",[],", trans. Brian Massumi, Minneapolis: University of Minnesota Press",[],{"_key":18711,"_type":208,"children":18712,"markDefs":18725,"style":221},"7be90cb21651",[18713,18717,18721],{"_key":18714,"_type":212,"marks":18715,"text":18716},"1b1fa511e53d0",[],"Deleuze, G. (1997) ",{"_key":18718,"_type":212,"marks":18719,"text":18720},"1b1fa511e53d1",[1056],"Essays Critical and Clinical",{"_key":18722,"_type":212,"marks":18723,"text":18724},"1b1fa511e53d2",[],", trans. Daniel W. Smith and Michael A. Greco, Minneapolis: University of Minnesota Press",[],{"_key":18727,"_type":208,"children":18728,"markDefs":18741,"style":221},"c9adbfa633a1",[18729,18733,18737],{"_key":18730,"_type":212,"marks":18731,"text":18732},"c618aecb4ebc0",[],"Haraway, D. (2011) ",{"_key":18734,"_type":212,"marks":18735,"text":18736},"c618aecb4ebc1",[1056],"SF: Speculative Fabulation and String Figures",{"_key":18738,"_type":212,"marks":18739,"text":18740},"c618aecb4ebc2",[],", Kassel: Hatje Cantz Verlag.",[],{"_key":18743,"_type":208,"children":18744,"markDefs":18749,"style":221},"294980db2156",[18745],{"_key":18746,"_type":212,"marks":18747,"text":18748},"05f39f766dbe0",[],"Haraway, D. (2016) Staying with the Trouble: Making Kin in the Chthulucene. Durham: Duke University Press.",[],{"_key":18751,"_type":208,"children":18752,"markDefs":18757,"style":221},"82fcabd9934e",[18753],{"_key":18754,"_type":212,"marks":18755,"text":18756},"35f4e5b13c8f0",[],"Sholtz, J. (2015) The Invention of a People: Heidegger and Deleuze on Art and the Political, Edinburgh: Edinburgh University Press.",[],{"_key":18759,"_type":208,"children":18760,"markDefs":18769,"style":221},"2dbf744831f3",[18761,18765],{"_key":18762,"_type":212,"marks":18763,"text":18764},"0f8e14ac63ab0",[],"Smith, W. (2020) “Climate Change has already transformed everything about contemporary art”. Afrt in America. Available at: ",{"_key":18766,"_type":212,"marks":18767,"text":18326},"0f8e14ac63ab1",[18768],"afedbb129fb1",[18770],{"_key":18768,"_type":238,"href":18326},{"_key":18772,"_type":208,"children":18773,"markDefs":18786,"style":221},"e1211c545078",[18774,18778,18782],{"_key":18775,"_type":212,"marks":18776,"text":18777},"fea2cede06b00",[],"Wiame, D. (2018) “Gilles Deleuze and Donna Haraway on Fabulating the Earth” ",{"_key":18779,"_type":212,"marks":18780,"text":18781},"fea2cede06b01",[1056],"Deleuze and Guattari Studies",{"_key":18783,"_type":212,"marks":18784,"text":18785},"fea2cede06b02",[],", Nov 2018",[],"2021-01-02",{"_type":9,"current":18789},"5-mineralizing-land-and-fabulating-climate","Conversation with Nolan Dennis, artist",{"_id":18792,"_type":271,"categories":18793,"credits":18800,"featuredImage":18824,"pageBuilder":18831,"publishedDate":19465,"seo":7,"slug":19466,"summary":19468,"title":19469},"04013234-4b5c-49be-9173-96e86f5733b1",[18794],{"_id":18795,"_type":281,"colorPrimary":18796,"seo":7,"slug":18797,"title":18799},"162df4ef-ce89-42e6-97c6-bed8d130c3ad",{"label":283,"value":5177},{"_type":9,"current":18798},"collation-as-crisis-management","Collation as Crisis Management",{"other":7,"profiles":18801},[18802],{"_id":16865,"_type":315,"activeYears":18803,"bio":18806,"bioShort":16878,"featuredImage":7,"filterables":18812,"links":18815,"locations":18818,"searchables":18822,"seo":7,"slug":18823,"title":16895},[18804],{"_id":119,"_type":94,"seo":7,"slug":18805,"title":122},{"_type":9,"current":121},[18807],{"_key":16871,"_type":208,"children":18808,"markDefs":18811,"style":221},[18809],{"_key":16874,"_type":212,"marks":18810,"text":16876},[],[],{"filterYear":18813},[18814],{"_id":119,"title":122},[18816,18817],{"_type":371,"label":5256,"url":16884},{"_type":371,"label":372,"url":16886},{"locations":18819,"other":7},[18820],{"_id":3458,"_type":378,"seo":7,"slug":18821,"title":3461},{"_type":9,"current":3460},[16892,121],{"_type":9,"current":16894},{"alt":18825,"asset":18826},"Emeka Ogboh, The Way Earthly Things are Going (2017) Multichannel sound installation",{"_id":18827,"height":18828,"orientation":400,"ratio":18829,"url":18830,"width":8404},"image-0fe326a94f114a0ed452366108a1767306487cac-1500x856-jpg",856,1.7523364485981308,"https://cdn.sanity.io/images/eodip22e/production/0fe326a94f114a0ed452366108a1767306487cac-1500x856.jpg",[18832,18855,18902,18991],{"_type":406,"caption":18833,"image":18853},[18834],{"_key":18835,"_type":208,"children":18836,"markDefs":18852,"style":221},"f073210308dc",[18837,18841,18845,18848],{"_key":18838,"_type":212,"marks":18839,"text":18840},"00a84a30e4fb0",[],"Emeka Ogboh, ",{"_key":18842,"_type":212,"marks":18843,"text":18844},"00a84a30e4fb1",[214,1056],"The Way Earthly Things are Going (2017)",{"_key":18846,"_type":212,"marks":18847,"text":7982},"00a84a30e4fb2",[],{"_key":18849,"_type":212,"marks":18850,"text":18851},"00a84a30e4fb3",[214],"Multichannel sound installation",[],{"alt":18825,"asset":18854},{"_id":18827,"height":18828,"orientation":400,"ratio":18829,"url":18830,"width":8404},{"_type":410,"settings":7,"text":18856},[18857,18894],{"_key":18858,"_type":208,"children":18859,"markDefs":18889,"style":221},"212908dec4a1",[18860,18864,18869,18872,18876,18880,18885],{"_key":18861,"_type":212,"marks":18862,"text":18863},"de8890351ceb0",[],"Not all conversations are captured in these texts, and only a small fraction of the content. I also chanced upon loads of sources and works, resources and references that do not directly relate to either climate or visual arts but expanded my understanding of both. Like for instance this audio installation by Nigerian sound and installation artist ",{"_key":18865,"_type":212,"marks":18866,"text":18868},"de8890351ceb1",[18867],"5d40a2e2eec9","Emeka Ogbo",{"_key":18870,"_type":212,"marks":18871,"text":14511},"de8890351ceb2",[],{"_key":18873,"_type":212,"marks":18874,"text":18875},"de8890351ceb3",[1056],"The Way Earthy Things Are Going",{"_key":18877,"_type":212,"marks":18878,"text":18879},"de8890351ceb4",[]," (2017). Bonaventure ",{"_key":18881,"_type":212,"marks":18882,"text":18884},"de8890351ceb5",[18883],"ee1ab4979ff8","Soh Bejeng Ndikung",{"_key":18886,"_type":212,"marks":18887,"text":18888},"de8890351ceb6",[]," explains that Ogboh explores “how private, public, and collective memories and historiographies are translated, transformed, transcribed” and in this work “deliberates sonically on the multiple effects and manifestations of states of crisis.”",[18890,18892],{"_key":18867,"_type":238,"href":18891},"http://emekaogboh.art/",{"_key":18883,"_type":238,"href":18893},"https://www.documenta14.de/en/artists/11086/emeka-ogboh",{"_key":18895,"_type":208,"children":18896,"markDefs":18901,"style":221},"0323e11d09ef",[18897],{"_key":18898,"_type":212,"marks":18899,"text":18900},"5f2493d0af330",[],"In a sense, this project had similar goals: translating, transforming and transcribing multiple approaches for addressing a pervasive state of (climate) crisis, one that is often abstract, distant, and complex, while at the same time is contributes to growing feelings of sadness, hopelessness, and anxiety. This is far from an exhaustive list, but provides a starting guide for involvement in, with, and through art for meaning-making, new narratives and images, and metaphors for climate change.",[],{"_type":410,"settings":18903,"text":18904},{"textColumnCount":412},[18905,18913,18927,18942,18957],{"_key":18906,"_type":208,"children":18907,"markDefs":18912,"style":221},"a6f501db4f2f",[18908],{"_key":18909,"_type":212,"marks":18910,"text":18911},"d29174c1e4f2",[214],"Glossaries",[],{"_key":18914,"_type":208,"children":18915,"markDefs":18925,"style":221},"709947b879d8",[18916,18921],{"_key":18917,"_type":212,"marks":18918,"text":18920},"2c19c6b6dfe2",[214,18919],"cff14c2737a8","Charismatic Facts:",{"_key":18922,"_type":212,"marks":18923,"text":18924},"ff9c53d47e72",[]," a conceptual framework, an open possibility for asking what language can accomplish, how can climate facts be honed and taken up for immediate use.",[18926],{"_key":18919,"_type":238,"href":17039},{"_key":18928,"_type":208,"children":18929,"markDefs":18939,"style":221},"1484731c4394",[18930,18935],{"_key":18931,"_type":212,"marks":18932,"text":18934},"905cfc66df87",[214,18933],"c5782351627f","The Anthropocene Atlas of Geneva Glossary:",{"_key":18936,"_type":212,"marks":18937,"text":18938},"20ca601e3993",[]," offers entries and pathways for feeling, thinking about, and critically reflecting on socially caused planetary change. 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The work provides a visual reference of future sea level rise.",[19445],{"_key":19428,"_type":238,"href":19446},"http://niittyvirta.com/lines-57-59-n-7-16w/",{"_key":19448,"_type":208,"children":19449,"markDefs":19462,"style":221},"be91fc6a4e1c",[19450,19455,19458],{"_key":19451,"_type":212,"marks":19452,"text":19454},"15242b148e3b0",[19453,214],"d84133c9220e","Ai WeiWei",{"_key":19456,"_type":212,"marks":19457,"text":14752},"15242b148e3b1",[19453],{"_key":19459,"_type":212,"marks":19460,"text":19461},"15242b148e3b2",[]," Roots (2019): sculptural works in iron, cast from giant tree roots sourced in Brazil",[19463],{"_key":19453,"_type":238,"href":19464},"https://www.lissongallery.com/exhibitions/ai-weiwei-roots","2021-01-01",{"_type":9,"current":19467},"6-towards-climate-consciousness-a-compendium","This project was an extended conversation about climate and art, and in the process a wealth of insights and information was exchanged with the editors, curators and artists I spoke with. ","6. Towards climate consciousness: a compendium",{"_id":19471,"_type":271,"categories":19472,"credits":19487,"featuredImage":19529,"pageBuilder":19537,"publishedDate":19465,"seo":7,"slug":19635,"summary":19637,"title":19638},"7eefde74-4b11-42f4-b266-0baa2c3af590",[19473,19480],{"_id":19474,"_type":281,"colorPrimary":19475,"seo":7,"slug":19477,"title":19479},"fce01e25-1f56-453e-b122-62161529380a",{"label":283,"value":19476},"#8c8cff",{"_type":9,"current":19478},"hyperreal-citation","Hyperreal citation",{"_id":19481,"_type":281,"colorPrimary":19482,"seo":7,"slug":19484,"title":19486},"1940baa6-46af-4999-86f4-9abe7ce45b9d",{"label":283,"value":19483},"#dcdc00",{"_type":9,"current":19485},"spatial-forensics","Spatial Forensics",{"other":7,"profiles":19488},[19489],{"_id":19490,"_type":315,"activeYears":19491,"bio":19494,"bioShort":19503,"featuredImage":7,"filterables":19504,"links":19507,"locations":19510,"searchables":19524,"seo":7,"slug":19526,"title":19528},"168c00c1-fafe-4476-b866-bdd554895ba3",[19492],{"_id":119,"_type":94,"seo":7,"slug":19493,"title":122},{"_type":9,"current":121},[19495],{"_key":19496,"_type":208,"children":19497,"markDefs":19502,"style":221},"bae3cab1a043",[19498],{"_key":19499,"_type":212,"marks":19500,"text":19501},"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":19505},[19506],{"_id":119,"title":122},[19508],{"_type":371,"label":5256,"url":19509},"https://lilatnsd.hotglue.me/",{"locations":19511,"other":19516},[19512,19514],{"_id":3458,"_type":378,"seo":7,"slug":19513,"title":3461},{"_type":9,"current":3460},{"_id":10380,"_type":378,"seo":7,"slug":19515,"title":10383},{"_type":9,"current":10382},[19517],{"_key":19518,"_type":208,"children":19519,"markDefs":19523,"style":221},"821284ba12b8",[19520],{"_key":19521,"_type":212,"marks":19522,"text":13151},"958b66523f9f0",[],[],[19525,121]," lila athanasiadou",{"_type":9,"current":19527},"lila-athanasiadou"," Lila Athanasiadou",{"alt":19530,"asset":19531},"Image credits: “Radio Factory-women in Labor,” Union to Disunion, projects.leadr.msu.edu/uniontodisuni…tems/show/111.",{"_id":19532,"height":19533,"orientation":358,"ratio":19534,"url":19535,"width":19536},"image-bd4de2693a1f654c6a3d720600a214038fc60296-676x680-png",680,0.9941176470588236,"https://cdn.sanity.io/images/eodip22e/production/bd4de2693a1f654c6a3d720600a214038fc60296-676x680.png",676,[19538,19548,19569],{"_type":410,"settings":7,"text":19539},[19540],{"_key":19541,"_type":208,"children":19542,"markDefs":19547,"style":221},"e0d101613059",[19543],{"_key":19544,"_type":212,"marks":19545,"text":19546},"c0225ff9e4b20",[214],"While work conditions have changed radically in the past century, from the spaces where labour takes place to the technical apparatuses employed to increase productivity; the premises of work have remained the same. Automation, repetition and standardization are only byproducts of the urge to make tasks, spaces and workflows efficient and ourselves more productive. Not only our work but our social life, relationships and ways we understand and value the world have been affected by the insidious effects of scientific management. With parts of our lives being templated and subsumed into labour, how are our notions of value, our interpersonal relationships, our bodies and our collective forms of consciousness being affected? The first chapter of this series explores the beginnings of the science of work, its intersection with a crisis of energy as evidenced by 19th century bodily, psychic and environmental exhaustion as well as the role that music played in the UK during WWI.",[],{"_type":6108,"caption":19549,"embedCode":19568},[19550],{"_key":19551,"_type":208,"children":19552,"markDefs":19565,"style":221},"bb6e8eb7d053",[19553,19557,19562],{"_key":19554,"_type":212,"marks":19555,"text":19556},"2b122dc400270",[],"Image credits: “Radio Factory-women in Labor,” Union to Disunion, ",{"_key":19558,"_type":212,"marks":19559,"text":19561},"2b122dc400271",[19560],"56f109d0893e","projects.leadr.msu.edu/uniontodisuni…tems/show/111",{"_key":19563,"_type":212,"marks":19564,"text":1995},"2b122dc400272",[],[19566],{"_key":19560,"_type":238,"href":19567},"https://gate.sc/?url=http%3A%2F%2Fprojects.leadr.msu.edu%2Funiontodisunion%2Fitems%2Fshow%2F111&token=9a6bf3-1-1611007686145","\u003Ciframe width=\"100%\" height=\"300\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/927581206&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/lila-athanasiadou\" title=\"Lila Athanasiadou\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\">Lila Athanasiadou\u003C/a> · \u003Ca href=\"https://soundcloud.com/lila-athanasiadou/chapter-1\" title=\"Introduction\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\">Introduction\u003C/a>\u003C/div>",{"_type":410,"settings":7,"text":19570},[19571,19578,19593,19612,19627],{"_key":19572,"_type":208,"children":19573,"markDefs":19577,"style":221},"fc0e00577f35",[19574],{"_key":19575,"_type":212,"marks":19576,"text":17140},"b7aaff9e802c0",[214],[],{"_key":19579,"_type":208,"children":19580,"markDefs":19590,"style":221},"1f779af6c299",[19581,19585],{"_key":19582,"_type":212,"marks":19583,"text":19584},"f38476a1b7050",[],"00’31” ",{"_key":19586,"_type":212,"marks":19587,"text":19589},"f38476a1b7051",[19588],"082b62ad78e6","Mozart – Sonata for Two Pianos in D, K. 448",[19591],{"_key":19588,"_type":238,"href":19592},"https://youtu.be/tT9gT5bqi6Y",{"_key":19594,"_type":208,"children":19595,"markDefs":19609,"style":221},"9206f07d9863",[19596,19600,19605],{"_key":19597,"_type":212,"marks":19598,"text":19599},"58ca75debc3d0",[],"03’20” ",{"_key":19601,"_type":212,"marks":19602,"text":19604},"58ca75debc3d1",[19603],"3e404581e3a2","An Interview with Brian Reynolds for the BBC by Russell Davies",{"_key":19606,"_type":212,"marks":19607,"text":19608},"58ca75debc3d2",[],", Music While you work, BBC",[19610],{"_key":19603,"_type":238,"href":19611},"http://www.mastersofmelody.co.uk/mwyw_interview.mp3",{"_key":19613,"_type":208,"children":19614,"markDefs":19624,"style":221},"59000b46fb05",[19615,19619],{"_key":19616,"_type":212,"marks":19617,"text":19618},"1937d3884b810",[],"06’47” ",{"_key":19620,"_type":212,"marks":19621,"text":19623},"1937d3884b811",[19622],"e9c8bce59ce2","Harry Belafonte, “Banana Boat Song (Day O)”",[19625],{"_key":19622,"_type":238,"href":19626},"https://youtu.be/PMigXnXMhQ4",{"_key":19628,"_type":208,"children":19629,"markDefs":19634,"style":221},"2a7267c9b224",[19630],{"_key":19631,"_type":212,"marks":19632,"text":19633},"ae4e01c1d3ab0",[],"To listen to the NEXT chapter click >>2. Out of Office\u003C\u003C below",[],{"_type":9,"current":19636},"1-introduction","Work, we love to hate it as we pay tribute to, sing about, reflect on and whine about it. ","1. Introduction",{"_id":19640,"_type":271,"categories":19641,"credits":19648,"featuredImage":19679,"pageBuilder":19687,"publishedDate":19881,"seo":7,"slug":19882,"summary":19884,"title":19885},"217d7d4a-97fa-48c6-97cf-37418bcdde09",[19642,19645],{"_id":19474,"_type":281,"colorPrimary":19643,"seo":7,"slug":19644,"title":19479},{"label":283,"value":19476},{"_type":9,"current":19478},{"_id":19481,"_type":281,"colorPrimary":19646,"seo":7,"slug":19647,"title":19486},{"label":283,"value":19483},{"_type":9,"current":19485},{"other":7,"profiles":19649},[19650],{"_id":19490,"_type":315,"activeYears":19651,"bio":19654,"bioShort":19503,"featuredImage":7,"filterables":19660,"links":19663,"locations":19665,"searchables":19677,"seo":7,"slug":19678,"title":19528},[19652],{"_id":119,"_type":94,"seo":7,"slug":19653,"title":122},{"_type":9,"current":121},[19655],{"_key":19496,"_type":208,"children":19656,"markDefs":19659,"style":221},[19657],{"_key":19499,"_type":212,"marks":19658,"text":19501},[],[],{"filterYear":19661},[19662],{"_id":119,"title":122},[19664],{"_type":371,"label":5256,"url":19509},{"locations":19666,"other":19671},[19667,19669],{"_id":3458,"_type":378,"seo":7,"slug":19668,"title":3461},{"_type":9,"current":3460},{"_id":10380,"_type":378,"seo":7,"slug":19670,"title":10383},{"_type":9,"current":10382},[19672],{"_key":19518,"_type":208,"children":19673,"markDefs":19676,"style":221},[19674],{"_key":19521,"_type":212,"marks":19675,"text":13151},[],[],[19525,121],{"_type":9,"current":19527},{"alt":19680,"asset":19681},"Image credit: Douglas C. McMurtrie, Reconstructing the Crippled Soldier p.6",{"_id":19682,"height":19683,"orientation":358,"ratio":19684,"url":19685,"width":19686},"image-1f9d9fd118b1c1fa636b98638336a861019df4da-668x672-png",672,0.9940476190476191,"https://cdn.sanity.io/images/eodip22e/production/1f9d9fd118b1c1fa636b98638336a861019df4da-668x672.png",668,[19688,19698,19708,19863],{"_type":410,"settings":7,"text":19689},[19690],{"_key":19691,"_type":208,"children":19692,"markDefs":19697,"style":221},"f538636146f2",[19693],{"_key":19694,"_type":212,"marks":19695,"text":19696},"1bab3fa5f25c0",[214],"This chapter explores the spaces of labour, the birth of ergonomics and its intersection with both the military and the prison industrial complex. From medieval bloodletting rituals, to transhuman war veterans, from time saving devices to factory panopticons, from architectural standards to a modernist lifestyle design, this chapter traces the slow transformation of architecture into the spatial organization of exhaustion.",[],{"_type":6108,"caption":19699,"embedCode":19707},[19700],{"_key":19701,"_type":208,"children":19702,"markDefs":19706,"style":221},"25f38f7ffd67",[19703],{"_key":19704,"_type":212,"marks":19705,"text":19680},"3c33802b717e0",[],[],"\u003Ciframe width=\"100%\" height=\"300\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/928823590&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/lila-athanasiadou\" title=\"Lila Athanasiadou\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\">Lila Athanasiadou\u003C/a> · \u003Ca href=\"https://soundcloud.com/lila-athanasiadou/out-of-office\" title=\"Out of Office\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\">Out of Office\u003C/a>\u003C/div>",{"_type":410,"settings":7,"text":19709},[19710,19717,19732,19740,19756,19771,19786,19802,19817,19832,19840,19848],{"_key":19711,"_type":208,"children":19712,"markDefs":19716,"style":221},"ca3d758afaee",[19713],{"_key":19714,"_type":212,"marks":19715,"text":17140},"a42d8eb995b50",[214],[],{"_key":19718,"_type":208,"children":19719,"markDefs":19729,"style":221},"5ac859983336",[19720,19724],{"_key":19721,"_type":212,"marks":19722,"text":19723},"47a3f9fbe7cd0",[],"00’15” ",{"_key":19725,"_type":212,"marks":19726,"text":19728},"47a3f9fbe7cd1",[19727],"85cfe58ca87d","Harry Belafonte “Go Down Emanuel Road”",[19730],{"_key":19727,"_type":238,"href":19731},"https://youtu.be/CSxL-oWQ2e4",{"_key":19733,"_type":208,"children":19734,"markDefs":19739,"style":221},"efca57e14672",[19735],{"_key":19736,"_type":212,"marks":19737,"text":19738},"040c772206310",[],"02’10” Jehan Brassart “Gratulemur Christicole”",[],{"_key":19741,"_type":208,"children":19742,"markDefs":19755,"style":221},"a47dac18c87f",[19743,19747,19751],{"_key":19744,"_type":212,"marks":19745,"text":19746},"ce0f3c5d6a3e0",[],"03’03” Marsilio Ficino, “On caring for the health of men of letters”, ",{"_key":19748,"_type":212,"marks":19749,"text":19750},"ce0f3c5d6a3e1",[1056],"The Book of Life",{"_key":19752,"_type":212,"marks":19753,"text":19754},"ce0f3c5d6a3e2",[],", translated by Charles Boer p. 27-30",[],{"_key":19757,"_type":208,"children":19758,"markDefs":19768,"style":221},"f66d7d28ec31",[19759,19763],{"_key":19760,"_type":212,"marks":19761,"text":19762},"5b4e043b943e0",[],"06’02” ",{"_key":19764,"_type":212,"marks":19765,"text":19767},"5b4e043b943e1",[19766],"eaf8f7f93c03","Practical Demonstrations of Ergonomic Principles",[19769],{"_key":19766,"_type":238,"href":19770},"https://youtu.be/ENSb6BsM_q8",{"_key":19772,"_type":208,"children":19773,"markDefs":19783,"style":221},"19db2d3cc15b",[19774,19778],{"_key":19775,"_type":212,"marks":19776,"text":19777},"1a09a70556fa0",[],"07’40” ",{"_key":19779,"_type":212,"marks":19780,"text":19782},"1a09a70556fa1",[19781],"bf3fe007a17a","Kraftwerk “The Man Machine”",[19784],{"_key":19781,"_type":238,"href":19785},"https://youtu.be/cQe9eK_4U0U",{"_key":19787,"_type":208,"children":19788,"markDefs":19801,"style":221},"feb463001314",[19789,19793,19797],{"_key":19790,"_type":212,"marks":19791,"text":19792},"1c61b13d67970",[],"07’58” Douglas C. McMurtrie, ",{"_key":19794,"_type":212,"marks":19795,"text":19796},"1c61b13d67971",[1056],"Reconstructing the Crippled Soldier",{"_key":19798,"_type":212,"marks":19799,"text":19800},"1c61b13d67972",[]," p.29",[],{"_key":19803,"_type":208,"children":19804,"markDefs":19814,"style":221},"209c3e4b7e2a",[19805,19809],{"_key":19806,"_type":212,"marks":19807,"text":19808},"5dfa8aeb4bf90",[],"09’28” ",{"_key":19810,"_type":212,"marks":19811,"text":19813},"5dfa8aeb4bf91",[19812],"da4a30e2c19c","Madonna feat. Justin Timberlake & Timbaland “4 Minutes”",[19815],{"_key":19812,"_type":238,"href":19816},"https://youtu.be/aAQZPBwz2CI",{"_key":19818,"_type":208,"children":19819,"markDefs":19829,"style":221},"9f9ef7991915",[19820,19824],{"_key":19821,"_type":212,"marks":19822,"text":19823},"7c46d58fece80",[],"10’50” ",{"_key":19825,"_type":212,"marks":19826,"text":19828},"7c46d58fece81",[19827],"eaa7a2b200c6","The Pajama Game, Eddie Foy Jr “Think of the Time I Save”",[19830],{"_key":19827,"_type":238,"href":19831},"https://youtu.be/DZ4KItco0nE",{"_key":19833,"_type":208,"children":19834,"markDefs":19839,"style":221},"2e9daff247c9",[19835],{"_key":19836,"_type":212,"marks":19837,"text":19838},"8ea795cf19c10",[],"12’11” Norma Rae, 1979",[],{"_key":19841,"_type":208,"children":19842,"markDefs":19847,"style":221},"fe8899dc65f4",[19843],{"_key":19844,"_type":212,"marks":19845,"text":19846},"8767ec79ed4f0",[],"14’19” Le Corbusier, Towards a New Architecture, p.288",[],{"_key":19849,"_type":208,"children":19850,"markDefs":19860,"style":221},"0d75eaa1effd",[19851,19855],{"_key":19852,"_type":212,"marks":19853,"text":19854},"378d3eb9d2150",[],"14’40” ",{"_key":19856,"_type":212,"marks":19857,"text":19859},"378d3eb9d2151",[19858],"8051b048e318","RiFF RAFF “How To Be The Man”",[19861],{"_key":19858,"_type":238,"href":19862},"https://youtu.be/biiy1QAZY1s",{"_type":410,"settings":7,"text":19864},[19865,19873],{"_key":19866,"_type":208,"children":19867,"markDefs":19872,"style":221},"fd0e27b81a1c",[19868],{"_key":19869,"_type":212,"marks":19870,"text":19871},"bd13ceb3271a0",[],"To listen to the NEXT chapter click >>3. Looks like harmonizing growth and desire is gonna be a tricky business\u003C\u003C below",[],{"_key":19874,"_type":208,"children":19875,"markDefs":19880,"style":221},"be61182df7b4",[19876],{"_key":19877,"_type":212,"marks":19878,"text":19879},"c0367f131a3f0",[],"To listen to the PREVIOUS chapter click >>1. Introduction\u003C\u003C below",[],"2020-12-30",{"_type":9,"current":19883},"2-out-of-office","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. ","2. Out of Office",{"_id":19887,"_type":271,"categories":7,"credits":19888,"featuredImage":19913,"pageBuilder":19918,"publishedDate":20034,"seo":7,"slug":20035,"summary":20037,"title":20038},"bd59f05e-cf53-4c03-8165-28eabafbd334",{"other":7,"profiles":19889},[19890],{"_id":12556,"_type":315,"activeYears":19891,"bio":19894,"bioShort":12569,"featuredImage":19900,"filterables":19902,"links":19905,"locations":19907,"searchables":19911,"seo":7,"slug":19912,"title":12571},[19892],{"_id":119,"_type":94,"seo":7,"slug":19893,"title":122},{"_type":9,"current":121},[19895],{"_key":12562,"_type":208,"children":19896,"markDefs":19899,"style":221},[19897],{"_key":12565,"_type":212,"marks":19898,"text":12567},[],[],{"alt":12571,"asset":19901},{"_id":12573,"height":3790,"orientation":623,"ratio":536,"url":12574,"width":3790},{"filterYear":19903},[19904],{"_id":119,"title":122},[19906],{"_type":371,"label":372,"url":12580},{"locations":19908,"other":7},[19909],{"_id":10380,"_type":378,"seo":7,"slug":19910,"title":10383},{"_type":9,"current":10382},[12586,121],{"_type":9,"current":12588},{"alt":19914,"asset":19915},"Don't Speak Silence as Photography",{"_id":19916,"height":6206,"orientation":358,"ratio":6723,"url":19917,"width":6203},"image-7445c238fcdfbc67d9148d5a48624bce3d74a868-1707x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/7445c238fcdfbc67d9148d5a48624bce3d74a868-1707x2560.jpg",[19919,19930,19940,19953,19987,19992],{"_type":410,"settings":19920,"text":19921},{"textColumnCount":412},[19922],{"_key":19923,"_type":208,"children":19924,"markDefs":19929,"style":221},"8df78a2da70f",[19925],{"_key":19926,"_type":212,"marks":19927,"text":19928},"e363bfb0640a0",[],"What is \"the quietest picture\" you've ever taken?",[],{"_type":410,"settings":7,"text":19931},[19932],{"_key":19933,"_type":208,"children":19934,"markDefs":19939,"style":221},"1e7395dbc7d1",[19935],{"_key":19936,"_type":212,"marks":19937,"text":19938},"cdf54db1b6b20",[214],"Not \"first memory,\" \"favorite vacation,\" or \"one where you most look like your mother,\" but the one that conveys silence. A lack of crowds, sirens, children, witnesses. The one that makes no noise. When you look at it, you hear nothing. Not shouting, barking, even cars passing in the street. No noise. No echo.",[],{"_type":406,"caption":19941,"image":19950},[19942],{"_key":19943,"_type":208,"children":19944,"markDefs":19949,"style":221},"d2673096b7b8",[19945],{"_key":19946,"_type":212,"marks":19947,"text":19948},"05265381f4840",[],"Damien Dufour Photographie",[],{"alt":19951,"asset":19952},"damien-dufour-photographie",{"_id":19916,"height":6206,"orientation":358,"ratio":6723,"url":19917,"width":6203},{"_type":410,"settings":7,"text":19954},[19955,19963,19971,19979],{"_key":19956,"_type":208,"children":19957,"markDefs":19962,"style":221},"56a0bd5f5d70",[19958],{"_key":19959,"_type":212,"marks":19960,"text":19961},"e5b8b51477b80",[],"This past week, one Twitter user posed this very question, sending users scrolling backwards through albums, photo rolls, Instagram feeds. It was a rare prompt. An opportunity. A counter to a truth universally recognized:",[],{"_key":19964,"_type":208,"children":19965,"markDefs":19970,"style":221},"d4925075ec60",[19966],{"_key":19967,"_type":212,"marks":19968,"text":19969},"2f5b398293c00",[],"There is a moment on a hike, a trip, a journey to somewhere when you ask yourself or someone asks you, “what will you do with that picture?” You will have been snapping sleeping cats and views from atop tourist attractions for days, weeks. Constantly reaching into your designated phone pocket. Or removing your lens cap. You will have hundreds, hopefully not thousands of tropical flowers, funny signs in foreign languages, dishes of food you ordered on description alone. You will Instagram one, text another to the group chat. The rest will move eventually from photo folder to Butt, potentially never to be seen again. Given the rarity of printed albums, scrapbooks, places, or opportunities to share ALL the sunsets and moments of your far-flung-distant-present, “what will you do with this” is a valid question. The answer may be nothing. You will rarely if not never show it to someone. Until a coworker asks how your summer went. Until a friend traveling to the same region wonders if you have a suggestion. Until Google dredges it up and presents the still as a memory from years back and playfully compiling a slideshow. Until then, it will stay buried under increasing layers of similar photos from future expeditions.",[],{"_key":19972,"_type":208,"children":19973,"markDefs":19978,"style":221},"7f315f7e05b2",[19974],{"_key":19975,"_type":212,"marks":19976,"text":19977},"73629403896e0",[],"Be it a trip to a new coffee spot in the opposite direction you usually walk or a footpath truly not on any map, it will end up on the same sluiceway. Bound to be forgotten if not covered in dust regardless of why it was taken. Despite the importance of that moment. Maybe you took a picture from that bench in the depths of the park for yourself. To remember. Later. As a memento of a particularly hard day when you wandered to be alone and cry in adjacent public. Or maybe it’s a snap from the spot you found on your lunch break that you weren’t certain you’d ever be able to locate again. A picture of the last night in your apartment. A picture of an insect in the center of the sidewalk that you almost stepped on that everyone else walked past. Proof. Perhaps grounding. A moment to be present. A ripple in the mundane.",[],{"_key":19980,"_type":208,"children":19981,"markDefs":19986,"style":221},"ceba5317dc58",[19982],{"_key":19983,"_type":212,"marks":19984,"text":19985},"628f0154a5c10",[],"Of the excavated, responses to the tweet included: Remote cabins. Cemeteries. A few sleeping infants. Lone cyclists down thin, red dirt roads. Empty cafes, shuttered businesses. Paths that led over the horizon, parting the grass. Single trees growing in a clearing. Beaches in cold months or bad weather. Shorelines. Sprawling bodies of water. The streets at night. Strays napping in ruins. Steppes. Temples. Railways under snow. The view from an airplane window.",[],{"_type":406,"caption":7,"image":19988},{"alt":7,"asset":19989},{"_id":19990,"height":6203,"orientation":400,"ratio":6204,"url":19991,"width":6206},"image-bdf61711f8e6151fad9b936d24d8ef6bc289dd48-2560x1707-jpg","https://cdn.sanity.io/images/eodip22e/production/bdf61711f8e6151fad9b936d24d8ef6bc289dd48-2560x1707.jpg",{"_type":410,"settings":7,"text":19993},[19994,20002,20010,20018,20026],{"_key":19995,"_type":208,"children":19996,"markDefs":20001,"style":221},"952c77f49f56",[19997],{"_key":19998,"_type":212,"marks":19999,"text":20000},"2d1aa1eed1420",[],"The majority capture the opposite of ordinary. Unless you’re a landscape photographer, these are not places you find yourself daily. Many could be hashtagged “wanderlust.” They are international geographic. There are fjords, dolphins, desert flowers, sled dogs. These are spaces beyond backyards. Places that seem like you must walk until you lose any discernable path in order to reach. There is remoteness. Unbroken spiderwebs",[],{"_key":20003,"_type":208,"children":20004,"markDefs":20009,"style":221},"f62b293dbaff",[20005],{"_key":20006,"_type":212,"marks":20007,"text":20008},"2f414e8360320",[],"Many give the sense that their viewer slipped away from civilization. To where there aren’t roads. Or cellphone signals or presumably reasons to check your watch. Peaceful corners where the sun rises to the sound of birds. There is more driftwood than there are people. It is largely uninhabited, this quietness. No motorbikes, jetliners, ringtones. But, animals. Surely. Obviously. Flocks taking off over a still river. Certain bugs. Large herds. Grazing, passing. A sense of coexistence. Of nature going on around us. The earth and its everyday business.",[],{"_key":20011,"_type":208,"children":20012,"markDefs":20017,"style":221},"f9ffbf0dd559",[20013],{"_key":20014,"_type":212,"marks":20015,"text":20016},"54cce2b037400",[],"And the order of it all captured by an iPhone. The person behind the lens seizing the chance to immortalize the scene. And now share it. The entirety of their audience now crowded onto that bench. That mountain ledge. All of us onlookers, peering out, listening. The humming of a computer falls away. The washer, the fridge, the radiator, whatever it is is stifled by the named serenity of red rocks, fog coated valleys, blooming meadows.",[],{"_key":20019,"_type":208,"children":20020,"markDefs":20025,"style":221},"f99d43747dd0",[20021],{"_key":20022,"_type":212,"marks":20023,"text":20024},"6d890e422b4a0",[],"We crowd together. Wondering while also knowing with confidence that that forest, that ridge, that very twig is quiet. It looks like it. We trust our eyes to decipher sound. Having been asked to infer another sense from an image, we look upon dunes, rockfaces, open ocean and decide what it must sound like. There is consensus. In listening to a visual and determining what noises are held in that moment.",[],{"_key":20027,"_type":208,"children":20028,"markDefs":20033,"style":221},"300c7d73b06b",[20029],{"_key":20030,"_type":212,"marks":20031,"text":20032},"2f3a45060b9d0",[],"Only the viewer knows for certain what could be heard in the moment. Perhaps in memory, they can recall the specifics of wind. The babbling of the creek. Snow crunching underfoot. Small animals moving in the undergrowth. Perhaps there isn’t much but the sound of one’s own breathing. Or the unmistakable click of a camera lens.",[],"2020-12-18",{"_type":9,"current":20036},"silence-as-photography","'What is \"the quietest picture\" you've ever taken?' ","Silence as Photography",{"_id":20040,"_type":271,"categories":20041,"credits":20048,"featuredImage":20079,"pageBuilder":20086,"publishedDate":20476,"seo":7,"slug":20477,"summary":20479,"title":20480},"4d74a46f-b765-4278-bcbc-daadf87e70ca",[20042,20045],{"_id":19474,"_type":281,"colorPrimary":20043,"seo":7,"slug":20044,"title":19479},{"label":283,"value":19476},{"_type":9,"current":19478},{"_id":19481,"_type":281,"colorPrimary":20046,"seo":7,"slug":20047,"title":19486},{"label":283,"value":19483},{"_type":9,"current":19485},{"other":7,"profiles":20049},[20050],{"_id":19490,"_type":315,"activeYears":20051,"bio":20054,"bioShort":19503,"featuredImage":7,"filterables":20060,"links":20063,"locations":20065,"searchables":20077,"seo":7,"slug":20078,"title":19528},[20052],{"_id":119,"_type":94,"seo":7,"slug":20053,"title":122},{"_type":9,"current":121},[20055],{"_key":19496,"_type":208,"children":20056,"markDefs":20059,"style":221},[20057],{"_key":19499,"_type":212,"marks":20058,"text":19501},[],[],{"filterYear":20061},[20062],{"_id":119,"title":122},[20064],{"_type":371,"label":5256,"url":19509},{"locations":20066,"other":20071},[20067,20069],{"_id":3458,"_type":378,"seo":7,"slug":20068,"title":3461},{"_type":9,"current":3460},{"_id":10380,"_type":378,"seo":7,"slug":20070,"title":10383},{"_type":9,"current":10382},[20072],{"_key":19518,"_type":208,"children":20073,"markDefs":20076,"style":221},[20074],{"_key":19521,"_type":212,"marks":20075,"text":13151},[],[],[19525,121],{"_type":9,"current":19527},{"alt":20080,"asset":20081},"The boudoir, the desk & the couch : Histories, practices and speculations on labour 3. Looks like harmonizing growth and desire is gonna be a tricky business",{"_id":20082,"height":19683,"orientation":400,"ratio":20083,"url":20084,"width":20085},"image-efdba80610d9086ba5e1d9da292d1b0ed2d0f1d0-674x672-png",1.0029761904761905,"https://cdn.sanity.io/images/eodip22e/production/efdba80610d9086ba5e1d9da292d1b0ed2d0f1d0-674x672.png",674,[20087,20097,20108,20458],{"_type":410,"settings":7,"text":20088},[20089],{"_key":20090,"_type":208,"children":20091,"markDefs":20096,"style":221},"eaefe3ea68fa",[20092],{"_key":20093,"_type":212,"marks":20094,"text":20095},"ed35ac80bfa70",[214],"We depart from the boudoir as a space to allow oneself “to feel\", to find inner peace, away from the emotional, social and sexual labour required from the 17th century aristocratic woman. Through explorations of ejaculatory prayers, hedonistic luxury, lesbianism and prostitution as refusal to work and Marx’s economic vampires, we will dive into the domestic, the familial, the conjugal as well as the labour to remain desirable while emotionally and sexually available.",[],{"_type":6108,"caption":20098,"embedCode":20107},[20099],{"_key":20100,"_type":208,"children":20101,"markDefs":20106,"style":221},"e8f4bfa492e0",[20102],{"_key":20103,"_type":212,"marks":20104,"text":20105},"2ca995177b240",[],"Image reference: “The Studio” by Sophie Gengembre Anderson",[],"\u003Ciframe width=\"100%\" height=\"300\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/938935807&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/lila-athanasiadou\" title=\"Lila Athanasiadou\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\">Lila Athanasiadou\u003C/a> · \u003Ca href=\"https://soundcloud.com/lila-athanasiadou/looks-like-harmonizing-growth-and-desire-is-gonna-be-a-tricky-business\" title=\"Looks like harmonizing growth and desire is gonna be a tricky business\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\">Looks like harmonizing growth and desire is gonna be a tricky business\u003C/a>\u003C/div>",{"_type":410,"settings":7,"text":20109},[20110,20117,20132,20148,20156,20171,20186,20199,20207,20222,20230,20245,20260,20276,20291,20307,20322,20345,20360,20368,20383,20391,20414,20443],{"_key":20111,"_type":208,"children":20112,"markDefs":20116,"style":221},"f2fe7195a05e",[20113],{"_key":20114,"_type":212,"marks":20115,"text":17140},"28c0764a30390",[],[],{"_key":20118,"_type":208,"children":20119,"markDefs":20129,"style":221},"b1c71e102c2f",[20120,20124],{"_key":20121,"_type":212,"marks":20122,"text":20123},"47fbc57ba3a00",[],"00’00” ",{"_key":20125,"_type":212,"marks":20126,"text":20128},"47fbc57ba3a01",[20127],"cb18cf53df55","Beyoncé ft The Weeknd “6 Inch”",[20130],{"_key":20127,"_type":238,"href":20131},"https://youtu.be/UKMmfBkrhtY",{"_key":20133,"_type":208,"children":20134,"markDefs":20147,"style":221},"4410437ab7b9",[20135,20139,20143],{"_key":20136,"_type":212,"marks":20137,"text":20138},"9e126e54d2da0",[],"01’50” Quoted from Silvia Federici, ",{"_key":20140,"_type":212,"marks":20141,"text":20142},"9e126e54d2da1",[1056],"Wages Against Housework",{"_key":20144,"_type":212,"marks":20145,"text":20146},"9e126e54d2da2",[],", p.11",[],{"_key":20149,"_type":208,"children":20150,"markDefs":20155,"style":221},"f9f69a74e52a",[20151],{"_key":20152,"_type":212,"marks":20153,"text":20154},"c41ac87c8b0a0",[],"02’00” Clip from The Jetsons – Episode 1 Season 1 “Rosey the Robot“",[],{"_key":20157,"_type":208,"children":20158,"markDefs":20168,"style":221},"398b55fc10cb",[20159,20163],{"_key":20160,"_type":212,"marks":20161,"text":20162},"68e60ff83e1b0",[],"03’44” Clip from ",{"_key":20164,"_type":212,"marks":20165,"text":20167},"68e60ff83e1b1",[20166],"e62b04a4f4f9","1957 Monsanto House of the Future",[20169],{"_key":20166,"_type":238,"href":20170},"https://youtu.be/sk2YBA_oa1A",{"_key":20172,"_type":208,"children":20173,"markDefs":20183,"style":221},"89564468a59d",[20174,20178],{"_key":20175,"_type":212,"marks":20176,"text":20177},"39ed28ea01e80",[],"05’12” Clip from ",{"_key":20179,"_type":212,"marks":20180,"text":20182},"39ed28ea01e81",[20181],"c620b2062be1","1999 House of Tomorrow",[20184],{"_key":20181,"_type":238,"href":20185},"https://youtu.be/TAELQX7EvPo",{"_key":20187,"_type":208,"children":20188,"markDefs":20197,"style":221},"6c52f103d280",[20189,20193],{"_key":20190,"_type":212,"marks":20191,"text":20192},"4d63b31b92460",[],"06’26” Clip from ",{"_key":20194,"_type":212,"marks":20195,"text":20182},"4d63b31b92461",[20196],"ffb992b44310",[20198],{"_key":20196,"_type":238,"href":20185},{"_key":20200,"_type":208,"children":20201,"markDefs":20206,"style":221},"89c738c671fa",[20202],{"_key":20203,"_type":212,"marks":20204,"text":20205},"4ec204f119770",[],"07’23” Norma Rae, 1979",[],{"_key":20208,"_type":208,"children":20209,"markDefs":20219,"style":221},"ce95db72425e",[20210,20214],{"_key":20211,"_type":212,"marks":20212,"text":20213},"f90f531d442e0",[],"09’02” ",{"_key":20215,"_type":212,"marks":20216,"text":20218},"f90f531d442e1",[20217],"e5ca689d3807","Vanessa Williams “Work To Do”",[20220],{"_key":20217,"_type":238,"href":20221},"https://youtu.be/vwtLGFTrwLE",{"_key":20223,"_type":208,"children":20224,"markDefs":20229,"style":221},"87eee0fe771a",[20225],{"_key":20226,"_type":212,"marks":20227,"text":20228},"d3ce155e27ce0",[],"09’10” Mierle Laderman Ukeles, “Manifesto for Maintenance Art”, 1969 read by Jo Willoughby",[],{"_key":20231,"_type":208,"children":20232,"markDefs":20244,"style":221},"05de3bb962d2",[20233,20237,20240],{"_key":20234,"_type":212,"marks":20235,"text":20236},"bfce034f87e30",[],"10’55” Quoted from Silvia Federici, ",{"_key":20238,"_type":212,"marks":20239,"text":20142},"bfce034f87e31",[1056],{"_key":20241,"_type":212,"marks":20242,"text":20243},"bfce034f87e32",[],", p.9",[],{"_key":20246,"_type":208,"children":20247,"markDefs":20257,"style":221},"fa969c33ccd5",[20248,20252],{"_key":20249,"_type":212,"marks":20250,"text":20251},"a0ed36a43e9d0",[],"11’30” ",{"_key":20253,"_type":212,"marks":20254,"text":20256},"a0ed36a43e9d1",[20255],"a856fa91f3e9","Prince “Let’s Work”",[20258],{"_key":20255,"_type":238,"href":20259},"https://youtu.be/AqHqepF91us",{"_key":20261,"_type":208,"children":20262,"markDefs":20275,"style":221},"733f261d960c",[20263,20267,20271],{"_key":20264,"_type":212,"marks":20265,"text":20266},"0deda52dd2fd0",[],"11’45” Quoted from Walter Benjamin, ",{"_key":20268,"_type":212,"marks":20269,"text":20270},"0deda52dd2fd1",[1056],"Reflections",{"_key":20272,"_type":212,"marks":20273,"text":20274},"0deda52dd2fd2",[],", p. 54",[],{"_key":20277,"_type":208,"children":20278,"markDefs":20288,"style":221},"2a59c504900e",[20279,20283],{"_key":20280,"_type":212,"marks":20281,"text":20282},"5200b55c3e330",[],"13’15” ",{"_key":20284,"_type":212,"marks":20285,"text":20287},"5200b55c3e331",[20286],"5347433a9fb3","Ne-Yo “Put In Work”",[20289],{"_key":20286,"_type":238,"href":20290},"https://youtu.be/dh2-r2A43s4",{"_key":20292,"_type":208,"children":20293,"markDefs":20306,"style":221},"c2d28b0d7da2",[20294,20298,20302],{"_key":20295,"_type":212,"marks":20296,"text":20297},"2cc5ce7e03630",[],"15’43” Quoted from Paul Preciado, ",{"_key":20299,"_type":212,"marks":20300,"text":20301},"2cc5ce7e03631",[1056],"Gender, Sexuality, and the Biopolitics of Architecture",{"_key":20303,"_type":212,"marks":20304,"text":20305},"2cc5ce7e03632",[],", p.123",[],{"_key":20308,"_type":208,"children":20309,"markDefs":20319,"style":221},"8780aa865c2d",[20310,20314],{"_key":20311,"_type":212,"marks":20312,"text":20313},"f44837dc93740",[],"16’27” ",{"_key":20315,"_type":212,"marks":20316,"text":20318},"f44837dc93741",[20317],"d49b44eaaf1e","Justin Bieber “U smile”",[20320],{"_key":20317,"_type":238,"href":20321},"https://youtu.be/QspuCt1FM9M",{"_key":20323,"_type":208,"children":20324,"markDefs":20342,"style":221},"cb53bf78848b",[20325,20329,20334,20338],{"_key":20326,"_type":212,"marks":20327,"text":20328},"5e36277b4fbe0",[],"16’36” ",{"_key":20330,"_type":212,"marks":20331,"text":20333},"5e36277b4fbe1",[20332],"ea12179bc453","Saint François de Sales, “Chapitre XII, Des Aspirations, oraisons jaculatoires et bonnes pensées”, ",{"_key":20335,"_type":212,"marks":20336,"text":20337},"5e36277b4fbe2",[20332,1056],"Introduction á la vie dévote",{"_key":20339,"_type":212,"marks":20340,"text":20341},"5e36277b4fbe3",[]," read by Manon 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From bored employees that hate their jobs, to work induced involuntary choreas, to compulsory jolly service workers, to tech work cults and spiritual marketing consultants, the chapter explores the values and principles we associate with work as well as the theological standings behind the relationship of salvation and industriousness.",[],{"_type":6108,"caption":20539,"embedCode":20554},[20540],{"_key":20541,"_type":208,"children":20542,"markDefs":20552,"style":221},"cafce0f78584",[20543,20547],{"_key":20544,"_type":212,"marks":20545,"text":20546},"7fee871d6c850",[],"Image reference: Black Jesus and the Moneychangers, ",{"_key":20548,"_type":212,"marks":20549,"text":20551},"7fee871d6c851",[20550],"b4c1c4a24100","http://kudzumonamour.blogspot.com/2014/04/",[20553],{"_key":20550,"_type":238,"href":20551},"\u003Ciframe width=\"100%\" height=\"300\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/957099775&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/lila-athanasiadou\" title=\"Lila Athanasiadou\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\">Lila Athanasiadou\u003C/a> · \u003Ca href=\"https://soundcloud.com/lila-athanasiadou/ora-et-labora\" title=\"Ora et labora\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\">Ora et labora\u003C/a>\u003C/div>",{"_type":410,"settings":7,"text":20556},[20557,20564,20579,20601,20616,20632,20648,20663,20679,20708,20723,20738,20757,20772,20788,20803,20819,20834,20849,20864,20879,20894,20909,20924,20939,20954,20970,20985,21000,21015,21041,21056,21071,21086,21101,21117,21132,21147,21160,21175,21190,21206,21221],{"_key":20558,"_type":208,"children":20559,"markDefs":20563,"style":221},"1b4260a5731e",[20560],{"_key":20561,"_type":212,"marks":20562,"text":17140},"c4134c0aaa5c0",[214],[],{"_key":20565,"_type":208,"children":20566,"markDefs":20576,"style":221},"5cbce95fd4bc",[20567,20571],{"_key":20568,"_type":212,"marks":20569,"text":20570},"2dc8e87132040",[],"00’18” ",{"_key":20572,"_type":212,"marks":20573,"text":20575},"2dc8e87132041",[20574],"e4b9a4167e12","Strange U “Part Machine”",[20577],{"_key":20574,"_type":238,"href":20578},"https://youtu.be/7v2ehBBcXec",{"_key":20580,"_type":208,"children":20581,"markDefs":20598,"style":221},"bd146863340e",[20582,20586,20591,20594],{"_key":20583,"_type":212,"marks":20584,"text":20585},"6bf322cbcb9f0",[],"01’57” Excerpt from ",{"_key":20587,"_type":212,"marks":20588,"text":20590},"6bf322cbcb9f1",[20589],"9654182ae599","Adam Curtis, “The Engineer’s Plot”,",{"_key":20592,"_type":212,"marks":20593,"text":7982},"6bf322cbcb9f2",[],{"_key":20595,"_type":212,"marks":20596,"text":20597},"6bf322cbcb9f3",[20589,1056],"Pandora’s Box",[20599],{"_key":20589,"_type":238,"href":20600},"https://youtu.be/4oOPgUZkwM4",{"_key":20602,"_type":208,"children":20603,"markDefs":20613,"style":221},"08fe2501707b",[20604,20608],{"_key":20605,"_type":212,"marks":20606,"text":20607},"377f59a0e77c0",[],"02’37” ",{"_key":20609,"_type":212,"marks":20610,"text":20612},"377f59a0e77c1",[20611],"e504abc1515c","Daft Punk “Harder, Better, Faster, Stronger”",[20614],{"_key":20611,"_type":238,"href":20615},"https://youtu.be/yydNF8tuVmU",{"_key":20617,"_type":208,"children":20618,"markDefs":20631,"style":221},"afce9830fe67",[20619,20623,20627],{"_key":20620,"_type":212,"marks":20621,"text":20622},"7077c25e7bba0",[],"02’55” Karl Marx, ",{"_key":20624,"_type":212,"marks":20625,"text":20626},"7077c25e7bba1",[1056],"Capital vol.1",{"_key":20628,"_type":212,"marks":20629,"text":20630},"7077c25e7bba2",[]," , 1991, p. 512 read by Flora Wolpert Checknoff",[],{"_key":20633,"_type":208,"children":20634,"markDefs":20647,"style":221},"7fb1fa310156",[20635,20639,20643],{"_key":20636,"_type":212,"marks":20637,"text":20638},"b59a8520b17f0",[],"04’27” Camillo Berneri, “The problem of work”, ",{"_key":20640,"_type":212,"marks":20641,"text":20642},"b59a8520b17f1",[1056],"Why Work? 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p.189",[],{"_key":21726,"_type":208,"children":21727,"markDefs":21739,"style":221},"8f6f347cff33",[21728,21732,21735],{"_key":21729,"_type":212,"marks":21730,"text":21731},"dcf587ae52890",[],"33’09” Schaffner Anna Katharina, ",{"_key":21733,"_type":212,"marks":21734,"text":21450},"dcf587ae52891",[1056],{"_key":21736,"_type":212,"marks":21737,"text":21738},"dcf587ae52892",[],", 2016 p.7 read by Jo Willoughby",[],{"_key":21741,"_type":208,"children":21742,"markDefs":21755,"style":221},"976fa8e87a8e",[21743,21747,21751],{"_key":21744,"_type":212,"marks":21745,"text":21746},"7810b229f2350",[],"34’00” Clip from Michael Moore, ",{"_key":21748,"_type":212,"marks":21749,"text":21750},"7810b229f2351",[1056],"Roger and Me",{"_key":21752,"_type":212,"marks":21753,"text":21754},"7810b229f2352",[],", 1989",[],{"_key":21757,"_type":208,"children":21758,"markDefs":21771,"style":221},"28ff7c92bb41",[21759,21763,21767],{"_key":21760,"_type":212,"marks":21761,"text":21762},"7656e1d2b38f0",[],"36’29” 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Future",{"_key":21799,"_type":212,"marks":21800,"text":21801},"ef0c682ba1252",[],", 2011 pp.138 read by Tracy Hanna",[],{"_key":21804,"_type":208,"children":21805,"markDefs":21815,"style":221},"8d33a44a08b9",[21806,21810],{"_key":21807,"_type":212,"marks":21808,"text":21809},"f33592cca2450",[],"40’30” ",{"_key":21811,"_type":212,"marks":21812,"text":21814},"f33592cca2451",[21813],"84935a8f5ab2","Travis Scott “Overdue” (slowed & reverbed)",[21816],{"_key":21813,"_type":238,"href":21817},"https://youtu.be/g2eDJgNfE1M",{"_key":21819,"_type":208,"children":21820,"markDefs":21833,"style":221},"55067d1a0c2c",[21821,21825,21829],{"_key":21822,"_type":212,"marks":21823,"text":21824},"07eb227679a50",[],"41’54” Quoted from Dave Laing, ",{"_key":21826,"_type":212,"marks":21827,"text":21828},"07eb227679a51",[1056],"One Chord Wonders",{"_key":21830,"_type":212,"marks":21831,"text":21832},"07eb227679a52",[],", 2015 p.44",[],{"_key":21835,"_type":208,"children":21836,"markDefs":21846,"style":221},"9d5a5c11200c",[21837,21841],{"_key":21838,"_type":212,"marks":21839,"text":21840},"8400acc6c9f40",[],"42’10” ",{"_key":21842,"_type":212,"marks":21843,"text":21845},"8400acc6c9f41",[21844],"400c692d75a1","The Clash “Career Opportunities”",[21847],{"_key":21844,"_type":238,"href":21848},"https://youtu.be/jZOrkPIZ1JU",{"_key":21850,"_type":208,"children":21851,"markDefs":21861,"style":221},"fdde24a6efb8",[21852,21856],{"_key":21853,"_type":212,"marks":21854,"text":21855},"0590c44e45d50",[],"42’59” Quoted from ",{"_key":21857,"_type":212,"marks":21858,"text":21860},"0590c44e45d51",[21859],"c324174ee639","Peter Frase, “Redefininig Work” ",[21862],{"_key":21859,"_type":238,"href":21863},"https://inthesetimes.com/article/work-it",{"_type":410,"settings":7,"text":21865},[21866,21874],{"_key":21867,"_type":208,"children":21868,"markDefs":21873,"style":221},"d29d9f793610",[21869],{"_key":21870,"_type":212,"marks":21871,"text":21872},"1432e81e241f0",[],"To listen to the NEXT chapter click >>6. Is it a strike?\u003C\u003C below",[],{"_key":21875,"_type":208,"children":21876,"markDefs":21881,"style":221},"61ee713021d3",[21877],{"_key":21878,"_type":212,"marks":21879,"text":21880},"4d690ee743c90",[],"To listen to the PREVIOUS chapter click >>4. Ora et Labora\u003C\u003C  below",[],"2020-11-18",{"_type":9,"current":21884},"5-just-do-it","This chapter explores the blurred boundaries between work and leisure entangling the sources of the social, political and cultural stigma of leisure as laziness. ","5. Just Do It",{"_id":21888,"_type":271,"categories":21889,"credits":21896,"featuredImage":21927,"pageBuilder":21934,"publishedDate":22178,"seo":7,"slug":22179,"summary":22181,"title":22182},"362bbfa7-9775-4ec0-bfd7-a26d97c7d93d",[21890,21893],{"_id":19474,"_type":281,"colorPrimary":21891,"seo":7,"slug":21892,"title":19479},{"label":283,"value":19476},{"_type":9,"current":19478},{"_id":19481,"_type":281,"colorPrimary":21894,"seo":7,"slug":21895,"title":19486},{"label":283,"value":19483},{"_type":9,"current":19485},{"other":7,"profiles":21897},[21898],{"_id":19490,"_type":315,"activeYears":21899,"bio":21902,"bioShort":19503,"featuredImage":7,"filterables":21908,"links":21911,"locations":21913,"searchables":21925,"seo":7,"slug":21926,"title":19528},[21900],{"_id":119,"_type":94,"seo":7,"slug":21901,"title":122},{"_type":9,"current":121},[21903],{"_key":19496,"_type":208,"children":21904,"markDefs":21907,"style":221},[21905],{"_key":19499,"_type":212,"marks":21906,"text":19501},[],[],{"filterYear":21909},[21910],{"_id":119,"title":122},[21912],{"_type":371,"label":5256,"url":19509},{"locations":21914,"other":21919},[21915,21917],{"_id":3458,"_type":378,"seo":7,"slug":21916,"title":3461},{"_type":9,"current":3460},{"_id":10380,"_type":378,"seo":7,"slug":21918,"title":10383},{"_type":9,"current":10382},[21920],{"_key":19518,"_type":208,"children":21921,"markDefs":21924,"style":221},[21922],{"_key":19521,"_type":212,"marks":21923,"text":13151},[],[],[19525,121],{"_type":9,"current":19527},{"alt":21928,"asset":21929},"Image reference: https://twitter.com/PiersatPenn/status/925536035693580288",{"_id":21930,"height":19533,"orientation":400,"ratio":21931,"url":21932,"width":21933},"image-e32775c0dfa8355ec2b78af03b8f49369fe03a68-682x680-png",1.0029411764705882,"https://cdn.sanity.io/images/eodip22e/production/e32775c0dfa8355ec2b78af03b8f49369fe03a68-682x680.png",682,[21935,21945,21962,22168],{"_type":410,"settings":7,"text":21936},[21937],{"_key":21938,"_type":208,"children":21939,"markDefs":21944,"style":221},"4a88989c017e",[21940],{"_key":21941,"_type":212,"marks":21942,"text":21943},"90fb4fcd72e90",[214],"The couch as symbol of both idleness and exhaustion intersects with cultural imaginaries of unemployment, decadent aristocrats and mental illness. From the rest cure to the work cure, psychotherapy and medication treating burnout, work has been the pharmakon for exhaustion, presented both as its cause and its antidote.",[],{"_type":6108,"caption":21946,"embedCode":21961},[21947],{"_key":21948,"_type":208,"children":21949,"markDefs":21959,"style":221},"ba1b44a2fb25",[21950,21954],{"_key":21951,"_type":212,"marks":21952,"text":21953},"bdbbda2972110",[],"Image reference: ",{"_key":21955,"_type":212,"marks":21956,"text":21958},"bdbbda2972111",[21957],"8c2fc5fd6c26","https://twitter.com/PiersatPenn/status/925536035693580288",[21960],{"_key":21957,"_type":238,"href":21958},"\u003Ciframe width=\"100%\" height=\"300\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/966406747&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/lila-athanasiadou\" title=\"Lila Athanasiadou\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\">Lila Athanasiadou\u003C/a> · \u003Ca href=\"https://soundcloud.com/lila-athanasiadou/is-it-a-strike\" title=\"Is it a strike?\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\">Is it a strike?\u003C/a>\u003C/div>",{"_type":410,"settings":7,"text":21963},[21964,21971,21986,22005,22020,22039,22054,22062,22077,22092,22107,22123,22138,22153],{"_key":21965,"_type":208,"children":21966,"markDefs":21970,"style":221},"9a2efb014061",[21967],{"_key":21968,"_type":212,"marks":21969,"text":17140},"fbf56fb53a5d0",[214],[],{"_key":21972,"_type":208,"children":21973,"markDefs":21983,"style":221},"ec6d0af01812",[21974,21978],{"_key":21975,"_type":212,"marks":21976,"text":21977},"2891109d336f0",[],"01’08” ",{"_key":21979,"_type":212,"marks":21980,"text":21982},"2891109d336f1",[21981],"a5f80a75ed7b","Fifth Harmony “Work from Home”",[21984],{"_key":21981,"_type":238,"href":21985},"https://youtu.be/5GL9JoH4Sws",{"_key":21987,"_type":208,"children":21988,"markDefs":22002,"style":221},"b190de678ff8",[21989,21993,21998],{"_key":21990,"_type":212,"marks":21991,"text":21992},"36dae66604870",[],"02’59” ",{"_key":21994,"_type":212,"marks":21995,"text":21997},"36dae66604871",[21996],"578e69956d89","Herman Melville, Bartleby, The Scrivener: A Story of Wall-Street, 1853",{"_key":21999,"_type":212,"marks":22000,"text":22001},"36dae66604872",[]," read by Jo Willoughby",[22003],{"_key":21996,"_type":238,"href":22004},"http://www.gutenberg.org/cache/epub/11231/pg11231.html",{"_key":22006,"_type":208,"children":22007,"markDefs":22017,"style":221},"fac90704b56f",[22008,22012],{"_key":22009,"_type":212,"marks":22010,"text":22011},"5187b39d9e370",[],"05’20” ",{"_key":22013,"_type":212,"marks":22014,"text":22016},"5187b39d9e371",[22015],"9852ebc96e18","Mariah Carey “A No No”",[22018],{"_key":22015,"_type":238,"href":22019},"https://youtu.be/2sap-GTtCiU",{"_key":22021,"_type":208,"children":22022,"markDefs":22036,"style":221},"9cd8484ffa9c",[22023,22027,22032],{"_key":22024,"_type":212,"marks":22025,"text":22026},"7b61c94317f40",[],"06’55” ",{"_key":22028,"_type":212,"marks":22029,"text":22031},"7b61c94317f41",[22030],"6f840d9f1faa","Oscar Wilde, The Soul of Man under Socialism, 1891",{"_key":22033,"_type":212,"marks":22034,"text":22035},"7b61c94317f42",[]," read by Tracy Hanna",[22037],{"_key":22030,"_type":238,"href":22038},"https://www.marxists.org/reference/archive/wilde-oscar/soul-man/index.htm",{"_key":22040,"_type":208,"children":22041,"markDefs":22051,"style":221},"49818ca274e0",[22042,22046],{"_key":22043,"_type":212,"marks":22044,"text":22045},"93af272b6c3b0",[],"08’23” ",{"_key":22047,"_type":212,"marks":22048,"text":22050},"93af272b6c3b1",[22049],"afd235ce053a","Nas ft. Lauryn Hill “If I ruled the world” ",[22052],{"_key":22049,"_type":238,"href":22053},"https://youtu.be/mlp-IIG9ApU",{"_key":22055,"_type":208,"children":22056,"markDefs":22061,"style":221},"39cb3c8521ab",[22057],{"_key":22058,"_type":212,"marks":22059,"text":22060},"28f46ed5ff530",[],"10’39” Clip from StarTrek “First Contact”, 1996",[],{"_key":22063,"_type":208,"children":22064,"markDefs":22074,"style":221},"f76579d81e79",[22065,22069],{"_key":22066,"_type":212,"marks":22067,"text":22068},"7281e1f907ff0",[],"12’34” Clip from ",{"_key":22070,"_type":212,"marks":22071,"text":22073},"7281e1f907ff1",[22072],"3269dbead8cd","German government advert, 2020 ",[22075],{"_key":22072,"_type":238,"href":22076},"https://youtu.be/FS1DDn2eklU",{"_key":22078,"_type":208,"children":22079,"markDefs":22089,"style":221},"a061944df1f4",[22080,22084],{"_key":22081,"_type":212,"marks":22082,"text":22083},"e6f65337d9560",[],"13’48” ",{"_key":22085,"_type":212,"marks":22086,"text":22088},"e6f65337d9561",[22087],"e0b90e8ff7ff","Oasis “Importance of Being Idle”",[22090],{"_key":22087,"_type":238,"href":22091},"https://youtu.be/jySfU10IQu4",{"_key":22093,"_type":208,"children":22094,"markDefs":22104,"style":221},"b9d29d268b87",[22095,22099],{"_key":22096,"_type":212,"marks":22097,"text":22098},"73459a6f7cf50",[],"15’20” Clip from ",{"_key":22100,"_type":212,"marks":22101,"text":22103},"73459a6f7cf51",[22102],"1b0e36d7ef30","Matthew Fuller, Son[i]a #245, 2017 ",[22105],{"_key":22102,"_type":238,"href":22106},"https://rwm.macba.cat/en/sonia/sonia-245-matthew-fuller",{"_key":22108,"_type":208,"children":22109,"markDefs":22122,"style":221},"6360e3b6dd74",[22110,22114,22118],{"_key":22111,"_type":212,"marks":22112,"text":22113},"eb239c04053e0",[],"16’45” Quoted from Anne Boyer, ",{"_key":22115,"_type":212,"marks":22116,"text":22117},"eb239c04053e1",[1056],"The Undying",{"_key":22119,"_type":212,"marks":22120,"text":22121},"eb239c04053e2",[],", 2019 p. 81",[],{"_key":22124,"_type":208,"children":22125,"markDefs":22137,"style":221},"b3d9e3b589b7",[22126,22130,22133],{"_key":22127,"_type":212,"marks":22128,"text":22129},"415f0ef12cbd0",[],"17’30” Quoted from Schaffner Anna Katharina, ",{"_key":22131,"_type":212,"marks":22132,"text":21450},"415f0ef12cbd1",[1056],{"_key":22134,"_type":212,"marks":22135,"text":22136},"415f0ef12cbd2",[],", 2016 p.139",[],{"_key":22139,"_type":208,"children":22140,"markDefs":22152,"style":221},"aca7a148f7a5",[22141,22145,22148],{"_key":22142,"_type":212,"marks":22143,"text":22144},"54337e5793150",[],"17’48” Quoted from Anne Boyer, ",{"_key":22146,"_type":212,"marks":22147,"text":22117},"54337e5793151",[1056],{"_key":22149,"_type":212,"marks":22150,"text":22151},"54337e5793152",[],", 2019 p. 34",[],{"_key":22154,"_type":208,"children":22155,"markDefs":22165,"style":221},"027ce55c0fcf",[22156,22160],{"_key":22157,"_type":212,"marks":22158,"text":22159},"8fde8eb47dec0",[],"18’28” ",{"_key":22161,"_type":212,"marks":22162,"text":22164},"8fde8eb47dec1",[22163],"e99b3da3fd70","Gabrielle “Dreams” (Original Bootleg 12inch Mix) ",[22166],{"_key":22163,"_type":238,"href":22167},"https://youtu.be/xSwtvMGc3eY",{"_type":410,"settings":7,"text":22169},[22170],{"_key":22171,"_type":208,"children":22172,"markDefs":22177,"style":221},"0ae84abeb616",[22173],{"_key":22174,"_type":212,"marks":22175,"text":22176},"f2fc176241860",[],"To listen to the PREVIOUS chapter click >>5. Just Do It\u003C\u003C below",[],"2020-11-04",{"_type":9,"current":22180},"6-is-it-a-strike","This chapter re-writes the last chapter within the times of global lockdown. ","6. 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His solo work often starts from embarrassments and is made manifest in essayistic live performances that center on translation, sincerity and violence.",[],"Demian, born in Berne, Switzerland, grew up in Rumonge, Burundi and Real de Catorce, Mexico. In 2012 he finished an apprenticeship for live event technician at the IHK Karlsruhe, Germany.",{"filterYear":22203},[22204],{"_id":119,"title":122},{"locations":22206,"other":7},[22207],{"_id":5982,"_type":378,"seo":7,"slug":22208,"title":5985},{"_type":9,"current":5984},[22210,121],"demian jakob",{"_type":9,"current":22212},"demian-jakob","Demian Jakob",{"alt":22215,"asset":22216},"A three-minute excerpt from springtime 2020",{"_id":22217,"height":11669,"orientation":400,"ratio":22218,"url":22219,"width":22220},"image-11cbd9b9fec15f40580b6ab0740a7af3e02e0bec-1798x1008-png",1.7837301587301588,"https://cdn.sanity.io/images/eodip22e/production/11cbd9b9fec15f40580b6ab0740a7af3e02e0bec-1798x1008.png",1798,[22222,22233,22244,22254],{"_type":410,"settings":22223,"text":22224},{"textColumnCount":412},[22225],{"_key":22226,"_type":208,"children":22227,"markDefs":22232,"style":221},"5947bfc4b701",[22228],{"_key":22229,"_type":212,"marks":22230,"text":22231},"835cf82e95430",[],"A collection of found footage from the lockdown period. Part of \"Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19.\"",[],{"_type":6108,"caption":22234,"embedCode":22243},[22235],{"_key":22236,"_type":208,"children":22237,"markDefs":22242,"style":221},"c176d71a0dc7",[22238],{"_key":22239,"_type":212,"marks":22240,"text":22241},"d718daa687c50",[],"\"We’re experiencing something so deeply universal that there is nothing you could say that I wouldn’t understand.\"",[],"\u003Ciframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/yeTyBFf7UV8?si=xgyX4dwcFNABa7gs\" 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":410,"settings":7,"text":22245},[22246],{"_key":22247,"_type":208,"children":22248,"markDefs":22253,"style":221},"6095b61e1925",[22249],{"_key":22250,"_type":212,"marks":22251,"text":22252},"3d3e0c0698b70",[],"I’m at home looking into the distance. I don’t know what distance. People address me through a window. I’m at home eating something. And I see violence. This is a collective illusion. Every collective illusion is madness. But real. I am afraid. I’m scared of the time after. That everything will be like before. But also from the change that must happen. Because change is always violent. I lie here and am afraid. And maybe that makes me feel more human than usual. And this act of being part of a great whole — The excitement bores. and it’s ignorant. Someone writes: I admit that I am less depressed during an actual crisis than I am when I am tormented by disasters that I have caused myself… This just makes me angry. There are some things we can be sure of. We know that the Earth will continue to warm; we know that the negative effects of climate change will increase disproportionately when we move to higher temperatures and that the risk of irreversible and catastrophic changes will increase; we know that sea levels will continue to rise long after we have stabilized the temperature of the Earth’s surface and that ice caps and glaciers will continue to melt. We’re all in the same storm. We’re not all in the same boat.",[],{"_type":410,"settings":7,"text":22255},[22256],{"_key":22257,"_type":208,"children":22258,"markDefs":22263,"style":221},"db3977c7eebb",[22259],{"_key":22260,"_type":212,"marks":22261,"text":22262},"b098feda098d0",[1056],"Text and video by Demian Jakob",[],"2020-10-28",{"_type":9,"current":22266},"a-three-minute-excerpt-from-springtime-2020",{"_id":22268,"_type":271,"categories":7,"credits":22269,"featuredImage":22407,"pageBuilder":22415,"publishedDate":22264,"seo":7,"slug":22521,"summary":22425,"title":22523},"16036d3c-36ec-48c9-a599-bfda354cd215",{"other":7,"profiles":22270},[22271,22307,22341,22374],{"_id":22272,"_type":315,"activeYears":22273,"bio":22276,"bioShort":22285,"featuredImage":7,"filterables":22286,"links":7,"locations":22289,"searchables":22302,"seo":7,"slug":22304,"title":22306},"22d08734-24d2-42db-97f6-0963e18e93d5",[22274],{"_id":119,"_type":94,"seo":7,"slug":22275,"title":122},{"_type":9,"current":121},[22277],{"_key":22278,"_type":208,"children":22279,"markDefs":22284,"style":221},"c1e1e88a2ab7",[22280],{"_key":22281,"_type":212,"marks":22282,"text":22283},"e5ca2e43fceb0",[],"Thus it happened that we organized our practice according to the new context. We started to send each other performances, letters and drawings under the name cuarentena volume i. Abbreviated as cv, these times might become a dent in the curriculum vitae, allowing to focus on the work itself. Without expectations of self and the other we freely arrange and discover what it means to live in these times and to adapt our practices to the continuous change in circumstances.",[],"We are four artists connected through our performative practices, we came together to open a new studio when the pandemic broke out. ",{"filterYear":22287},[22288],{"_id":119,"title":122},{"locations":22290,"other":22293},[22291],{"_id":3458,"_type":378,"seo":7,"slug":22292,"title":3461},{"_type":9,"current":3460},[22294],{"_key":22295,"_type":208,"children":22296,"markDefs":22301,"style":221},"3fba52f70646",[22297],{"_key":22298,"_type":212,"marks":22299,"text":22300},"60f62f13b8e00",[],"Working in Rotterdam",[],[22303,121],"cuarentena volumes",{"_type":9,"current":22305},"cuarentena-volumes","Cuarentena Volumes",{"_id":22308,"_type":315,"activeYears":22309,"bio":22312,"bioShort":22320,"featuredImage":7,"filterables":22321,"links":7,"locations":22324,"searchables":22336,"seo":7,"slug":22338,"title":22340},"718e31d7-c764-42f6-938d-91cf3618de39",[22310],{"_id":119,"_type":94,"seo":7,"slug":22311,"title":122},{"_type":9,"current":121},[22313],{"_key":22314,"_type":208,"children":22315,"markDefs":22319,"style":221},"8dd0025c283e",[22316],{"_key":22317,"_type":212,"marks":22318,"text":6469},"a9eada68192f",[],[],"Artist.",{"filterYear":22322},[22323],{"_id":119,"title":122},{"locations":22325,"other":22328},[22326],{"_id":3458,"_type":378,"seo":7,"slug":22327,"title":3461},{"_type":9,"current":3460},[22329],{"_key":22330,"_type":208,"children":22331,"markDefs":22335,"style":221},"7d07f202b5ce",[22332],{"_key":22333,"_type":212,"marks":22334,"text":13626},"f9593060627e0",[],[],[22337,121],"emmy vollaard",{"_type":9,"current":22339},"emmy-vollaard","Emmy Vollaard",{"_id":22342,"_type":315,"activeYears":22343,"bio":22346,"bioShort":22320,"featuredImage":7,"filterables":22354,"links":7,"locations":22357,"searchables":22369,"seo":7,"slug":22371,"title":22373},"0ffcd86a-7d4a-4065-9254-e59dfa6d698f",[22344],{"_id":119,"_type":94,"seo":7,"slug":22345,"title":122},{"_type":9,"current":121},[22347],{"_key":22348,"_type":208,"children":22349,"markDefs":22353,"style":221},"d4db360e0d8c",[22350],{"_key":22351,"_type":212,"marks":22352,"text":6469},"38ef557ec26b",[],[],{"filterYear":22355},[22356],{"_id":119,"title":122},{"locations":22358,"other":22361},[22359],{"_id":3458,"_type":378,"seo":7,"slug":22360,"title":3461},{"_type":9,"current":3460},[22362],{"_key":22363,"_type":208,"children":22364,"markDefs":22368,"style":221},"e2da574c9d13",[22365],{"_key":22366,"_type":212,"marks":22367,"text":13626},"c75cfa5c8689",[],[],[22370,121],"kwinnie lê",{"_type":9,"current":22372},"kwinnie-le","Kwinnie Lê",{"_id":22375,"_type":315,"activeYears":22376,"bio":22379,"bioShort":22320,"featuredImage":7,"filterables":22387,"links":7,"locations":22390,"searchables":22402,"seo":7,"slug":22404,"title":22406},"3d6cd64e-453c-4e20-8d7b-08c4f8af7cb3",[22377],{"_id":119,"_type":94,"seo":7,"slug":22378,"title":122},{"_type":9,"current":121},[22380],{"_key":22381,"_type":208,"children":22382,"markDefs":22386,"style":221},"abb78f1c2141",[22383],{"_key":22384,"_type":212,"marks":22385,"text":6469},"f6de5ae20480",[],[],{"filterYear":22388},[22389],{"_id":119,"title":122},{"locations":22391,"other":22394},[22392],{"_id":3458,"_type":378,"seo":7,"slug":22393,"title":3461},{"_type":9,"current":3460},[22395],{"_key":22396,"_type":208,"children":22397,"markDefs":22401,"style":221},"0b5953ec4b47",[22398],{"_key":22399,"_type":212,"marks":22400,"text":13626},"38495609a67b",[],[],[22403,121],"lili ullrich",{"_type":9,"current":22405},"lili-ullrich","Lili Ullrich",{"alt":22408,"asset":22409},"Emmy Vollaard, Najendra Caldera, Kwinnie Lê, Lili Ullrich Cuarentena Volumes I",{"_id":22410,"height":22411,"orientation":400,"ratio":22412,"url":22413,"width":22414},"image-0f82e8c7268819e9c2336e5aa0c79f37bf15b1ec-3584x2080-png",2080,1.7230769230769232,"https://cdn.sanity.io/images/eodip22e/production/0f82e8c7268819e9c2336e5aa0c79f37bf15b1ec-3584x2080.png",3584,[22416,22427,22438,22507,22509,22511],{"_type":410,"settings":22417,"text":22418},{"textColumnCount":412},[22419],{"_key":22420,"_type":208,"children":22421,"markDefs":22426,"style":221},"5d0db8d60f6f",[22422],{"_key":22423,"_type":212,"marks":22424,"text":22425},"3c0f82782f1c0",[],"Cuarentena Volumes is abbreviated as cv: “these times might become a dent in the curriculum vitae, allowing to focus on the work itself.” Part of \"Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19.\"",[],{"_type":410,"settings":22428,"text":22429},{"textColumnCount":412},[22430],{"_key":22431,"_type":208,"children":22432,"markDefs":22437,"style":221},"426a6aadd154",[22433],{"_key":22434,"_type":212,"marks":22435,"text":22436},"54f7894fd0d0",[],"Initiated by Emmy Vollaard, Najendra Caldera, Kwinnie Lê and Lili Ullrich, four artists based in Rotterdam. Connected through their performative practices, the lockdown prompted a new way of sharing their texts, performances, letters and drawings with one another.",[],{"_type":410,"settings":7,"text":22439},[22440,22448,22456,22464,22472,22491,22499],{"_key":22441,"_type":208,"children":22442,"markDefs":22447,"style":221},"2841080da64b",[22443],{"_key":22444,"_type":212,"marks":22445,"text":22446},"bfbe6b9600d5",[],"April 2020",[],{"_key":22449,"_type":208,"children":22450,"markDefs":22455,"style":221},"2988328ccb57",[22451],{"_key":22452,"_type":212,"marks":22453,"text":22454},"f2fd505ad69f0",[],"Dear School of Commons,",[],{"_key":22457,"_type":208,"children":22458,"markDefs":22463,"style":221},"b7d2290ec47a",[22459],{"_key":22460,"_type":212,"marks":22461,"text":22462},"f3682b7e092c0",[],"In these times of Corona, the four of us, Nash, Kwinnie, Emmy and Lili, have created a space for an ongoing collaboration, dissolving the competitive nature of creating, and coming back to the roots, the fun and freedom of our practice.",[],{"_key":22465,"_type":208,"children":22466,"markDefs":22471,"style":221},"afaedc4c95ed",[22467],{"_key":22468,"_type":212,"marks":22469,"text":22470},"04a892f172250",[],"In the current situation, the world is on a hold. At least, that seems to be the notion. As events were getting cancelled and everybody remained home, we were about to move into a new studio. A new space. This naturally changed our ways of working. Maybe this space isn’t a new space, maybe it has been there all along inside each and every one of us and we just needed a moment to enter it (again). We organized a space, physically and mentally, where we can come together, the four of us, and reach out and react to one another within the borders of the social distancing. We search for ways of connecting within these borders, and use the energy this situation brings along with the energy each of us individually is taking to the space. And so these energies become a shared energy, in which we look for common space. Softly, listening intently and without expectations of self and the other we freely arrange and discover what it means to live in these times. Thus a new practice develops, one we partly need to manifest virtually.",[],{"_key":22473,"_type":208,"children":22474,"markDefs":22488,"style":221},"6a6512a55204",[22475,22479,22484],{"_key":22476,"_type":212,"marks":22477,"text":22478},"4e4195cf80090",[],"There are different ways one can look at the current situation in which the art world also seems to be on a halt. On the one hand, it can be frightening, a halt in the art world perhaps also means a halt in shows, commissions and so on. A dent in the CV. On the other hand, it is a moment to create freely and experiment. The competitive nature between peers completely dissolves. We wanted to explore this notion in connection with one another and started to send each other performances, letters, drawings etc. under the name Cuarentena Volume I. Abbreviated as cv, it’s a play on words with the acronym for curriculum vitae. As time progresses, we keep the same acronym with a different conjunction of words according to the situation then. You can find our collaboration on ",{"_key":22480,"_type":212,"marks":22481,"text":22483},"4e4195cf80091",[22482],"3cdde64eb764","https://cv.hotglue.me",{"_key":22485,"_type":212,"marks":22486,"text":22487},"4e4195cf80092",[],", placed in such a way in which the maker becomes somewhat anonymous. A focus on the work itself, a focus on our need to create and communicate together. Perhaps a change we would like to see, even after social distancing.",[22489],{"_key":22482,"_type":238,"href":22490},"https://cv.hotglue.me/",{"_key":22492,"_type":208,"children":22493,"markDefs":22498,"style":221},"6888447c153d",[22494],{"_key":22495,"_type":212,"marks":22496,"text":22497},"0337d207302f0",[],"Warmly,",[],{"_key":22500,"_type":208,"children":22501,"markDefs":22506,"style":221},"bd56b79f4ee7",[22502],{"_key":22503,"_type":212,"marks":22504,"text":22505},"800e7145e31d0",[],"Emmy Vollaard, Najendra Caldera, Kwinnie Lê and Lili Ullrich (artists based in Rotterdam, NL)",[],{"_type":6108,"caption":7,"embedCode":22508},"\u003Ciframe title=\"vimeo-player\" src=\"https://player.vimeo.com/video/412087904?h=bb7a9c0b67\" width=\"640\" height=\"360\" frameborder=\"0\"    allowfullscreen>\u003C/iframe>",{"_type":6108,"caption":7,"embedCode":22510},"\u003Ciframe title=\"vimeo-player\" src=\"https://player.vimeo.com/video/412334781?h=89f767ca32\" width=\"640\" height=\"360\" frameborder=\"0\"    allowfullscreen>\u003C/iframe>",{"_type":410,"settings":7,"text":22512},[22513],{"_key":22514,"_type":208,"children":22515,"markDefs":22520,"style":221},"fcbdc232383d",[22516],{"_key":22517,"_type":212,"marks":22518,"text":22519},"c0b6c96d92b10",[],"“Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19” is the result of an open call for contributions launched by School of Commons in late April 2020. Shortly after COVID19 put much of the world into lockdown, the contributions form a collection of observations and different practices of learning, self-organisation, and building community amidst a global pandemic. The submitted contributions are varied in form and content, and have not been curated in any way, instead offering space to the diverse experiences and responses of all contributors.",[],{"_type":9,"current":22522},"cuarentena-volumes-i","Cuarentena Volumes I",{"_id":22525,"_type":271,"categories":7,"credits":22526,"featuredImage":22559,"pageBuilder":22562,"publishedDate":22264,"seo":7,"slug":22764,"summary":22572,"title":22766},"28faea16-0062-4df9-aa7c-06e218bef57a",{"other":7,"profiles":22527},[22528],{"_id":22529,"_type":315,"activeYears":22530,"bio":22533,"bioShort":22542,"featuredImage":22543,"filterables":22548,"links":7,"locations":22551,"searchables":22555,"seo":7,"slug":22557,"title":22544},"435990a1-4363-4653-9b40-02a392e3f251",[22531],{"_id":119,"_type":94,"seo":7,"slug":22532,"title":122},{"_type":9,"current":121},[22534],{"_key":22535,"_type":208,"children":22536,"markDefs":22541,"style":221},"5a5a054ff0cb",[22537],{"_key":22538,"_type":212,"marks":22539,"text":22540},"27514913675b0",[],"Clare recently completed a performance and installation curated by Kirsten Cooke with Rich Martin at Acme Studios. In 2018 she had a Solo Show “Fragility Spills” at ASC Gallery with collaborators Cairo Clarke and Benjamin Whitley and was selected by Hannah Perry as Artist of the Day at Flowers Gallery. Her works are included in the Société Générale Collection of Female Painters and the V&A Print Collection. Clare recently gave a lecture as part of the Transmission series invited by Sharon Kivland.",[],"Clare is an Artist living and working in London studying at both Central Saint Martins and Goldsmiths. ",{"alt":22544,"asset":22545},"Clare Price",{"_id":22546,"height":6206,"orientation":623,"ratio":536,"url":22547,"width":6206},"image-078192820390d67bca1dde4a4184524056e46c42-2560x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/078192820390d67bca1dde4a4184524056e46c42-2560x2560.jpg",{"filterYear":22549},[22550],{"_id":119,"title":122},{"locations":22552,"other":7},[22553],{"_id":3458,"_type":378,"seo":7,"slug":22554,"title":3461},{"_type":9,"current":3460},[22556,121],"clare price",{"_type":9,"current":22558},"clare-price",{"alt":22560,"asset":22561},"Clare Price - I spat on it to put it back together",{"_id":22546,"height":6206,"orientation":623,"ratio":536,"url":22547,"width":6206},[22563,22574,22593,22755],{"_type":410,"settings":22564,"text":22565},{"textColumnCount":412},[22566],{"_key":22567,"_type":208,"children":22568,"markDefs":22573,"style":221},"23b919498e4f",[22569],{"_key":22570,"_type":212,"marks":22571,"text":22572},"ae92ed8cf37d0",[],"A self-conducted interview which offers insight into Price's practice and reflects upon the ways in which she positions herself both in her work as well as her community during the pandemic. Part of \"Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19.\"",[],{"_type":5118,"slides":22575},[22576,22580,22585,22590],{"_type":406,"caption":7,"image":22577},{"alt":22578,"asset":22579},"Clare Price I spat on it to put it back together",{"_id":22546,"height":6206,"orientation":623,"ratio":536,"url":22547,"width":6206},{"_type":406,"caption":7,"image":22581},{"alt":22578,"asset":22582},{"_id":22583,"height":6206,"orientation":623,"ratio":536,"url":22584,"width":6206},"image-9f9799996e2d6fc67ba6b1de0be53c47b5ab1638-2560x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/9f9799996e2d6fc67ba6b1de0be53c47b5ab1638-2560x2560.jpg",{"_type":406,"caption":7,"image":22586},{"alt":22578,"asset":22587},{"_id":22588,"height":6206,"orientation":623,"ratio":536,"url":22589,"width":6206},"image-0cc292330cedaff11658ec7f2fe674476b1651c7-2560x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/0cc292330cedaff11658ec7f2fe674476b1651c7-2560x2560.jpg",{"_type":406,"caption":7,"image":22591},{"alt":22578,"asset":22592},{"_id":22588,"height":6206,"orientation":623,"ratio":536,"url":22589,"width":6206},{"_type":410,"settings":7,"text":22594},[22595,22603,22611,22619,22627,22635,22643,22651,22659,22667,22675,22683,22691,22699,22707,22715,22723,22731,22739,22747],{"_key":22596,"_type":208,"children":22597,"markDefs":22602,"style":221},"548e06ea21d2",[22598],{"_key":22599,"_type":212,"marks":22600,"text":22601},"39277972ddaa0",[214],"How you are positioning yourself within these shifting grounds?",[],{"_key":22604,"_type":208,"children":22605,"markDefs":22610,"style":221},"75f54823dc41",[22606],{"_key":22607,"_type":212,"marks":22608,"text":22609},"86eff105dae80",[],"This time has located me firmly in a life and community that I have fought for and in some aspects fought against, situated me in my home and in the spaces cleared by my choices. Though the severity of COVID19 is a collective trauma, I am used in many ways to shifting grounds and the restrictions of this time have allowed for deeper enquiry personally and within my work. I am finding that I am more and more positioning myself in a political way and I am interested in how this might manifest over time, understanding my position as an artist, a queer woman, a single parent with my history, understanding both the power and vulnerability of these things. Living outside of traditional family structures, I am reflecting on how I can use the energy and potency that it is freed up by this for good. It feels like a period of “repair” after rupture, having claimed back my body and my life through a time of healing I am asking questions of how I might use my experiences and any agency that I might have picked up along the way to help others?",[],{"_key":22612,"_type":208,"children":22613,"markDefs":22618,"style":221},"b8f7be40dd78",[22614],{"_key":22615,"_type":212,"marks":22616,"text":22617},"c02232604b670",[214],"What are you putting your energy into?",[],{"_key":22620,"_type":208,"children":22621,"markDefs":22626,"style":221},"c3a3ed2ccfb2",[22622],{"_key":22623,"_type":212,"marks":22624,"text":22625},"4799ae2e51b90",[],"I am putting my energy into walking, writing, painting, meditating, and connecting to others. COVID19 strangely allows for more financial support from other organisations and I have been working hard to shore up my life, which is both stable and precarious. I am nourishing myself with simple food and caring for my home in terms of trying to make it more beautiful in simple ways. I have been doing Buddhist meditation, which centres around compassion which has made for seismic shifts within me. I am thinking hard about how I can use my generational privilege that is my home in generous ways, I have been between the cracks societally and am working out this how this position can be used to nourish the place in which I live, that has held me for so long.",[],{"_key":22628,"_type":208,"children":22629,"markDefs":22634,"style":221},"d242381ebccc",[22630],{"_key":22631,"_type":212,"marks":22632,"text":22633},"2edc91d236bf0",[214],"How are you organising yourselves?",[],{"_key":22636,"_type":208,"children":22637,"markDefs":22642,"style":221},"ad85ae6fce95",[22638],{"_key":22639,"_type":212,"marks":22640,"text":22641},"cbca0f90967b0",[],"I am organising myself around routines, trying to self-care, walking, working gently ’til I drop each day and then starting again. I have been making small paintings on cheap stretchers in a light way for the Artist Support Pledge and posting them to other artists and old friends — thus allowing me to support artists and an LGBTQI homeless charity. Life has also organised itself in ways that I can’t control around lodgers in my home, but things have worked out despite initial feelings of rupture. My son is not around, which is tough but I am using this time in ways that I perceive to be best for both of us.",[],{"_key":22644,"_type":208,"children":22645,"markDefs":22650,"style":221},"dad79e0730bd",[22646],{"_key":22647,"_type":212,"marks":22648,"text":22649},"601cda69b53d0",[214],"Which practices for individual or common learning have you developed, and where are you drawing knowledge and energy from these days?",[],{"_key":22652,"_type":208,"children":22653,"markDefs":22658,"style":221},"b10a1e5c6dcf",[22654],{"_key":22655,"_type":212,"marks":22656,"text":22657},"7e0ec5f961d90",[],"I draw from queer communities, conversations with artist friends, Oisin Byrne particularly at present, lots of rich conversations with him that span everything from Beckett to Riverdale. I have learned how to have boundaries around aspects of my community that I would culturally be more expected to be a part of and focus on people and ideas that I feel I have more affinity to. I am listening to myself carefully and learning — looking to artists and activists, talking to people like Derek Horton who is supportive and whose principles are inspiring to me. I have been looking at the work of artists such as Raju Rage and Liv Wynter and being in touch with Sharon Kivland and lightly with Robin Klassnik (often me just sending pictures of dogs to be honest and once a parrot).",[],{"_key":22660,"_type":208,"children":22661,"markDefs":22666,"style":221},"bf9a16c9601b",[22662],{"_key":22663,"_type":212,"marks":22664,"text":22665},"922660843f530",[214],"Where do you find nourishment; safety; a sense of community?",[],{"_key":22668,"_type":208,"children":22669,"markDefs":22674,"style":221},"2fdbfc976bca",[22670],{"_key":22671,"_type":212,"marks":22672,"text":22673},"41ea0d63ef240",[],"Home, writing, music, my friends — connecting with old friends messaging with my little brother up north, talking with newer artist friends sensing that I am gently finally starting to find my place. Observing and writing down things I see around me, walking the three streets closest to my home, which house people of every conceivable background is an important ritual, is not clingy but this small area feels full of kindness and glacial acts of healing, layers of time and care.",[],{"_key":22676,"_type":208,"children":22677,"markDefs":22682,"style":221},"087749e3a2fe",[22678],{"_key":22679,"_type":212,"marks":22680,"text":22681},"224c3e9a2c370",[214],"What insights have you gained?",[],{"_key":22684,"_type":208,"children":22685,"markDefs":22690,"style":221},"bf129ebea8fc",[22686],{"_key":22687,"_type":212,"marks":22688,"text":22689},"4ed969869ea80",[],"I look around me at artists who are so are used to precarity and see them mobilise within this space, our strength and resourcefulness is made apparent — we look into voids and stand on shaky ground every day outside of this crisis and my sense is that our powers are more evident to ourselves and to others in this time. I see a swelling or a making visible, a galvanising of powers that exist underneath capitalism and heteronormativity and that this is profoundly hopeful to me. Reflecting on my own weaving in and out of my physical community in Peckham that has been fractured but in other ways (trying to be generous to myself) seeing that I have not just taken what some might see as the cream (I don’t) but that I have connections that are long standing with many people some of whom are on the absolute margins, often in gentle unseen ways through my dog and how rich these invisible threads are.",[],{"_key":22692,"_type":208,"children":22693,"markDefs":22698,"style":221},"918a0ace5055",[22694],{"_key":22695,"_type":212,"marks":22696,"text":22697},"8207df396c4f0",[],"The greatest insight is that the enforced simplicity of this period has been personally rich. Letting go of the studio and certain expectations of how a painter might “move” feels freeing and is opening up new conversations and questions that are enduring and fertile. Personally this feels like a time post coming back into my body where new spaces can further open up physically and emotionally and questions can be asked about how the healing “webs” of the installations that I have been making can manifest in real ways in term of care and community, where can I put my power having finally claimed it?",[],{"_key":22700,"_type":208,"children":22701,"markDefs":22706,"style":221},"15aaa2a3c2ab",[22702],{"_key":22703,"_type":212,"marks":22704,"text":22705},"f34da5e464c40",[214],"Outcomes /excerpt from ACE application",[],{"_key":22708,"_type":208,"children":22709,"markDefs":22714,"style":221},"6dfb4740ee0c",[22710],{"_key":22711,"_type":212,"marks":22712,"text":22713},"09fd492d4e5c0",[],"My recent practice has focused on creating safe spaces within my work; these manifest as installations around paintings, creating sets to perform, or within the construction of intimate “dens” where I can produce new ideas. The “webs” are also wrapped around my body in almost “costumes” that protect and allude gently and inquisitively to drag. I will construct a “den” in my attic, built from objects bought in Peckham pound shops. In this alternative studio, I will experiment with deconstructing the ideas & materiality of my paintings; writing texts in response to them, and performing these back to the work.",[],{"_key":22716,"_type":208,"children":22717,"markDefs":22722,"style":221},"7225b43d50bc",[22718],{"_key":22719,"_type":212,"marks":22720,"text":22721},"575f739ba74c0",[],"I interrogate the lines between public and private spaces in my work with emphasis on LGBTQI+ concerns. Instagram has given me an agency to explore notions of marginalisation and empowerment online. In the past six months I have presented my writing in the form of cut up diaristic autobiographical accounts of my life as a queer artist past and present, comprising of memory observation, healing and trauma.I will deepen my daily writing practice, recording private performances which expand upon my text work and spoken word, presenting them on social media.",[],{"_key":22724,"_type":208,"children":22725,"markDefs":22730,"style":221},"5d883cd7ddc6",[22726],{"_key":22727,"_type":212,"marks":22728,"text":22729},"50f5574ca6920",[],"My writing is concerned with people in my community, spanning observations of my life in Peckham where I have lived for 22 years, revealing untold stories of people on the margins to discuss class and social structures. I gather words and memories to piece together new patterns and stories that can be performed.",[],{"_key":22732,"_type":208,"children":22733,"markDefs":22738,"style":221},"7674bb4cb8ad",[22734],{"_key":22735,"_type":212,"marks":22736,"text":22737},"24ae20d4a5e90",[214],"Specifically for School of Commons",[],{"_key":22740,"_type":208,"children":22741,"markDefs":22746,"style":221},"40ded6b309de",[22742],{"_key":22743,"_type":212,"marks":22744,"text":22745},"edc1e181d0d40",[],"Within a finite period (either a month or two weeks) I will photograph the dens and webs as I make them in the attic and potentially over costume on my body. I will continue to write the cut up prose and will overlay this as spoken word over these images to make movies that could be posted online. I could also potentially record a performance of these texts playing with recordings as a sound bed underneath my performance of the stories looping on hidden speakers.",[],{"_key":22748,"_type":208,"children":22749,"markDefs":22754,"style":221},"3609c6e96743",[22750],{"_key":22751,"_type":212,"marks":22752,"text":22753},"4eb056ab491c0",[],"Examples of images of previous dens are attached, as well as recordings of earlier writings and writing since lockdown. I am WeTransferring two moving images pieces where spoken word recorded in a sound booth is laid over imagery and a small snippet of a previous performance.",[],{"_type":410,"settings":7,"text":22756},[22757],{"_key":22758,"_type":208,"children":22759,"markDefs":22763,"style":221},"0d3c8624e631",[22760],{"_key":22761,"_type":212,"marks":22762,"text":22519},"921f0352dc780",[],[],{"_type":9,"current":22765},"i-spat-on-it-to-put-it-back-together","I spat on it to put it back together",{"_id":22768,"_type":271,"categories":7,"credits":22769,"featuredImage":22794,"pageBuilder":22799,"publishedDate":22264,"seo":7,"slug":22953,"summary":22809,"title":22955},"37af7631-a14e-4a86-9bbf-3c996ed47b72",{"other":7,"profiles":22770},[22771],{"_id":12556,"_type":315,"activeYears":22772,"bio":22775,"bioShort":12569,"featuredImage":22781,"filterables":22783,"links":22786,"locations":22788,"searchables":22792,"seo":7,"slug":22793,"title":12571},[22773],{"_id":119,"_type":94,"seo":7,"slug":22774,"title":122},{"_type":9,"current":121},[22776],{"_key":12562,"_type":208,"children":22777,"markDefs":22780,"style":221},[22778],{"_key":12565,"_type":212,"marks":22779,"text":12567},[],[],{"alt":12571,"asset":22782},{"_id":12573,"height":3790,"orientation":623,"ratio":536,"url":12574,"width":3790},{"filterYear":22784},[22785],{"_id":119,"title":122},[22787],{"_type":371,"label":372,"url":12580},{"locations":22789,"other":7},[22790],{"_id":10380,"_type":378,"seo":7,"slug":22791,"title":10383},{"_type":9,"current":10382},[12586,121],{"_type":9,"current":12588},{"alt":22795,"asset":22796},"Zoe Marquedant - Somebody",{"_id":22797,"height":10589,"orientation":623,"ratio":536,"url":22798,"width":10589},"image-db1943a80e5feecfa6541ca79af1b4eb68ae0bfa-225x225-png","https://cdn.sanity.io/images/eodip22e/production/db1943a80e5feecfa6541ca79af1b4eb68ae0bfa-225x225.png",[22800,22811,22933,22944],{"_type":410,"settings":22801,"text":22802},{"textColumnCount":412},[22803],{"_key":22804,"_type":208,"children":22805,"markDefs":22810,"style":221},"c8d70a86932a",[22806],{"_key":22807,"_type":212,"marks":22808,"text":22809},"2242684480150",[],"Centering the body without other bodies, Marquedant questions the parameters of being singular. Part of \"Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19.\"",[],{"_type":410,"settings":7,"text":22812},[22813,22821,22829,22837,22845,22853,22861,22869,22877,22885,22893,22901,22909,22917,22925],{"_key":22814,"_type":208,"children":22815,"markDefs":22820,"style":221},"941318189aba",[22816],{"_key":22817,"_type":212,"marks":22818,"text":22819},"70d9e41367de0",[],"Isolation has brought attention to the body without other bodies. One person in one apartment for the foreseeable future. No coworkers, no casual friends, only the suggestion of neighbors coming in through the walls. No jostling in busy subway cars, no pick-up games of soccer, no meet me on the roof for drinks once it gets dark. Just you. Or just me. No one else.",[],{"_key":22822,"_type":208,"children":22823,"markDefs":22828,"style":221},"db3361d540b6",[22824],{"_key":22825,"_type":212,"marks":22826,"text":22827},"028457c798b30",[],"This was almost unfathomable. How can you live without the extraneous company of workers, attendants, people waved too but never introduced? Mail carriers, builders, those overly affectionate with their lawns. The unacknowledged web of others. And be by yourself. What do you call that? To be with nobody. And have it happening to everybody simultaneously. Everyone without someone else.",[],{"_key":22830,"_type":208,"children":22831,"markDefs":22836,"style":221},"a9a8ff6a46ea",[22832],{"_key":22833,"_type":212,"marks":22834,"text":22835},"6bfe27a519e40",[],"The sound of two feet moving without ever intersecting another pair was at one point hard to imagine. Like one hand clapping. There was no scenario in which that went on forever. Eventually, you crawled out of bed. Eventually, you met friends. Eventually, one became two became a few, maybe even many. That was the math of the every day. The unnamed normal. That we now long to return to.",[],{"_key":22838,"_type":208,"children":22839,"markDefs":22844,"style":221},"15494f8cfdf1",[22840],{"_key":22841,"_type":212,"marks":22842,"text":22843},"9157aacee6df0",[],"The convergence of orbits. On the way to work, the store, on a walk in the evening, there would always be a crossing of lives. If only momentarily. There would be another set of prints. Or evidence of another existence outside your own. A forgotten umbrella. A completed crossword. A warm seat. Even in the remotest of mountains, islands. Even the astronauts have company.",[],{"_key":22846,"_type":208,"children":22847,"markDefs":22852,"style":221},"250a3470afc8",[22848],{"_key":22849,"_type":212,"marks":22850,"text":22851},"a40f0fbcb55e0",[],"Here the world appears abandoned. Or at least it goes unseen. It must be taken in from the same six angles that the kitchen windows allow. Recycled views. Nothing new, nothing happening below. Unchanged also is the person looking down. They’ve been stuck in there for months. They’ve become experts in houseplants, self-taught renovation projects, in the contents of every kitchen drawer, in the growth of gossamer. They watch their shows, they brush their teeth, but nothing’s up. What do we call this condition? This perpetual state of seeing no one.",[],{"_key":22854,"_type":208,"children":22855,"markDefs":22860,"style":221},"0fd994896ab1",[22856],{"_key":22857,"_type":212,"marks":22858,"text":22859},"c1f29f7691e60",[],"There are no good words for one person. For an individual. No way to say it without creating character. Without casting a shadow or an assumption. To say unattached, unaided, unescorted, unaccompanied, companionless, solo, solitary, lone, sole, single is to say something about the individual beyond their number. A sorrow, a lacking, connotation of emotion. We are wordless when we have to be without others. Especially when it is indefinitely.",[],{"_key":22862,"_type":208,"children":22863,"markDefs":22868,"style":221},"f70c49532ea7",[22864],{"_key":22865,"_type":212,"marks":22866,"text":22867},"5739744fd9ec0",[],"Together. We’re a gathering. A splinter-group. A league, a swarm, a unit. A multitude rising. An assembly of attendees outside the theatre during intermission. A party of friends trying to all make the same train. A band of students laden with picnic baskets, laughing. A mob of rowdy sports fans overtaking the bar. A small army with balloons in the Arrivals bay.",[],{"_key":22870,"_type":208,"children":22871,"markDefs":22876,"style":221},"2fceccd06525",[22872],{"_key":22873,"_type":212,"marks":22874,"text":22875},"6eea2d8288ca0",[],"A pair walks through a public garden. A swarm explores the racks in stores. A committee of confidants pour over a text. A huddle forms inside the carousel during a sudden storm. A horde heads for the after-party. We join cliques, squads, teams as unbreakable as lunch tables. We add-on to the line-up at karaoke night. There are so many ways to say a body of people. A crowd. A league.",[],{"_key":22878,"_type":208,"children":22879,"markDefs":22884,"style":221},"9467d9108f27",[22880],{"_key":22881,"_type":212,"marks":22882,"text":22883},"957d74dc33780",[],"Even the animals move, exist almost entirely in groups. Packs of weasels, colonies of rats, herds of rabbits, smacks of jellyfish, towers of giraffes. In migrations, in burrows, in flight. A pod of whales. A flock of birds. A litter, a caravan, a troop. The sighting of a solitary kestrel asks, but where are the others?",[],{"_key":22886,"_type":208,"children":22887,"markDefs":22892,"style":221},"9cd21da1618a",[22888],{"_key":22889,"_type":212,"marks":22890,"text":22891},"5a0271837b850",[],"How do you say one without the others? To say, “mortal” is to creep too close to the questions of existence. “Human” is similarly removed from the grounded reality of cereal bowls and empty rooms. “Person” is too anonymous, almost governmental. “Specimen” too scientific. “Being” too ethereal. Bachelor, spinster, widow are all about absences. Fellow, then? Subject. Entity. There is no good way to communicate being one person in a state other than alone.",[],{"_key":22894,"_type":208,"children":22895,"markDefs":22900,"style":221},"4a7abebe9e14",[22896],{"_key":22897,"_type":212,"marks":22898,"text":22899},"fa39d5ee8a6f0",[],"There are dozens of increasingly specific sentiments for multiples. Ways to suggest how they met, why they’re there, what they’re doing, where they went. But the self. By the self. Language is unprepared for this sudden predicament. Not even in the depths of its pockets does the dictionary have a better answer than: a body. A life. Party of one.",[],{"_key":22902,"_type":208,"children":22903,"markDefs":22908,"style":221},"39fee73be37e",[22904],{"_key":22905,"_type":212,"marks":22906,"text":22907},"9689277d80180",[],"Our expressions are unable to describe the current circumstance. The oneness. The singularity of a person by themselves. Which is perpetuated perhaps by the fact that it’s happening to more than one person. All at once. Each individual is next to another person who is also living without people. And they are existing in a building full of individuals whiling away the hours under the same orders. Next door to them is an entire city survived by others. Singles. Souls.",[],{"_key":22910,"_type":208,"children":22911,"markDefs":22916,"style":221},"bcd935c20792",[22912],{"_key":22913,"_type":212,"marks":22914,"text":22915},"727c1d5b652e0",[],"What would you call a group of people alone together? Separated by stairwells and stay-at-home. A separation of people? A shared empty? A cornered off? Individuals without a body? There are several ways to say many. But few to say one. Not with anyone. Just me. Alone. By myself. And by the way, fine. OK. Still here. In a holding pattern of one.",[],{"_key":22918,"_type":208,"children":22919,"markDefs":22924,"style":221},"8e7679249b00",[22920],{"_key":22921,"_type":212,"marks":22922,"text":22923},"38f65cc749970",[],"A person. What words will there be for them? How do you say a body behind a door, waiting to see other people again? Will terms arise to describe the sensation of being always behind a window. Behind glass, a museum exhibition for the no one that passes on the street. New slang for the lack of strangers, acquaintances, people whose eye you catch. Phrases that encapsulate this.",[],{"_key":22926,"_type":208,"children":22927,"markDefs":22932,"style":221},"6256f95e55b6",[22928],{"_key":22929,"_type":212,"marks":22930,"text":22931},"b9723b4bb4d50",[],"An individual waiting to be one in a school, a drove, an inner circle again. A word for bodies hurrying, rejoining like mercury unable to withstand being apart any longer. How will we reference our past selves when they were without others? Will we say everyone was alone.",[],{"_type":410,"settings":22934,"text":22935},{"textColumnCount":412},[22936],{"_key":22937,"_type":208,"children":22938,"markDefs":22943,"style":221},"2e7a8766aac0",[22939],{"_key":22940,"_type":212,"marks":22941,"text":22942},"1c2dd2d50f010",[1056],"Written by Zoe Marquedant.",[],{"_type":410,"settings":7,"text":22945},[22946],{"_key":22947,"_type":208,"children":22948,"markDefs":22952,"style":221},"44263443ea1e",[22949],{"_key":22950,"_type":212,"marks":22951,"text":22519},"f55f8c24bcbf0",[],[],{"_type":9,"current":22954},"somebody","Somebody",{"_id":22957,"_type":271,"categories":7,"credits":22958,"featuredImage":22986,"pageBuilder":22993,"publishedDate":22264,"seo":7,"slug":23027,"summary":23003,"title":23029},"3893a231-8121-4e9d-8f4d-2be3f83ecce2",{"other":7,"profiles":22959},[22960],{"_id":22961,"_type":315,"activeYears":22962,"bio":22965,"bioShort":22973,"featuredImage":7,"filterables":22974,"links":7,"locations":22977,"searchables":22981,"seo":7,"slug":22983,"title":22985},"b26feb01-0adf-43b8-947d-096c2dc3f608",[22963],{"_id":119,"_type":94,"seo":7,"slug":22964,"title":122},{"_type":9,"current":121},[22966],{"_key":22967,"_type":208,"children":22968,"markDefs":22972,"style":221},"f3754cd1a459",[22969],{"_key":22970,"_type":212,"marks":22971,"text":6469},"f1a52dddb419",[],[],"Vera studies Vocals at the Classical Music department of the ZHdK.",{"filterYear":22975},[22976],{"_id":119,"title":122},{"locations":22978,"other":7},[22979],{"_id":3458,"_type":378,"seo":7,"slug":22980,"title":3461},{"_type":9,"current":3460},[22982,121],"vera rieger",{"_type":9,"current":22984},"vera-rieger","Vera Rieger",{"alt":22987,"asset":22988},"Vera Rieger Wochenplan",{"_id":22989,"height":17559,"orientation":400,"ratio":22990,"url":22991,"width":22992},"image-853d1c4ec7abd58b5548721c97c43a1a8b9767df-2688x1496-png",1.7967914438502675,"https://cdn.sanity.io/images/eodip22e/production/853d1c4ec7abd58b5548721c97c43a1a8b9767df-2688x1496.png",2688,[22994,23005,23007,23017],{"_type":410,"settings":22995,"text":22996},{"textColumnCount":412},[22997],{"_key":22998,"_type":208,"children":22999,"markDefs":23004,"style":221},"c4d16d48fd49",[23000],{"_key":23001,"_type":212,"marks":23002,"text":23003},"e94af7826a1d0",[],"A short video that shows the ways in which Rieger organised her activities into weekly schedules in order to maintain her singing practice as well as her social life. Part of \"Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19.\"",[],{"_type":6108,"caption":7,"embedCode":23006},"\u003Ciframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/BPIq91ljy1c?si=D6jEJg2SDUeRFIos\" 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":410,"settings":7,"text":23008},[23009],{"_key":23010,"_type":208,"children":23011,"markDefs":23016,"style":221},"ea1c8578bb47",[23012],{"_key":23013,"_type":212,"marks":23014,"text":23015},"25134d14d7600",[],"“Since the lockdown I started doing week plans to organize my studies, more specifically my digital lessons and my practising as a singer. Those plans became essential because being home all the time it is difficult to remember appointments and especially get practising motivation. My social life I wanted to portray only by showing it through a screen, skype chats or series. My goal is to show that at the beginning this was all new and even fun. But as time goes by the desire to get back to normal and meeting friends increases. As the discipline to be good decreases. Nevertheless we should not forget how lucky the situation we are in still is.”",[],{"_type":410,"settings":7,"text":23018},[23019],{"_key":23020,"_type":208,"children":23021,"markDefs":23026,"style":221},"dad01723c7ef",[23022],{"_key":23023,"_type":212,"marks":23024,"text":23025},"7104423061c5",[1056],"Made by Vera Rieger.",[],{"_type":9,"current":23028},"wochenplan","Wochenplan",{"_id":23031,"_type":271,"categories":7,"credits":23032,"featuredImage":23061,"pageBuilder":23066,"publishedDate":22264,"seo":7,"slug":23138,"summary":23076,"title":23060},"771cf48c-2645-47b4-8ce7-0330ca18d12f",{"other":7,"profiles":23033},[23034],{"_id":23035,"_type":315,"activeYears":23036,"bio":23039,"bioShort":23048,"featuredImage":7,"filterables":23049,"links":7,"locations":23052,"searchables":23056,"seo":7,"slug":23058,"title":23060},"02225eb7-7e20-44c1-9c34-278f6e6ae123",[23037],{"_id":119,"_type":94,"seo":7,"slug":23038,"title":122},{"_type":9,"current":121},[23040],{"_key":23041,"_type":208,"children":23042,"markDefs":23047,"style":221},"2a9e5e0f9dbf",[23043],{"_key":23044,"_type":212,"marks":23045,"text":23046},"eb4b97bfe6310",[]," Over the past few weeks, the account has developed into a tool to collectively reflect, express and find humour in strange and uncertain times. It has reached far beyond those involved on the course at CSM. The profile is a reminder of how we can remain connected through shared experience and understanding beyond the borders of our communities, even in the most isolated times.",[],"GCD Memes is a rolling body of work that attempts to reflect on the collective experiences of those involved in the GCD course at CSM from the student perspective.",{"filterYear":23050},[23051],{"_id":119,"title":122},{"locations":23053,"other":7},[23054],{"_id":3458,"_type":378,"seo":7,"slug":23055,"title":3461},{"_type":9,"current":3460},[23057,121],"gcd memes",{"_type":9,"current":23059},"gcd-memes","GCD Memes",{"alt":23060,"asset":23062},{"_id":23063,"height":23064,"orientation":623,"ratio":536,"url":23065,"width":23064},"image-d737125d2e42aad0e26bbeed203f7f30ace0bbbe-2250x2250-jpg",2250,"https://cdn.sanity.io/images/eodip22e/production/d737125d2e42aad0e26bbeed203f7f30ace0bbbe-2250x2250.jpg",[23067,23078,23088,23117,23129],{"_type":410,"settings":23068,"text":23069},{"textColumnCount":412},[23070],{"_key":23071,"_type":208,"children":23072,"markDefs":23077,"style":221},"9326f45a2c4f",[23073],{"_key":23074,"_type":212,"marks":23075,"text":23076},"53ee12f793b60",[],"GCD Memes is a rolling body of work that attempts to reflect on the collective experiences of those involved in the GCD course at CSM from the student perspective. Part of \"Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19.\"",[],{"_type":5118,"slides":23079},[23080,23083],{"_type":406,"caption":7,"image":23081},{"alt":23060,"asset":23082},{"_id":23063,"height":23064,"orientation":623,"ratio":536,"url":23065,"width":23064},{"_type":406,"caption":7,"image":23084},{"alt":23060,"asset":23085},{"_id":23086,"height":23064,"orientation":623,"ratio":536,"url":23087,"width":23064},"image-6c8679a1f230d0c3cb332e97a14d0908a25b71de-2250x2250-jpg","https://cdn.sanity.io/images/eodip22e/production/6c8679a1f230d0c3cb332e97a14d0908a25b71de-2250x2250.jpg",{"_type":410,"settings":7,"text":23089},[23090,23098],{"_key":23091,"_type":208,"children":23092,"markDefs":23097,"style":221},"85fb0bc0033c",[23093],{"_key":23094,"_type":212,"marks":23095,"text":23096},"93d56bb996220",[],"Over the past few weeks, the account has developed into a tool to collectively reflect, express and find humour in strange and uncertain times. It has reached far beyond those involved on the course at CSM. The profile is a reminder of how we can remain connected through shared experience and understanding beyond the borders of our communities, even in the most isolated times.",[],{"_key":23099,"_type":208,"children":23100,"markDefs":23114,"style":221},"7264f1e3dd21",[23101,23105,23110],{"_key":23102,"_type":212,"marks":23103,"text":23104},"f724738bfd760",[],"GCD Memes is currently on hold in protest of the systemic racism present within UAL. Visit ",{"_key":23106,"_type":212,"marks":23107,"text":23109},"f724738bfd761",[23108],"712158aefecf","@gcd.memes",{"_key":23111,"_type":212,"marks":23112,"text":23113},"f724738bfd762",[]," on Instagram for more info, and please sign the change.org petition in support of this protest, linked in their bio.",[23115],{"_key":23108,"_type":238,"href":23116},"https://www.instagram.com/gcd.memes/",{"_type":5118,"slides":23118},[23119,23124],{"_type":406,"caption":7,"image":23120},{"alt":23060,"asset":23121},{"_id":23122,"height":23064,"orientation":623,"ratio":536,"url":23123,"width":23064},"image-7bfbd8effb65d3d34c59679f7ad7ca66a0c6e90f-2250x2250-jpg","https://cdn.sanity.io/images/eodip22e/production/7bfbd8effb65d3d34c59679f7ad7ca66a0c6e90f-2250x2250.jpg",{"_type":406,"caption":7,"image":23125},{"alt":23060,"asset":23126},{"_id":23127,"height":23064,"orientation":623,"ratio":536,"url":23128,"width":23064},"image-65ce96aae0c27cd6db214937bccc111fa204e788-2250x2250-jpg","https://cdn.sanity.io/images/eodip22e/production/65ce96aae0c27cd6db214937bccc111fa204e788-2250x2250.jpg",{"_type":410,"settings":7,"text":23130},[23131],{"_key":23132,"_type":208,"children":23133,"markDefs":23137,"style":221},"80152c99112a",[23134],{"_key":23135,"_type":212,"marks":23136,"text":22519},"d7ed49c5a4760",[],[],{"_type":9,"current":23059},{"_id":23140,"_type":271,"categories":7,"credits":23141,"featuredImage":23170,"pageBuilder":23173,"publishedDate":22264,"seo":7,"slug":23282,"summary":23183,"title":23284},"8770d769-652f-4326-b843-b881de938fc5",{"other":7,"profiles":23142},[23143],{"_id":23144,"_type":315,"activeYears":23145,"bio":23148,"bioShort":23157,"featuredImage":7,"filterables":23158,"links":7,"locations":23161,"searchables":23165,"seo":7,"slug":23167,"title":23169},"38cf91c7-deeb-4457-ba16-802613726011",[23146],{"_id":119,"_type":94,"seo":7,"slug":23147,"title":122},{"_type":9,"current":121},[23149],{"_key":23150,"_type":208,"children":23151,"markDefs":23156,"style":221},"20cf0bb0df51",[23152],{"_key":23153,"_type":212,"marks":23154,"text":23155},"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":23159},[23160],{"_id":119,"title":122},{"locations":23162,"other":7},[23163],{"_id":3458,"_type":378,"seo":7,"slug":23164,"title":3461},{"_type":9,"current":3460},[23166,121],"andrea giuseppe ragno",{"_type":9,"current":23168},"andrea-giuseppe-ragno","Andrea Giuseppe Ragno",{"alt":23171,"asset":23172},"Andrea Ragno A short reflection on what COVID-19 teaches us about science",{"_id":22797,"height":10589,"orientation":623,"ratio":536,"url":22798,"width":10589},[23174,23185,23273],{"_type":410,"settings":23175,"text":23176},{"textColumnCount":412},[23177],{"_key":23178,"_type":208,"children":23179,"markDefs":23184,"style":221},"4293aea386dd",[23180],{"_key":23181,"_type":212,"marks":23182,"text":23183},"3bcb45e550780",[],"An essay which offers a welcome respite in thinking about the future of knowledge production and its rootedness in community. Part of \"Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19.\"",[],{"_type":410,"settings":7,"text":23186},[23187,23195,23227,23242,23257,23265],{"_key":23188,"_type":208,"children":23189,"markDefs":23194,"style":221},"f757c64376b6",[23190],{"_key":23191,"_type":212,"marks":23192,"text":23193},"3954d2c9651f0",[],"When COVID-19 started becoming more serious and threatening everywhere outside of Italy, I experienced a sense of exceptionality. In fact, as an Italian citizen based in London, on the one hand I was surprised by the incredibly slow response European governments (in particular, the UK government) were giving to the pandemic. On the other, I felt powerless. I was seeing all my friends and classmates hurrying to leave London and go back to either their families or their country. That left me stranded. After just a weekend, I was alone. No classmates, no roommates, no friends. Everyone fled because they could. Unfortunately, I could not. Going back to Italy was not an option as the circumstances were quite scary and the strictness of norms would have forced me to stay in a house too small for my family. Many doubts surrounded me and luckily few days after that weekend a friend of mine told me she was able to host me in Germany. Since I moved to Germany, I have been feeling quite safe in virtue of the fact that I am not part of the vulnerable categories. Sources of personal anxiety or of very high concern are, now, mostly the consequences which the virus has provoked within societies of all over the world. Yet, the feeling of being geographically and psychologically stuck in place which I thought to be home has caused a great distress.",[],{"_key":23196,"_type":208,"children":23197,"markDefs":23226,"style":221},"204dfc24fa1c",[23198,23202,23206,23210,23214,23218,23222],{"_key":23199,"_type":212,"marks":23200,"text":23201},"3d2fe9176fae0",[],"Let us call ",{"_key":23203,"_type":212,"marks":23204,"text":23205},"3d2fe9176fae1",[1056],"internal developments of the virus",{"_key":23207,"_type":212,"marks":23208,"text":23209},"3d2fe9176fae2",[]," those consequences which would affect one’s physical health. And then, let us call ",{"_key":23211,"_type":212,"marks":23212,"text":23213},"3d2fe9176fae3",[1056],"external developments of the virus",{"_key":23215,"_type":212,"marks":23216,"text":23217},"3d2fe9176fae4",[]," those consequences which would affect from one’s mental health to the economy. The borders between external and internal developments are fleeting and completely arbitrary. They do not refer any specific guideline released by experts, or a government, or the WHO. These two categories have been sketched from a difference which is fundamental in biology. In fact, when a biologist considers the environment of a gene, she literally means everything which is not a gene. Every other organism, protein, or molecule would be then deemed external to the gene. Same goes for my demarcation between consequences directly caused by COVID-19 and those indirectly caused by COVID-19. The demarcation continues in terms of the responses one can give to such developments. Humans can act on internal ones via vaccine or other medical treatments. Obviously, the research behind an effective vaccine needs the whole scientific endeavour. The ",{"_key":23219,"_type":212,"marks":23220,"text":23221},"3d2fe9176fae5",[1056],"external developments",{"_key":23223,"_type":212,"marks":23224,"text":23225},"3d2fe9176fae6",[],", instead, require a variegate pool of actions, such as social choice theory, political theory, scientific modelling, since the fields here considered are very heterogenous.",[],{"_key":23228,"_type":208,"children":23229,"markDefs":23241,"style":221},"3fecdd89a579",[23230,23234,23237],{"_key":23231,"_type":212,"marks":23232,"text":23233},"e4d03426a6800",[],"In order to get a flavour of this incredibly dynamic enterprise, I started putting my energy into the paradigm of community-based researches by simply setting up a WhatsApp group-chat with several friends of mine. Together, we began simulating how the decision making process of policymakers occurs. We thought that this process, however, was flawed because it was mostly pursued by conservative and nationalist positions. We were not critical of what was happening on the level of the ",{"_key":23235,"_type":212,"marks":23236,"text":23205},"e4d03426a6801",[1056],{"_key":23238,"_type":212,"marks":23239,"text":23240},"e4d03426a6802",[],". Rather, we have been investigating how, given available scientific evidence, a community can make pragmatic decisions which will influence the community itself and its members. So, we positioned ourselves as critical of policies made under neoliberal politics. We started this as a cooperative game. There were no firm role as we believed that maintaining strict characters was part of the mistakes made. Creating a community-based analysis was helpful to account for many of the needs of different individuals. Moreover, we realised that accounting for the disruptions the virus has caused under a pluralist manner was fruitful. The heuristics invoked by the Pan-Africanist sociologist W. E. B. Du Bois, namely the Du Boisian methodological triangulation, was beneficial for us. In fact, we used several methods taken mostly from philosophy, social sciences, art, cultural theory and combined them in order to find better answers, instead of sticking to a monolithic method.",[],{"_key":23243,"_type":208,"children":23244,"markDefs":23256,"style":221},"5ef2dca5f741",[23245,23249,23252],{"_key":23246,"_type":212,"marks":23247,"text":23248},"ec1d483da1680",[],"What I believe is that this crisis will change the way we pursue and think of science. A new mode of producing knowledge is appearing and it demands the creative help of every sort of theorist and practitioner. Community-based researches are substituting individualised and conservative forms of knowledge. A collective-oriented approach is showing that right political parties are manipulating data and doing policies which produces more inequality and deaths. Epistemic communities are becoming aware of how science should and must be a dynamic endeavour. Recently, after seeing many attacks on scientists who changed their beliefs in light of new evidence related to ",{"_key":23250,"_type":212,"marks":23251,"text":23213},"ec1d483da1681",[1056],{"_key":23253,"_type":212,"marks":23254,"text":23255},"ec1d483da1682",[],", the evolutionary biologist C. T. Bergstrom tweeted the following:",[],{"_key":23258,"_type":208,"children":23259,"markDefs":23264,"style":221},"d780afb281f5",[23260],{"_key":23261,"_type":212,"marks":23262,"text":23263},"3d09105e1efb0",[1056],"Here’s the thing. […] In science, it’s not hypocrisy to change your mind based on new evidence. It’s literally the entire purpose of the enterprise. Much of what we believed a month ago we still believe. Some of it we don’t. That’s how science works.",[],{"_key":23266,"_type":208,"children":23267,"markDefs":23272,"style":221},"1a77bf9d7b28",[23268],{"_key":23269,"_type":212,"marks":23270,"text":23271},"501a12556ad60",[],"Diversity and an attitude which goes against dogmatism and paternalism are crucial in science and in every other field. Adopting this mindset in our daily routine will be a healthy way out of the quarantine.",[],{"_type":410,"settings":7,"text":23274},[23275],{"_key":23276,"_type":208,"children":23277,"markDefs":23281,"style":221},"210baa336650",[23278],{"_key":23279,"_type":212,"marks":23280,"text":22519},"5ff20d0059040",[],[],{"_type":9,"current":23283},"a-short-reflection-on-what-covid-19-teaches-us-about-science","A short reflection on what COVID-19 teaches us about science",{"_id":23286,"_type":271,"categories":7,"credits":23287,"featuredImage":23374,"pageBuilder":23379,"publishedDate":22264,"seo":7,"slug":23531,"summary":23389,"title":23533},"9adaa0d7-36f8-4033-8d94-1fdd2672e9d5",{"other":7,"profiles":23288},[23289,23318,23344],{"_id":23290,"_type":315,"activeYears":23291,"bio":23294,"bioShort":23302,"featuredImage":7,"filterables":23303,"links":23306,"locations":23309,"searchables":23313,"seo":7,"slug":23315,"title":23317},"6b21ab21-5103-41d7-9ec9-91dd2f8b6446",[23292],{"_id":119,"_type":94,"seo":7,"slug":23293,"title":122},{"_type":9,"current":121},[23295],{"_key":23296,"_type":208,"children":23297,"markDefs":23301,"style":221},"7a1ae922960b",[23298],{"_key":23299,"_type":212,"marks":23300,"text":6469},"d34f1dcbbdf6",[],[],"Stefan lives in Berlin and works as an artist. His many interventions, which are recorded in notebooks often remain a mere assertion. At least this is what he says.",{"filterYear":23304},[23305],{"_id":119,"title":122},[23307],{"_type":371,"label":5256,"url":23308},"https://www.stefanklein.org/",{"locations":23310,"other":7},[23311],{"_id":3458,"_type":378,"seo":7,"slug":23312,"title":3461},{"_type":9,"current":3460},[23314,121],"stefan klein",{"_type":9,"current":23316},"stefan-klein","Stefan Klein",{"_id":23319,"_type":315,"activeYears":23320,"bio":23323,"bioShort":23331,"featuredImage":7,"filterables":23332,"links":7,"locations":23335,"searchables":23339,"seo":7,"slug":23341,"title":23343},"b9a6ace5-21ad-4a1f-82c4-dbe1d06fa6df",[23321],{"_id":119,"_type":94,"seo":7,"slug":23322,"title":122},{"_type":9,"current":121},[23324],{"_key":23325,"_type":208,"children":23326,"markDefs":23330,"style":221},"729f9ffe2cd1",[23327],{"_key":23328,"_type":212,"marks":23329,"text":6469},"3b8141dc227b",[],[],"Fred is a Berlin-based artist, who doesn’t know what art is.",{"filterYear":23333},[23334],{"_id":119,"title":122},{"locations":23336,"other":7},[23337],{"_id":3458,"_type":378,"seo":7,"slug":23338,"title":3461},{"_type":9,"current":3460},[23340,121],"fred unruh",{"_type":9,"current":23342},"fred-unruh","Fred Unruh",{"_id":23345,"_type":315,"activeYears":23346,"bio":23349,"bioShort":23358,"featuredImage":7,"filterables":23359,"links":23362,"locations":23365,"searchables":23369,"seo":7,"slug":23371,"title":23373},"4d771e4a-ef04-4516-80d2-03cd71e1c9ca",[23347],{"_id":119,"_type":94,"seo":7,"slug":23348,"title":122},{"_type":9,"current":121},[23350],{"_key":23351,"_type":208,"children":23352,"markDefs":23357,"style":221},"c89d2e89d96f",[23353],{"_key":23354,"_type":212,"marks":23355,"text":23356},"98b2a0b3ef890",[],"In the framework of her master's degree, she spent one year at the Tokyo University of the Arts in the Department of Intermedia Art.",[],"Lena lives and works in Berlin. She holds an MFA in Public Art and New Artistic Strategies from the Bauhaus-Universität Weimar. ",{"filterYear":23360},[23361],{"_id":119,"title":122},[23363],{"_type":371,"label":5256,"url":23364},"https://lenaskrabs.com/",{"locations":23366,"other":7},[23367],{"_id":3458,"_type":378,"seo":7,"slug":23368,"title":3461},{"_type":9,"current":3460},[23370,121],"lena skrabs",{"_type":9,"current":23372},"lena-skrabs","Lena Skrabs",{"alt":23375,"asset":23376},"Stefan Klein, Lena Skrabs, Fred Unruh The Anatomy of DIY-Objects in an Epidemic Infrastructure",{"_id":23377,"height":6206,"orientation":358,"ratio":7718,"url":23378,"width":7700},"image-7589c10ae39b707fc8117cb52c7cfe2dcb262d20-1920x2560-jpg","https://cdn.sanity.io/images/eodip22e/production/7589c10ae39b707fc8117cb52c7cfe2dcb262d20-1920x2560.jpg",[23380,23391,23404,23422,23496,23513,23522],{"_type":410,"settings":23381,"text":23382},{"textColumnCount":412},[23383],{"_key":23384,"_type":208,"children":23385,"markDefs":23390,"style":221},"b3b8ba4bcf1f",[23386],{"_key":23387,"_type":212,"marks":23388,"text":23389},"fbe0104168eb0",[],"A short visual essay about the DIY infrastructures that pop up amidst a global pandemic. Part of \"Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19.\"",[],{"_type":406,"caption":23392,"image":23401},[23393],{"_key":23394,"_type":208,"children":23395,"markDefs":23400,"style":221},"62e8469304c2",[23396],{"_key":23397,"_type":212,"marks":23398,"text":23399},"59ad2e90158d0",[],"Skrabs Lena Netto",[],{"alt":23402,"asset":23403},"Skrabs_Lena_Netto",{"_id":23377,"height":6206,"orientation":358,"ratio":7718,"url":23378,"width":7700},{"_type":410,"settings":7,"text":23405},[23406,23414],{"_key":23407,"_type":208,"children":23408,"markDefs":23413,"style":221},"b70367801897",[23409],{"_key":23410,"_type":212,"marks":23411,"text":23412},"abb0227acfb3",[1056],"It is just as reasonable to represent one kind of captivity by another as it is to represent something that really exists by something that does not exist.",[],{"_key":23415,"_type":208,"children":23416,"markDefs":23421,"style":221},"f50224101505",[23417],{"_key":23418,"_type":212,"marks":23419,"text":23420},"3c28d13162ad",[1056],"– Daniel Defoe",[],{"_type":410,"settings":7,"text":23423},[23424,23432,23440,23448,23456,23464,23472,23480,23488],{"_key":23425,"_type":208,"children":23426,"markDefs":23431,"style":221},"b32c60fbcf2c",[23427],{"_key":23428,"_type":212,"marks":23429,"text":23430},"b652ca3e68180",[],"In the old days you used to come across glass window panels with a small hole to reach through in old school bank buildings, post offices and train counters. With the modern idea of service these objects became a rare encounter.",[],{"_key":23433,"_type":208,"children":23434,"markDefs":23439,"style":221},"5b076b9f32b3",[23435],{"_key":23436,"_type":212,"marks":23437,"text":23438},"faba4f80467b0",[],"Nowadays however you could see them pop up here and there in the super market, the corner store down the street or the print shop.",[],{"_key":23441,"_type":208,"children":23442,"markDefs":23447,"style":221},"20cf3185207e",[23443],{"_key":23444,"_type":212,"marks":23445,"text":23446},"925cef10b1f80",[],"Almost covering the entire provision of basic supplies in society the variety of designs reaches from some more high-functioning devices in the big supermarket chains through to DIY style home-build in smaller family run stores.",[],{"_key":23449,"_type":208,"children":23450,"markDefs":23455,"style":221},"1cbeb0015329",[23451],{"_key":23452,"_type":212,"marks":23453,"text":23454},"1dbb7ffe01d00",[],"In an oval shape like a riot police helmet these objects fulfil their inherent purpose in their functionality. Some made from milky acrylic glass the interaction with the person beyond the counter gets a somehow cloudy, pixilated experience. Attached to the shelf with silver lined duct tape — an all time favourite of the DIY-workmansship — or hanging on thin strings almost invisible from the ceiling this object-oriented design, with its hands-on, low-material concept, facilitates a broader key element of our ever secure environment.",[],{"_key":23457,"_type":208,"children":23458,"markDefs":23463,"style":221},"4fa9aff87ae3",[23459],{"_key":23460,"_type":212,"marks":23461,"text":23462},"155973a54f7f0",[],"In a genealogical juxtaposition the on-demand design do not have any natural voice transmission acrylic panel anymore, nor acrylic panels in aluminium frames, but rather simply a rectangular hole cut out with a Stanley knife. They are not build to hold a 16mm bullet or stop an attack with a knife. They are meant to protect from something non-tangible. A threat that is hard to grasp while opinions are updated in an instance.",[],{"_key":23465,"_type":208,"children":23466,"markDefs":23471,"style":221},"cd12dd52de1c",[23467],{"_key":23468,"_type":212,"marks":23469,"text":23470},"174fc4cd07020",[],"The direct environment fades to design a more secure environment, the immediate surrounding has to disappear to create a secure space around everyone in everyday life.",[],{"_key":23473,"_type":208,"children":23474,"markDefs":23479,"style":221},"dc15338096cd",[23475],{"_key":23476,"_type":212,"marks":23477,"text":23478},"1bb2565f14960",[],"In this on-time on-demand design object the inherent and ubiquitary belief in a secure environments in our everyday gets most visible. Describing and analysing the anatomy of a design object of this kind is casting light on the anatomy of a designed environment. This design object bypasses every professional approach and still spreads at a remarkable path through our everyday environment.",[],{"_key":23481,"_type":208,"children":23482,"markDefs":23487,"style":221},"32bb10a1ab13",[23483],{"_key":23484,"_type":212,"marks":23485,"text":23486},"19f0d72c6a8e0",[],"How do we encounter the world? What power is brought together by an abstraction to step in-between the fragments of our life-environment? Do we feel more comfortable in secure representation of a detached everyday in our heads or are we yearning to get in-touch with it physically? The everyday is long designed before we take any action.",[],{"_key":23489,"_type":208,"children":23490,"markDefs":23495,"style":221},"8ba9933ee871",[23491],{"_key":23492,"_type":212,"marks":23493,"text":23494},"6c326683fc420",[1056],"Authors: Stefan Klein, Fred Unruh, with contributions by Lena 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Anatomy of DIY-Objects in an Epidemic Infrastructure",{"_id":23535,"_type":271,"categories":7,"credits":23536,"featuredImage":23609,"pageBuilder":23617,"publishedDate":22264,"seo":7,"slug":23908,"summary":23910,"title":23911},"a72ab759-6d83-453d-ae24-ff00a9cfdf59",{"other":23537,"profiles":23546},[23538],{"_key":23539,"_type":208,"children":23540,"markDefs":23545,"style":221},"7902be288bd4",[23541],{"_key":23542,"_type":212,"marks":23543,"text":23544},"f6c659b6f4e80",[],"Carolina Opazo\nPaulina 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Poblete",{"_id":23575,"_type":315,"activeYears":23576,"bio":23581,"bioShort":23589,"featuredImage":7,"filterables":23590,"links":23594,"locations":23600,"searchables":23604,"seo":7,"slug":23606,"title":23608},"18b6d940-6f76-4a4f-9a45-f74c819ce6f5",[23577,23579],{"_id":119,"_type":94,"seo":7,"slug":23578,"title":122},{"_type":9,"current":121},{"_id":114,"_type":94,"seo":7,"slug":23580,"title":117},{"_type":9,"current":116},[23582],{"_key":23583,"_type":208,"children":23584,"markDefs":23588,"style":221},"b08a836ad1da",[23585],{"_key":23586,"_type":212,"marks":23587,"text":6469},"86256088be860",[],[],"Independent Curator.",{"filterYear":23591},[23592,23593],{"_id":119,"title":122},{"_id":114,"title":117},[23595,23597],{"_type":371,"label":5256,"url":23596},"https://josecaceres.ch/",{"_type":371,"label":23598,"url":23599},"VOLUMES Archive","https://www.volumeszurich.ch/archive",{"locations":23601,"other":7},[23602],{"_id":3458,"_type":378,"seo":7,"slug":23603,"title":3461},{"_type":9,"current":3460},[23605,121,116],"jose cáceres mardones",{"_type":9,"current":23607},"jose-caceres-mardones","Jose Cáceres Mardones",{"alt":23610,"asset":23611},"Andrea Herrera, Carolina Opazo, Jose Cáceres, Paulina Barrenechea VIRUS TDS",{"_id":23612,"height":23613,"orientation":400,"ratio":23614,"url":23615,"width":23616},"image-19870b9857b1546817151179798fa9ebefc6034c-1099x358-png",358,3.069832402234637,"https://cdn.sanity.io/images/eodip22e/production/19870b9857b1546817151179798fa9ebefc6034c-1099x358.png",1099,[23618,23628,23631,23884,23899],{"_type":410,"settings":7,"text":23619},[23620],{"_key":23621,"_type":208,"children":23622,"markDefs":23627,"style":221},"b07d8244404a",[23623],{"_key":23624,"_type":212,"marks":23625,"text":23626},"455001bc71850",[214],"We may have infected ourselves because we were born in the same territory. Although we are spores in movement and three of us reached europe, we transmit our rebellious being, inherited by our ancestxrs. During the revolt of 2019, we find each other. In rebel fury and collaboration, our genoma mutated. At pandemia present, we connect our actions of feminist and decolonial practices towards the opposition against the neoliberal organism trying to bolt us down, but its failed attempt transforms us into an affective virus that aims to interweave, replicate and mutate our dis-gendered tactics of subsistence. Part of \"Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19.\"",[],{"_type":406,"caption":7,"image":23629},{"alt":23610,"asset":23630},{"_id":23612,"height":23613,"orientation":400,"ratio":23614,"url":23615,"width":23616},{"_type":410,"settings":7,"text":23632},[23633,23641,23649,23703,23719,23727,23735,23743,23755,23763,23779,23787,23799,23806,23814,23822,23838,23845,23853,23861,23876],{"_key":23634,"_type":208,"children":23635,"markDefs":23640,"style":221},"0e3fa591cb59",[23636],{"_key":23637,"_type":212,"marks":23638,"text":23639},"4b95aef352830",[],"Just when a historical moment was taking place as a result of the social manifestations around the world, the outbreak of COVID-19 changed the social, economical and political world scenario radically within a short period of time. The productive and reproductive neoliberal system and its techniques of precarization and instrumentalization which were at the core of the critique of those social protests worsened with the gubernamental measures against the pandemia, above all in the Global South.",[],{"_key":23642,"_type":208,"children":23643,"markDefs":23648,"style":221},"4429effb8c4c",[23644],{"_key":23645,"_type":212,"marks":23646,"text":23647},"d44d1f45fc250",[],"In different parts of the world, the COVID-19 has been transformed into a neoliberal tool to alienate us, but the quarantine cannot paralyze us! We have to remember that the social demands persist and the protests remain alive and continue their spreading in the virtual platform. Yes, this moment offers us the possibility to come to a halt to reflect about and to abandon the traditional productive system.",[],{"_key":23650,"_type":208,"children":23651,"markDefs":23683,"style":221},"d5606d1eba00",[23652,23657,23661,23665,23669,23672,23676,23679],{"_key":23653,"_type":212,"marks":23654,"text":23656},"a1de1c07b5640",[23655],"3beed9bb8869","At the moment, we live in a reality where everyone’s health is at risk, particularly who are most vulnerable in society. In the current crisis, political speeches and strategies omit, simply discriminate and wrench the sick, the political prisonxrs",{"_key":23658,"_type":212,"marks":23659,"text":23660},"24b3b424c820",[],", the undocumented, the refuge",{"_key":23662,"_type":212,"marks":23663,"text":23664},"a1de1c07b5645",[214],"x",{"_key":23666,"_type":212,"marks":23667,"text":23668},"a1de1c07b5646",[],"s, the work",{"_key":23670,"_type":212,"marks":23671,"text":23664},"a1de1c07b5647",[214],{"_key":23673,"_type":212,"marks":23674,"text":23675},"a1de1c07b5648",[],"rs and their families, everyone who has been marginalized in this patriarchal and extractivist system. Also the temporary work",{"_key":23677,"_type":212,"marks":23678,"text":23664},"a1de1c07b5649",[214],{"_key":23680,"_type":212,"marks":23681,"text":23682},"a1de1c07b56410",[],"rs in the arts and the cultural sector who have historically been marginalized from the social and economical system. We are part of the precarity that has been silenced by the national and global policies: without health security, without channels of circulation for our resources that would permit us to subsist economically and without substantial savings because our creativity has never found a worthy place in the economy.",[23684],{"_key":23655,"_type":5630,"allFootnotes":23685,"footnoteText":23687,"markKey":23655},[23686],{"_key":23655},[23688],{"_key":23689,"_type":208,"children":23690,"markDefs":23702,"style":221},"81f4ee1ade38",[23691,23695,23698],{"_key":23692,"_type":212,"marks":23693,"text":23694},"e5903f3a56720",[],"The spanish language as almost every language determines already in the linguistic level forms of genderization and consequently of discrimination. Several dis-gendered linguistics tactics have emerged. For example, the vocal would be replaced for an ",{"_key":23696,"_type":212,"marks":23697,"text":23664},"e5903f3a56721",[214],{"_key":23699,"_type":212,"marks":23700,"text":23701},"e5903f3a56722",[]," in the pronouns and the generalized plural form of substantives (e.g. los trabajadores = lxs trabajadorxs, los artistas=lxs artistxs). As a dis-gendered tactic to be infected, we would transmit this tactic to the english language.",[],{"_key":23704,"_type":208,"children":23705,"markDefs":23718,"style":221},"a7c8fc4ec98f",[23706,23710,23714],{"_key":23707,"_type":212,"marks":23708,"text":23709},"d16a3f10d03c0",[],"Now more than ever, it is necessary to re-signify the confinement and re-activate collective ",{"_key":23711,"_type":212,"marks":23712,"text":23713},"d16a3f10d03c1",[1056],"dis-gendered tactics of subsistence",{"_key":23715,"_type":212,"marks":23716,"text":23717},"d16a3f10d03c2",[]," to oppose the oppressive fibres.",[],{"_key":23720,"_type":208,"children":23721,"markDefs":23726,"style":221},"452281d53850",[23722],{"_key":23723,"_type":212,"marks":23724,"text":23725},"025eb524a0700",[214],"dis-gendered tactics of subsistence:",[],{"_key":23728,"_type":208,"children":23729,"markDefs":23734,"style":221},"1e702af310d7",[23730],{"_key":23731,"_type":212,"marks":23732,"text":23733},"022d376ea9ea0",[],"to infect love",[],{"_key":23736,"_type":208,"children":23737,"markDefs":23742,"style":221},"cb0dce688385",[23738],{"_key":23739,"_type":212,"marks":23740,"text":23741},"35b46ab1424f0",[],"to content and disperse our current situation(s)",[],{"_key":23744,"_type":208,"children":23745,"markDefs":23754,"style":221},"3341ef98be2f",[23746,23750],{"_key":23747,"_type":212,"marks":23748,"text":23749},"310dd866bc1f0",[],"to replicate and transmit a rebel ",{"_key":23751,"_type":212,"marks":23752,"text":23753},"310dd866bc1f1",[214],"genoma",[],{"_key":23756,"_type":208,"children":23757,"markDefs":23762,"style":221},"8247dd0522d3",[23758],{"_key":23759,"_type":212,"marks":23760,"text":23761},"15f34d4e9e7b0",[],"|",[],{"_key":23764,"_type":208,"children":23765,"markDefs":23778,"style":5413},"5fd65347aa3d",[23766,23770,23774],{"_key":23767,"_type":212,"marks":23768,"text":23769},"6cbee62d552e0",[],"Genoma [=genetic information]\n\n\n\nIt is the ensemble of dis-gendered tactics of subsistence which build the genetic material of VIRUS TDS, a virus from the ",{"_key":23771,"_type":212,"marks":23772,"text":23773},"6cbee62d552e1",[1056],"megaviridae latinoamericanae",{"_key":23775,"_type":212,"marks":23776,"text":23777},"6cbee62d552e2",[]," family, known as the latinamerican megavirus. This genoma is characterized by a collective polymorphism, i.e. it presents in different forms, elements and composites with the only intention of subsisting the contingency of technological, economical, social, cultural, gubernamental, body and gender precarity of the capitalist system.",[],{"_key":23780,"_type":208,"children":23781,"markDefs":23786,"style":221},"03dcda3c1bb2",[23782],{"_key":23783,"_type":212,"marks":23784,"text":23785},"a37089c2c0bf0",[],"to spread a collaborative and emancipating pandemia",[],{"_key":23788,"_type":208,"children":23789,"markDefs":23798,"style":221},"c6f7fc406bf0",[23790,23794],{"_key":23791,"_type":212,"marks":23792,"text":23793},"618ce2ef05ef0",[],"to articulate creative tactics of ",{"_key":23795,"_type":212,"marks":23796,"text":23797},"618ce2ef05ef1",[214],"contagion",[],{"_key":23800,"_type":208,"children":23801,"markDefs":23805,"style":221},"394f2fca0269",[23802],{"_key":23803,"_type":212,"marks":23804,"text":23761},"ac9ede71824c0",[],[],{"_key":23807,"_type":208,"children":23808,"markDefs":23813,"style":5413},"7e04bda24916",[23809],{"_key":23810,"_type":212,"marks":23811,"text":23812},"6edb4887faa20",[],"Contagion [=infected organisms replicating the virus]\n\n\n\nIn the current health crisis, VIRUS TDS has entered its stage of contagion. Spreaded in the web, the keys↓ allow the virus to bind to nearby organisms covering different territories. The contagion means times of uncertainty. Little we know how the virus will spread, which forms will adopt, which mutations and new composite will emerge, but we stay attentive and creative.",[],{"_key":23815,"_type":208,"children":23816,"markDefs":23821,"style":221},"51c2a45bda8a",[23817],{"_key":23818,"_type":212,"marks":23819,"text":23820},"479d76fee5fa0",[],"to be a helper virus and to be helped by other dis-gendered virus",[],{"_key":23823,"_type":208,"children":23824,"markDefs":23837,"style":221},"bd4d17396122",[23825,23829,23833],{"_key":23826,"_type":212,"marks":23827,"text":23828},"4a766862ad0c0",[],"to ",{"_key":23830,"_type":212,"marks":23831,"text":23832},"4a766862ad0c1",[214],"mutate",{"_key":23834,"_type":212,"marks":23835,"text":23836},"4a766862ad0c2",[]," into new affective and productive forms",[],{"_key":23839,"_type":208,"children":23840,"markDefs":23844,"style":221},"12c10fe35a6f",[23841],{"_key":23842,"_type":212,"marks":23843,"text":23761},"279dce3f56480",[],[],{"_key":23846,"_type":208,"children":23847,"markDefs":23852,"style":5413},"8946940670b1",[23848],{"_key":23849,"_type":212,"marks":23850,"text":23851},"1d238e8b316b0",[],"Mutations [=transformations of the virus to evade the immune capitalist system]\n\n\n\nMutations are fortuitous genetic changes that allow the viral progression in different organisms. The mutative processes are generated through the release of the genetic information of VIRUS TDS↓ and through the coinfection with a helper virus which will create a new genetic material. This process allows the evasive infection of manifold cells and, consequently, of a bigger number of hosts which will allow a pandemia within the capitalist environment.",[],{"_key":23854,"_type":208,"children":23855,"markDefs":23860,"style":221},"65e192fedee9",[23856],{"_key":23857,"_type":212,"marks":23858,"text":23859},"022512c71b5b0",[],"↑ VIRUS TDS [=técnicas des-generadas de subsistencia]",[],{"_key":23862,"_type":208,"children":23863,"markDefs":23875,"style":221},"1de0f5470f3b",[23864,23868,23871],{"_key":23865,"_type":212,"marks":23866,"text":23867},"5b0f5f50146d0",[],"is a network of affective and political contagion for the resistance against the productive and reproductive neoliberal system and its precarisation and instrumentalisation of art and culture. We put the platform VIRUS TDS at everyone’s disposal as a mechanism to disseminate and spread collectively dis-gendered tactics of subsistence as a possibility to dismantle the oppressive precarity of the capitalist reality we live in. We desire to open and install collective debates of encounter and viral protest superimposing affective networks and virtual tools that go beyond the quarantine. We invite work",{"_key":23869,"_type":212,"marks":23870,"text":23664},"5b0f5f50146d1",[214],{"_key":23872,"_type":212,"marks":23873,"text":23874},"5b0f5f50146d2",[],"rs from different artistic and cultural sectors to get infected and to infect us as a subversive act of the current concept of contagion.",[],{"_key":23877,"_type":208,"children":23878,"markDefs":23883,"style":221},"cc1546ebf87b",[23879],{"_key":23880,"_type":212,"marks":23881,"text":23882},"943732a0bdbf0",[],"before the precarization of the existence disobedience",[],{"_type":406,"caption":23885,"image":23894},[23886],{"_key":23887,"_type":208,"children":23888,"markDefs":23893,"style":221},"9d208eb897ef",[23889],{"_key":23890,"_type":212,"marks":23891,"text":23892},"58580d6199f10",[],"[proteins that allow the virus to bind itself to the cells to infect=]↑Ke",[],{"alt":23892,"asset":23895},{"_id":23896,"height":3529,"orientation":358,"ratio":23897,"url":23898,"width":6028},"image-aa5a0133c3c2538bda9a0d8e5f26132e12bdfed7-1448x2048-jpg",0.70703125,"https://cdn.sanity.io/images/eodip22e/production/aa5a0133c3c2538bda9a0d8e5f26132e12bdfed7-1448x2048.jpg",{"_type":410,"settings":7,"text":23900},[23901],{"_key":23902,"_type":208,"children":23903,"markDefs":23907,"style":221},"35116e0a6a6f",[23904],{"_key":23905,"_type":212,"marks":23906,"text":22519},"2eb98782ff7f0",[],[],{"_type":9,"current":23909},"virus-tds","We may have infected ourselves because we were born in the same territory. ","VIRUS TDS",{"_id":23913,"_type":271,"categories":7,"credits":23914,"featuredImage":23985,"pageBuilder":23991,"publishedDate":22264,"seo":7,"slug":24238,"summary":24001,"title":23986},"a77a64bc-1a67-4563-b5ff-b5b2d39d0a52",{"other":7,"profiles":23915},[23916,23956],{"_id":23917,"_type":315,"activeYears":23918,"bio":23921,"bioShort":23937,"featuredImage":7,"filterables":23938,"links":23941,"locations":23947,"searchables":23951,"seo":7,"slug":23953,"title":23955},"ba1a147c-8eae-4844-85b2-8788ad0c27f5",[23919],{"_id":119,"_type":94,"seo":7,"slug":23920,"title":122},{"_type":9,"current":121},[23922,23930],{"_key":23923,"_type":208,"children":23924,"markDefs":23929,"style":221},"ce045a7be91d",[23925],{"_key":23926,"_type":212,"marks":23927,"text":23928},"633630edf81f0",[],"Since 2016, they have been member of the Executive Board of Directors of Schwules Museum Berlin. In 2018, Vera co-curated the Year of Women*, a year-long queer-feminist intervention using curatorial activism to address the structural, economic and representational imbalances within the world’s largest museum for LGBTIQA+. In their interlaced, multi-disciplinary practice, Vera explores individual and collective forms of resistance and empowerment around health, care, ecology, economy, gender & sexuality, the social body and the arts. As one of their current projects, they are co-developing a course of study on Commoning.",[],{"_key":23931,"_type":208,"children":23932,"markDefs":23936,"style":221},"c7fe1d348ce9",[23933],{"_key":23934,"_type":212,"marks":23935,"text":2154},"176c2bda09050",[],[],"Vera (*1979) is a Berlin-based artist and curator. ",{"filterYear":23939},[23940],{"_id":119,"title":122},[23942,23944],{"_type":371,"label":5256,"url":23943},"https://verahofmann.de/",{"_type":371,"label":23945,"url":23946},"ART ON DEMAND (AOD) ","http://a-o-d.org/",{"locations":23948,"other":7},[23949],{"_id":3458,"_type":378,"seo":7,"slug":23950,"title":3461},{"_type":9,"current":3460},[23952,121],"vera hofmann ",{"_type":9,"current":23954},"vera-hofmann","Vera Hofmann ",{"_id":23957,"_type":315,"activeYears":23958,"bio":23961,"bioShort":23970,"featuredImage":7,"filterables":23971,"links":23974,"locations":23976,"searchables":23980,"seo":7,"slug":23982,"title":23984},"4f07e7da-1927-45b0-af11-2fb19fe38abf",[23959],{"_id":119,"_type":94,"seo":7,"slug":23960,"title":122},{"_type":9,"current":121},[23962],{"_key":23963,"_type":208,"children":23964,"markDefs":23969,"style":221},"bf8f18665b09",[23965],{"_key":23966,"_type":212,"marks":23967,"text":23968},"6f8cf52dbdef0",[],"To understand new actors, spaces and practices of ‘the political’ at large, Friederike works with cultural activist groups and institutions to trace their positions in struggles for (re)presentation and claims-making. Her dissertation Agonistic Articulations in the ‘Creative’ City — On New Actors and Activism in Berlin’s Cultural Politics (Routledge, 2019) conceptualizes the mobilization of Berlin-based artists through a lens of conflict. Currently, Friederike works on the politics of public art in the neighborhood of Chinatown in Vancouver, Canada.",[],"Friederike (*1989) is a Berlin-based urban sociologist and cultural geographer interested in intersections of radical democratic political and spatial theory. ",{"filterYear":23972},[23973],{"_id":119,"title":122},[23975],{"_type":371,"label":23945,"url":23946},{"locations":23977,"other":7},[23978],{"_id":3458,"_type":378,"seo":7,"slug":23979,"title":3461},{"_type":9,"current":3460},[23981,121],"dr. friederike landau",{"_type":9,"current":23983},"dr-friederike-landau","Dr. Friederike Landau",{"alt":23986,"asset":23987},"Art On Demand - Radicalizing Access to Art in Times of Crisis",{"_id":23988,"height":19533,"orientation":400,"ratio":23989,"url":23990,"width":5598},"image-74c925518a3ef3094d343db45cb534b4e4a6b1ea-1024x680-jpg",1.5058823529411764,"https://cdn.sanity.io/images/eodip22e/production/74c925518a3ef3094d343db45cb534b4e4a6b1ea-1024x680.jpg",[23992,24003,24031,24049,24057,24171,24188,24229],{"_type":410,"settings":23993,"text":23994},{"textColumnCount":412},[23995],{"_key":23996,"_type":208,"children":23997,"markDefs":24002,"style":221},"d3109116d31e",[23998],{"_key":23999,"_type":212,"marks":24000,"text":24001},"847549e4569e0",[],"Art On Demand is a collaborative participatory project which creates a platform from and for artists, curators, writers, theorists and audiences to collectively share and experience the creation of and encounter with art. Part of \"Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19.\"",[],{"_type":5118,"slides":24004},[24005,24018],{"_type":406,"caption":24006,"image":24015},[24007],{"_key":24008,"_type":208,"children":24009,"markDefs":24014,"style":221},"3156f492d3cd",[24010],{"_key":24011,"_type":212,"marks":24012,"text":24013},"68010c52e4a00",[],"ART ON DEMAND (AOD), 2013",[],{"alt":24016,"asset":24017},"ART ON DEMAND (AOD) is a collaborative participatory project. ",{"_id":23988,"height":19533,"orientation":400,"ratio":23989,"url":23990,"width":5598},{"_type":406,"caption":24019,"image":24027},[24020],{"_key":24021,"_type":208,"children":24022,"markDefs":24026,"style":221},"20ce02291444",[24023],{"_key":24024,"_type":212,"marks":24025,"text":24013},"65da2fe9df430",[],[],{"alt":24016,"asset":24028},{"_id":24029,"height":361,"orientation":400,"ratio":3527,"url":24030,"width":3790},"image-f7b99f04d95269ebe8b7d5be58500bd2c7e7a0a4-800x600-jpg","https://cdn.sanity.io/images/eodip22e/production/f7b99f04d95269ebe8b7d5be58500bd2c7e7a0a4-800x600.jpg",{"_type":410,"settings":7,"text":24032},[24033,24041],{"_key":24034,"_type":208,"children":24035,"markDefs":24040,"style":221},"4b05383a125a",[24036],{"_key":24037,"_type":212,"marks":24038,"text":24039},"0ad1fb8e247d",[1056],"We are giving new life to an abandoned project that never got the care and attention it deserves. It regained relevance and urgency in times of the appeal to #stayhome during COVID-19. We are currently sharpening and expanding the idea of “Art on Demand (AOD) — Radicalizing Access to Art in Times of Crisis” and are looking for new collaborators — artists, curators, writers and thinkers — who are invested in countering isolation, individualism and alienation in these times of crisis. AOD opens digital and physical channels towards an art of social distancing (which is, more accurately, an art against social distancing!) by enabling micro-political, social distance-compliant artistic (inter)actions between diverse publics.",[],{"_key":24042,"_type":208,"children":24043,"markDefs":24048,"style":221},"3d5254cf1b5f",[24044],{"_key":24045,"_type":212,"marks":24046,"text":24047},"1079d59ecbdf",[1056],"New website coming soon. Please get in touch with us if you’d like to contribute, comment, complain!",[],{"_type":406,"caption":7,"image":24050},{"alt":24016,"asset":24051},{"_id":24052,"height":24053,"orientation":358,"ratio":24054,"url":24055,"width":24056},"image-77cffe502180739e9ff936f372fac3759d8b8504-1275x1651-jpg",1651,0.7722592368261659,"https://cdn.sanity.io/images/eodip22e/production/77cffe502180739e9ff936f372fac3759d8b8504-1275x1651.jpg",1275,{"_type":410,"settings":7,"text":24058},[24059,24067,24075,24083,24091,24099,24123,24131,24139,24147,24155,24163],{"_key":24060,"_type":208,"children":24061,"markDefs":24066,"style":221},"e2678d60e60c",[24062],{"_key":24063,"_type":212,"marks":24064,"text":24065},"e84105d69e820",[],"ART ON DEMAND (AOD) is a collaborative participatory project which creates a platform from and for artists, curators, writers, theorists and audiences to collectively share and experience the creation of and encounter with art. With a radical approach to accessibility, we address the systemic crisis of access to art, which includes the partial restriction of access to exhibition spaces, the shortage of funding, the encouragement of toxic competition amongst cultural workers, the favoring of curatorial dominance and the privileging of able-bodied people as audience. In contrast, AOD creates a low-threshold platform where anybody can request or offer art (see below). AOD advocates to reclaim art as a commons to be made accessible, addressable and experiential to everybody. The project invites people in challenging economic or political situations and in remote geographic locations and those with differently-abled bodies to participate and experience art.",[],{"_key":24068,"_type":208,"children":24069,"markDefs":24074,"style":221},"2dbd553bb125",[24070],{"_key":24071,"_type":212,"marks":24072,"text":24073},"39f0fc274a280",[],"AOD plays with the ambivalent term of ‘demand’, activating not only the economistic expectation to supply requested goods or services in time, but also the political dimension of demands as requests and articulations of the struggle for liberty, equality and solidarity. Briefly, articulating a variety of demands will spur the reclamation of art as public infrastructure, which will not be left to denigrate due to this crisis. To counter the anticipated loss of diverse cultural and artistic infrastructures and spaces, and to reclaim accessible art as a commons, the project takes a two-fold approach:",[],{"_key":24076,"_type":208,"children":24077,"markDefs":24082,"style":221},"3775b9424f6c",[24078],{"_key":24079,"_type":212,"marks":24080,"text":24081},"e9dc090b33f80",[],"AOD ACTIONS:",[],{"_key":24084,"_type":208,"children":24085,"markDefs":24090,"style":221},"0647424f5ca6",[24086],{"_key":24087,"_type":212,"marks":24088,"text":24089},"c11673740e9a0",[],"OFFERING DEMAND: Artists announce planned artistic actions or interventions of custom-made artistic ‘services’ to be ‘delivered’ to the intimacy of the home or a specific social or local community; artists and curators are inventing new ways of creating encounter and intimacy;",[],{"_key":24092,"_type":208,"children":24093,"markDefs":24098,"style":221},"6e24b694cf78",[24094],{"_key":24095,"_type":212,"marks":24096,"text":24097},"26161fdf0ce40",[],"REQUESTING DEMAND: AOD users or audiences place ‘requests’, and (groups of) artists respond to these requests in creative, collaborative, relationship-building ways; theorists embed past and ongoing artistic actions in discourses about critical audience studies, political theories of public and private space, affective politics of art-making and other instructive theories and approaches to understand and contextualize AOD actions, which have taken place in specific places with specific communities.",[],{"_key":24100,"_type":208,"children":24101,"markDefs":24122,"style":221},"016c567fa090",[24102,24106,24110,24114,24118],{"_key":24103,"_type":212,"marks":24104,"text":24105},"e255698828890",[],"With this playful and participatory approach, AOD reverses the notion of ‘access to the arts’ because it brings art ",{"_key":24107,"_type":212,"marks":24108,"text":24109},"e255698828891",[1056],"to",{"_key":24111,"_type":212,"marks":24112,"text":24113},"e255698828892",[]," the people, instead of waiting ",{"_key":24115,"_type":212,"marks":24116,"text":24117},"e255698828893",[1056],"for",{"_key":24119,"_type":212,"marks":24120,"text":24121},"e255698828894",[]," its audiences. In contrast to classical outreach programs, AOD employs a self-determined approach to not instruct or predetermine people’s access to the arts, but encourages makers and recipients of art to constantly negotiate the forms and logistics of ‘demanded’ art.",[],{"_key":24124,"_type":208,"children":24125,"markDefs":24130,"style":221},"bd9841e099bb",[24126],{"_key":24127,"_type":212,"marks":24128,"text":24129},"0d305d4474fd0",[],"2. AOD REFLECTIONS:",[],{"_key":24132,"_type":208,"children":24133,"markDefs":24138,"style":221},"689848b965ae",[24134],{"_key":24135,"_type":212,"marks":24136,"text":24137},"02437aa4eced0",[],"Each action and demand will be documented and commented online by involved artists and community members as well as by interested writers and theorists. This (self-)reflection creates an ecosystem of knowledge around accessibility, including public/private space, success/failure, proximity/distance, intimacy, economy, labor, which will inspire future actions. In sum, the project interrelates digital, theoretical engagements with the embodied, concrete experience of art.",[],{"_key":24140,"_type":208,"children":24141,"markDefs":24146,"style":221},"58ab29ef4c1f",[24142],{"_key":24143,"_type":212,"marks":24144,"text":24145},"5b4757fec1860",[],"The financial aspect of the project constitutes a third pillar of AOD and will be developed with tools known from other Commons projects in the next months.",[],{"_key":24148,"_type":208,"children":24149,"markDefs":24154,"style":221},"bcbedeff7d28",[24150],{"_key":24151,"_type":212,"marks":24152,"text":24153},"6830448bd3940",[214],"COVID-19 — Amplifying the Need for Radically Accessible Art",[],{"_key":24156,"_type":208,"children":24157,"markDefs":24162,"style":221},"6b04cb655647",[24158],{"_key":24159,"_type":212,"marks":24160,"text":24161},"2d5fe336e5950",[],"In light of COVID-19, and in the long run, artists and cultural producers will necessarily have to find new modes of artistic production and cooperation. Instead of supporting institutions with our labor, be it via supplying creative work or visiting institutions, AOD takes a radical route towards new forms of artistic self-organization and access, based on values of solidarity, openness and malleability. It provides an online platform, which does not require a lot of social or economic capital, as a basic infrastructure to everybody. Moreover, the AOD platform serves as an umbrella and organizing term, under which all subsequent curatorial, artistic and intellectual projects will spin on into very different local, linguistic, age- and ability-related forms. Moreover, AOD seeks to develop, enable and document new approaches to cultural work and new alliance-building across social groups and sectors especially those who might be further marginalized by the loss of counter-cultural spaces.",[],{"_key":24164,"_type":208,"children":24165,"markDefs":24170,"style":221},"074285fa03b2",[24166],{"_key":24167,"_type":212,"marks":24168,"text":24169},"54331ddedc610",[],"Working from our own situatedness as queer folx, we especially aim to enable artistic creations (AOD Actions) and listen closely, publicize, discuss and document the ideas and experiences of marginalized people such as LGBTIQA+, People of Color and people with disabilities. The project centers people, their needs and demands, both in the sense of offering and requesting demands. Each AOD action is co-created in a framework of mutuality, trust and proximity despite (social and spatial) distance. AOD charts different encounters of artists and communities in the highly different corners of the world. AOD responds to the crisis of social proximity and distance by creating unique, micro-political and very personal moments of reciprocity. In that sense, AOD concentrates primarily on affective encounters, and builds friendship-like connections between artists and community participants. AOD thus foregrounds the irreplaceable intimacy that art can create, and re-activates people’ sense of longing for bodily, visceral experiences of art.",[],{"_type":410,"settings":7,"text":24172},[24173],{"_key":24174,"_type":208,"children":24175,"markDefs":24185,"style":221},"801fd3a4fafd",[24176,24180],{"_key":24177,"_type":212,"marks":24178,"text":24179},"3a9a209ea0690",[],"Contact us via ",{"_key":24181,"_type":212,"marks":24182,"text":24184},"3a9a209ea0691",[24183],"39e8a5d45a11","info@a-o-d.org",[24186],{"_key":24183,"_type":238,"href":24187},"mailto:info@a-o-d.org",{"_type":5118,"slides":24189},[24190,24203,24216],{"_type":406,"caption":24191,"image":24199},[24192],{"_key":24193,"_type":208,"children":24194,"markDefs":24198,"style":221},"0d649a3005a3",[24195],{"_key":24196,"_type":212,"marks":24197,"text":24013},"e0a83ea8bf450",[],[],{"alt":24016,"asset":24200},{"_id":24201,"height":361,"orientation":400,"ratio":3527,"url":24202,"width":3790},"image-6687badd85b617e7b3a4eb6cb92f4cb275227910-800x600-jpg","https://cdn.sanity.io/images/eodip22e/production/6687badd85b617e7b3a4eb6cb92f4cb275227910-800x600.jpg",{"_type":406,"caption":24204,"image":24212},[24205],{"_key":24206,"_type":208,"children":24207,"markDefs":24211,"style":221},"f7bbd385afda",[24208],{"_key":24209,"_type":212,"marks":24210,"text":24013},"f4ffa621a7370",[],[],{"alt":24016,"asset":24213},{"_id":24214,"height":361,"orientation":400,"ratio":3527,"url":24215,"width":3790},"image-73195f7477cbd79fe7704e0ddda0db99180b2aa6-800x600-jpg","https://cdn.sanity.io/images/eodip22e/production/73195f7477cbd79fe7704e0ddda0db99180b2aa6-800x600.jpg",{"_type":406,"caption":24217,"image":24225},[24218],{"_key":24219,"_type":208,"children":24220,"markDefs":24224,"style":221},"191d75a6fac5",[24221],{"_key":24222,"_type":212,"marks":24223,"text":24013},"9e18097d30e40",[],[],{"alt":24016,"asset":24226},{"_id":24227,"height":361,"orientation":400,"ratio":3527,"url":24228,"width":3790},"image-95e091b397fb6a1523a56d2a7f80a64e91e2b821-800x600-jpg","https://cdn.sanity.io/images/eodip22e/production/95e091b397fb6a1523a56d2a7f80a64e91e2b821-800x600.jpg",{"_type":410,"settings":7,"text":24230},[24231],{"_key":24232,"_type":208,"children":24233,"markDefs":24237,"style":221},"58e885cdd2fc",[24234],{"_key":24235,"_type":212,"marks":24236,"text":22519},"e0a318e772380",[],[],{"_type":9,"current":24239},"art-on-demand-radicalizing-access-to-art-in-times-of-crisis",{"_id":24241,"_type":271,"categories":7,"credits":24242,"featuredImage":24276,"pageBuilder":24284,"publishedDate":22264,"seo":7,"slug":25189,"summary":24294,"title":25191},"e1386f6b-6d20-413a-93e7-0216d2a5e27a",{"other":7,"profiles":24243},[24244],{"_id":24245,"_type":315,"activeYears":24246,"bio":24249,"bioShort":24258,"featuredImage":7,"filterables":24259,"links":24262,"locations":24267,"searchables":24271,"seo":7,"slug":24273,"title":24275},"5dd5b283-a78a-4330-a007-09325ae94dcb",[24247],{"_id":119,"_type":94,"seo":7,"slug":24248,"title":122},{"_type":9,"current":121},[24250],{"_key":24251,"_type":208,"children":24252,"markDefs":24257,"style":221},"7bfecefe7b7a",[24253],{"_key":24254,"_type":212,"marks":24255,"text":24256},"7701277162cf0",[],"She currently co-directs PINK, a dedicated exhibition and residency space focusing on interdisciplinary research, practice and collaborative exchange in Manchester, UK. ",[],"Katy (b. Stoke-on-Trent, 1989) is an independent curator & researcher with interests in discursive frameworks, performative platforms for critical enquiry and ways in which we can facilitate and mediate multiple spaces for the generation of knowledge. ",{"filterYear":24260},[24261],{"_id":119,"title":122},[24263,24265],{"_type":371,"label":372,"url":24264},"https://www.instagram.com/pinkmcr_/",{"_type":371,"label":372,"url":24266},"https://www.instagram.com/katherineanastasia_/",{"locations":24268,"other":7},[24269],{"_id":3458,"_type":378,"seo":7,"slug":24270,"title":3461},{"_type":9,"current":3460},[24272,121],"katy morrison",{"_type":9,"current":24274},"katy-morrison","Katy Morrison",{"alt":24277,"asset":24278},"https://www.pink-mcr.com/about",{"_id":24279,"height":24280,"orientation":400,"ratio":24281,"url":24282,"width":24283},"image-7d922da6d933e62ef2eddd541475d18fc040123e-320x110-webp",110,2.909090909090909,"https://cdn.sanity.io/images/eodip22e/production/7d922da6d933e62ef2eddd541475d18fc040123e-320x110.webp",320,[24285,24296,25180],{"_type":410,"settings":24286,"text":24287},{"textColumnCount":412},[24288],{"_key":24289,"_type":208,"children":24290,"markDefs":24295,"style":221},"af8dc15e407b",[24291],{"_key":24292,"_type":212,"marks":24293,"text":24294},"8e36ee716f2d0",[],"A text reflecting Morrison’s interests in discursive frameworks; performative platforms for critical enquiry; and ways in which we can facilitate and mediate multiple spaces for the generation of knowledge. Part of \"Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19.\"",[],{"_type":410,"settings":7,"text":24297},[24298,24316,24324,24331,24339,24347,24354,24362,24369,24380,24388,24395,24403,24411,24419,24427,24435,24443,24450,24458,24466,24474,24482,24490,24497,24505,24513,24521,24529,24537,24544,24552,24560,24568,24576,24584,24591,24599,24607,24615,24623,24630,24638,24645,24653,24661,24669,24677,24685,24693,24701,24708,24716,24724,24732,24740,24748,24756,24764,24772,24780,24788,24795,24803,24811,24819,24827,24835,24843,24851,24859,24867,24875,24883,24891,24898,24906,24914,24922,24930,24937,24945,24953,24961,24969,24977,24985,24993,25000,25008,25016,25024,25032,25039,25047,25054,25062,25070,25078,25086,25094,25102,25109,25117,25125,25133,25141,25149,25157,25164,25172],{"_key":24299,"_type":208,"children":24300,"markDefs":24314,"style":221},"3b5c9bffc764",[24301,24305,24310],{"_key":24302,"_type":212,"marks":24303,"text":24304},"10e5bb1c1a270",[],"The following words are the notes in my journal during the month of April for my curatorial project, ",{"_key":24306,"_type":212,"marks":24307,"text":24309},"cabe6e28dd1d",[24308],"b92300c72997","PINK",{"_key":24311,"_type":212,"marks":24312,"text":24313},"8c6dc3d0c8d1",[],". I don’t have the ability to make sense of them at the moment, nor do I think I need to make sense of them.",[24315],{"_key":24308,"_type":238,"blank":239,"href":24277},{"_key":24317,"_type":208,"children":24318,"markDefs":24323,"style":221},"bc500bbf79d2",[24319],{"_key":24320,"_type":212,"marks":24321,"text":24322},"76d8442c5b440",[1056],"Right now.",[],{"_key":24325,"_type":208,"children":24326,"markDefs":24330,"style":221},"e6f42b4b053b",[24327],{"_key":24328,"_type":212,"marks":24329,"text":435},"6fab9cf377910",[],[],{"_key":24332,"_type":208,"children":24333,"markDefs":24338,"style":221},"3bfbcf273278",[24334],{"_key":24335,"_type":212,"marks":24336,"text":24337},"dafc0bad06b40",[],"This has been an intense moment of research.",[],{"_key":24340,"_type":208,"children":24341,"markDefs":24346,"style":221},"eb2eb7a719de",[24342],{"_key":24343,"_type":212,"marks":24344,"text":24345},"37b99b3a5b1f0",[],"I was tied up in a tense, blinding moment of launching a project space, only for it to be halted. What has since followed, is a frank, but useful re-thinking.",[],{"_key":24348,"_type":208,"children":24349,"markDefs":24353,"style":221},"ea10de55e099",[24350],{"_key":24351,"_type":212,"marks":24352,"text":435},"e32dab81962c0",[],[],{"_key":24355,"_type":208,"children":24356,"markDefs":24361,"style":221},"a0593cb38d67",[24357],{"_key":24358,"_type":212,"marks":24359,"text":24360},"c68ce9fccc6c0",[],"////",[],{"_key":24363,"_type":208,"children":24364,"markDefs":24368,"style":221},"7de25bde0ee4",[24365],{"_key":24366,"_type":212,"marks":24367,"text":435},"47971e6d3bea0",[],[],{"_key":24370,"_type":208,"children":24371,"markDefs":24379,"style":221},"7e73e7c018f9",[24372,24375],{"_key":24373,"_type":212,"marks":24374,"text":24309},"8f3e6a2a64b60",[1056],{"_key":24376,"_type":212,"marks":24377,"text":24378},"8f3e6a2a64b61",[]," is built on a complex constellation of ideas, knowledge, processes, and people.",[],{"_key":24381,"_type":208,"children":24382,"markDefs":24387,"style":221},"ed0fe290a64e",[24383],{"_key":24384,"_type":212,"marks":24385,"text":24386},"dc37c3e029be0",[],"An assemblage created, over a year ago now, in a bid to make space for the critical conversations brought forward by the curatorial as a method of research.",[],{"_key":24389,"_type":208,"children":24390,"markDefs":24394,"style":221},"be885edc4199",[24391],{"_key":24392,"_type":212,"marks":24393,"text":435},"2788713a808e0",[],[],{"_key":24396,"_type":208,"children":24397,"markDefs":24402,"style":221},"8bef32804154",[24398],{"_key":24399,"_type":212,"marks":24400,"text":24401},"a5dbfde626fc0",[],"We hadn’t begun.",[],{"_key":24404,"_type":208,"children":24405,"markDefs":24410,"style":221},"a45347fa20c8",[24406],{"_key":24407,"_type":212,"marks":24408,"text":24409},"dc5d918737f70",[],"We were in the process of 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engage,",[],{"_key":25134,"_type":208,"children":25135,"markDefs":25140,"style":221},"303cf1d230d5",[25136],{"_key":25137,"_type":212,"marks":25138,"text":25139},"9f5453007ee30",[],"working to connect, and in some instances, re-connect.",[],{"_key":25142,"_type":208,"children":25143,"markDefs":25148,"style":221},"02f005dab9db",[25144],{"_key":25145,"_type":212,"marks":25146,"text":25147},"9180f875e0290",[],"Curating is not about reaching conclusions, investigation or representation,",[],{"_key":25150,"_type":208,"children":25151,"markDefs":25156,"style":221},"383d3ed4e2c8",[25152],{"_key":25153,"_type":212,"marks":25154,"text":25155},"fd1a32f46be90",[],"but about organizing rehearsals.",[],{"_key":25158,"_type":208,"children":25159,"markDefs":25163,"style":221},"0a3afdbeebde",[25160],{"_key":25161,"_type":212,"marks":25162,"text":435},"ac83386cab7e0",[],[],{"_key":25165,"_type":208,"children":25166,"markDefs":25171,"style":221},"557506b76778",[25167],{"_key":25168,"_type":212,"marks":25169,"text":25170},"38df4e8880560",[],"As long as a rehearsal is going on,",[],{"_key":25173,"_type":208,"children":25174,"markDefs":25179,"style":221},"5c4d4ac408d8",[25175],{"_key":25176,"_type":212,"marks":25177,"text":25178},"12eec17bd2b10",[1056],"the theatre of exhibition will remain open to the future.",[],{"_type":410,"settings":7,"text":25181},[25182],{"_key":25183,"_type":208,"children":25184,"markDefs":25188,"style":221},"a916e0266d07",[25185],{"_key":25186,"_type":212,"marks":25187,"text":22519},"5fc1110b7db90",[],[],{"_type":9,"current":25190},"a-conditional-construction-in-the-making","A Conditional Construction in the Making",{"_id":25193,"_type":271,"categories":7,"credits":25194,"featuredImage":25233,"pageBuilder":25241,"publishedDate":22264,"seo":7,"slug":25300,"summary":25251,"title":25212},"fccca749-f9c7-4528-b993-87200c03466f",{"other":7,"profiles":25195},[25196],{"_id":25197,"_type":315,"activeYears":25198,"bio":25201,"bioShort":25210,"featuredImage":25211,"filterables":25219,"links":25222,"locations":25225,"searchables":25229,"seo":7,"slug":25231,"title":25232},"573b24ea-a14e-4696-9f94-859af25294f4",[25199],{"_id":119,"_type":94,"seo":7,"slug":25200,"title":122},{"_type":9,"current":121},[25202],{"_key":25203,"_type":208,"children":25204,"markDefs":25209,"style":221},"1f89b88b04e4",[25205],{"_key":25206,"_type":212,"marks":25207,"text":25208},"ca6ea6971ecb0",[],"In computer memory terms, PROM also refers to programmable read-only memory, a form of digital memory where the setting of each bit is locked by a fuse or anti-fuse, meaning that the data in them is permanent and cannot be changed.",[],"Prom can refer to a group of individuals belonging to the same generation, or a ball at the end of an academic year.",{"alt":25212,"asset":25213},"Prom.run",{"_id":25214,"height":25215,"orientation":400,"ratio":25216,"url":25217,"width":25218},"image-5906497def2a9e693fe0960d9a539c3dd1b6523e-1047x731-jpg",731,1.4322845417236663,"https://cdn.sanity.io/images/eodip22e/production/5906497def2a9e693fe0960d9a539c3dd1b6523e-1047x731.jpg",1047,{"filterYear":25220},[25221],{"_id":119,"title":122},[25223],{"_type":371,"label":5256,"url":25224},"http://prom.run/prom.run.html",{"locations":25226,"other":7},[25227],{"_id":3458,"_type":378,"seo":7,"slug":25228,"title":3461},{"_type":9,"current":3460},[25230,121],"prom",{"_type":9,"current":25230},"Prom",{"alt":25234,"asset":25235},"«Prom.run» is the publishing project of Prom. ",{"_id":25236,"height":25237,"orientation":358,"ratio":25238,"url":25239,"width":25240},"image-c1718678b99262752f77053d77a952e0f016008a-827x1137-jpg",1137,0.7273526824978013,"https://cdn.sanity.io/images/eodip22e/production/c1718678b99262752f77053d77a952e0f016008a-827x1137.jpg",827,[25242,25253,25256,25290],{"_type":410,"settings":25243,"text":25244},{"textColumnCount":412},[25245],{"_key":25246,"_type":208,"children":25247,"markDefs":25252,"style":221},"c19b3b49677f",[25248],{"_key":25249,"_type":212,"marks":25250,"text":25251},"1dd7654e371e0",[],"«Prom.run» is the publishing project that consists of a selection of materials that have inspired their practice as an art collective and addresses topics relating to self-organization and knowledge-related commons. Part of \"Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19.\"",[],{"_type":406,"caption":7,"image":25254},{"alt":25224,"asset":25255},{"_id":25236,"height":25237,"orientation":358,"ratio":25238,"url":25239,"width":25240},{"_type":410,"settings":7,"text":25257},[25258,25266],{"_key":25259,"_type":208,"children":25260,"markDefs":25265,"style":221},"d398e1cf5f62",[25261],{"_key":25262,"_type":212,"marks":25263,"text":25264},"4fcc4087f92c0",[],"Prom is an art collective that started in Madrid some years ago. Scattered around Europe (Italy, Netherlands, Spain, and the UK), today they work together on a long-distance basis. Since 2018, they have been producing projects of different nature, including short films, interactive pieces, and a journal. Their works have always been grounded on the personal yet shared experience of current events and guided by the interest to collaborate with others.",[],{"_key":25267,"_type":208,"children":25268,"markDefs":25286,"style":221},"484ff635cbd7",[25269,25273,25277,25281],{"_key":25270,"_type":212,"marks":25271,"text":25272},"51d8f7589c600",[],"Prom.run is the publishing project of Prom. The publication consists of a selection of materials that have inspired their practice as an art collective and addresses topics relating to self-organization and empowerment through knowledge-related commons. The publication functions wonderfully in its physical form, which is why we’d recommend you to personally get in touch with Prom in order to receive a copy, either via their website: ",{"_key":25274,"_type":212,"marks":25275,"text":25224},"51d8f7589c601",[25276],"3901860f47c9",{"_key":25278,"_type":212,"marks":25279,"text":25280},"51d8f7589c602",[]," or email: ",{"_key":25282,"_type":212,"marks":25283,"text":25285},"51d8f7589c603",[25284],"c4672b500333","prom.hello@gmail.com",[25287,25288],{"_key":25276,"_type":238,"href":25224},{"_key":25284,"_type":238,"href":25289},"mailto:prom.hello@gmail.com",{"_type":410,"settings":7,"text":25291},[25292],{"_key":25293,"_type":208,"children":25294,"markDefs":25299,"style":221},"0505338bf2ae",[25295],{"_key":25296,"_type":212,"marks":25297,"text":25298},"e0a20895a0870",[1056],"Authors of the content are: the Prom collective (Federico Pozuelo, Javier Ruiz del Río, Marcos Gutiérrez Morquecho and Martin Alonso Iglesias), Jordi Claramonte (author of “Noticing the Decoupling in 1952’s High Noon” translated by Prom), and Tomás Ruiza Rivas (author of “What is the purpose of Spanish art?” translated by Prom). Additionally, we would like to credit Raisa Maudit, Ramón Mateos and Curro Aix. The conversations with these people were a significant contribution to this publication, informing to a high extent the content of our writings.",[],{"_type":9,"current":25301},"prom-run",{"_id":25303,"_type":271,"categories":7,"credits":25304,"featuredImage":25344,"pageBuilder":25352,"publishedDate":22264,"seo":7,"slug":25428,"summary":25362,"title":25430},"fee7010e-2589-455c-9e9a-834585c47a29",{"other":7,"profiles":25305},[25306],{"_id":25307,"_type":315,"activeYears":25308,"bio":25311,"bioShort":25319,"featuredImage":7,"filterables":25320,"links":25323,"locations":25326,"searchables":25339,"seo":7,"slug":25341,"title":25343},"44ee1580-04a3-4372-b6fc-05ed312e67e2",[25309],{"_id":119,"_type":94,"seo":7,"slug":25310,"title":122},{"_type":9,"current":121},[25312],{"_key":25313,"_type":208,"children":25314,"markDefs":25318,"style":221},"c6e9976c511e",[25315],{"_key":25316,"_type":212,"marks":25317,"text":6469},"3c513b4f007c",[],[],"Bianca, a designer, creative researcher, and certified natural healer with an interest in culture, cognitive science, politics and well-being.",{"filterYear":25321},[25322],{"_id":119,"title":122},[25324],{"_type":371,"label":5256,"url":25325},"https://bianca-carague.com/",{"locations":25327,"other":25330},[25328],{"_id":3458,"_type":378,"seo":7,"slug":25329,"title":3461},{"_type":9,"current":3460},[25331],{"_key":25332,"_type":208,"children":25333,"markDefs":25338,"style":221},"be00a51dbe06",[25334],{"_key":25335,"_type":212,"marks":25336,"text":25337},"b5e07227aab2",[],"Based in the Netherlands",[],[25340,121],"bianca carague",{"_type":9,"current":25342},"bianca-carague","Bianca Carague",{"alt":25345,"asset":25346},"Bianca Carague Bump Galaxy",{"_id":25347,"height":25348,"orientation":400,"ratio":25349,"url":25350,"width":25351},"image-2532717716331412126de0ff6fa18d2159dc077b-1400x787-jpg",787,1.7789072426937738,"https://cdn.sanity.io/images/eodip22e/production/2532717716331412126de0ff6fa18d2159dc077b-1400x787.jpg",1400,[25353,25364,25374,25418],{"_type":410,"settings":25354,"text":25355},{"textColumnCount":412},[25356],{"_key":25357,"_type":208,"children":25358,"markDefs":25363,"style":221},"c48d8fc8d899",[25359],{"_key":25360,"_type":212,"marks":25361,"text":25362},"7e3e2b203f310",[],"BUMP GALAXY is a virtual world and community for mental health. In it, players can visit several different Care Commons and engage with mental health professionals from around the world. Part of \"Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19.\"",[],{"_type":5118,"slides":25365},[25366,25369],{"_type":406,"caption":7,"image":25367},{"alt":25345,"asset":25368},{"_id":25347,"height":25348,"orientation":400,"ratio":25349,"url":25350,"width":25351},{"_type":406,"caption":7,"image":25370},{"alt":25345,"asset":25371},{"_id":25372,"height":25348,"orientation":400,"ratio":25349,"url":25373,"width":25351},"image-88e227469f54d602caa001397b3439568571193d-1400x787-jpg","https://cdn.sanity.io/images/eodip22e/production/88e227469f54d602caa001397b3439568571193d-1400x787.jpg",{"_type":410,"settings":7,"text":25375},[25376,25388,25396,25404],{"_key":25377,"_type":208,"children":25378,"markDefs":25387,"style":221},"20c0a824d499",[25379,25383],{"_key":25380,"_type":212,"marks":25381,"text":25382},"1bdc6217345e0",[214],"BUMP GALAXY",{"_key":25384,"_type":212,"marks":25385,"text":25386},"1bdc6217345e2",[]," is a virtual world and community for collaborative mental, emotional and spiritual care, which features a unique landscape and resource economy based on collective well being. It is also a community of players, each with their own unique capacity to provide care. In it, players can visit several different Care Commons and engage with mental health professionals from around the world.",[],{"_key":25389,"_type":208,"children":25390,"markDefs":25395,"style":221},"3369f3840f4b",[25391],{"_key":25392,"_type":212,"marks":25393,"text":25394},"84799ebf63710",[],"Imagine a joint therapy session with a relationship counselor from Sweden and a hypnotherapist in Japan. Imagine participating in a collective sound bath in the rainforest by one of your favorite DJs.",[],{"_key":25397,"_type":208,"children":25398,"markDefs":25403,"style":221},"5fc480790a37",[25399],{"_key":25400,"_type":212,"marks":25401,"text":25402},"41f13a5bc66a0",[],"Be part of a community that cares, bringing people together across national borders, care practices and knowledge worlds.",[],{"_key":25405,"_type":208,"children":25406,"markDefs":25416,"style":221},"1fc9135a7f7d",[25407,25411],{"_key":25408,"_type":212,"marks":25409,"text":25410},"070bd780ec920",[],"For more information and events, or to sign up to BUMP GALAXY, visit: ",{"_key":25412,"_type":212,"marks":25413,"text":25415},"070bd780ec921",[25414],"51ebc1380f35","https://bianca-carague.com/sign-up",[25417],{"_key":25414,"_type":238,"href":25415},{"_type":410,"settings":7,"text":25419},[25420],{"_key":25421,"_type":208,"children":25422,"markDefs":25427,"style":221},"168d58e12b51",[25423],{"_key":25424,"_type":212,"marks":25425,"text":25426},"6b453933e4e7",[],"BUMP GALAXY is designed by Bianca Carague",[],{"_type":9,"current":25429},"bump-galaxy","Bump Galaxy",{"_id":25432,"_type":271,"categories":7,"credits":25433,"featuredImage":25461,"pageBuilder":25464,"publishedDate":22264,"seo":7,"slug":25568,"summary":25474,"title":25570},"ffb067fa-8871-4738-a78a-af6afb748891",{"other":7,"profiles":25434},[25435],{"_id":25436,"_type":315,"activeYears":25437,"bio":25440,"bioShort":25448,"featuredImage":7,"filterables":25449,"links":7,"locations":25452,"searchables":25456,"seo":7,"slug":25458,"title":25460},"749b5953-0ced-48a0-9f87-5911890868cf",[25438],{"_id":119,"_type":94,"seo":7,"slug":25439,"title":122},{"_type":9,"current":121},[25441],{"_key":25442,"_type":208,"children":25443,"markDefs":25447,"style":221},"e115b8394479",[25444],{"_key":25445,"_type":212,"marks":25446,"text":6469},"3195647c9fa6",[],[],"Gianna, Beobachterin und Beschreiberin von intimen Situationen und Szenen im öffentlichen Raum. Geboren 1995 im Luzerner Rottal. Lebte als selbsternanntes Stadtkind in Bern, Brüssel, Luzern und seit Kurzem in Zürich. Dort studiert und beschäftigt sie sich mit Kulturjournalismus, Kunstkritik, Elefanten und Namensvetterinnen.",{"filterYear":25450},[25451],{"_id":119,"title":122},{"locations":25453,"other":7},[25454],{"_id":3458,"_type":378,"seo":7,"slug":25455,"title":3461},{"_type":9,"current":3460},[25457,121],"gianna rovere",{"_type":9,"current":25459},"gianna-rovere","Gianna Rovere",{"alt":25462,"asset":25463},"Gianna Rovere Kein Strom",{"_id":22797,"height":10589,"orientation":623,"ratio":536,"url":22798,"width":10589},[25465,25476,25558],{"_type":410,"settings":25466,"text":25467},{"textColumnCount":412},[25468],{"_key":25469,"_type":208,"children":25470,"markDefs":25475,"style":221},"9040938ad04a",[25471],{"_key":25472,"_type":212,"marks":25473,"text":25474},"c6cbaa2451060",[],"A short story, written as a diary entry, describes a lockdown-specific encounter. Part of \"Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19.\"",[],{"_type":410,"settings":7,"text":25477},[25478,25486,25494,25502,25510,25518,25526,25534,25542,25550],{"_key":25479,"_type":208,"children":25480,"markDefs":25485,"style":221},"77d30bdd1026",[25481],{"_key":25482,"_type":212,"marks":25483,"text":25484},"ff857d6246a90",[],"31. März 2020, ein Bericht.",[],{"_key":25487,"_type":208,"children":25488,"markDefs":25493,"style":221},"5d5f17b48fc0",[25489],{"_key":25490,"_type":212,"marks":25491,"text":25492},"45146e9a14d30",[],"Ich bemerke das fehlende rote Lämpchen erst, als auf meinem Bildschirm die Meldung aufpoppt, ich solle doch bitte meinen Laptop mit dem Strom verbinden. Ich stecke den magnetischen Stecker aus und wieder ein.\nNichts.",[],{"_key":25495,"_type":208,"children":25496,"markDefs":25501,"style":221},"5d62fbc45867",[25497],{"_key":25498,"_type":212,"marks":25499,"text":25500},"58a0b42a95fb0",[],"Nochmals aus und wieder ein.\nNormalerweise erscheint erst das grüne und dann das rote Licht. Ich folge dem dünnen, mit Isolierband umwickelten Kabel zum Adapter und dann dem dicken Kabel zur Steckdose. Alles unverdächtig. Ich stecke aus und wieder ein. Nichts.\nMeine Brust wird eng und ich klappe meinen Laptop zu. Ich entferne den Adapter vom dickeren Stromkabel und beginne, das weisse Isolierband zu entfernen, das bei der Verbindung vom dünnen Kabel zum Adapter verdächtig dick ist. Nach einigen Zentimetern weiss kommt schwarzes Isolierband zum Vorschein und als ich auch dieses sorgfältig abgewickelt habe, sehe ich den Salat: Das Kabel hält sich an einem einzigen kleinen Fädelchen am Adapter fest.\nFuck.",[],{"_key":25503,"_type":208,"children":25504,"markDefs":25509,"style":221},"ce9a7bf847c0",[25505],{"_key":25506,"_type":212,"marks":25507,"text":25508},"5840a52c96e60",[],"Mit dem Handy google ich die Symptome: Schlechte Diagnose.\nDa man Netdoktor nicht trauen sollte, rufe ich einen Freund an. Er bestätigt, was ich bereits geahnt habe: Mein Kabel ist tot. Meine Brust wird noch enger. 9% Akku verbleiben und zwei Wochen Lieferfrist (ohne Gewähr, weil in Zeiten von Corona) für ein neues Kabel. Ich werde nervös, suche nach meinen alten Logindaten für eine digitale Verkaufsplattform und filtere die Angebote für Zürich.\nIch finde ein Kabel, zehn Franken günstiger als neu und am Abend abholbar. Ich einige mich mit dem Verkäufer auf 20.30 Uhr und Barzahlung. Schon während dem Abendessen denke ich mir Strategien aus, wie ich Social- Distancing auf höfliche Weise durchsetzen kann. Ich will einerseits nur ungern eine fremde Wohnung betreten, aber andererseits unbedingt das Kabel ausprobieren.\nEs ist das erste Mal seit langem, dass ich den direkten Umkreis meiner Wohnung verlasse. Es fühlt sich eigenartig an, als ich auf eine leere Langstrasse abbiege. Am Bankomat vis-à-vis vom Abholort und neben einem Kiosk desinfiziere ich erst seine Tasten, bevor ich Geld abhebe. Ich frage mich, ob sich die Banknoten auflösen, wenn ich sie auch mit dem Gel einreibe. Weil Geld ist ja bekanntlich etwas vom Schmutzigsten auf der Welt. Während ich überlege, werde ich von einer Frau angesprochen.\nGibst du mir was davon ab?\nIch weiche einen Schritt zurück, um zwei Meter Abstand einzuhalten.\nSorry, kein Wechselgeld.",[],{"_key":25511,"_type":208,"children":25512,"markDefs":25517,"style":221},"65ece1935631",[25513],{"_key":25514,"_type":212,"marks":25515,"text":25516},"94e6690342330",[],"Das hat auch der Verkäufer zu mir gesagt, weshalb ich in den Kiosk nebenan flüchte und gleich zurechtgewiesen werde.\nWarten Sie bitte hinter der Absperrung!\nIch lächle ertappt und die Verkäuferin entschuldigend. Ich bekomme Wechselgeld und werde vor dem Kiosk von der Frau von vorhin erwartet.",[],{"_key":25519,"_type":208,"children":25520,"markDefs":25525,"style":221},"6ad5fb50a16c",[25521],{"_key":25522,"_type":212,"marks":25523,"text":25524},"961a94ed7ec00",[],"Wie siehts jetzt aus?",[],{"_key":25527,"_type":208,"children":25528,"markDefs":25533,"style":221},"41ee1149fa0b",[25529],{"_key":25530,"_type":212,"marks":25531,"text":25532},"bebfbd731c890",[],"Ich fühle mich nicht wohl, bin überfordert. Ich fühle mich schlecht. Ich springe schnell über die Strasse — unnötig, weil kein Verkehr — und finde sogleich den Eingang zum Haus. Ich klingle.\nWarte vor der Tür!",[],{"_key":25535,"_type":208,"children":25536,"markDefs":25541,"style":221},"296936522365",[25537],{"_key":25538,"_type":212,"marks":25539,"text":25540},"083b83a28eb30",[],"Ich warte und werde noch immer missbilligend von der Frau beobachtet. Ich hebe entschuldigend meine Schultern und verberge das Geld fest in meinen feuchten Händen.\nDie Tür öffnet sich langsam und eine Hand reicht mir den Adapter. Er hängt an einem Verlängerungskabel.",[],{"_key":25543,"_type":208,"children":25544,"markDefs":25549,"style":221},"6af596b8dce1",[25545],{"_key":25546,"_type":212,"marks":25547,"text":25548},"9526183c5ee50",[],"Ich will nicht unhöflich sein und ich habe sicher auch kein Corona, aber man wisse ja nie.\nIch nicke erleichtert, packe meinen Laptop aus und sehe erst das grüne und dann das rote Lämpchen aufleuchten.",[],{"_key":25551,"_type":208,"children":25552,"markDefs":25557,"style":221},"f138ef54948e",[25553],{"_key":25554,"_type":212,"marks":25555,"text":25556},"b8b5a846f9290",[],"Leg das Geld vor die Tür und gehe bitte. Einen schönen Abend!",[],{"_type":410,"settings":7,"text":25559},[25560],{"_key":25561,"_type":208,"children":25562,"markDefs":25567,"style":221},"188b9639a2be",[25563],{"_key":25564,"_type":212,"marks":25565,"text":25566},"08b779ff537b0",[1056],"Geschrieben von Gianna Rovere",[],{"_type":9,"current":25569},"kein-strom","Kein Strom",{"_id":25572,"_type":271,"categories":7,"credits":25573,"featuredImage":25604,"pageBuilder":25612,"publishedDate":25650,"seo":7,"slug":25651,"summary":25622,"title":25653},"be21c56c-538e-4d41-8021-c3ba13cdcd5a",{"other":7,"profiles":25574},[25575],{"_id":25576,"_type":315,"activeYears":25577,"bio":25580,"bioShort":25588,"featuredImage":7,"filterables":25589,"links":25592,"locations":25595,"searchables":25599,"seo":7,"slug":25601,"title":25603},"9578e9a2-7bc4-41bd-879e-7fcbc211b966",[25578],{"_id":124,"_type":94,"seo":7,"slug":25579,"title":127},{"_type":9,"current":126},[25581],{"_key":25582,"_type":208,"children":25583,"markDefs":25587,"style":221},"95a58fb36694",[25584],{"_key":25585,"_type":212,"marks":25586,"text":6469},"3dc59c0bdc290",[],[],"Jan (*1988 in Zürich) works in sculpture, performance and video, often entering into collaborations with people outside the art world.",{"filterYear":25590},[25591],{"_id":124,"title":127},[25593],{"_type":371,"label":372,"url":25594},"https://www.instagram.com/surrealjanhofer/?hl=en",{"locations":25596,"other":7},[25597],{"_id":3458,"_type":378,"seo":7,"slug":25598,"title":3461},{"_type":9,"current":3460},[25600,126],"jan hofer",{"_type":9,"current":25602},"jan-hofer","Jan Hofer",{"alt":25605,"asset":25606},"Jan Hofer – The New New Material",{"_id":25607,"height":25608,"orientation":358,"ratio":25609,"url":25610,"width":25611},"image-84a85d06bf7d9386b8f2024cf31817da75280c33-1026x1136-png",1136,0.903169014084507,"https://cdn.sanity.io/images/eodip22e/production/84a85d06bf7d9386b8f2024cf31817da75280c33-1026x1136.png",1026,[25613,25624],{"_type":410,"settings":25614,"text":25615},{"textColumnCount":412},[25616],{"_key":25617,"_type":208,"children":25618,"markDefs":25623,"style":221},"9529dd6dbb54",[25619],{"_key":25620,"_type":212,"marks":25621,"text":25622},"d6c53949a5680",[],"Im Zentrum dieses Projekts steht die sogenannte «Rumford Fliese», das erste Produkt, das gezielt für raumakustische Zwecke entwickelt wurde. Diese besondere Art von Keramik wurde im frühen 20. Jahrhundert erfunden, um in Auditorien das Echo zu brechen und die Raumakustik für das gesprochene Wort zu optimieren.",[],{"_type":410,"settings":7,"text":25625},[25626,25634,25642],{"_key":25627,"_type":208,"children":25628,"markDefs":25633,"style":221},"734851094d63",[25629],{"_key":25630,"_type":212,"marks":25631,"text":25632},"a765265b7d880",[],"ZUM PROJEKT:\nIm Zentrum dieses Projekts steht die sogenannte «Rumford\nFliese», das erste Produkt, das gezielt für raumakustische\nZwecke entwickelt wurde. Diese besondere Art von Keramik wurde\nim frühen 20. Jahrhundert erfunden, um in Auditorien das Echo zu\nbrechen und die Raumakustik für das gesprochene Wort zu\noptimieren. Der Kern der Erfindung war eine einfache und\nzugleich schöne Idee: Man durchmischte Keramik-Ton mit\nkleinteiligem, organischem Material. Später, in der Hitze des\nBrennofens evaporierte dieses und hinterliess ein\nunregelmässiges Netz von Lufteinschlüssen im Ton.\nDaraus resultierten Keramikplatten, die porös und somit\nschallabsorbierend waren. Dank dieser Eigenschaft wurde die\nRumford Fliese gerne in grossen Innenräumen wie z.B. in Kirchen\neingesetzt, dies jedoch nur für ein paar Jahrzehnte. Danach nahm\ndie Nachfrage ab, die Herstellung wurde eingestellt und das\nProdukt geriet in Vergessenheit.\nHeute, gut hundert Jahre später, arbeite ich daran, dieses\nbemerkenswerte Material wieder zu entdecken, weil ich glaube,\ndass dieses Anti-Echo-Objekt gerade heute wieder von Bedeutung\nsein kann – sowohl akustisch als auch metaphorisch.",[],{"_key":25635,"_type":208,"children":25636,"markDefs":25641,"style":221},"658b89a211b6",[25637],{"_key":25638,"_type":212,"marks":25639,"text":25640},"8bbe02494c6b0",[],"ZUM LEARN:\nHauptziel der ersten LEARN-Phase war es, die bestmögliche\nMaterialzusammensetzung und ein entsprechendes\nProduktionsverfahren zu finden. Dazu arbeitete ich während gut\nzwei Wochen in der Werkstatt Lohner Ziegelei AG, wo ich in\nhandgefertigten Test-Mischungen verschiedene Tonarten\nsystematisch und mit organischen Materialien durchsetzte. Die\ndaraus resultierten Prototypen, wurden dann auf Stabilität und\nSchallabsorption getestet. Dabei wurde klar:\n– Bei der Wahl der Tonart spielt der Anteil von Schamott-Sand im\nTon eine entscheidende Rolle. Nur Tonmischungen mit einem\ngeringen Schamott-Anteil bleiben trotz dem Zusatz von\norganischen Materialien stabil.\n– Die organischen Zusatzmaterialien müssen verschiedene\nKriterien erfüllen: Erstens sollen sie ihre Form beim Kontakt\nmit Wasser möglichst nicht verändern, weil ein aufquellen zu\nSpannungen und Rissen in den Tonplatten führt. Zweitens müssen\nsie bei den 1000°C im Brennofen möglichst rückstandslos\nverbrennen, weil ihre Asche sonst die Poren der Tonplatten\nverstopft und somit ihr Schallabsorptionspotential verringert.\nDrittens müssen sie aus ökologischen und ökonomischen Gründen\neinfach und in grossen Mengen zugänglich sein. Ideal sind\nAbfallprodukte aus der lokalen Land- oder Forstwirtschaft.\n– Beim Mischverhältnis von Ton zu organischen Zusatzmaterialien\nmuss man richtig abwägen. Ist der Anteil an Zusatzmaterialien zu\ngering, gibt es zu wenig Lufteinschlüsse und die Platte ist\nnicht schallabsorbierend. Ist der Anteil an Zusatzmaterialien\njedoch zu hoch, wird die Platte spröde und zerbricht. Hier muss\ndas richtige Gleichgewicht gefunden werden.\nUnter Berücksichtigung dieser Faktoren konnte ich schlussendlich\ndie bestmögliche Materialzusammensetzung ermitteln und einen\nklaren Produktionsablauf definieren. So konnte ich meine erste\nLEARN-Phase abschliessen, in dem ich die eigenhändigen\nEinzelanfertigungen zurück liess und die Lohner Ziegelei AG mit\nder Produktion einer ersten Serie des New New Materials\nbeauftragte.",[],{"_key":25643,"_type":208,"children":25644,"markDefs":25649,"style":221},"2511a67033bb",[25645],{"_key":25646,"_type":212,"marks":25647,"text":25648},"38196d03e4f5",[],"In der nächsten Phase meines LEARNs möchte ich nun mit dieser\nFliesen-Serie arbeiten und sie in verschiedenen Räumen dem Echo\naussetzen.",[],"2020-10-26",{"_type":9,"current":25652},"new-new-bericht-phase-1","New – New Bericht Phase #1",{"_id":25655,"_type":271,"categories":7,"credits":25656,"featuredImage":25690,"pageBuilder":25692,"publishedDate":25747,"seo":7,"slug":25748,"summary":25745,"title":25750},"1ec36e1b-be92-4faa-9918-18cac1cd91db",{"other":7,"profiles":25657},[25658],{"_id":25659,"_type":315,"activeYears":25660,"bio":25663,"bioShort":25672,"featuredImage":7,"filterables":25673,"links":25676,"locations":25681,"searchables":25685,"seo":7,"slug":25687,"title":25689},"ce7cb5d1-0df6-4217-adc4-0ed5f76ceb35",[25661],{"_id":119,"_type":94,"seo":7,"slug":25662,"title":122},{"_type":9,"current":121},[25664],{"_key":25665,"_type":208,"children":25666,"markDefs":25671,"style":221},"93d19dba7ef6",[25667],{"_key":25668,"_type":212,"marks":25669,"text":25670},"37ed1a1d0e1e",[],"She is particularly interested in the impact that communication technology has upon our daily interactions, in how they affect our relationship with our surroundings, with others, and with ourselves. She is currently finishing an MFA in Fine arts at Goldsmiths University of London",[],"Rebeca is a Peruvian artist, currently based in London, UK. Her practice is multidisciplinary; through text, performance, sculpture, sound, and video she questions ideas concerning representation, authorship, and storytelling in the digital age. ",{"filterYear":25674},[25675],{"_id":119,"title":122},[25677,25679],{"_type":371,"label":5256,"url":25678},"https://www.rebeca-romero.com/",{"_type":371,"label":372,"url":25680},"https://www.instagram.com/romero.beca/",{"locations":25682,"other":7},[25683],{"_id":3458,"_type":378,"seo":7,"slug":25684,"title":3461},{"_type":9,"current":3460},[25686,121],"rebeca romero",{"_type":9,"current":25688},"rebeca-romero","Rebeca Romero",{"alt":7,"asset":25691},{"_id":22797,"height":10589,"orientation":623,"ratio":536,"url":22798,"width":10589},[25693,25701,25727,25736],{"_type":406,"caption":7,"image":25694},{"alt":7,"asset":25695},{"_id":25696,"height":25697,"orientation":400,"ratio":25698,"url":25699,"width":25700},"image-e499628c477ce9f235bbfefef3bed390f9a94c25-1004x662-png",662,1.5166163141993958,"https://cdn.sanity.io/images/eodip22e/production/e499628c477ce9f235bbfefef3bed390f9a94c25-1004x662.png",1004,{"_type":410,"settings":7,"text":25702},[25703,25711,25719],{"_key":25704,"_type":208,"children":25705,"markDefs":25710,"style":221},"99865b221072",[25706],{"_key":25707,"_type":212,"marks":25708,"text":25709},"acab6e53eb6d0",[],"dream#1 2020 explores questions around the role our personal stories play in the making of history, as well as the actual political potency of our feelings.",[],{"_key":25712,"_type":208,"children":25713,"markDefs":25718,"style":221},"255d4979c784",[25714],{"_key":25715,"_type":212,"marks":25716,"text":25717},"1dba771269570",[],"As artists, it is urgent to start believing that conversations vital to our practices, to our living, can be indeed taken out of the university. Offline and online, we are still able to reach each other.",[],{"_key":25720,"_type":208,"children":25721,"markDefs":25726,"style":221},"cc0b409a8d15",[25722],{"_key":25723,"_type":212,"marks":25724,"text":25725},"490266ce31670",[1056],"Video and text by by Rebeca Romero.",[],{"_type":410,"settings":7,"text":25728},[25729],{"_key":25730,"_type":208,"children":25731,"markDefs":25735,"style":221},"c6f0582a7c49",[25732],{"_key":25733,"_type":212,"marks":25734,"text":22519},"92c6cc1cc5370",[],[],{"_type":410,"settings":25737,"text":25738},{"textColumnCount":412},[25739],{"_key":25740,"_type":208,"children":25741,"markDefs":25746,"style":221},"28081c166e88",[25742],{"_key":25743,"_type":212,"marks":25744,"text":25745},"4585fe2e64cf0",[],"This video work is a dreamy, haunting piece that looks at the role our personal stories play in the making of history, as well as the actual political potency of our feelings. Part of 'Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19.'",[],"2020-08-26",{"_type":9,"current":25749},"dream-1-2020","dream#1 2020",{"_id":25752,"_type":271,"categories":7,"credits":25753,"featuredImage":25777,"pageBuilder":25780,"publishedDate":25747,"seo":7,"slug":25989,"summary":25790,"title":25991},"f764a393-7ffc-44e6-8fbf-f388c48807a7",{"other":7,"profiles":25754},[25755],{"_id":16865,"_type":315,"activeYears":25756,"bio":25759,"bioShort":16878,"featuredImage":7,"filterables":25765,"links":25768,"locations":25771,"searchables":25775,"seo":7,"slug":25776,"title":16895},[25757],{"_id":119,"_type":94,"seo":7,"slug":25758,"title":122},{"_type":9,"current":121},[25760],{"_key":16871,"_type":208,"children":25761,"markDefs":25764,"style":221},[25762],{"_key":16874,"_type":212,"marks":25763,"text":16876},[],[],{"filterYear":25766},[25767],{"_id":119,"title":122},[25769,25770],{"_type":371,"label":5256,"url":16884},{"_type":371,"label":372,"url":16886},{"locations":25772,"other":7},[25773],{"_id":3458,"_type":378,"seo":7,"slug":25774,"title":3461},{"_type":9,"current":3460},[16892,121],{"_type":9,"current":16894},{"alt":25778,"asset":25779},"Sindi-Leigh McBride - The Coffee Commons",{"_id":22797,"height":10589,"orientation":623,"ratio":536,"url":22798,"width":10589},[25781,25792],{"_type":410,"settings":25782,"text":25783},{"textColumnCount":412},[25784],{"_key":25785,"_type":208,"children":25786,"markDefs":25791,"style":221},"289fc5e59222",[25787],{"_key":25788,"_type":212,"marks":25789,"text":25790},"02aee959680a0",[],"This essay reflects upon the divergent responses to and asymmetrical consequences of COVID19 in McBride’s home country, South Africa, and her country of residence, Switzerland. Part of \"Learning from COVID19: Reflections on knowledge-related commons and practices of self-organization amidst COVID19.\"",[],{"_type":410,"settings":7,"text":25793},[25794,25813,25832,25840,25848,25864,25879,25895,25911,25919,25935,25943,25962,25970],{"_key":25795,"_type":208,"children":25796,"markDefs":25810,"style":221},"5f189bd1c69d",[25797,25801,25806],{"_key":25798,"_type":212,"marks":25799,"text":25800},"d6015f4dd55b0",[],"In the last scene of ",{"_key":25802,"_type":212,"marks":25803,"text":25805},"d6015f4dd55b1",[25804],"c47d23a38bcf","Coffee and Cigarettes",{"_key":25807,"_type":212,"marks":25808,"text":25809},"d6015f4dd55b2",[]," (2003) by Jim Jarmusch, Taylor Mead complains to Bill Rice about feeling divorced from life, then suggests pretending that the coffee they are drinking is champagne “to celebrate life, like the rich and elegant people do, the classy people.” Rice replies: “I prefer coffee, simple working man’s coffee.” I agree, champagne gives me headaches. They toast their coffee anyway, raising paper cups to Paris in the 1920s and New York in the late 1970s.",[25811],{"_key":25804,"_type":238,"href":25812},"https://www.youtube.com/watch?v=-FYLkBcJBys",{"_key":25814,"_type":208,"children":25815,"markDefs":25829,"style":221},"d8593eef2ada",[25816,25820,25825],{"_key":25817,"_type":212,"marks":25818,"text":25819},"896fad2618790",[],"I rewatched the film after some of my colleagues at the Centre for African Studies started a weekly “Coffee and Cigarettes” Zoom meeting to keep in touch during this period of isolation. Before coronavirus, a lot of work happened during smoke breaks, when the office smokers took their coffee outside to keep their cigarettes company on the cobbled road of Rheinsprung in the old part of Basel. You could call this a version of the watercooler effect because even the nonsmokers join so a lot of planning and discussing and critiquing happens over coffee and cigarettes. Sometimes over champagne too. Shortly after arriving in Basel from Johannesburg, I was at the office to scan some paperwork to send to the Migration office for my residence permit when I inadvertently got swooped into a champagne campaign to celebrate the publication of ",{"_key":25821,"_type":212,"marks":25822,"text":25824},"896fad2618791",[25823],"96558a057876","Lorena Rizzo’s new book",{"_key":25826,"_type":212,"marks":25827,"text":25828},"896fad2618792",[],". At that stage, I didn’t know Lorena (or anyone really) but I toasted along, charmed by the camaraderie and the welcome and the delight of champagne on an average Wednesday afternoon. Even though it gives me headaches.",[25830],{"_key":25823,"_type":238,"href":25831},"https://witspress.co.za/catalogue/photography-and-history-in-colonial-southern-africa/",{"_key":25833,"_type":208,"children":25834,"markDefs":25839,"style":221},"10c94eb7b66b",[25835],{"_key":25836,"_type":212,"marks":25837,"text":25838},"d2734b5d2f210",[],"Fast forward a few months, and I am still charmed by the comfortable friendliness that accompanies my colleagues. A few weeks into the pandemic and our weekly “Coffee and Cigarettes” call is comfortable too, no longer an awkward transfer of meeting links and secret passwords, everyone has more or less gotten the hang of things. That said, one thing I cannot get the hang of is the strangeness of being the only one outside of Europe. Most of the gang have remained in Basel, although one is stone’s throw away in Freiburg and another was lucky to have escaped to a mountain chalet in the north of Switzerland. I took advantage of a long-booked flight for a since-cancelled conference and returned home. Out of habit, I check Covid-19 stats in Switzerland and South Africa at the same time (I have had the same tabs open on my laptop since before I skedaddled home) making for a surreal “on the inside looking out” experience.",[],{"_key":25841,"_type":208,"children":25842,"markDefs":25847,"style":221},"61d7d2991145",[25843],{"_key":25844,"_type":212,"marks":25845,"text":25846},"f4dc7ce42ce60",[],"A snapshot of the situation on Monday 27 April:",[],{"_key":25849,"_type":208,"children":25850,"markDefs":25863,"style":221},"3d1c17ca4278",[25851,25855,25859],{"_key":25852,"_type":212,"marks":25853,"text":25854},"d70411014a510",[],"● ",{"_key":25856,"_type":212,"marks":25857,"text":25858},"d70411014a511",[214],"Switzerland:",{"_key":25860,"_type":212,"marks":25861,"text":25862},"d70411014a512",[]," 28 912 infections, 1 599 deaths",[],{"_key":25865,"_type":208,"children":25866,"markDefs":25878,"style":221},"580a9e0f7023",[25867,25870,25874],{"_key":25868,"_type":212,"marks":25869,"text":25854},"55990472fd2f0",[],{"_key":25871,"_type":212,"marks":25872,"text":25873},"55990472fd2f1",[214],"South Africa: ",{"_key":25875,"_type":212,"marks":25876,"text":25877},"55990472fd2f2",[],"4 546 infections, 87 deaths",[],{"_key":25880,"_type":208,"children":25881,"markDefs":25894,"style":221},"f49fa621e835",[25882,25886,25890],{"_key":25883,"_type":212,"marks":25884,"text":25885},"75b02812c8480",[],"The virus arrived in Switzerland much faster and harder than in South Africa, but because of the wildly different socio-economic situation in South Africa, a very intense lockdown was rolled out to try to flatten the curve of infections before winter arrived. Lockdown in South Africa means nobody is allowed out of the house",{"_key":25887,"_type":212,"marks":25888,"text":25889},"75b02812c8481",[1056]," at all",{"_key":25891,"_type":212,"marks":25892,"text":25893},"75b02812c8482",[],", not to jog or to walk dogs, except to buy groceries or medication, and only essential goods are for sale. My colleagues are incredulous that the sale of alcohol and cigarettes has been prohibited here, no doubt because they can’t wrap their heads around the reality of an underfunded, overburdened public health system where the majority of medical trauma is caused by the substance abuse accompanying desperate poverty and joblessness.",[],{"_key":25896,"_type":208,"children":25897,"markDefs":25910,"style":221},"b81fa8212b05",[25898,25902,25906],{"_key":25899,"_type":212,"marks":25900,"text":25901},"a9a4f2a57c770",[],"Compared to the Swiss Federal Council’s recommendations for people to stay at home and work from home, to most of my colleagues, South Africa’s military-enforced quarantine seems archaic, a draconian abuse of power by opportunistic authoritarians. Meanwhile, into what now feels like week 987546 of a lockdown ",{"_key":25903,"_type":212,"marks":25904,"text":25905},"a9a4f2a57c771",[1056],"longue durée",{"_key":25907,"_type":212,"marks":25908,"text":25909},"a9a4f2a57c772",[],", I am both relieved and grateful for the way that my government has responded to this crisis. Of course, the response has not been without flaws and it is still early days here, but for now, I am proud. Today is also a big day in South African history: Freedom Day, commemorating the first post-apartheid elections held on this day in 1994. I was only six at the time and I don’t really have any apartheid memories, but like many black South Africans, I thank my lucky stars daily that apartheid ended and now more so than ever before. I shudder to think about what this pandemic would have been like under the previous (evil) dispensation.",[],{"_key":25912,"_type":208,"children":25913,"markDefs":25918,"style":221},"453db935d82b",[25914],{"_key":25915,"_type":212,"marks":25916,"text":25917},"057538807a9a0",[],"When my colleagues talk about meeting a friend or three for a walk in the forest or mountains, or recount funny quips about going to a birthday party held in shifts with no more than five people in the room at the time; I giggle at their rule-bending anecdotes or sigh enviously as the thought of fresh Alpine air makes me salivate inside my apartment-prison. But truth be told, I am incredulous that a society where everyone strictly abides by unspoken rules has been comparatively relaxed about this pandemic. Granted my sample of Swiss society is nowhere near representative, a small group of hippy historians, but still.",[],{"_key":25920,"_type":208,"children":25921,"markDefs":25934,"style":221},"bda698cf88a8",[25922,25926,25930],{"_key":25923,"_type":212,"marks":25924,"text":25925},"1f5cb4224f610",[],"When I arrived in Switzerland, I was gobsmacked to see that everyone sticks to the right on escalators so that fellow travellers in hurry can zoom past on the left. I cannot imagine that kind of strict social norm adherence in South Africa, mainly because I cannot imagine myself kowtowing like that. I do it in Switzerland though. On the March morning that I left Switzerland, I was just as gobsmacked to see a policeman with a semi-automatic weapon watching over shoppers at the Coop supermarket at the Basel train station, no doubt guarding against stockpiling or looting. I had never before seen any kind of security in the city, in fact I often found myself marvelling at jewellery shops that leave their wares on display at night ",{"_key":25927,"_type":212,"marks":25928,"text":25929},"1f5cb4224f611",[1056],"sans",{"_key":25931,"_type":212,"marks":25932,"text":25933},"1f5cb4224f612",[]," burglar bars. Seeing a gun in Switzerland spooked me, no matter that I have grown up around guns or that armed private security companies abound in South Africa, or that the South African Police (SAPS) is a law unto itself.",[],{"_key":25936,"_type":208,"children":25937,"markDefs":25942,"style":221},"e91e6e629a34",[25938],{"_key":25939,"_type":212,"marks":25940,"text":25941},"dfb4c15c62f10",[],"When I left Switzerland for South Africa, more than one person in both countries asked me if I really think I will be safer in South Africa and it was hard to respond. I wanted to bite their heads off for the insult implicit in the question so I avoided answering. How to articulate that safety is so much more than national disaster management, and not simply a case of wanting to be with loved ones? A few weeks before Covid-19 was declared a pandemic, a friend in South Korea saw the writing on the wall and jumped ship fast, no matter the swift action of that government. When I did the same and we commiserated about it, joyfully singing the praises of our hometown, she said: “This either says something about Johannesburg or something about us that we’d rather the mayhem of here than the strangeness of a safe place.” The devil you know I suppose.",[],{"_key":25944,"_type":208,"children":25945,"markDefs":25959,"style":221},"0b9b9df38141",[25946,25950,25955],{"_key":25947,"_type":212,"marks":25948,"text":25949},"1b367c5d645f0",[],"I spoke with another friend who was struggling with pandemic productivity, specifically, struggling with the guilt of not working fast and hard at his research. He was surprised when I said that I don’t have the mental comfort to produce knowledge that I can trust, surprised that I would be suspicious of all knowledge production during this extraordinary time until I explained that I am suspicious of my own knowledge production, wavering and wobbling between two worlds, with a foot in each. Planning to return to Basel as soon as possible while fully immersed in the bizarre tension of Johannesburg under a lockdown means that positioning myself to work has been weird. City Editor of the Johannesburg Review of Books, ",{"_key":25951,"_type":212,"marks":25952,"text":25954},"1b367c5d645f1",[25953],"2980da1cd21b","Lidudumalingani ",{"_key":25956,"_type":212,"marks":25957,"text":25958},"1b367c5d645f2",[],"wrote about the search to find a new vocabulary for the new city because “of all the literature that has been written about Johannesburg, none reckons with the present times, the empty city, the city in isolation.”",[25960],{"_key":25953,"_type":238,"href":25961},"https://johannesburgreviewofbooks.com/2020/04/10/city-editor-the-search-to-find-a-new-vocabulary-for-the-new-city-lidudumalingani-muses-on-literature-and-lockdown-joburg/",{"_key":25963,"_type":208,"children":25964,"markDefs":25969,"style":221},"db202b8d364e",[25965],{"_key":25966,"_type":212,"marks":25967,"text":25968},"80a93d0c360e0",[],"I have no literature to lean on to make sense of the vertigo that comes with emails from my institution, thousands of kilometers away, announcing that it is safe to return to university offices, provided everyone stays two metres away from each other. Where I am writing from, the thought of an office or coming into contact with colleagues is jarring because forced isolation is still in place and will be for some time. And so I find myself searching for a new vocabulary of being in more than one place, more than one pandemic. A grammar for the cognitive dissonance of seeing Switzerland easing restrictions to avoid further damage to their economy while South Africa’s economy shudders to a halt. A register to reflect on the Swiss franc, already trading at a five-year high, climbing and climbing while ratings agency Moody’s moves South Africa’s economy to “junk” status because of slow economic growth and rising debt. A vocabulary for the ache in my chest knowing that I will soon return to a rich country experiencing this pandemic radically differently to my poor country.",[],{"_key":25971,"_type":208,"children":25972,"markDefs":25986,"style":221},"0aad726c8ddd",[25973,25977,25982],{"_key":25974,"_type":212,"marks":25975,"text":25976},"62d8a85720950",[],"I don’t yet have my words lined up, still processing my position in the research spaces I currently traverse, still thinking about power in the context of this ",{"_key":25978,"_type":212,"marks":25979,"text":25981},"62d8a85720951",[25980],"6ea58414582a","Call For Complaint: for Plague Speech, for Sick Speech",{"_key":25983,"_type":212,"marks":25984,"text":25985},"62d8a85720952",[],". But, one small, good thing has helped to organise my scattered thoughts while also offering me both nourishment and a sense of community. “If it weren’t for the coffee, I’d have no identifiable personality whatsoever,” said David Letterman. This caffeinated nectar of the gods has loosened my tongue to articulate stress and duress, both individual and institutional. And while I am cognizant that “the university speaks like a community but acts, often, in ways that directly undermine that community” and just as cognizant of “the vast differentials in power between students, faculty, within faculty, between faculty and staff,” I am also grateful that there is one small, good space on the internet to complain about feeling divorced from life, to celebrate life with a cup of coffee in hand.",[25987],{"_key":25980,"_type":238,"href":25988},"https://pad.riseup.net/p/A_Call_for_Complaint%2C_for_Sick_Speech-keep",{"_type":9,"current":25990},"the-coffee-commons","The Coffee Commons",{"_id":25993,"_type":271,"categories":7,"credits":25994,"featuredImage":26018,"pageBuilder":26025,"publishedDate":26143,"seo":7,"slug":26144,"summary":26146,"title":26147},"91f9791b-33c4-42cb-9970-0c023c81a56b",{"other":7,"profiles":25995},[25996],{"_id":16865,"_type":315,"activeYears":25997,"bio":26000,"bioShort":16878,"featuredImage":7,"filterables":26006,"links":26009,"locations":26012,"searchables":26016,"seo":7,"slug":26017,"title":16895},[25998],{"_id":119,"_type":94,"seo":7,"slug":25999,"title":122},{"_type":9,"current":121},[26001],{"_key":16871,"_type":208,"children":26002,"markDefs":26005,"style":221},[26003],{"_key":16874,"_type":212,"marks":26004,"text":16876},[],[],{"filterYear":26007},[26008],{"_id":119,"title":122},[26010,26011],{"_type":371,"label":5256,"url":16884},{"_type":371,"label":372,"url":16886},{"locations":26013,"other":7},[26014],{"_id":3458,"_type":378,"seo":7,"slug":26015,"title":3461},{"_type":9,"current":3460},[16892,121],{"_type":9,"current":16894},{"alt":26019,"asset":26020},"Otobong Nkanga, Filtered Memories, 1990—92: acrylic on paper, 42 × 29cm. All images courtesy the artist; Lumen Travo Gallery, Amsterdam; and In Situ Fabienne Leclerc Gallery, Paris",{"_id":26021,"height":357,"orientation":358,"ratio":26022,"url":26023,"width":26024},"image-d155b71189a8a9bf23cad4e68fbcf9e6e2f4d869-530x750-jpg",0.7066666666666667,"https://cdn.sanity.io/images/eodip22e/production/d155b71189a8a9bf23cad4e68fbcf9e6e2f4d869-530x750.jpg",530,[26026,26046],{"_type":406,"caption":26027,"image":26044},[26028],{"_key":26029,"_type":208,"children":26030,"markDefs":26043,"style":221},"3e3b12420746",[26031,26035,26039],{"_key":26032,"_type":212,"marks":26033,"text":26034},"73f44491be820",[],"Otobong Nkanga, ",{"_key":26036,"_type":212,"marks":26037,"text":26038},"73f44491be821",[1056],"Filtered Memories",{"_key":26040,"_type":212,"marks":26041,"text":26042},"73f44491be822",[],", 1990—92: acrylic on paper, 42 × 29cm. All images courtesy the artist; Lumen Travo Gallery, Amsterdam; and In Situ Fabienne Leclerc Gallery, Paris",[],{"alt":26019,"asset":26045},{"_id":26021,"height":357,"orientation":358,"ratio":26022,"url":26023,"width":26024},{"_type":410,"settings":7,"text":26047},[26048,26056,26064,26072,26080,26088,26096,26104,26112,26124,26132],{"_key":26049,"_type":208,"children":26050,"markDefs":26055,"style":221},"6b3514c75970",[26051],{"_key":26052,"_type":212,"marks":26053,"text":26054},"dea48c87d52d0",[],"Imagine a deck of cards in your pocket. These can be common playing cards with the traditional four suits or better, your own, personalised tarot set of depicting a mishmash of your favourite Major Arcana and Minor Arcana cards. The Major Arcana cards speak to the great secrets, the monumental influences that signal life-changing, ground-breaking and earth-shaking developments like the beginning and end of cycles, seasons, relationships. The greater journeys of our planetary existence. The Minor Arcana reflect more humane, mundane matters like eating sleeping, dancing. The smaller journeys and humdrum tasks, like banking or recycling. Now imagine reaching a hand into your pocket every time a small frustration or wicked problem stumps you and you find yourself in need of insight into the past, present or future. A quick glance at the card of your choice and the hard work of understanding, formulating questions or drawing interpretations is made simple. Not quite cartomancy, but close. Alternatively, if divination is a bit too woo woo for you, imagine a well-crafted set of tools. Wood or metal, every spanner, hammer and wench is neatly lined up in your multilayered, similarly well-designed toolbox, ready to be wielded in service of making sense of annoying problems or vast fields of inquiry.",[],{"_key":26057,"_type":208,"children":26058,"markDefs":26063,"style":221},"6421cfda4645",[26059],{"_key":26060,"_type":212,"marks":26061,"text":26062},"3fc23666304c0",[],"I thought about my ideal set of sense-making cards or handy tools a lot during October 2020 during a series of conversations I had with artists, editors, scholars and curators. Most were from South Africa or Nigeria, but a few outliers joined the fold too. I was curious about them, from their philosophies to their practices, and they were generous with me, sharing much more than anticipated. While the conversations were mainly focused on investigating their individual work, sometimes I’d slip in questions about ‘the climate’ without ever really defining it or ‘contemporary art, ‘ without really defining that either.",[],{"_key":26065,"_type":208,"children":26066,"markDefs":26071,"style":221},"197559b565fc",[26067],{"_key":26068,"_type":212,"marks":26069,"text":26070},"2f303d11fc180",[],"In my PhD research, I am interested in climate politics and poetics in South Africa and Nigeria, everything from policy to protest to prose. But as writer, interested in arts, I am dismayed by the dearth of creative practice exploring climate and arts together. Climate issues on the continent are rarely explored in intersectional terms, and even less so in arts criticism. Capitalism, and the colonial logics that underpin it, demand fodder for extraction, commodifying everything from art to writing about art. This logic extends to learning practices in arts writing too: knowledge must be dissected, disembodied and displayed.",[],{"_key":26073,"_type":208,"children":26074,"markDefs":26079,"style":221},"67f9db5114fc",[26075],{"_key":26076,"_type":212,"marks":26077,"text":26078},"fa02de3bef150",[],"I was also curious about the ways in which some of the harmful extractive practices that have given rise to the climate crisis get reproduced in innocuous ways in both knowledge production and creative practices. The causes and implications of human-induced climate change are everywhere but seeing them is a matter of knowing where and how to look. But is there a critical methodology for defining and analysing the relationship between art and climate? For example, if we borrow from literature, ‘Ecocriticism’ offers an interesting interdisciplinary approach that foregrounds how texts may be analysed in ways that illustrate literature’s treatment of the environment as a subject. Is there a similar approach for analysing art? Specific to climate? Let’s call it climate-criticism for now. Can it be used in a way that doesn’t shortchange other important pressing concerns and critical approaches, like race and gender? Is it possible to highlight climate change as the ground on which all cultural activities occur, and provide deeper insights into the practices of African artists in a manner that avoids institutional/ theoretical baggage for arts writers?",[],{"_key":26081,"_type":208,"children":26082,"markDefs":26087,"style":221},"3916d649ef22",[26083],{"_key":26084,"_type":212,"marks":26085,"text":26086},"42316d85db080",[],"These were some of the questions I had in the back of my mind, but wisely avoided bombarding everyone with. Some discussions flowed freely, including everything from curatorial care to decolonial propositions to philosophies of land. Sometimes the conversations took shape as long, rich interviews, sometimes a shared reading. One conversation came from a working relationship and grew into a professional friendship. Some were recorded, others not. Subconsciously, a multimodal machine was being built, brimming with multitudes and buzzing with promise. But the whole time, I longed for some kind of technique or tool or divining set of cards to make sense of the glut of information that came with all these conversations. This longing is mirrored in how I feel about both the climate crisis and art: one causes me great anxiety, the other floods with me excitement. To manage my nerves, both emotional responses require intellectual instruments. And so, throughout these conversations, I found myself longing for a guiding system of ideas, or theories. Simultaneously, I was apprehensive about turning to theory, averse to being weighed down by texts and tomes. I know that this wariness is not specific to me, that a suspicion of theory is something that many experience as an unfortunate consequence of being introduced to critical theory in an oppressively instructional way during formal education.",[],{"_key":26089,"_type":208,"children":26090,"markDefs":26095,"style":221},"2c88d608ffc4",[26091],{"_key":26092,"_type":212,"marks":26093,"text":26094},"8e5d9e9b24ce0",[],"Ivan Illich, who wasn’t the biggest fan of conventional schooling, explains that",[],{"_key":26097,"_type":208,"children":26098,"markDefs":26103,"style":221},"5027e7caef2b",[26099],{"_key":26100,"_type":212,"marks":26101,"text":26102},"28b8c92c7a270",[],"“Most learning is not the result of instruction. It is rather the result of unhampered participation in a meaningful setting. Most people learn best by being “with it,” yet school makes them identify their personal, cognitive growth with elaborate planning and manipulation.”",[],{"_key":26105,"_type":208,"children":26106,"markDefs":26111,"style":221},"81d4589dec81",[26107],{"_key":26108,"_type":212,"marks":26109,"text":26110},"5d3f581712070",[],"And so, I invite you to be “with it”. To join me on this journey of climate conversations, art investigations, cards and tools. Most of all tools, theoretical ones. Preferably illuminating ones, that help to see more clearly. Gilles Deleuze offers a useful analogy for imagining theory, quoting from Marcel Proust to illustrate his nifty perspective:",[],{"_key":26113,"_type":208,"children":26114,"markDefs":26123,"style":221},"d8a38cf0084c",[26115,26119],{"_key":26116,"_type":212,"marks":26117,"text":26118},"99027e21a7f10",[],"“A theory is exactly like a box of tools. It has nothing to do with the signifier. It must be useful. It must function. And not for itself. If no one uses it, beginning with the theoretician himself (who then ceases to be a theoretician), then the theory is worthless or the moment is inappropriate. We don’t revise a theory, but construct new ones; we have no choice but to make others. It is strange that it was Proust, an author thought to be a pure intellectual, who said it so clearly: ",{"_key":26120,"_type":212,"marks":26121,"text":26122},"99027e21a7f11",[1056],"treat my book as a pair of glasses directed to the outside; if they don’t suit you, find another pair; I leave it to you to find your own instrument, which is necessarily an investment for combat.”",[],{"_key":26125,"_type":208,"children":26126,"markDefs":26131,"style":221},"18f2921a106f",[26127],{"_key":26128,"_type":212,"marks":26129,"text":26130},"9ae473ca77e40",[],"Approach this project like a pair of glasses, in the same way that I approach theory. Ideally, with a whole lot of imagination.",[],{"_key":26133,"_type":208,"children":26134,"markDefs":26142,"style":221},"d385a7b17935",[26135,26139],{"_key":26136,"_type":212,"marks":26137,"text":26138},"9a009f9923f50",[],"Click below for the next text: ",{"_key":26140,"_type":212,"marks":26141,"text":17162},"497f0b4e52e6",[1056],[],"2020-01-06",{"_type":9,"current":26145},"1-start-here","an invitation to imagine","1. START HERE",1776689621936]