The following workshops are part of "Off the Lip 2015" (#otlip15). All workshops take place on 3rd floor of the Link building (aka CogNovo Link3 workspace). This schedule might still be subject to change.
| Time | Title | Presenter |
|---|---|---|
|
10:30 |
Tea and coffee | |
| 10:45 | Workshops introduction | |
| 11:00 | Gender, Memory and the Politics of the Early Modern Archive | James Daybell |
| 13:00 | Lunch | |
| 14:00 | The Art of Consumption: Picturing tuberculosis in alpine sanatoria around 1900 | Gemma Blackshaw |
| 16:00 – 17:00 | Welcome reception with tea and cake | |
| Time | Title | Presenter |
|---|---|---|
| 10:00 | Tea and coffee | |
| 10:30 | Light Image Imagination: Transdisciplinarity and Publishing in the Arts and Humanities | Martha Blasnigg |
| 12:30 | Lunch | |
| 13:30 | Visual Mediators: Exploring the transactional capabilities of diagrams, maps and schematic notations | Mathew Emmett |
| 15:30 | Break | |
| 15:45 – 17:45 | Hanging in Dreams on the Back of a Tiger: Lies, Science and the Philosophy of Metaphor | Min Wild |
| 19:30 | Conference Dinner at River Cottage, Royal William Yard (pre-registration required – if you haven't, get in contact with the conference administrator). | |
Art historian Dr Gemma Blackshaw works on the many vital connections that existed between modern medicine and modern art in Europe at the turn of the 19th century. Her workshop will begin with a paper on the Austrian artist Oskar Kokoschka's time at the MontBlanc Sanatorium for Lung Disease, Leysin, in 1910, which coincided with his 'breakthrough' to an expressionist style of portrait painting. Reconstructing his experience of new medical technologies, such as X-ray imaging, and therapeutic regimes, such as the rest cure, Gemma will highlight the formative relationship that existed between the curative environment of the sanatorium and Kokoschka's newly visceral form of portraiture. This will lead to a discussion of the entangled histories of medicine and modernism, and the role of the 'medical humanities' in unravelling them.
In his now classic mediation on the nature of archives and memory, Archive Fever: A Freudian Impression, Jacques Derrida posits a very male-dominated model of the archive in which women play an ambivalent role, at once central but also marginalised and excluded from the 'economic' work of the archive. He introduces, however, the term 'matriarchive', a term that is not actually explained. In his recent study of marginalia, William H. Sherman responds to this suggestive neologism by conceptualising such an archive, by looking at 'the role of women in organizing goods, information and history in the early modern household', the role they played in early modern 'archival practices', as well as 'the place they have traditionally occupied in the archives we now use to access their lives and works'.
What this workshop is interested in is more broadly the ways in which women's manuscripts survive to us today; not only in women's direct involvement with early modern archives as sites of memory, but also in what might be described as the gendered politics of archival survival, the ways in which women might be marginalised and excluded from memory systems. In particular the workshop examines the survival of women's letters outside of formal institutional archives, through a series of case studies which examine the status, treatment and archival of afterlife of four distinct groupings of letters within family archives.
In this workshop we'll be considering some heresies about the possibilities and impossibilities of science as we normally understand it. We'll focus together on a short, but inflammatory piece written by the irreligious philosopher Friedrich Nietzsche: 'On Truth and Lying in a Extra-moral Sense' (1873). We'll use ideas from philosophy, psychology and literary criticism – most especially about the role of metaphor in cognition – to ask questions of the scientism that marks Western culture. Together in a seminar environment, we'll be trying to make sense of what Nietzsche says and if it has anything to say to us today. Except for Min, who has an unfair advantage, everyone starts from the same place, and so we can direct the workshop ourselves – it's an exercise in collective reading and judgement we hope everyone will immensely enjoy. Practically, it will be of help when considering the value of rhetoric in the public dissemination of science.
Diagrams, maps and schematic notations represent information in a visual manner. By interpreting these visual mediators as a creative theoretical framework for conceptual synthesis, an extended repertoire of reasoning can be negotiated visually to elucidate contingencies, reveal reciprocal actions and broker relational contracts.
Visual mediators have become the foundation for various visual languages and reasoning activities from both academia and industry. This workshop will explore visual mediators as a creative practice for improvisation and creativity, offering the possibility to evolve and reinterpret your research within a conceptual nexus of visual mediation. Further, the workshop will explore these visual mediators as inherently spatial devices that articulate both structure and program, whereby movement through, in and around the constituent parts reveals a multidimensional quality comprised of intersections, overlaps, disjointed cut-ins and interplay. Visual mediators will therefore explore these complex images as visualisation tools encoded with sophisticated information. The workshop will cover both the contextual understanding and practical exploration of diagramming, maps and notation. The workshop aims to bring together researchers from diverse backgrounds to explore and experiment with visual mediators, offering the opportunity to extend your repertoire of research practice both as a tool for discovery, communication and reflection.
This workshop will provide insights into a transdisciplinary publishing project in the Humanities and Arts that brought together 22 artistic practitioners and media theorists, philosophers and scientists from a range of disciplines including film and media theory, media archaeology, cinema history and theory, philosophy, history of science and technology, astronomy, computer music, literature studies, neuroscience, psychology, art history and art and media practice (painting, photography, film, video and digital arts; music composition). They were invited to explore the explicit, and more particularly the implicit, interrelationship between light and the creation of (re)mediated, (im)material, mental images, through image or text essays which were treated with the same significance on an equal basis.
The workshop will use this project as a case-study in order to trace the processes of the conception and production of this anthology starting from the book proposal, through the negotiations with publishers to the intricacies of the editorial process to the final product. In doing so it will pose questions around multi-modal publishing, discipline-related styles and approaches to publishing, media specificity and cross-disciplinary dialogue that come to bear in a transdisciplinary publishing project of this kind.
The workshop aims to open up a platform to share publishing and editorial experiences among the participants and to foster the understanding of transdisciplinarity in practice in the context of current trends in the international academic publishing business.
Michael Punt will be co-leading this workshop on behalf of Leonardo (MIT Press), his long-standing expertise as international editor of art, science, technology collaboration and Editor-in-Chief of Leonardo Reviews.