British Academy/Leverhulme Grant for Mutable Matter Workshop


Image: David Alfaro Siqueiros ‘Cosmos and Disaster’ (circa 1936)

Mutable Matter will be hosting its first workshop this year, generously supported by a BA/Leverhulme Small Research Grant and Warwick Social Theory Centre. The workshop, entitled ‘Cosmos & Crisis: interdisciplinary conversations’ will be taking place in late Summer/early autumn. More details coming soon!

“Less a juncture to control than an adventure to be had” – Working with Michel Serres and Mikhail Bakhtin (2005)

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Image: “Abyss” by Alpha Coders

While working on my section for the forthcoming Routledge International Handbook of Interdisciplinary Methods, I stumbled upon an old essay on researching with Michel Serres and Mikhail Bakhtin. It is one of three essays that I wrote in 2005/2006 for the social theory module of my MSc in Human Geography Research Methods at the Open University. I had stopped being a Fashion student in 2003 and had worked on my own for two years to develop a theoretical project. At the same time, I was negotiating the future of my art practice and how it might sit within an academic framework as a “method”. The MSc, and especially this module, gave me the opportunity to explore a lot of different theories and experiment with my writing. There are quite a few essays and working papers that I have never published, but am thinking of re-editing for teaching use. When I ran the Theory Surgery at the British Library café, the Serres/Bakhtin essay often came in handy as an example, and I was planning on publishing it, however I gradually became unsure about it, because I felt I had moved on in theoretical and stylistic terms. Looking at it now, I think it already shows some of my current themes, although I would probably turn to different philosophers now for the same questions due to the growing influence of feminist/queer/postcolonial critique on my work. Despite this shortcoming, I feel that it still offers some useful prompts, which is why I have decided to upload it after 12 years on my hard drive. Here, then, is some vintage Mutable Matter – even including adorable references to Open University ‘audio-cassettes’!

Less a juncture to control than an adventure to be had –
Working with Michel Serres and Mikhail Bakhtin (pdf)

Abstract

What is it like to work with the ideas of Michel Serres and Mikhail Bakhtin as a researcher, especially as an early career researcher? How might their ideas and experiments affect you at various stages of your research, from asking questions to writing for particular audiences? In this essay, I  focus on themes in their work that resonate with my own project, which considers the relation between the human and nonhuman in method, and also incorporates sensory methods. The themes of communication, invention and responsibility are discussed through Serres’ and Bakhtin’s non-linear philosophies, represented through the gods Hermes and Janus respectively. After some more project focused discussions, I end on a set of general observations on the relationship between theory and method or ‘practice’.

Otto Freundlich “Cosmic Communism” @ Museum Ludwig, Cologne

Museum Ludwig, ML, Ausstellungsansichten Ot­to Fre­undlich - Kos­misch­er Kom­mu­nis­mus, Ausstellungszeitraum18. Fe­bruar – 14. Mai 2017, Köln

Museum Ludwig, ML, Ausstellungsansichten Ot­to Fre­undlich – Kos­misch­er Kom­mu­nis­mus, Ausstellungszeitraum18. Fe­bruar – 14. Mai 2017, Köln

I am currently working on my book on ‘Cosmic Materialism’, supported by Warwick Social Theory Centre. The book looks at the role of science and the parallel re-evaluation of alternative cosmologies/ontologies in the anti-colonial and anti-totalitarian movements of the interwar period. The artist statement in this exhibition (h/t Gesa Helms) is very exemplary of how the cosmic was envisioned as a provocation to contemporary politics:

“For him [Otto Freundlich], abstraction expressed a radical renewal that went far beyond art. For instance, the curved patches of color in his paintings reflect the concept of space in Einsteinian physics, with which he was familiar from an early age. Still, overcoming representationalism also had a social dimension for him. As he saw it, every form of material perception was permeated with possessiveness and thus outdated: “The object as the antithesis to the individual will disappear, and with it the state of one person being an object for another.” He always viewed the harmony of the colors in his paintings in the context of the greater whole. The notion of communism for which he fought sought to abolish all boundaries “between world and cosmos, between one person and another, between mine and yours, between all the things that we see”.”

Needless to say, this book (and this exhibition) isn’t sadly just about the past.

Otto Freundlich
Cosmic Communism
February 18–May 14, 2017
Opening: February 17, 7pmMuseum Ludwig, Cologne
Heinrich-Böll-Platz
50667 Cologne
Germanywww.museum-ludwig.de
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New article in EPD on geography & matter


Image: ‘Crowd, Isolated on White’ (Leontura/Getty Images)

This morning, my latest article on geography and matter was published by Environment & Planning D: Society and Space. There are two kinds of discomforts that I am processing in this article: the lack of dialogue on the role of matter between followers of historical and new materialism, and my conflicted relationship with the work of Hannah Arendt. I had the feeling that the two problems were related, so I went ahead to see where it took me, starting with channelling the many animated conversation that I have had with people at workshops and conferences. I ended up somewhere different than expected, but with one thing I was right: it had to do with the way we make cuts between the material and supposedly non-material world. The result is called ‘Re-reading Worldliness: Hannah Arendt and the Question of Matter‘. If you do not have access to the journal, please send me an email. It is also available for free on the journal website until 12 September.

Abstract

Both new and historical materialisms have attracted a reputation for leading to ‘bad politics’. Historical materialisms have been accused of reducing too much to material relations and their production, whereas new materialisms have been accused of avoiding politics completely. This article reads the critique directed at materialisms against Hannah Arendt’s exceptional distrust of matter. Focusing on her concept of ‘worldliness’, it grapples with the question ‘why do we need an attention to matter in the first place?’ The attempted re-reading takes place through a feminist and postcolonial lens that draws out the contributions and failures of Arendt’s (anti)materialist framework in its banishing of matter from politics. Arendt’s focus on the prevention of dehumanisation further serves as a means to discuss materialism’s risk in negotiating the tension between deindividuation and dehumanisation.

“Five Propositions” out on GeoCritique

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Image source: GeoCritique

The newly redesigned GeoCritique has just published the five propositions that Anja Kanngieser and I delivered as a critique at the Anthropocene themed RGS-IBG 2015 conference in Exeter, UK. The propositions also represent an experiment in positioning ourselves not just in relation to Anthropocene discourse, but in terms of geography, race, gender etc. This is an on-going writing experiment, and we welcome critique.

Dead Wasps Fly Further

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This month, I will be participating in two events. ‘Geo-Studio’ (20 March), a geography-arts symposium at Northumbria University, and ‘Dead Wasps Fly Further‘ (Tote Wespen Fliegen Länger), a five-day workshop in conjunction with the exhibition of the same name at the Museum for Natural History in Berlin (26-30 March). The latter is a semi-public event, so here is some more information about it, in case anyone happens to be in town. The exhibition runs from 3-29 March 2015.

‘Dead Wasps fly further’, organised by STS scholar Tahani Nadim and artist Åsa Sonjasdotter, will bring together scholars, artists, activists and curators to discuss and develop issues raised by the exhibition. The exhibition and the workshop attend to the ‘traffics and trajectories of museum objects and the troubles that become tangible by accounting for these movements’. I really loved the framing of the project:

“The exhibition will consist of 3 distinct interventions: a display and wall painting, theatrical tours into the non-public collections and a short film. These interventions assemble humorous, poetic and troubling stories about anthropocentric biodiversity, colonial cultivations and cosmic care. At the same time, they represent an experiment in engaging natural history and making research public.
We consider the workshop collective conclusions as a collaborative attempt to “stay with the troubles” (Donna Haraway) catalysed by objects and research at the museum.”

Questions to be tackled – through debate, performance and activities such as zine-making – include:

“How do we narrate routes and roots without reproducing the exclusions, inequalities or expectations of Eurocentric geographies? How do we insert the human into the narratives presented by the natural history museum? Or, how to de-naturalise the natural history museum? Should we consider the wishes and wants of the Moon, comets and other planets in our explorations of them? How can the museum and its collections help us learn from their troubles, account for other histories and figure a language to tell these?”

Participants were asked to engage with the museum’s collections in the kind of material and talks they bring to the workshop. I will talk about reappropriations of museum objects by anti-colonial activists such as the négritude writers who extensively re-read the findings of Leo Frobenius, a controversial German ethnologist and archaeologist specialising in African history and art.

There will be at least one public event (I definitely remember the 30 March Monday morning one!). I will be posting details here, as soon as they become available. The project is supported by the German Federal Cultural Foundation (Kulturstiftung des Bundes) and the Museum für Naturkunde.