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Politically, culturally and theoretically, it is impossible today to navigate through the dense lattice of emergencies and urgencies without addressing the question of what constitutes the human, inhuman, subhuman and non-human, as well as formulating an adequate response to the anthropocenic threat posed by the human against the planet. As such, the Human conference intends to prompt an interdisciplinary and international debate on key issues of the contemporary global condition. Within the broad and open framework of artistic research represented at the PARSE conference it will become possible, in a unique setting of international encounter, to reflect upon burning issues related to the concept of the human. These themes are organised to be deliberately transdisciplinary. It is our intention to make the conference operate as a complex dynamic and open meeting point and generator of critique, networks and new multidisciplinary research. We aim to strengthen existing research environments, and to initiate and stimulate research collaborations within the university as well as with international research environments. Please note there will be a photographer present during the conference. If you would prefer not to be included in this documentation, please let the photographer know on site. Marcus Lindeen The Staged Documentary. Marcus Lindeen is a director and a doctoral candidate in film and media at Stockholm University of the Arts. Through the completion of a trilogy of films he explores the problems and possibilities of working with documentaries in the studio environment, experimenting with techniques borrowed from theater and fiction filmmaking. Maryam Fanni Retro for whom? In times of entrepreneurial urbanism and financialization, the focus in city management has increasingly shifted from urban planning to aesthetic aspects of places, and the belief in beautification processes to be solutions of social and urban problems has become dominant. Processes of how public spaces and narratives around them are designed in order to attract capital, can be understood through concepts such as sanitization, retail gentrification and city branding. The central study object is a policy manual for signage and shopfront coordination that has been implemented in all three centers, and the study aim to investigate the objectives and methods of the property owners in implementing the invented identity and aesthetics. In my presentation I will discuss my project of a score-based music with the tentative title, Techniques of Ecstasy. I will give a brief introduction to the notion of ecstatic techniques and their possible use in my music. The presentation will use examples of artists and philosophers that realize or touch upon, in different ways, parts of my project — both in a contemporary perspective and as traces in archaic, ritual cultures. Commonly a search for an immediacy of expression is in centre, where the distance between semantics and semiotics is minimized. The final part of the presentation will turn the focus to my practice on sound: a method which seeks to harmonize between a descriptive and prescriptive notation; where body, space and instrument sound occupies the only focus of attention. In this process we are confronted with complex issues related to translation and what it means to re-situate a text into a linguistic and cultural context where the collective memory——and amnesia——at its core is almost completely absent. As a researching blacksmith, I look into the relationship between a human body, materials, and the tools allowing such a relation. A body is never more like a machine than when engaging in a craft, the monotone rhythm of repetition allow efficiency in production. Internalizing techniques to manipulate a physical material contains an aspect of attunement to that material. This is sometimes described as a negotiation with materials, a material response, or the inner logics of a material. The tools used, do not only shape the materials but together with them also their user. This attunement of a body have been suggested but not elaborated in relation to tools within artistic research. In my ongoing research, I make blacksmith tools; start with the tools given by nature, my own hands, stones and sticks, and then use the tools to make other tools, use those to make others etc. I record the work on video to analyze patterns of movement and compare the different generations and the tools made. Working with the ambition to produce the same patterns of objects as I have been doing professionally for ten years, using less optimal tools, there is likely to be a tension between my internalized knowing and the work at hand. I might achieve the same results as otherwise, but doing so would demand a slightly adapted pattern of movement and design. My patterns of movement will likely adapt to material circumstances. Disseminating how my body adapt to evolving material circumstances contribute to the debate of bodily attunement with physical materials and tools. In this talk, which expands on part of my practice based PhD project, I argue that the work of French philosopher of technology Gilbert Simondon can bring a different perspective to our understanding of both artistic and reproductive labour. A stranger within which something human is concealed. But it is possible to get to know this stranger, and escape alienation, through activities of maintenance. How can designers aptly respond to the ceaseless exploitation of nonhuman animals? Emerging posthuman approaches attempt to disrupt human supremacy through celebrating entanglement with the animal and the vegetal. Abolitionist vegan activists, on the other hand, call for avoiding all interaction with other animals. By discussing hands-on explorations of recreational fishing, mock-alien barbecues, and red meat allergy I try to open up for what may ultimately be an undesigning of humans. This keynote address attends to the practitioner at work; working with images that offer a series of investigations from her various films. The talk will focus on how ideas are conceptualised through images and the development of ideas across several films. Excerpts from various works will form part of the keynote address and the evening will end with the screening of a film. In this lecture, I explore the role that artists have played on such characterisations, and suggest a new approach to embodied empathy. This panel is presented by the members of the research project How to do things with performance? In the project we ask what can be done with performance — what actualises when a performance takes place, when it is documented, and when it is written about. Tero Nauha will look at human performance from a non- philosophical point of view. Pilvi Porkola will contribute to the panel focusing on the interaction with objects, especially tools that artists are working with, like a camera. Annette Arlander will consider the challenges posed by posthuman performativity Barad , which suggests that the category of human cannot be taken as given, and by zoe -centred egalitarianism Braidotti This screening and lecture addresses a set of aesthetic decisions in relationship to broader questions around art practices within or alongside existing social movements and other struggles. For example, what does it mean to film within a group that is already self-producing its own media social media, short videos, web archives without the help of outside media professionals? Or, what are the temporal or serial approaches a politically-engaged film or art project can take in relationship to the acceleration of social media and news cycles? Finally, how can local sites and struggles be contextualized, particularly vis-a-vis Northern Europe and the Global South? In the US state of Louisiana, as in extractive zones across the Global South, the fossil fuel industry maintains the spatial, economic, and environmental logic of colonialism and the plantation industry, reifying human and ecological bodies into territorialized financial instruments. After Emancipation, many African American towns developed alongside the sites of their former enslavement as their founders remained bound as sharecroppers. Louisiana loses wetlands at one of the fastest rates in the world, and with them a critical buffer from destructive hurricanes and rising seas. Across the globe, demands for accountability and reparations for colonialism and climate change and the codification of ecological personhood as a counterweight to corporate impunity are expanding horizons for justice. In Louisiana, however, recent lawsuits seeking damages for land loss take a more conservative tack, grounding their claims on non-compliance with state regulations. For PARSE, I will make a paralegal case for corporate accountability and the payment of reparations for crimes against humanity and nature in Louisiana, presenting oral and visual testimony. How are such ideas negotiated through design processes? In this presentation I take the example of the bondage straitjacket to explore how we might use design objects to think about history of homosexuality. Jim Stewart was the owner of the store Fetters, which opened in London in as the first store in the UK devoted to erotic bondage. In so doing, this paper advances current discussions about the human in performance studies, by demonstrating the necessity to decenter the category of the human as the core subject of performance studies. It argues for the necessity for the field to be attentive to other modes of being and performing, beyond homo performans. In this performance talk I will engage with my recent theory of distributed centrality, by which I mean the ethically-considered equality of all being, place, and event. Distributed centrality arises in the context of postcolonial transnational personhood and its fluxing identity forces. It implies a concomitant decommissioning of center-margin thinking and an acceptance of non-totalized knowing. Political ethics always happens with our breathing bodies negotiating the oxygen — and air pressure — of emplaced identity. What it means to be transhuman within distributed centrality includes the important right to be transplace, an identity position that demurs from and negotiates with the efforts in nation-states to fix hierarchies of belonging. This performance talk will combine creative demonstrations with normative-academic rhetorical inducements. Accompanying soundwork: Tender Girl. Girl experientially investigates what it is to be humanimal. I am rendering the novel into audio form this year, and I propose a soundpiece, a chapter that loops continually, playing on a headset available in whatever space the conference sets up for listening. What if we were to consider appetite as the measure of love. An assertion of love: to be willful in love and be willing to love. But appetite is also about a lack of appetite. It is about what you demand, refuse, insist on, and let go of. Love as political possibility for itself: an erotic move through power Lorde as cited in Sandoval, ,5. To this end, I will exhibit an experimental film that offers a fragmentary cinematic discourse of decolonial feminist love praxis. The film will be framed by a series of performative notes that induct the viewer into the erotic Lorde, world of the film. The film is comprised of a series of fragments that are connected by the activity of willful walking. The concept of willful walking conceives of walking as an act of desire that becomes willful via the conception of desire as a mobile technology that motivates us to go further; as capable of driving the body and will beyond their limits Foucault as cited in Sandoval, ,5. A film fragment is an important decolonial tool. It is partial, uncertain and incomplete. They are spontaneous rather than schematic Barthes, Fragments function according to a logic of impulse, change and drift. This paper will explore the ways in which the arts are responding to the current crisis in humanity. While certain artworks highlight the violence humanity perpetrates on nature, others point to the increasing threat the nonhuman — whether objecthood, robots or machines — poses to human subjectivity and individuality. In short, while we imperil the natural nonhuman, the technological nonhuman imperils us. My focus here will be on a third type of artwork inflected by contemporary philosophy that seeks to resolve this ecological and technological deadlock by flattening its underlying dualities. What does it mean for a river to have standing? This alignment of Indigenous and legal realms shifts traditional anthropocentric legislation based on human sovereignty over nature to one assuming a biocentric integration of humans with their environment. Posthuman approaches Bruno Latour, Tim Morton in ecological discourses in the arts and humanities tend to depoliticise ecology and ignore non-Western traditions, including Indigenous ones, which were never anthropocentric in the first place. What do Indigenous cosmologies contribute to the current posthuman philosophical debates? What political impact may this unprecedented legal status have on halting extracting industries and preventing ecological crisis? This research maps the philosophical, legal, epistemic and political conditions for, and the impact of Indigenous peoples on, defining a political ecology, through discursive, artistic and activist practices that are ethico-politically responsive and environmentally engaged, and that bear, in T. It is rarely seen as a capacity with democratic potential, much less as belonging to the family of rights. In this paper, I will argue that it is worth regarding research as a right, albeit of a special kind. This argument requires us to recognise that research is a specialised name for a generalised capacity, the capacity to make disciplined inquiries into those things we need to know, but do not know yet. All human beings are, in this sense, researchers, since all human beings make decisions that require them to make systematic forays beyond their current knowledge horizons. With this in mind the misreading will work with and through concepts such as de-institutionalizing, de-parochialising and de-disciplining with a particular focus on education. The video essay screening will be based on documentary material filmed in the MacAllen, texas, USA, this fall. The material is part of the on-going research for a new production, Brand , with the performing arts collective Teatr Weimar. When premiered in , Brand will be the third performing arts production in a trilogy dealing with the societal challenges of migration. The video discusses migration, tourism and identity with experiences made from a boat trip on the Rio Grande. Crossing Rio Grande is one important way for the Mexican migrants to enter the U. A — and just as on the mediterranean sea, families have died trying to get in to the US. Also, in McAllen is one of the biggest detention centers for Mexican refugees. On the river American tourists can get a guided tour of the river to learn more of the Mexican side, the US-patrol towers. This paper discusses the notion of human vulnerability as a philosophical, legal and geographical concept. In recent years, border crossings have become sites where people are exposed to various forms of precarity and violence, including hunger, long waiting, detention, even death. This puts border crossers in situations of vulnerability and accentuates previous vulnerabilities they may have carried during their journey. Current philosophical debates on vulnerability aim to disengage the notion from its direct link to violence. These theories advocate a view on vulnerability that celebrates our common humanity and becomes a platform for political demands on account of our shared human vulnerability. At the same time, events unfolding in the borderlands around the world, point to a renewed state of forced precariousness for non-citizens. Given the difficulties in making shared political demands when faced with the citizen- non citizen divide, the project of advancing human vulnerability for emancipatory politics requires careful consideration. What are some of the pitfalls in applying the notion of human vulnerability in the management of international populations? This contribution aims to explore some of these questions. We are an inquiry group in the context of the MFA at Valand, exploring the formation of the other. This led to discussions about how social groups form and how power structures within society form the way we look at ourselves and others. We began looking at the work of Paul Preciado and specifically the utilisation of Autotheory. The term Autotheory is applied to the method of analysing personal experience within political contexts and how the self is constructed through available epistemologies of our current socio-political climates. We want participants to realise the use of Autotheory as a method of practice, to record and to see its capabilities in text and non-text-based disciplines when discussing self in relation to the governance of the category of the human. Participants were then invited to use Autotheory as a tool to explore their personal histories, using it in an expanded and explorative form. Through an Open Call we invited students from different faculties of GU, researchers and other cultural agents to participate in the workshop. During the workshops, which took place on four occasions, the group developed a critical engagement with various academic artefacts such as the publication, taking the decision of making instead an open ended publishing. Throughout the workshop we decided to apply the method of Autotheory to all stages of the project, resulting in a performative presentation with the whole group, inviting conference attendees to participate in our processes. Thinking across the scale of the cell, the breast, and embattled human sociality, this essay shifts black feminist critical attention from the posterior to the breast and suggests thinking sociogenically troubles utopic interpretations of trophallaxis in the biological sciences and beyond. Reading texts by Caribbean writers Erna Brodber, Dionne Brand, Lorna Goodison and Jacob Ross, little known in European classrooms, I consider what such writing might contribute to our Humanities debate, particularly regarding Literary Studies within which Black scholarship and scholars are woefully and significantly underrepresented. I interrogate the place of violence that once sustained the historical degradations and inequalities in the project of overrepresentation, and currently underpins the contemporary underrepresentation within spaces of knowledge production. Paolo Cirio examines the ethics and aesthetics of working with online piracy, data breach, identity theft, privacy, fake news, algorithms, and hacking. Cirio explores boundaries, responsibilities, and the consequences of reconfiguring social dynamics for artistic and social agendas. His artworks are often active agents — they elicit reactions from the subjects of the works and participation from the audience. The interactions and processes from his interventions generate online performances. These socially engaged art involve the public in critical debates for change driven directly by his artistic concepts and creations, which often embody personal risks and challenges. Cirio has often been subject to investigations, legal and personal threats by governmental and military authorities, powerful multinationals, global banks and law firms, as well as online crowds of ordinary people. The ethical and social relations created by these artworks produce aesthetic forms, which concerns the field of the aesthetics of ethics, while they address the ethics of global finance, politics, and information technology. The film focuses on Nauru, a tiny remote island in the Pacific with 10, inhabitants. The narration discusses different voids that have shaped the islands past and future. When phosphate extraction came to a stop in the s, Nauru was bankrupt and 80 percent of the land area uninhabitable and infertile. In an attempt to generate income, in the s Nauru became a prime money-laundering haven. In a reaction to the criticism on terrible human right situation in the detention centre, Nauru severely restricted access to the island. Four whistleblowers, who worked as doctors and nurses in the detention centre, describe the institutionalised human rights violations in the offshore detention. Today a new void threatens the island, rising sea-levels threaten the coastal edge, which is the only area left for its inhabitants to live. Western traditions of arts and humanities are built on anthropocentrism. This means that certain knowledges are still being subjugated, since our narrative formats and hermeneutic skills remain to be fixated on the human figure and scale. As a literary scholar I am interested in exploring ways of reading and understanding that may widen the scope. The film is representative of humanist traditions in the way it focuses on the tragic drama of a human male, but it also takes some interest in the fate of the animals, by way of hinting a shared falling between man and animal via techniques of analogy, mirroring etcetera. However, there is a third drama going on: a drama on the micro level where the abuse of antibiotics in the mafia controlled animal industry is threatening to harm the fragile balance of global microecologies. This is a drama that lacks full articulation within the narrative format of the production. I will present three readings of the film — a traditional anthropocentric-psychological reading, an animal studies reading and a posthumanist microecological reading — in order, firstly, to make conscious our normative focus on mammal scaled drama, and, secondly, to point out the need for a reorientation of our attention to other scales, both in art making and in reading. Here we explore the possibility of a design practice that breaks from extractive anthropocentric perspectives in favor of interspecies collaborations that seek to restore ecological systems by advanced biofabrication technologies and sympathetic processes of making. The crisis of the Anthropocene is directly traceable to the extractive relationship to the planet established through colonialism and accelerated by Modernist technological and economic forces. The results of this approach is evident in Chesapeake Bay in the eastern United States, a thriving ecosystem when colonists arrived. Oysters served as a keystone species that provided habitat in their reefs and could filter all 75, km3 of water in the bay in only three days. Restoration efforts that replace the extracted shell, seeded by scientists with lab-cultured larvae show promise but are severely limited by the lack of available shell. Efforts that use alternative substrates like concrete have competing negative environmental impacts or other shortcomings. Through a collaboration between researchers and students at the Maryland Institute College of Art, scientists at University of Maryland Center for Environmental Science, the soils bacteria S. In this process we explore altrnative design intentionalities, new technologies of making, and more a sympathetic relationship to living with this planet and our many cohabitants. In his book The Dust of This Planet Eugene Thacker proposes that our slowness to take seriously the threat of climate catastrophe is the result of an inability to conceptualise the scale of the changes to come. Humanity is conditioned to see the world as resource for exploitation. There are difficulties. But what if, on the contrary, the thoughts we habitually assume belong to us are not ours at all? What if, just as our bodies are comprised of other beings bacteria, fungi, etc. Then to imagine the world-without-us may not be the logical impossibility it first appears. Thacker develops his interest in cinematic and literary narratives of the post-apocalypse. But certain currents in recent and contemporary art seem to reveal knowledge of symbiosis in the life of the mind too. As these innovations and their histories are brought to the fore, we can begin to understand the philosophical point in a new way. This paper identifies techniques designed by artists to inhibit the over-coding of thought with an all-too-human perspective. Such works may be repellent, difficult to read, but, increasingly, they can be seen as vital proto-work towards the intra-species philosophy that Thacker and others are proposing, and that is needed if humanity is to awaken to its difficult future. Hansen introduces this term in the context of his discussion of current technological developments that confront us with a situation in which technology can no longer be understood as a set of tools used by humans, and instead has become an ecology in which humans participate. The fact that humans operate as part of larger ecologies, and that their agency and sense of self is intimately intertwined with the affordances of these ecologies, is of course not new, nor is it unique to today, or to technology. As theorists of posthumanism have pointed out, this condition has merely been obscured by a history of human-centered thinking. The current state of technological developments foregrounds the condition of human implicatedness and intensifies it. This situation, Hansen argues, requires that humans develop better awareness of their modes of being, doing, perceiving and thinking, as well as their sense of self and of agency, as being implicated within larger apparatuses. Their work is thus not only about aspects of human implicatedness but also explores the potential of staging as a posthuman approach to thinking as a material practice in which human modes of making sense and thinking are implicated within larger apparatuses. Their work, I will argue, demonstrates the potential of the theatrical apparatus as what I propose to term a thought apparatus engaging audiences in a thinking that happens in the world rather than in the head of the autonomous human subject, and in interaction with larger material apparatuses in which humans participate. This understanding of staging as thought apparatus takes its inspiration from on the one hand the idea of the thought-image as promoted by Walter Benjamin, Theodor Adorno and other European writers in the s and s and, on the other hand, a non-representational understanding of thinking as creative practice of confronting chaos by making connections, grasping relations, and composing form as proposed by Deleuze and Guattari in their What is Philosophy? Throughout the last decades, the concept of the Anthropocene has gained currency in different academic and artistic disciplines, leading to an alternative focus on the exploration of the complex links between the human and the nonhuman. As a region, Latin America offers a long and rich cultural tradition to explore, among other things, the limits of bodies, gender and matter, the intersections of nature and culture, and the contested universality of the human across naturecultures. This more-than-human stand, traditionally associated to indigenous knowledges and cultures in the Americas, has gained importance among contemporary authors and artists interested in challenging both aesthetically and politically speaking the fixed narratives of modern epistemologies. Drawing from this context, our presentations will theorize contemporary aesthetic works produced in the region dealing with fictional human and nonhuman interactions, while contesting the universality of the humanist and neo liberal project of modernity. More specifically, we will both theorize and embody the participatory aesthetics of contemporary Latin American verbal and visual arts following a post-anthropocentric approach. Our aim is to discuss the potential of Latin America as a peripheral space to rethink, speculate, and affectively engage with the ontologically diverse material actants of the world. Barbara is a near-future design-fiction project. On a geopolitical scale the project addresses the effects of the textile industry on our environment and ecology. It also enters cultural and identity politics, as well as ideas about becoming more synthetic, digital or intangible. It questions the belief in the redemption of technology and progress and the narratives of the Anthropocene. It explores the concept of nature and the much emphasised need to reconnect with nature. It explores bio-technology and genetics, where our own bodies, forms and manifestations are being questioned and pushed. In this sense, it thematises biopolitics; the human body as an entity subject to various systems of control. Furthermore, it asks how a big shift in technology and behaviour could potentially alter our world view. And how this reality would look like? What effect would it have on different elements? Barbara would like to perform a musical event for the Human Conference in Gothenburg. A multi-media performance using green screen, costumes, artefacts and music. An assembly of idiotic and impulsive bodies, this performed essay happens at the intersections of Whiteness, privilege and colonial history. Working from within a space that perceives identity as transversal, contingent, complex, emergent and larger than our human bodies, this essay is an attempt to playfully open up to modes of engagement that notice our complicity, trace our entanglements and stir the necessary discomfort emerging from facing these complexities. By exploring the significance of material forces and their interface with human bodies, the essay wonders what it means for notions of embodiment to develop post-humanist sensibilities that destabilize the human figure. The research explores haunting intersections of history whilst performing, animating and satirising questions of W w hiteness, privilege and colonial logic. As experimentation with productive discomfort, it digs through remnants of collective memory, personal genealogy and shame in the hope of reassembling new ways of giving attention. The project, whose thematic outline I conceived and then was collaboratively realized in each performance version, brought together knowledges on different levels: visualising the positionality in space by a grid; e-textile objects that amplify electromagnetic waves; and movement knowledge by the dancers and all other participants who intra-actively enhance existing interference patterns. In its full version, this movement piece is accompanied by a short text of performative writing speculating on the sustainability of the self-claimed central position of the human. Relying on neglected forms of knowledge production, as here considered movement, to foster an understanding of human thinking as inter-active process. Agency then is not something that is solely possessed by humans, but an enactment of intra-active renderings, which always comprise possibilities for re-configurings. In this sense human situatedness is explored through the responses around, which occur due to intra-active engagements with other matter that implicate, whether neglected or not, calls for response-ability. During the performance, the visible and audible specifics of the site become experiential through the diffraction of words and movement, intellect and sense, into contiguity. Throughout the piece, movement practitioners engage with the space, and each other. In their learning from and becoming with e-textiles pieces by the designer Gabriela Guasti Rocha, a normally imperceptible acoustic layer is brought forward. Fitted with wireless transmitters, these e-textiles pick up buzzing sounds from electromagnetic waves whose interference patterns are enhanced by motion. The combination of these noises sparked by movement, together with my spoken text, aims to underscore that thought and action emerge as diffractive interferences with the surroundings. The unanticipated, simultaneous surfacing of various forms of knowing in moving, speaking, listening addresses motion as multi-layered. This processual interweaving levels that which is commonly understood as antagonistic — theory and practice, body and mind, self and other — towards an interpretation of complementarity. Motion is approached as a sometimes neglected or not fully recognized form of coming to know. Yet, as all interlacing of knowledges of different and interfering sources intertwines on its basis, motion has to be considered as always involved. Contrary to regarding moving as a solely voluntary act, humans are also always part of being moved — to moving. Movement, i. During the reading, questions regarding the displacement of traditional roles will be raised, concerning the artist turned editor, scientist turned amateur photographer and now author published by a well regarded Brazilian institution. Instituto Moreira Salles is known internationally for their work in photography, through publications and exhibitions of photographers such as Robert Frank, William Eggleston, Claudia Andujar, Seydou Keita, among others. Gothenburg centre — they run every ten minutes and travel takes approximately 30 minutes. Take tram 2, 3, 4, 7 to the Valand tram stop. We have arranged pre-booking agreements with a selection of hotels in the centre of Gothenburg, all within walking distance to the conference venues. Further details can be found through the Meet again registration page. Barbara Albert studied directing and screenwriting at the Vienna Film Academy. Her films have received numerous awards. Annette Arlander is an artist, researcher and a pedagogue, one of the pioneers of Finnish performance art and a trailblazer of artistic research. Her research interests include artistic research, performance-as-research, site-specificity and the environment. Her artwork involves performing landscape by means of video or recorded voice, moving between performance art, video and environmental art. He is an architect interested in transdisciplinary and intersectional aspects of knowledge creation within and in relation to education and built environment with a particular interest in site-based and speculative methodologies. Kerstin is recognized as a pioneer and prominent practitioner of a particular subdivision of site-specific contemporary art, called time-based participatory intervention. This practice implies that the artist maps out and affects the world around by formulating, poising and revising a process of questioning. With such inquiries Kerstin creates and develops relationships and collaboration between others — local people alongside professional groups and representatives. As she maintains these relationships durationally, Kerstin is enabled to produce a joint action force within each site that can enable real change. Through imagining possible common change, this practice targets a realized utopia. For almost thirty years, she has studied, expanded and turned the particular operational space of art inside out. Copenhagen City DK Her previous animal studies research has concerned apes and monkeys in Northern European literature after Darwin. She combines approaches from the arts and performance with insights from philosophy, media theory and cognitive science. Her monograph Visuality in the Theatre was published by Palgrave She co edited several volumes including Anatomy Live. Routledge , Transmission in Motion. She is a Fellow of the British Academy. In the past few years, her research has also focused on questions of humanity, militarisation, and pain. Her books have ranged from the social and economic history of Ireland, to social histories of the British working classes, to cultural histories of military conflict between s to the present. She has worked on the history of the emotions, particularly fear and hatred, and the history of sexual violence. Her work investigates extractive financial, environmental, and labor practices to expose the layers of violence and resistance that comprise the crumbling societal foundations of the U. Imani orients her practice toward the elusive flicker of justice on the horizon, knowing that our world will not find balance until reparations are won. Imani is the founder of Fossil Free Festival, a biennial gathering of art, music, food and conversations about the ethical contradictions of fossil fuel philanthropy; the Fest celebrates the foreseeable end of the Fossil Fuel Era. She worked as a journalist for a decade, writing, translating and editing for several media outlets in Latin America, and taught storytelling for the last five years. How to understand human trafficking through stories , Her research interests lie in the uses of literature as a tool for social change, narrative practices as a way to foster community, new materialisms, and the healing possibilities of storytelling in the context of extreme gender violence. Neil Chapman is an artist, writer and researcher. His work explores material textual practices, questions concerning visuality, art-philosophy interdisciplinarity, collaborative method and the histories of these themes. In he completed a PhD at the University of Reading on the new currency of writing in art practice. Recently, he has published in E. S , Performance Research and Haunt Journal. Their ongoing series of residencies entitled Writing As Occupation explore the effects of place and technology on writing. Paolo Cirio works with legal, economic, and cultural systems of the information society. He investigates social fields impacted by the Internet, such as privacy, democracy, finance, and intellectual property. He shows his research and intervention-based works through artifacts, photos, installations, videos, and public art. Cirio has exhibited in international museums and has won prestigious art awards. His artworks have been covered by hundreds of media outlets worldwide and he regularly gives public lectures and workshops at leading universities. Tom Cubbin is a design historian whose work explores the role of making in material cultures of sex. The project uses design historical methods to explore what the development and mediation of skills, aesthetics, concepts and images in the gay fetish world can tell us about broader changes in the socio-economic status of gay men in Europe and North America since the s. More information about the project is available here. Since , Tom has worked closely with education in the BA and MA programmes in design at HDK, and has been primarily responsible for implementing design studies within the curriculum. Since , he has been the artistic director of Teatr Weimar. Julie Dind is a scholar and artist obsessed with obsession and the performance of the non-normative social body. Her work seeks to explore performance and performativity outside of the realm of language, expression and communication. Her work is located at the intersection of performance studies, disability studies and philosophy. Her research deals with butoh and Art Brut, which represent two of her long-standing obsessions. She has dedicated the past ten years to learning butoh. Their current enquiry focuses on the structural and political complexities of identity through self-representational works that include video, writing and performance. This archive of work is continually reframed and reworked to destabilise the performativity of self. Andjeas Ejiksson b. His practice is based on the interim spaces and transformations of language and the experiences that emerge in moments of translation. A special field of interest is the modalities of governance in the contemporary liberal democracy. The work is mainly text- and performance based. Ejiksson has been a researcher at the Royal Institute of Art in Stockholm , before that at the Jan van Eyck Academy in Maastricht — , and at the moment he is a doctoral candidate at the Valand Academy in Gothenburg. Olle Essvik is an artist, publisher and senior lecturer working and living in Gothenburg. Essvik works with themes relating to the digital as well as to technology in a human context, touching on notions of everyday life, repetition, and time. The outcome of his art practice could be a book, a publication, or a sculpture, in which traditional materials and techniques like wood and bookbinding converge with programming and code. Essvik have written books about the history of media art in relation to utopias within the research project Virtual utopias. Since he has been working with the art and research project The Enemies of Books , a project about bookbinding and publishing in relation to digital media, time and code. He has also been involved, as an artist and writer, in research projects about computer games and algorithms as an artform. Essvik has exhibited in national and international museums and have lectured and conducted workshops at various institutions. He also runs an experimental publishing house rojal. Utilizing a variety of mediums to manifest his voice, ranging from; artefacts, scenography, curation, fiction, video, performance, dialog and writing. Balancing academia with studio practices his work ranges from developing his own projects, curating exhibitions, advising in the public and private sector, project managing and conducting workshops. Apart from specializing in design for printed matter, a focus in her artistic practise is investigations of public space and rights to the city. Benj Gerdes is an artist, writer, and organizer working in video, film, and related public formats, individually as well as collaboratively. He is interested in intersections of radical politics, knowledge production, and popular imagination. His work focuses on the affective and social consequences of economic and state regimes, investigating methods for art and cultural projects to contribute to social change. His projects emerge via multiple articulations from long-term research processes conducted in dialogue with activists, trade unionists, architects, urbanists, geographers, and archival researchers. He currently leads a professor group and seminar on logistics and infrastructure at the Royal Institute of Art in Stockholm. Fredrik Haller is a playwright and director and part of the performance arts collective Teatr Weimar. Jennifer Hayashida is a poet, translator, and artist, born in Oakland, California, today based in Gothenburg and New York. Hayashida is since a doctoral researcher at Valand Academy, with the project Feeling Translation , which explores translation as scene and event in relation to race, the body, and the nation-state. Ryan Hoover is an interdisciplinary artist and researcher actively addressing the impact of emerging technologies on our more-than-human world. Often operating at the intersection of digital and biological systems, he develops software, hardware, and biomaterials to create novel solutions to contemporary issues and open new understandings of our shared future. His current areas of research are developing biocement structures for oyster habitat restoration, studying how knowledge is created and exchanged in interdisciplinary teams, and centering ethics in unconventional biotechnology education. His work is exhibited, downloaded, and put to use in galleries, labs, and studios around the world. Her research explores the literary and figurative aspects of Western philosophical and scientific discourse and investigates the engagement of African diasporic literature, film, and visual art with the historical concerns, knowledge claims, and rhetoric of Western science and philosophy. Monika Jaeckel is an artist, writer and performer based in Berlin and London. She received her Ph. Her research spans the fields of contemporaneity, modernism, image theory, speculative realism and new materialism and she has published articles on these and other topics in exhibition catalogues, edited volumes and academic journals. She recently completed an edited volume on the work of the artist Franck Leibovici. Their work combines elements of durational and time-based art, minimalist movement, and electroacoustic music and sound. They are interested in processes, sounds, and movements that come close to imperceptibility, and the ways in which this material can be transformed through repetition, patterning, layering, and archiving. They live and work in Berlin, Germany. His research focuses on Eastern European filmmaking and Marxist approaches to moving images. Current research topics include bicycle cinema, Marxism and the intersection between computer games and fine art. His research is disseminated internationally through exhibitions, education and publications. Nobunye Levin is a filmmaker, scholar and teacher. Her work is informed by the epistemic, poetic and political possibilities of cinematic experimentation and tactics of feminist filmmaking. Focussed on disruptive mechanisms of the cyber-utopia rupture in the light of the expansion of models of neoliberal capitalism in social media, her projects invite to question and rethink those vocabularies and their reproduction. Her outcomes have been exhibited in different locations in Spain and published in informative and academic journals as articles. He was a postdoctoral fellow at the Helsinki Collegium for Advanced Studies in In addition, she has worked as a curator and a writer. As an art historian, writer and curator, Sanne Kofod Olsen has been interested and engaged in Contemporary Art and Feminist Art, especially in the field of Performance Art. In Samba Shiva, Vijai revisits the photographic archive of his father, a scientist who immigrated to Brazil at the end of the s. The artist proposed to himself the role of the editor, while the authorship of the book is credited to Sambasiva. This displacement of roles is part of a larger project that Vijai pursues in his PhD. Dr Pilvi Porkola is a post doc researcher, performance artist, writer and pedagogue. Oliver Ressler lives and works in Vienna. He produces installations, projects in public space, and films on issues such as economics, democracy, migration, global warming, forms of resistance and social alternatives. He has completed thirty-two films that have been screened in thousands of events of social movements, art institutions and film festivals. Assunta Ruocco is an artist and researcher based in Nottingham, UK. Her practice focuses on the role of collaboration, technologies and spaces of production in the emergence of artworks. Ruocco works with painting, drawing, printmaking, photography, digital technologies, and the relationships between these media, creating transdisciplinary durational projects that invite the intervention of human and non-human collaborators at different stages within the creative process. Wheeler at the Italian Cultural Institute in Hamburg, It explores haunting intersections of history whilst performing, animating and satirising questions of W w hiteness, privilege and colonial logic. Through a series of trans-disciplinary corporeal, material and technological experiments the project draws on queer aesthetics of uncertainty and productive failure. Lisa Samuels is the author of many books of poetry, memoir, and prose, including Symphony for Human Transport , a Guardian top ten poetry book. Her essays and editing work focus on experimental modern transatlantic and transpacific literatures, and her theoretical innovations include deformance, bioautography, and soft text. Erik is not allergic to cats anymore. In his research project, Selgas examines political and aesthetic features that have to do with tensions between materialism, culture, and nature, in a corpus of contemporary works by Latin American authors. Unpacking their own troubled relationship with said norms and desires within a framework of self-representational body politics, body modification and politics of desire. Dr Mercedes Vicente is a curator, writer and researcher. Her extensive writing and editorial credits include books, exhibition catalogues and art journals. The six topics Within the broad and open framework of artistic research represented at the PARSE conference it will become possible, in a unique setting of international encounter, to reflect upon burning issues related to the concept of the human. Day 1 - Wednesday 13 Nov Gustav Thane Tools to make tools As a researching blacksmith, I look into the relationship between a human body, materials, and the tools allowing such a relation. Assunta Ruocco Co-working with things In this talk, which expands on part of my practice based PhD project, I argue that the work of French philosopher of technology Gilbert Simondon can bring a different perspective to our understanding of both artistic and reproductive labour. Erik Sandelin Ahuman Design How can designers aptly respond to the ceaseless exploitation of nonhuman animals? Day 2 - Thursday 14 Nov Day 3 - Friday 15 Nov Installations Gothenburg offers excellent connections and public transport in and around the city. Kerstin Bergendal teaches and conducts research at the University of Gothenburg in Sweden. Biography coming soon More.

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