Liberdade para quem? - Layered Histories

Uncovering the spaces of Indigenous and Black stories, and creating spaces for dialogue in the Japanese neighborhood of Liberdade, São Paul

Handmade films and artist-run labs. The chemical sites of film’s counterculture

This article addresses handmade films and especially artist-run labs as sites of hands-on film culture that reactivate moments and materials from media history. Drawing on existing research, discourses and discussions with contemporary experimental filmmakers affiliated with labs or practicing their work in relation to film lab infrastructure, we focus on these sites of creation, preservation and circulation of technical knowledge about analog film. But instead of reinforcing the binary of analog vs. digital, we argue that the various material practices from self-made apparatuses to photochemistry and film emulsions are ways of understanding the multiple materials and layered histories that define post-digital culture of film. This focus links our discussion with some themes in media archaeology (experimental media archaeology as a practice) and to current discussions about labs as arts and humanities infrastructure for collective project and practice-based methods

Layered Histories, Interpretive Desires

I aim to excavate source material from the past and reinterpret its significance in the present through art. I merge history with the contemporary through acts of appropriation and material exploration, creating conditions for the viewer to grapple with colonial legacies in an affective space of visual experience

Naturalis Historia, Reconstructed

When Pliny the Elder wrote Naturalis Historia around 70 A.D., the idea of natural history contained and connected biology, geology, and mineralogy with the history of painting and sculpture. Art was an extension of the natural world as its materials were extracted from plants, animals, and, particularly, mined and quarried pigments, stone, and metals. In my developing body of work, Incidents of Naturalis Historia, Reconstructed, I combine wasps’ nests, architectural fragments, and other found objects excavated from my surrounding environment with elements of glass that resemble lichen, crystallization, and geologic specimens. These works simulate artifacts of an alternative history; one in which the divergent histories of art, craft, biology, and geology are again united

Da Ste Zhivi I Zdravi: May You Be Alive and Well An Exploration into Play, Ruination, and Preservation

My thesis explores unconventional architectural representation and themes through the lens of memory and play. I am drawn to the everyday, less heroic moments of architecture and to the celebration of lived life. I use the thematic structure of play throughout my project as a way to approach a site and rethink its space, history, and meaning. The surface is the site with which I am operating, inspired by motifs of weathering, pastiche, palimpsest, and collage to illustrate fractured memory and layered histories. These approaches manifest in a memory map informed by two walks I took this February with my mom and baba in Kalofer, Bulgaria, after five years of not being able to see my family. It ruminates on personal memories of play as well as familial histories of place to recontextualize ruination, its meaning, and its potential

Pandemic as method

This essay deploys the concept of pandemic as a set of discursive relations rather than a neutral description of a natural phenomenon, arguing that pandemic discourse is a product of layered histories of power that in turn reproduces myriad forms of imperial and racial power in the new millennium. The essay aims to denaturalize the idea of infectious disease by reframing it as an assemblage of multiple histories of American geopower and biopower from the Cold War to the War on Terror. In particular, Asia and Asian bodies have been targeted by US discourses of infection and biosecurity as frontiers of bioterrorism and the diseased other. A contemporary example of this bioorientalism can be seen around the 2003 SARS epidemic, in which global discourses projected the source of contagion onto Asia and Asians. Pandemic as method can thus serve as a theoretical pathway for examining cultural concatenations of orientalism and biopower

The Faculty Notebook, December 1998

The Faculty Notebook is published periodically by the Office of the Provost at Gettysburg College to bring to the attention of the campus community accomplishments and activities of academic interest. Faculty are encouraged to submit materials for consideration for publication to the Associate Provost for Faculty Development. Copies of this publication are available at the Office of the Provost

Regulating and resisting queer creativity: community-engaged arts practice in the neoliberal city

This article draws from and advances urban studies literature on ‘creative city’ policies by exploring the contradictory role of queer arts practice in contemporary placemarketing strategies. Here I reflect on the fraught politics surrounding Radiodress’s each hand as they are called project, a deeply personal exploration of radical Jewish history programmed within Luminato, a Toronto-based international festival of creativity. Specifically, I explore how Luminato and the Koffler Centre, a Jewish organisation promoting contemporary art, regulated Radiodress’s work in order to stage marketable notions of ethnic and queer diversity. I also examine how and why the Koffler Centre eventually blacklisted Radiodress and her project. However, I also consider the ways Radiodress and Toronto artists creatively and collectively responded to these tensions. I maintain that bringing queer arts practice into discussions about contemporary creative city policies uncovers sites of queer arts activism that scale up to shape broader policies and debates. Such disidentificatory interventions, acts of co-opting and re-working discourses which exclude minoritarian subjects, challenge violent processes of colonisation and commodification on multiple fronts, as well as fostering more collective and relational ways of being

Sound art as ways of exploring aspects of space

Working within landscapes is an immersive experience, and there is an oft-mentioned sentiment of being “called” to a place or being drawn to a particular type of environment. There is also a sense of multi-layered histories when working within a landscape, with the history and features of the physical landscape intertwining with the emotional landscape of the artist. This paper seeks to interrogate how sound can be used to explore the cultural, historical and ecological aspects of place. The paper will explore the author’s own approach to soundscape composition in relation to sound artist Susan Philipsz, whose work layers fragments of the past and present through combining her voice and the immediate, everyday soundscape of place to highlight the ephemerality of memory. Philipsz’s approach will be viewed in parallel with the author’s own compositional work, with both approaches highlighting how elements of the landscape can be used as compositional elements. By being immersed in the environment and viewing the environment as an active interlocutor rather than as a passive resource, these methods invite listeners to alternative ways of listening and understanding place