DOCSLIB.ORG

Activist Passion: Art, Philosophy, and the Political Nasrin Himada A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Activist Passion: Art, Philosophy, and the Political Nasrin Himada A Activist Passion: Art, Philosophy, and the Political Nasrin Himada A Thesis In the Department of Interdisciplinary Studies in Society and Culture Humanities Doctoral Program Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Interdisciplinary Studies in Society and Culture) at Concordia University Montreal, Quebec, Canada November 2014 © Nasrin Himada, 2014 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Nasrin Himada Entitled: Activist Passion: Art, Philosophy, and the Political and submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Humanities) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Dr. T. Waugh ___________________________________________________Chair Dr. B. Massumi __________________________________________________External Examiner Dr. K. Dickinson_________________________________________________ External to Program Dr. C. Hammond _________________________________________________Examiner Dr. S. Ruddick ___________________________________________________Examiner Dr. E. Manning __________________________________________________Thesis Supervisor Approved by: ___________________________________________________ Dr. J. Potvin, Graduate Program Director January 7, 2015 __________________________________________________ Dr. A. Roy, Dean Faculty of Arts and Science ABSTRACT Activist Passion: Art, Philosophy, and the Political Nasrin Himada Concordia University, 2014 In my dissertation, I explore interdisciplinary forms of artistic practice through the lens of what I call “activist passion.” Activist passion, as a concept, contributes to a rich field of research on how art practice creates new modes of engagement that alters the relation between subject and object. My use of the term “passion” draws inspiration from Deleuze’s reading of Spinoza’s “joyful passions,” as “the power to affect and be affected.” Activist passion arises out of an ethical concern that engages with artistic, curatorial, cinematic and writing interventions where there is an attempt to cohabitate and costruggle with others. I examine how these transversal practices not only engage the political, but create spaces for deeply ethical collaborations between artists, writers, filmmakers, curators and the agents of social struggle with whom they engage. From this form of interdisciplinary cohabitation emerges a positive, affective condition that I name “activist passion.” Unlike relational aesthetics or participatory art, activist passion is not a category of art practice, but rather an affective force that inspires new modes of engagement. The process of cohabitation emerges from the relations between cross- disciplinary and cultural practices that move beyond the narrow realm of art discourse. The projects in Activist Passion demonstrate the kinds of outcomes that are possible when art gives up on Art and enters wholeheartedly into social and political practices. iii Acknowledgements Thank you, Dr. Erin Manning for your supervision, support and encouragement. Thank you Examining committee: Dr. Cynthia Hammond, Dr. Sue Ruddick, Dr. Kay Dickinson, Dr. Brian Massumi. Thank you, Lucas AJ Freeman for your copyedits, your precision and rigor made my work shine. For my parents, Adnan Himada and Wafaa Kablaoui your openness, courage and love are contagious. For my brothers, nephew and niece, you are my lifeline, Yousif, Ahmed, Ali, Omar, Musa, Aliya For my friends, love abound. For my ancestors, Palestine lives here, in the I that is me that is you, steadfast and healing iv Table of Contents Prologue: Point of Entry 1-3 Chapter One: Activist Passion as the Pursuit of Magic 4-27 Chapter Two: Images of Activist Passion: On Palestinian Revolutionary Cinema 28-62 Chapter Three: Activist Passion is in How The Image Peoples 63-105 Chapter Four: The Spatial Violence of Activist Passion 106-153 Bibliography 154-161 Appendix I: Living in a Place with No Prisons: Prison Abolition and the collaborative artwork of Jackie Sumell and Herman Wallace 162-167 II: “Nous la forêt” A Conversation with Épopée on the Québec Student Uprising 168-174 III: “Prison America” A Conversation with Chris Kraus on Summer of Hate 175-181 IV: Open Collectivities: Red Channels In Conversation with Nasrin Himada 182-190 Prologue: Point of Entry Inlet 1. a: a narrow area, bay or recess of the sea, a lake, or a river b: an opening through which air, gas, or liquid can enter something (such as a machine) 2. a place or means of entry; a way of entering; especially: an opening for intake The origin of inlet is letting water in, from Middle English inleten, “to let in,” from in + let. Let in. Inlet.1 In an interview, the fierce poet Eileen Myles, is asked by Michael Silverblatt, the host of the radio show Bookworm, what poetry tradition enters her work or is she influenced by. She replies, “It might be the tradition that decides to dedicate your life to poetry, it’s kind of like jumping off a cliff, and that’s a good thing.” Myles speaks of the moment where she had turned her back on academia, and decided to dedicate her life to writing. She committed to the struggle of survival, living her life as a poet. Myles’ reply to Silverblatt is indicative of the kind of risk that for some, like Myles, is necessary in order to do the work that is required to fulfill a calling, a passion. Myles opens up Silverblatt’s question, in a way offers her version of what tradition can entail, she gifts her definition as a way out of Silverblatt’s seemingly limited question. Tradition is no longer rooted in a discourse but is of risk. The tradition of taking a risk, to commit to being an artist or a poet, is the foundation of survival for a poet like Myles. Artists—in whatever form they practice—take risks and turn their backs on whatever distracts them from their calling. Assuming Silverblatt was expecting a different answer, Myles veers the conversation to an honest place, and one that underlines the effect of self-production, 1 “Inlet.” Merriam-Webster Dictionary. Web. 17 November 2014. 1 a tradition that is rooted in personal experience—“learning how to be yourself on a page.” Myles offers a more piercing portrait of what it means to live life as an artist, or better yet, how to live life as a work of art. As she tells Silverblatt, “Let’s all put a light on our own existence, understand that that’s liberation itself, and that’s the thing to write from, is the capacity to see oneself as while you’re standing in the light. I really feel that the performance of existence is the bedrock of poetry not the history of literature.” The “performance of existence,” she continues, is like “Standing there in all the riches, realizing this is it, and I can’t get all this down, I am not a movie camera. I am actually something more subtle. I can take a thought, I can take a phrase, I can take a shade of the wall, I can take a body heat. I can take a look in your eye, and form a structure out of that. If I wasn’t here in the deepest sense I couldn’t do that. The primary step is to be.” Myles’ response pushed me to ask: How do I think about this as a proposition? I am not interested in performing existence, or subjectivity on a stage. I am not interested in engaging with subjective experience per se. But I am interested in what Chris Kraus, another fierce literary figure, suggests, and that is to turn the “I” that is not personal, outward to the world—turning the “I” to an eye, “to form a structure” out of what I see, feel, or experience. The practice of being a writer is learning how to hear your self. Dodie Bellamy, an experimental writer, and one of the main figures of the New Narrative Movement, expresses a similar sentiment: “The only way we know the world is through the imperfect fucked-up lenses of our personality and body” (70). And in another section, in her brilliant book, The Buddhist, she writes, “The connection between writing and life can be so magical, and once that process takes over, the writing always wins” (56). I am far away from winning. But what I tried to do in this project is to get to a place where life 2 and writing, writing and curating, curating and activism find a place of cohabitation, where something happens, or where I think something did happen. The material I chose inspired me. The material moved me, and I was able to engage with it in an open, experimental way that pushed me to think about new modes of composition—how can writing express, in process and structure, the political, what remains at stake. I learned that my writing is often generated by what images can do to thinking, to thought. For me, images should not tell us what to think, but they should “trap us into new ways of thinking” (Bellamy, 61). I offer, as an epilogue, a point of entry to my thought process. I developed this project around the concept of activist passion. Activist passion stems from ingathering of what I have learned through experience. It is a concept that gives precedence to the work that happens across different registers of time and space, of inhabited roles and positions, of contradicting thoughts and actions, of ones that find affinity and connects to an emerging thought. An activist passion is a way to engage the world as if jumping off a cliff, of letting go of expectations, pressures, and fears. Activist passion is to engage with the poetics of risk and to walk away from what in the end will capture my thought rather than enliven it. This project is an “inlet” that opens up onto soft subversions, meant to invite the reader into a thought process that is seemingly personal, but that attempts to tackle (what does feel too intimate) as something that also feels true to analysis, in the sense of movement or rhythm, in the sense of affect and tone, in the sense of intuition and experimentation.
Load more

Recommended publications
  • Manning What Things Do When They Shape Each Other
    Erin Manning WHAT THINGS DO WHEN THEY SHAPE EACH OTHER The Way of the Anarchive In order to discover some of the major categories under which we can classify the infinitely various components of experience, we must appeal to evidence relating to every variety of occasion. Nothing can be omitted, experience drunk and experience sober, experience sleeping and experience waking, experience drowsy and experience wide-awake, experience self- conscious and experience self-forgetful, experience intellectual and experience physical; experience religious and experience sceptical, experience anxious and experience care-free, experience anticipatory and experience retrospective, experience happy and experience grieving, experience dominated by emotion and experience under self-restraint, experience in the light and experience in the dark, experience normal and experience abnormal (Whitehead 1967: 222) Bolder adventure is needed - the adventure of ideas, and the adventure of practice conforming itself to ideas (Whitehead 1967: 259) 1. METHOD "Every method is a happy simplification," writes Whitehead (1967: 221). The thing is, all accounting of experience travels through simplification - every conscious thought, but also, in a more minor sense, every tending toward a capture of attention, every gesture subtracted from the infinity of potential. And so a double-bind presents itself for those of us moved by the force of potential, of the processual, of the in-act. How to reconcile the freshness, as Whitehead might say, of processes underway with the weight of experience captured? How to reconcile force and form? This was the challenge SenseLab (www.senselab.ca) gave itself when we decided, a few years ago, to develop a concept we call "the anarchive." For us, the concept was initially an attempt to reconsider the role documentation plays in the context of the event.
    [Show full text]
  • Thought in the Act: Passages in the Ecology of Experience Pdf Free
    THOUGHT IN THE ACT: PASSAGES IN THE ECOLOGY OF EXPERIENCE PDF, EPUB, EBOOK Erin Manning,Brian Massumi | 224 pages | 01 May 2014 | University of Minnesota Press | 9780816679676 | English | Minnesota, United States Thought in the Act: Passages in the Ecology of Experience PDF Book Want to Read Currently Reading Read. Sign in. Greg marked it as to-read Jan 19, To paint: a thinking through color. Lisa Banu rated it it was amazing Dec 18, N Filbert rated it it was amazing Sep 09, Manning and Massumi, however, depart from the vast scope of their predecessors, limiting their sources to a narrow range, predominantly William James and Alfred North Whitehead, engaged as much for their poetics as for their ideas. Explores the intimate connections between thinking and creative practice. The result is a thinking-with and a writing-in-collaboration-with these processes and a demonstration of how philosophy co-composes with the act in the making. This book feels very timely. Thanks for telling us about the problem. Average rating 4. Kate rated it really liked it Aug 09, Daniella rated it it was amazing Feb 04, We have a verbal travel through the experience of receiving their work, experiencing their re-configuration of spaces and intervention into the physicality of our lives. Keywords: philosophy of art , process philosophy , art and activism , political philosophy , neurodiversity , embodied cognition , art-based research. Drawing from the idiosyncratic vocabularies of each creative practice, and building on the vocabulary of process philosophy, the book reactivates rather than merely describes the artistic processes it examines. Search Site only in current section.
    [Show full text]
  • Curriculum Vitae
    Curriculum Vitae Erin Manning I. BIOGRAPHICAL INFORMATION .....................................................................................................................................3 AC A DEMIC BA CKGROUND ............................................................................................................................................................3 EMPLOYMENT HISTORY ................................................................................................................................................................3 AW A RDS .....................................................................................................................................................................................3 LA NGU A GES ................................................................................................................................................................................4 II. RESEARCH ...........................................................................................................................................................................4 EX H I B ITIONS /PERFORM A NCES (SOLO ) ............................................................................................................................................4 PERFORM A NCES (SOLO ) ...............................................................................................................................................................4 PU B LIC A TIONS (PRINT OR ELECTRONIC ) ..........................................................................................................................................5
    [Show full text]
  • Immediation I
    Immediation I Edited by Erin Manning, Anna Munster, Bodil Marie Stavning Thomsen Immediation I Immediations Series Editor: SenseLab “Philosophy begins in wonder. And, at the end, when philosophic thought has done its best, the wonder remains” – A.N. Whitehead The aim of the Immediations book series is to prolong the wonder sustaining philosophic thought into transdisciplinary encounters. Its premise is that concepts are for the enacting: they must be experienced. Thought is lived, else it expires. It is most intensely lived at the crossroads of practices, and in the in-between of individuals and their singular endeavors: enlivened in the weave of a relational fabric. Co-composition. “The smile spreads over the face, as the face fits itself onto the smile” – A. N. Whitehead Which practices enter into co-composition will be left an open question, to be answered by the Series authors. Art practice, aesthetic theory, political theory, movement practice, media theory, maker culture, science studies, architecture, philosophy … the range is free. We invite you to roam it. Immediation I Edited by Erin Manning, Anna Munster, Bodil Marie Stavning Thomsen OPEN HUMANITIES PRESS London 2019 First edition published by Open Humanities Press 2019 Copyright © 2019, Erin Manning, Anna Munster, Bodil Marie Stavning Thomsen. Chapters copyright their respective authors unless otherwise noted This is an open access book, licensed under Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy their work so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license.
    [Show full text]
  • On Touch, Synaesthesia and Other Ways of Knowing Erin Manning
    Not at a Distance : On Touch, Synaesthesia and Other Ways of Knowing Erin Manning A thousand other things sing to me. John Lee Clark Every possible feeling produces a movement, and that movement is a movement of the entire organism, and of each of its parts. William James What if mirror-touch synaesthesia, defined as the expe- rience that ensues when the stimulation of one sensory modality (vision) automatically triggers a perception in a second modality (touch), in the absence of any direct stimulation to this second modality, were not only mis- named, but radically misunderstood? It’s not just the nomenclature that I am concerned with here – why a synaesthesia that is said to move between touch and vision isn’t called vision-touch synaesthesia like its sis- ters, sound-taste, colour-grapheme, shape-taste – but the very presupposition that grounds an account of sensation 148 Erin Manning that can be parsed so cleanly between sense modalities and between the bodies that are said to be the locations of sense. For even if it were called vision-touch synaesthesia, it would still take for granted a whole set of beliefs about both how we perceive and what is considered worthy of being perceived: despite a rare admission that for some the experience of being touched-without-touch occurs through an object,1 mirror-touch synaesthesia is pre- dominantly a humanist concept. To be touched by that which we see is, in most of the literature, to be touched by the human. This is the question I want to ask here: what is assumed in the presupposition that to be moved is to be moved by the human? And what is assumed when we take vision as the predominant activator of the expe- rience of being touched by the world? Circling around autistic perception and DeafBlindness, I want to ask how neurotypicality as the normative standard for human experience operates in the presuppositions of sense.
    [Show full text]
  • Immediation II
    Immediation II Edited by Erin Manning, Anna Munster, Bodil Marie Stavning Thomsen Immediation II Immediations Series Editor: SenseLab “Philosophy begins in wonder. And, at the end, when philosophic thought has done its best, the wonder remains” – A.N. Whitehead The aim of the Immediations book series is to prolong the wonder sustaining philosophic thought into transdisciplinary encounters. Its premise is that concepts are for the enacting: they must be experienced. Thought is lived, else it expires. It is most intensely lived at the crossroads of practices, and in the in-between of individuals and their singular endeavors: enlivened in the weave of a relational fabric. Co-composition. “The smile spreads over the face, as the face fits itself onto the smile” – A. N. Whitehead Which practices enter into co-composition will be left an open question, to be answered by the Series authors. Art practice, aesthetic theory, political theory, movement practice, media theory, maker culture, science studies, architecture, philosophy … the range is free. We invite you to roam it. Immediation II Edited by Erin Manning, Anna Munster, Bodil Marie Stavning Thomsen OPEN HUMANITIES PRESS London 2019 First edition published by Open Humanities Press 2019. Copyright © 2019, Erin Manning, Anna Munster, Bodil Marie Stavning Thomsen. Chapters copyright their respective authors unless otherwise noted. This is an open access book, licensed under Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy their work so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license.
    [Show full text]
  • 2018-2019 CISSC Year in Review
    CISSC Year in Review 2018–2019 TABLE OF CONTENTS About the Centre for Interdisciplinary Studies in Society and Culture 3 Letter from the Director 5 CISSC Happenings 7 Public Lectures 7 Workshops and Conferences 12 CISSC Working Groups 14 Ethnocultural Art Histories Research in Media (EAHR) African Studies Material Religion Initiative (MRI) Narrating Childhood The Ethnography Lab Feminism and Controversial Humour CISSC Diversity Research Travel Stipend Report 21 Visiting Scholars 23 Derek Maus Rachel Zellars Natalie Loveless 24 Humanities Interdisciplinary Ph.D Program 26 2018-19 HUMA PhD Graduates Fall 2018 Incoming HUMA PhD Students 27 HUMA Course Descriptions 29 HUMA Graduate Student Activities and Accolades 31 Front cover: Magdalena Hutter, Strudeltuch, 2019 100x140 cm, cotton, polyester thread, flour Back cover: “Résonances manifestes” (Research-creation project by HUMA student Hubert Gendron-Blais) Photo taken by: Gyslain Gaudet ABOUT THE CENTRE The Centre for Interdisciplinary Studies in Society and Culture (CISSC), founded in 2007, is a joint creation of the Faculty of Fine Arts and the Faculty of Arts and Science. It ## houses the Humanities Interdisciplinary Doctoral Program (HUMA) which was established in 1973. David Howes is the current director of CISSC. He is also a Professor in the Department of Sociology and Anthropology. Erin Manning is the current director of HUMA. She is also a dually appointed Professor in Studio Arts and Film Studies. Ana Ramos is the Coordinator of the HUMA program. Tristana Martin Rubio took over from Skye Maule-O’Brien as the Coordinator of CISSC in January 2019. 3 Members of the CISSC Board and PhD Humanities Committee for 2018-2019.
    [Show full text]
  • For a Pragmatics of the Useless
    theory and philosophy neurodiversity black studies manning For a What has a use in the future, unforeseeably, is radically useless now. What has an effect now is not necessarily useful if it falls through the gaps. In For a Pragmatics of the Useless Erin Manning examines what falls outside the purview of already-known Pragmatics functions and established standards of value, not for want of potential but for carrying an excess of it. The figures are various: the infrathin, the artful, proprioceptive tactility, For neurodiversity, black life. It is around the latter two that a central refrain echoes: “All of the black life is neurodiverse life.” This is not an equation but an “approximation of prox- imity.” Manning shows how neurotypicality and whiteness combine to form a norma- tive baseline for existence. Blackness and neurodiversity “schizz” around the baseline, a Pragmatics of the Useless Useless uselessly, pragmatically, figuring a more-than of life living. Manning, in dialogue with Félix Guattari and drawing on the black radical tradition’s accounts of black life and the aesthetics of black sociality, proposes a “schizoanalysis” of the more-than, charting a panoply of techniques for other ways of living and learning. “Taking black studies seriously as the epistemology of operation from which to practice thought, Erin Manning does more than simply apply black studies to conversations about neurotypicality, autism, and language; she grapples with what black studies at- tempts to do—to shift the epistemological horizon of thought’s horizon.”—ashon t. crawley, author of The Lonely Letters “Given her expertise, philosophical acumen, and passion for questions of neurodiversity, I am excited that Erin Manning is the person to orchestrate the encounter between neu- rodiversity and blackness.
    [Show full text]
  • Articulating Thresholds ~ Artistic Techniques for More-Than-Human Sensitivities
    Articulating thresholds ~ artistic techniques for more-than-human sensitivities Ally Bisshop A thesis in partial fulfilment of the requirements for the degree of Doctor of Philosophy National Institute for Experimental Arts UNSW Art and Design March 2018 Thesis/Dissertation Sheet Surname/Family Name : Bisshop Given Name/s : Allison Abbreviation for degree as give in the University calendar : PhD Faculty : UNSW Art and Design School : National Institute for Experimental Arts Thesis Title : Articulating thresholds: artistic techniques for more-than-human sensitivities Abstract 350 words maximum: (PLEASE TYPE) This practice-based research proposes thresholding techniques as a contribution to processual artistic practices. It argues that such practices engage matter not as readymade form, but as a flux of creative becomings, active within compositional processes. Following Henri Bergson, it proposes that such becomings are ‘more-than-human’, habitually eliding ‘human’ perception. This project engages process-based philosophy and process as ways of encountering matter’s movements, through and beyond human ‘subjects’ and material ‘objects’. Through this research, I develop an image of the threshold as the field through which ‘bodies’ are linked and elaborated, via matter’s creative becomings. The investigation of these concepts engages Erin Manning and Brian Massumi’s artistic process of research- creation, where the intersection of thinking and doing is a generative threshold for the invention of techniques.Through artistic experimentation, I propose four thresholding techniques for composing in relationto material-force, and for opening on to more-than- human experience. My own techniques are developed in concert with an analysis of those at work in artistic praxes engaging process as compositional force: Pierre Huyghe; Nina Canell; Olafur Eliasson; Senselab (space for collective research-creation).
    [Show full text]
  • Relationscapes: How Contemporary Aboriginal Art Moves Beyond the Map Erin Manning
    Relationscapes: How Contemporary Aboriginal Art Moves Beyond the Map Erin Manning Three examples 1. Mina Mina (Dorothy Napangardi Robinson, 2005) measures almost two metres in height (198 x 122 cm). Black on white, its white emergent through the black dots, it encourages us to look-across, to move-with the fragile dotted lines that compose its labyrinths. ‘Looking at’ is too stable for this shifting landscape that moves, already, in many directions at once. This movement-across is not a symmetrical one that would obediently follow a horizontal or vertical perspective: it is a vibrating movement, a resonance that forces itself upon our vision, transforming it into a politics of touch. This is a politics of touch because what the painting compels is not a static viewing but an activity of reaching-toward that alters the relation between body and painting, creating a moving world that becomes a touching of the not-yet touchable. This touching is rhythmic. It occurs not on the lines or with the points but across the vista the painting elaborates, an experi- ential vista that is already more-than the space of the canvas can convey. These are more than traces, they are material becomings toward a worlding immanent to the experience of viewing. The becoming-world called forth by this black and white painting is a creation of an event of which I am part. It takes me not somewhere else, but right where I can become, to a force-field that is an eventness in the making, an exfoliation of experience. 458 ERIN MANNING : RELATIONSCAPES The painting envelops space, creating new spacetimes of experience, new viewing bodies.
    [Show full text]
  • P O I E S I S a Journal of the Arts & Communication Volume 15, 2013 Editor: Stephen K
    P O I E S I S A Journal of the Arts & Communication Volume 15, 2013 Editor: Stephen K. Levine Associate Editor: Jessica Moore • Art Director, Layout & Design: Kristin Briggs Poetry Editors: Elizabeth Gordon McKim and Shara Claire Art Curator: Lauren Schaffer • EGS Press Manager: Sarah Farr All Rights Reserved ©2013 EGS Press, except where otherwise indicated. 283 Danforth Avenue, #118 Toronto, Ontario, M4K 1N2 Canada [email protected] • www.egspress.com tel: (416) 829-8014 ISSN 1492-4986/2013 Cover Art: Writing the Moon by Chris Cran (2010), Ink and acrylic on foam core, 11” x 8.75”. Private Collection Other titles available from EGS Press: Minstrels of Soul: Intermodal Expressive Therapy (P. Knill et al) Tending the Fire: Studies in Art, Therapy and Creativity (E. G. Levine) Crossing Boundaries: Explorations in Therapy and the Arts– A Festschrift for Paolo Knill (S. Levine, Editor) To Day: Poems and Poetics (Margo Fuchs-Knill) Song the Only Victory: Poetry Against War (S. Levine) In Praise of Poiesis: The Arts and Human Existence– A Festschrift for Stephen K. Levine (E. G. Levine and P. Antze, Editors) Selected back issues of POIESIS are also available. POIESIS: A Journal of the Arts and Communication is an annual periodical which publishes research from the fields of Expressive Arts and Media & Communications. It is supported by the European Graduate School (EGS) in Switzerland, which offers Masters and Doctoral programs in these fields. Submissions for POIESIS XVI (2014), see “Call for Papers” on page 220. Printed in Canada articles Editor’s Introduction Stephen K. Levine 4 Poiesis and the Unworking of Art: A Conversation with Jean-Luc Nancy Stephen K.
    [Show full text]
  • 2017–2018 CISSC Year in Review
    CISSC Year in Review 2017–2018 TABLE OF CONTENTS About the Centre for Interdisciplinary Studies in Society and Culture 3 Letter from the Director 5 Annual International Interdisciplinary Academic Conference 7 Public Lectures 9 Co-sponsored Events and Happenings 11 CISSC Working Groups 13 The Ethnography Lab 11 Feminism and Controversial Humour 14 Social Justice 15 Society, Politics, Animals and Materiality (SPAM) 16 Montreal’s Diversities 19 Urban Futures 20 Diversity Research Travel 22 Artist in Residence / Visiting Scholar 25 Humanities Interdisciplinary Ph.D. Program 27 Incoming HUMA PhD students 27 HUMA Courses 29 Events and Actions 31 Accolades 33 Front and Back cover: Matthew-Robin Nye, Sunlight’s Waltz (2018) Photo by Leif Norman ABOUT THE CENTRE ## The Centre for Interdisciplinary Studies in Society and Culture (CISSC), founded in 2007, is a joint creation of the Faculty of Fine Arts and the Faculty of Arts and Science. It houses the Humanities Interdisciplinary Doctoral Program (HUMA) which was established in 1973. David Howes is the current director of CISSC. He is also a professor in the Department of Sociology and Anthropology. Erin Manning is the current director of HUMA. She is also a dually appointed professor in Studio Arts and Film Studies. Nasrin Himada is the Coordinator of the HUMA program. Skye Maule-O’Brien is the Coordinator of CISSC. 3 Members of the CISSC Board and PhD Humanities Committee for 2017-2018: • Carolina Cambre, Education • Jill Didur, English • Ariela Freedman, Liberal Arts • David Howes, CISSC Director • Rilla Khaled, Design and Computation Arts • Erin Manning, HUMA Graduate Program Director • Joshua Neves, Film Studies • Kathleen Vaughan, Art Education CISSC is a member of the Consortium of Humanities Centres and Institutes.
    [Show full text]