| 51. |
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| 52. |
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| 53. |
- Radomska, Marietta, 1984-
(författare)
-
Promises of Non/Living Monsters and Uncontainable Life
- 2018
-
Ingår i: Somatechnics. - : Edinburgh University Press. - 2044-0138 .- 2044-0146. ; 8:2, s. 215-231
-
Tidskriftsartikel (refereegranskat)abstract
- In the Western cultural imaginaries the monstrous is defined – following Aristotelian categorisations – by its excess, deficiency or displacement of organic matter. These characteristics come to the fore in the field of bioart: a current in contemporary art that involves the use of biological materials (various kinds of soma: cells, tissues, organisms), and scientific procedures, technologies, protocols, and tools. Bioartistic projects and objects not only challenge the conventional ideas of embodiment and bodily boundaries, but also explore the relation between the living and non-living, organic and inorganic, human and nonhuman, as well as various thresholds of the living.By looking at select bioartworks, this paper argues that the analysed projects offer a different ontology of life. More specifically, they expose life as uncontainable, that is, as a power of differentiation that traverses the divide between the living and non-living, organic and inorganic, human and nonhuman, and, ultimately, life and death. In this way, they draw attention to excess, processuality and multiplicity at the very core of life itself. Thus understood, life always already surpasses preconceived material and conceptual limits.Finally, while taking Deleuzian feminisms and new materialism as its theoretical ground, the paper suggests that such a revision of the ontology of life may mobilise future conceptualisations of ethics that evade the anthropocentric logic dominant in the humanities and social sciences.
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| 54. |
- Radomska, Marietta, PhD, 1984-
(författare)
-
Promising Futures? On Bioart, the Non/Living and Ethics
- 2019
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Keynote lecture delivered at the NOBA Norwegian Bioart Arena Symposium “Thinking through matter – Exploring BioArt and design in a Norwegian contemporary context”, 2 April 2019, Ås, Norway.Bioartistic projects and objects both challenge the conventional ideas of embodiment and bodily boundaries, and problematise the relation between the living and non-living, organic and inorganic, human and nonhuman, as well as various thresholds of the living.By looking at select bioartworks, this lecture argues that the analysed projects offer a different ontology of life. More specifically, they expose life as uncontainable: as a power of differentiation that traverses the divide between the living and non-living, organic and inorganic, human and nonhuman, and, ultimately, life and death. BY doing so, they draw attention to excess, processuality and multiplicity at the very core of life itself. Thus understood, life always already surpasses preconceived material and conceptual limits.While taking feminist posthumanities as its theoretical ground, the lecture suggests that such a revision of the ontology of life may mobilise future conceptualisations of ethics that evade the anthropocentric logic dominant in the humanities and social sciences.
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| 55. |
- Radomska, Marietta, 1984-, et al.
(författare)
-
Queer Death Studies : Coming to Terms with Death, Dying and Mourning Differently. An Introduction
- 2019
-
Ingår i: Kvinder, Køn og Forskning. - Copenhagen K, Denmark : Koebenhavns Universitet. - 0907-6182 .- 2245-6937. ; :3-4, s. 3-11
-
Tidskriftsartikel (refereegranskat)abstract
- The conventional engagements with the questions of death, dying and mourning are insufficient and reductive: they are often governed by the normative notions of the subject; interhuman and human/nonhuman bonds; family relations and communities; rituals; and finally, experiences of grief, mourning, and bereavement. Moreover, these engagements are often embedded in constraining beliefs in life/death divides, constructed along the lines of conventional religious and/or scientific mind/body dualisms.Against this background, Queer Death Studies serves as a site for ‘queering’ traditional ways of approaching death both as a subject of study and philosophical reflection, and as a phenomenon to articulate in artistic work or practices of mourning. Here, the notion of ‘queer’ conveys many meanings. It refers to researching and narrating death, dying and mourning in the context of queer bonds and communities, where the subjects involved/studied/interviewed and the relations they are involved in are recognised as ‘queer’. Simultaneously, the term ‘queer’ can also function as an adverb and a verb, referring thus to the processes of going beyond and unsettling (subverting, exceeding) binaries and given norms, normativities, and constraining conventions. In other words, ‘queer’ becomes both a process and a methodology that is applicable and exceeds the focus on gender and sexuality as its exclusive concerns.
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| 56. |
- Radomska, Marietta, PhD, 1984-, et al.
(författare)
-
Queer Death Studies
- 2022
-
Ingår i: More Posthuman Glossary. - London, United Kingdom : Bloomsbury publishing. - 9781350231429 ; , s. 124-125
-
Bokkapitel (refereegranskat)
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| 57. |
- Radomska, Marietta, PhD, 1984-, et al.
(författare)
-
Queer Death Studies: Death, Dying and Mourning from a Queerfeminist Perspective
- 2020
-
Ingår i: Australian feminist studies (Print). - : Informa UK Limited. - 0816-4649 .- 1465-3303. ; 35:104, s. 81-100
-
Tidskriftsartikel (refereegranskat)abstract
- This introduction to the Queer Death Studies special issue explores an emerging transdisciplinary field of research. This field critically, (self-)reflexively and affirmatively investigates and challenges conventional normativities, assumptions, expectations, and regimes of truths that are brought to life and made evident by current planetary scale necropolitics and its framing of death, dying and mourning in the contemporary world. It is set against the background of traditional engagements with the question of death, often grounded in Western hegemonic and normative ideas of dying, dead and mourning subjects and bodies, on the one hand; and on the other contemporary discourses on human and nonhuman death and extinction, directly linked to the environmental crisis, capitalist and post/colonial extractivist necropolitics, material and symbolic violence, oppression and inequalities, and socio-economic, political and ecological unsustainabilities. By bringing together conceptual and analytical tools grounded in feminist materialisms and feminist theorising broadly speaking, queer theory and decolonial critique, the contributions in this special issue strive to advance queerfeminist methodologies and ontological, ethical and political understandings that critically and creatively attend to the problem of death, dying and mourning in the current environmental, cultural, and socio-political contexts.
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| 58. |
- Radomska, Marietta, PhD, 1984-
(författare)
-
Queer/ing Imaginaries and Arts of Eco-Grief
- 2023
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- “(…) the ability to mourn for the loss of other species is, in this sense, an expression of our sense of participation in and responsibility for the whole fabric of life of which we are a part.”(Burton-Christie 2011)In the Anthropocene, death and loss become pressing environmental concerns. Destruction of ecosystems, loss of biodiversity, war, the Covid-19 pandemic and slow environmental violence evoke feelings of anxiety and grief, manifested in science and popular-scientific communication, art, theory and environmental activism. Recognising commonly unacknowledged grief and asking ourselves what it is that we mourn may help us understand our relations to the environment, and what we choose to value, preserve or revive.Theoretically grounded in the transdisciplinary field of Queer Death Studies, this talk explores crisis imaginaries linked to more-than-human death, dying and extinction (both material and figurative), as well as questions of eco-grief, which the former are inherently entwined with. This is done through a close dialogue with select contemporary bio-, eco-and media artworks that mobilise and – at times – subvert the notions of and mourning the more-than-human.
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| 59. |
- Radomska, Marietta
(författare)
-
Queering Boundaries: On Biophilosophy, the Non/living and Death : Paper formed part of the two-session panel “Queering Ecologies of Death”, proposed by Marietta Radomska and Patricia MacCormack.
- 2018
-
Konferensbidrag (refereegranskat)abstract
- paper asks about the ways to rethink death in its multiplicitous ecosophical relationality, processuality and materiality, beyond the structures of human exceptionalism that govern Western ontological, ethico-political and cultural renderings of both life and death. One of the avenues to do so is to engage with practices of eco-, bio- and body art, which themselves challenge the hegemonic position of the human subject and seek to unpack the life/death binary in the context of contemporary technoscience and environmental crises. Yet, in order to explore death as post-anthropocentric ecologies we need tools that may queer its conventional understandings. To paraphrase Noreen Giffney and Myra Hird, to ‘queer’ means to unhinge certainties and systematically disturb the familiar, ‘to undo normative entanglements and fashion alternative imaginaries’ beyond the exclusive concern with gender and sexuality (2008, 6). The task of queer theorising is a task of continuous self-reflection, of critique and the rendering visible of the ‘norm’.
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| 60. |
- Radomska, Marietta
(författare)
-
Queering Boundaries: On Death, the Non/Human and the Environment
- 2017
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This paper is set against the backdrop of the ways in which Western philosophy and cultural imaginaries comprehend death: either – following religious (yet often secularised) tradition – as a step towards afterlife, or – in a biomedical perspective – as something to be eliminated/worked against. Such a dual thinking about death is paralleled and simultaneously fortified by a strong division and hierarchy between the human subject and its nonhuman others characteristic of Western thought. These dualisms are, nonetheless, challenged by both theory and art emergent in the context of contemporary environmental crises, global climate change and ‘the sixth great extinction’. While employing feminist Deleuzian philosophy/queer vitalism and queer eco-criticism as my theoretical ground, I focus on the following questions: how do contemporary practices of bio/eco-art that deal with death and dying influence our understanding of death? What kind of conceptual/material queering do they mobilise? And finally, what does it mean to Death Studies?
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| 61. |
- Radomska, Marietta
(författare)
-
Queering Un/Common Ecologies of Death
- 2018
-
Konferensbidrag (refereegranskat)abstract
- The ecological crises – often seen as a key component of the Anthropocene - render certain habitats unliveable, leading to the death of individuals and populations. While some indicate that the notion of the Anthropocene reinforces the hegemonic position and exceptionalism of the human subject, it also becomes evident that, in this context, the stories of species extinction and nonhuman death are profoundly entangled with the histories of colonial violence and elimination of the non-normative human other.Whilst bioscience emphasises interdependency, commonality and relationality as crucial characteristics of life shared by all organisms, Western cultural imaginaries tend to draw a thick dividing line between human and nonhuman animals, particularly evident in the context of death. On the one hand, death appears as a process common to all forms of life; on the other, as an event that distinguishes human from other organisms. This split is paralleled by a dualistic approach to the human corpse itself: ‘dead’ matter is predominantly framed by either the secularised discourse on the sanctity and uniqueness of the dead body, or the narratives on its ‘abject’ character.There is a lack of sufficient theorising of the messy intimacies between materialities of human and nonhuman kind that form part of the processes of death and dying. Our cultural understandings require narratives attentive to relationalities and entanglements of the living and non-living, and human and nonhuman, which I call ‘ecologies of death’.By reading select contemporary eco-artworks and philosophical and scientific accounts on death in a more-than-human world through one another, this paper aims to explore and queer the ecologies and ontologies of death in the un/common world of the Anthropocene.
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| 62. |
- Radomska, Marietta, PhD, 1984-
(författare)
-
RESURRECT.ME 2.0: Invoking the Dead, or on a Thousand (Tiny) Extinctions
- 2024
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- What does resurrection mean in the digital era and beyond religious associations or sentimentality? The virtual and the physical are more entangled than they may seem, blurring the boundaries between the living and the non-living, or further: the dead. The environmental cost of generative AI might be one example. But digital worlds also play a special role in the context of the question of death as such. Around 20 years into the existence of Myspace, Facebook, and other social media platforms, these spaces have been populated by profiles of people long gone. On the other hand, digitalized venues of remembrance multiply: from digital ‘tombstones’ in China, through various memorial websites (commemorating humans and their nonhuman companions alike), to digital transformation of photography in the practices of remembering, like in the case of “New Dimensions of Testimony” by the Shoah Foundation, which enables interaction with holograms of Holocaust survivors. Yet, human (mass) death is not the only one that ‘materializes’ digitally. The Anthropocene necropolitics is being fleshed out in many ways: the sixth mass species extinction, extractivist capitalism- and war-induced ecocide, pollution, toxicity, and slaughter for the sake of slaughter. The more-than-human worlds are dying. While finding new ways of staying with and caring for ‘terminally ill’ environments – to paraphrase queer-ecocritical scholar Sarah Ensor – is a must, there is also a need for cultural and affective ways of working with the actual or potential loss, for communities to partake in. This is where the digital meets the physical, once again. Following this intuition, the present talk will zoom in on new-media artworks, design projects, or digital sound archives that venture into the living/non-living interface by bringing back to ‘life’ – even if for a brief moment – that which in one way or another has been marked as ‘extinct.’ Some of the examples include: Tanja Vujinovic’s “Carboflora,” a virtual environment populated by the plants of the Carboniferous period; C-Lab’s “The Living Dead: On the Trail of a Female,” which uses a drone with a multispectral camera to search for a potential last remaining female specimen of the “Encephalartos woodii” cycad – a plant species that does not exist in the wild; or Alexandra Daisy Ginsberg’s “The Substitute,” dealing with the extinction of the northern white rhinoceros. What do such projects tell us about practices of remembrance? How are they linked to the de-extinction movement? What do they tell us about our relation to that (more-than-human) which is gone? And perhaps, even more importantly, to that (more-than-human) which is not gone yet? Where does the boundary between the living and non-living run – if there is still one? Who is at the center of digitalized resurrections? These are some of the questions this talk aims to tackle.
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| 63. |
- Radomska, Marietta, PhD, 1984-
(författare)
-
Storying Terminal Ecologies: On Death, Queerfeminist Biophilosophy and Art : KEYNOTE
- 2019
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- In the present-day context of environmental crises and the degradation of resources, certain habitats become unliveable, leading to the death of individuals, populations and species extinction. While biosciences underline interdependency and relationality as crucial characteristics of life shared by all organisms, Western cultural imaginaries seem draw a thick dividing line between humans and nonhumans, particularly evident in the context of death. On the one hand, death appears as a process common to all forms of life; on the other, as an event that distinguishes human from other organisms. Against this background, this keynote paper explores how contemporary art—in particular, the series of works The Absence of Alice (2008–2011) by Australian new-media and bioartist Svenja Kratz—challenges the normative and human-exceptionalist concept of death. By employing queerfeminist biophilosophy as a strategy that focuses on relations, processes and transformations instead of ‘essences’, the talk examines the ways Kratz’s works deterritorialise the conventional concept of death.
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| 64. |
- Radomska, Marietta, PhD, 1984-
(författare)
-
"Terminal Ecologies, Amplified Vulnerabilities, Non/Living Matters"
- 2021
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- What articulations, cultural and social imaginaries, as well as imaginations are needed in the times of multiple crises? Where do we start when the notions of death and vulnerability seem to saturate any attempt to comprehend the conditions of the present? Taking the intersection between contemporary artistic practices, in particular instances of eco- and bioart, and feminist posthumanities as my entry point, I will look at the questions of death, dying and mourning in a more-than-human sense and as multiplex ecologies of non/living matters. The hope is that such an ontological reframing, grounded in the context of what is deemed ‘the Anthropocene’, may open up an urgently needed pathway towards an ethics beyond the straitjacket of human exceptionalism.
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| 65. |
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| 66. |
|
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| 67. |
- Radomska, Marietta
(författare)
-
The Promises of Non/Living Monsters and Uncontainable Life
- 2016
-
Konferensbidrag (refereegranskat)abstract
- In this paper I argue that engaging with bioart mobilises philosophical inventiveness: it contributes to the creation of concepts that attend to the problem of life and work through the binary of the living/non-living, organic/inorganic, and human/nonhuman. More specifically, I propose here the concept of uncontainable life, which refers to dynamic, non-teleological, multiplicitous forces and processes of transformation, and intensities that are constitutive of matter and always carry the potential for surplus. These excessive material forces that are exposed in the analysed bioartworks, traverse the divide between the living and non-living, organic and inorganic, human and nonhuman, growth and decay, and life and death, as they are traditionally comprehended. In other words, uncontainable life can be described by three factors: 1) the processual enmeshment of living and non-living, organic and inorganic, and life and death, that I call the non/living; 2) life’s multiplicitous character: life expresses itself in assemblages of components and forces that are modulated through their connections and interactions with each other; and 3) the potential for excess, carried by forces of the non/living that enable them to surpass prescribed material and conceptual boundaries.
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| 68. |
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| 69. |
- Radomska, Marietta
(författare)
-
Thinking with Bioart: Towards a Biophilosophy of the Non/Living
- 2017
-
Konferensbidrag (refereegranskat)abstract
- Biophilosophy – in contrast to the philosophy of biology – does not focus on the philosophical principles of biosciences, or on the essence and basic criteria of life. Instead, biophilosophy asks about relations and potentials carried by life: about that which takes life beyond itself, with both its onto-epistemological and ethical implications. Bioart is a current in contemporary art which involves the use of biological materials (cells, tissues, organisms) along with scientific procedures, protocols, and tools.While looking at select artworks, this paper argues that thinking with and through the hybrid artistico-scientific practices of bioart is a biophilosophical, material-discursive strategy that exposes the ways in which bioartworks explore and enact life as processual, multiplicitous, and characterised by a potential for excess. Thus, it mobilises a transdisciplinary mode of attending to changing human/nonhuman ecologies and imagining possible futures.
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| 70. |
- Radomska, Marietta, 1984-
(författare)
-
Time, Space, Matter : On Cartography of Gilles Deleuze and Karen Barad
- 2010
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The monist philosophy of Gilles Deleuze appears to be a great inspiration for new materialist philosophers like Rosi Braidotti or Manuel DeLanda, as van der Tuin and Dolphijn suggest. Although Karen Barad (another representaive of New Materialism) almost does not refer to Deleuze, it is tempting to point out the moments in her new materialist account that converge with Deleuzian immanent thought. In this paper I will attempt to investigate the resonances and convergences between Barad’s andDeleuze’s thought, while focusing on several concepts, which appear constantly in both authors (such as matter, time, space, and their methods).
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| 71. |
- Radomska, Marietta, 1984-
(författare)
-
Tinkering with Cells : Towards an Ontology of the Non/Living
- 2013
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Taking its departure from a direct engagement with a bioartistic project conducted by Dr Ionat Zurr (which partly consists in growing mouse skeletal muscle tissue that expresses itself by twitching), this paper aims to examine the critical and creative potential of the concept of life redefined as the non/living, its entanglement with movement, as well as the related understanding of ethics.
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| 72. |
- Radomska, Marietta, 1984-
(författare)
-
Towards a Posthuman Collective : Ontology, Epistemology and Ethics
- 2010
-
Ingår i: Praktyka Teoretyczna. - Poznań, Poland : Adam Mickiewicz University. - 2081-8130. ; 1:1, s. 94-115
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- The article aims at reconstructing ontological, epistemological, and ethical frames of the posthumanist project, while drawing on the philosophies of Karen Barad, Deleuze and Guattari, and Donna Haraway. Only by defining such theoretical premises of the project one may be able to ask about and think a posthumanist collective and posthumanist politics
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| 73. |
- Radomska, Marietta, 1984-
(författare)
-
Towards an Ecology of the Affective : Between Pain, Pleasure and Radical Body Modifications
- 2011
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Traditionally psychoanalysis has perceived sexuality as always related to genitality and desire as the one connected with lack.The issue of desire has often been associated with the Freudian pain-and-pleasure principle that may be traced back to Aristotle’s claim that one always seeks pleasure and avoids pain.E.Grosz’s extensive analysis of (animal)sex with its relation to desire and sensibility (influenced by G.Callois and A.Lingis),and G.Deleuze’s concepts of affectivity and desire challenge the idea of the organisation of erogenous zones (around the genital centre),the unity of the organic body and its stabilised image. In this way,the “carnal experience is uncertain, non-teleological,undirected” and a body that experiences such undirectedness may be acknowledged as the Deleuzian BwO.This leads to the radical redefinition and reconfiguration of traditional understandings of pleasure and pain.Following this path,I will investigate contemporary practices of one of the forms of radical body modification, namely flesh hook suspension. The questions of pain, pleasure and erotic (sexual)desire often follow from the discussion on BM.Groszian and Deleuzian concepts of desire, affect and becoming will enable me to offer an innovative,philosophical,affirmative,yet critical reading of contemporary rituals of suspension,and thus to open up a new site for the production of knowledge and creation of the new.
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| 74. |
- Radomska, Marietta
(författare)
-
Towards Arts of Eco-Grief: A Queering Reflection
- 2023
-
Ingår i: State of the Art: Elements for Critical Thinking and Doing. - Helsinki : Bioart Society. ; , s. 35-43
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- This short chapter, philosophically grounded in queer death studies, explores imaginaries of more-than-human death and ecological grief (eco-grief) as they are mobilised and (re)shaped at the interface between contemporary theory, art and culture. It is in the flesh of contemporary artworks, where an ecological ontology of death is being exposed and where ethical terrains of eco-grief clandestinely unfold.
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| 75. |
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| 76. |
- Radomska, Marietta
(författare)
-
Uncontainable Life : A Biophilosophy of Bioart
- 2016
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Uncontainable Life: A Biophilosophy of Bioart investigates the ways in which thinking through the contemporary hybrid artistico-scientific practices of bioart is a biophilosophical practice, one that contributes to a more nuanced understanding of life than we encounter in mainstream academic discourse. When examined from a Deleuzian feminist perspective and in dialogue with contemporary bioscience, bioartistic projects reveal the inadequacy of asking about life’s essence. They expose the enmeshment between the living and non-living, organic and inorganic, and, ultimately, life and death. Instead of examining the defining criteria of life, bioartistic practices explore and enact life as processual, differential, and always already uncontainable, thus transcending preconceived material and conceptual boundaries.In this way, this doctoral thesis concentrates on the ontology of life as it emerges through the selected bioartworks: “semi-living” sculptures created by The Tissue Culture and Art Project and the performance May the Horse Live in Me (2011) by L’Art Orienté Objet. The hope is that such an ontology can enable future conceptualisations of an ethico-politics that avoids the anthropocentric logic dominant in the humanities and social sciences.
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| 77. |
- Radomska, Marietta, PhD, 1984-
(författare)
-
Viral Queerings, Amplified Vulnerabilities
- 2020
-
Ingår i: Rehearsing Hospitalities Companion 2. - Helsinki : Frame Contemporary Art Finland and Archive Books. - 9783948212438 ; , s. 155-172
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- In lieu of abstract (excerpt from the Editors' introduction to the volume):"With our invitation to turn over (re-turn) hospitality in these times Marietta Radomska’s response combines her own research within the emerging field of Queer Death Studies with a detailed reading of the coronavirus disease pandemic. In her essay, “Viral queerings, amplified vulnerabilities”, Marietta seeks to subvert normative and simplified understandings of our present. Following the thread that the pandemic affects some bodies more than others, Marietta highlights how “the exploitation and degradation of nature mixed with intensifying socio-economic inequalities directly contribute to the emergence of zoonoses”. Untangling the myth of the containable body and human-exceptionalism, Marietta challenges which lives are considered grievable drawing our attention to “more-than-human necropolitics”. In queering the pandemic she asks us to “reimagine the ways we relate to human and nonhuman others, perhaps in a more hospitable register”."
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| 78. |
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| 79. |
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| 80. |
- Radomska, Marietta, 1984-
(författare)
-
Zoosemiotics as a new perspective
- 2006
-
Ingår i: Homo Communicativus. - Poznan, Poland : Communication Theory and Philosophy Department, Adam Mickiewicz University. - 1896-3099. ; :1, s. 71-77
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 81. |
- Radomska, Marietta, 1984-
(författare)
-
Zylinska, Joanna, Minimal Ethics for the Anthropocene, Ann Arbor: Michigan Press/Open Humanities Press, 2014, 152 pp. ISBN 9781607853299
- 2015
-
Ingår i: philoSOPHIA. - New York : SUNY Press. - 2155-0891. ; 5:2, s. 315-317
-
Recension (övrigt vetenskapligt/konstnärligt)abstract
- In both its form and composition , Minimal Ethics for the Anthropocene (2014) by Joanna Zylinska is a short, original, and elegant book, the aim of which, as the author emphasizes, is to “tell a different story about the world and our human positioning in and with it, while taking seriously what science has to say about life and death” (Zylinska 2014, 11). The book consists of ten chapters, each of which can be seen as an independent essay representing one element of the overall argument and thus constituting a possible entry point.
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| 82. |
-
State of the Art : Elements for Critical Thinking and Doing
- 2023
-
Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- How to participate proactively in a process of change and transformation, to shape our path within an uncertain future? With this publication, the State Of The Art Network marks a waypost on a journey which started in 2018, when like-minded Nordic and Baltic art organisations and professionals initiated this network as a multidisciplinary collaboration facing the Anthropocene. Over five years, ten organisations and around 80 practitioners from different disciplines, like the arts, natural sciences and humanities came together, online and in person, for workshops, seminars and discussions. The aim was to find ways to create resilience and concrete actions on how to live through the change in culture, economy and the environment and to find concrete, hands-on methods to deal with the Anthropocene and the environmental crisis. As an outcome of this process, this publication takes a closer look at how we as practising artists, researchers and cultural actors can create elements for critical thinking and doing which can assist us in navigating the complexities of the present.
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| 83. |
- Åsberg, Cecilia, 1974-
(författare)
-
Environmental violence and postnatural oceans : : Low trophic theory in the registers of feminist posthumanities
- 2021
-
Ingår i: <em>Gender, Violence and Affect</em>. - London : Palgrave Macmillan. - 9783030569297 - 9783030569303
-
Bokkapitel (refereegranskat)abstract
- Environmental violence takes form of both “spectacular” events, like ecological disasters usually recognised by the general public, and “slow violence”, a type of violence that occurs gradually, out of sight and on a long-term scale (Nixon 2011). Planetary seas and oceans, loaded with cultural meanings of that which “hides” and “allows to forget”, are the spaces where such attritional violence unfolds unseen and “out of mind”. Simultaneously, conventional concepts of nature and culture, as dichotomous entities, become obsolete. We all inhabit and embody the world differently, as variously situated people, divided by national, sexual, bodily and economic status, and as very variously situated nonhumans in an increasingly anthropogenic world.This chapter focuses on subtle “slow violence” unfolding through the instances of submerged chemical weapons, so-called dead zones, invasive species and high- and low-trophic mariculture in the Baltic and North Sea regions. It zooms in on the select cases of such “environed bodies”, their stories of excruciating slow violence and yet also on unexpected encounters with care and hospitality. The aim is to unfold a low-trophic theory for the naturecultural research on violence and care within environmental humanities, and to engage a coexistential ethics of environmental adaptability informed by feminist posthumanities.
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| 84. |
- Åsberg, Cecilia, 1974-, et al.
(författare)
-
Environmental Violence and Postnatural Oceans : Low-Trophic Theory in the Registers of Feminist Posthumanities
- 2020. - 1
-
Ingår i: Violence, Gender and Affect. - : Palgrave Macmillan. ; , s. 265-285
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Bokkapitel (refereegranskat)abstract
- Environmental violence takes form of both ‘spectacular’ events, like ecological disasters usually recognised by the general public, and ‘slow violence’, a type of violence that occurs gradually, out of sight and on a long-term scale. Planetary seas and oceans, loaded with cultural meanings of that which ‘hides’ and ‘allows to forget’, are the spaces where such attritional violence unfolds unseen and ‘out of mind’. Simultaneously, conventional concepts of nature and culture, as dichotomous entities, become obsolete. We all inhabit and embody the world differently, as variously situated people, divided by national, sexual, bodily and economic status, and as very variously situated nonhumans in an increasingly anthropogenic world. This chapter focuses on subtle ‘slow violence’ unfolding through the instances of submerged chemical weapons, so-called dead zones, invasive species and high- and low-trophic mariculture in the Baltic and North Sea regions. It zooms in on the select cases of such ‘environed bodies’, their stories of excruciating slow violence and yet also on unexpected encounters with care and hospitality. The aim is to unfold a low-trophic theory for the naturecultural research on violence and care within environmental humanities, and to engage a coexistential ethics of environmental adaptability informed by feminist posthumanities.
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| 85. |
- Åsberg, Cecilia, 1974-, et al.
(författare)
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Framtider på sin spets: Att värdera det omätbara
- 2022
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Annan publikation (populärvet., debatt m.m.)abstract
- Vi menar i den här korta essän att öar, som det planerade, offentliga konstverket Future Island, har mycket att lära oss. De tränar vår förmåga att se stora sammanhang, ”connect the dots”. Med öar,som per definition ligger vid marginalerna av fast mark eller till och med långt ute till havs, tränas vår föreställningsförmåga. Det behövs nu när vi måste anpassa oss på nytt, till en miljö- och klimatförändrad värld. Nu när vi måste lära oss leva med ovissa klimatframtider behövs testscenarion och projektionsytor för tänkbara framtider, som Future Island-verket. Här har vetenskap och tekniken självklar plats – i egenskap av datainsamling och observationer av möjliga scenarier. Men för att verkligen öva vår föreställningsförmåga, och därmed vår anpassningsförmåga, i en redan miljöförändrad värld, krävs mer än disparat information. Det behövs mer än tekniska beräkningar, vetenskapliga övervakningssystem och informativa utbildningsinsatser. Nu krävs inlevelse, fantasiförmåga, spekulationer, nya horisonter och nya sätt att se sammanhang. Inte minst krävs avoss alla idag konsten att leva med det okända, det omätbara.
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| 86. |
- Åsberg, Cecilia, 1974-, et al.
(författare)
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Low Trophic Theory
- 2022
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Ingår i: More Posthuman Glossary. - London, United Kingdom : Bloomsbury publishing. - 9781350231429 ; , s. 74-76
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Bokkapitel (refereegranskat)
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| 87. |
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| 88. |
- Åsberg, Cecilia, 1974-, et al.
(författare)
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Methodologies of Kelp : on feminist posthumanities, transversal knowledge production and multispecies ethics in an age of entanglement
- 2020
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Ingår i: <em>The Kelp Congress</em>. - Svolvær : NNKS Press. - 9788299245050 ; , s. 11-23
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- This chapter takes departure in the experience gathered through our participation in two workshops: Kelp Curing and Coast, Line, forming part of the Kelp Congress, as well as our daily research and art practices.We take kelp as material entities immersed in a multitude of relations with other creatures (for whom kelp serves as both nourishment and shelter) and inorganic elements of the milieu it resides in, on the one hand, and as a figuration: a material-semiotic “map of contestable worlds” that encompasses entangled threads of “knowledge, practice and power” (Haraway 1997, 11) in its local and global sense, on the other. While drawing on our field notes from the congress and feminist posthumanities and environmental humanities literatures (e.g. Alaimo 2016; Åsberg & Braidotti 2018; Sandilands & Erickson 2010; Iovino & Opperman 2014) – with a special focus on the so-called blue humanities/oceanic humanities (e.g. DeLoughrey 2019) – that unpack human/nonhuman relations in the context of the current environmental crisis and the accompanying “slow violence” (Nixon 2011), we mobilise a reflection on and make a proposal for “thinking with kelp” as a multi-faceted methodology of transversal and transdisciplinary knowledge production and practices: situated (Haraway 1988), enfleshed, transcorporeal (Alaimo 2010), collaborative, and committed to an ethics of multispecies response-ability (Haraway 2008).
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| 89. |
- Åsberg, Cecilia, 1974-, et al.
(författare)
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More-than-human feminisms across arts and sciences
- 2022
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Ingår i: G22 Conference - Shaping Hopeful Futures in Times of Uncertainty. - Karlstad : Karlstads universitet.
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Konferensbidrag (refereegranskat)abstract
- Feminist theories have long been concerned with the violent impact of (normative) Universal Man on society and nature, aconsequence of a modern phantasy divide between Nature and Culture. In this planetary era some call the Anthropocene, it isclearer to us how the environment is in us, and we humans are fully in the environment. The modern Nature/Culture divideimplodes violently on itself. For too long those regarded as less cultured, less-than-human and particularly nonhumans,like the very ecologies that sustains us, have been approached as mere resours or background for Universal Man. What canbe done - in practice, in thinking and in scholarship in such a situation?The present postnatural situation disrupts modern figurations of thought and scholarly practice, and begs new ones. Withclimate change, oceanic disturbance, habitat loss and rampant species extinction on the one hand, and new syntheticbiologies, technobodies and algorithms we live by on the other, it asks feminist sciences and arts for extradisciplinaryresponses, for new designs of practice.No longer can a division of academic labour be sustained, where technoscience does naked facts, use/abuse nonhumans andextract raw nature while artistic research, humanities and social science does culture, ethics and politics. Spurred by morethan-human feminisms, thicker forms of situated knowing have already emerged, for instance as practices of critical, creativeand feminist posthumanities.Such more-than-human humanities come in response to the pressing need to a) alter and decolonize such dividing knowledgeforms and to b) change the very ways we think, eat, and live with nonhumans in society. Sharing a Darwinian feeling forhow everything is connected, critically and creatively, with a relational ethics of care and concern, more-than-humanfeminisms and postdisciplinary disciplines, have paved way for environmental humanities and other more-than-human formsof the posthumanities. What are the stakes and challenges in these transformations? Why do we need them? And whatfeminist genealogies gets recognized?This lively round-table talk brings diverse scholars together for a spirited conversation on the usefulness and potential impactof feminist theorizing on sustainability, design, and on how to bring art and science to the social humanities, and insights tothe people living in a more-than-human world. It will be fun, but deadly serious.
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| 90. |
- Åsberg, Cecilia, 1974-
(författare)
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Three Years with the Posthumanities Hub
- 2021
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Rapport (refereegranskat)abstract
- First of all, it has been a fantastic time at KTH with new and old collaborations across disciplines, paving the way for the reinvented, new humanities of societal relevance. The Posthumanities Hub (PH) has since March 2018 until February 2021 had its main institutional home at KTH, where our founding director Cecilia Åsberg worked as Guest Professor in Science and Technology Studies focusing on Gender and Environment. Dr. Janna Holmstedt, artistic director and coordinator, has worked at KTH as research engineer since May 2019, and co-director Dr. Marietta Radomska has been based at Linköping University and Helsinki University.As a research group and network of networks for philosophy, arts, and sciences informed by advanced cultural critique and creativity, we host visiting researchers, public events, seminars and symposia. From such collaborative vantage points, we bring science and nonhumans to the humanities, and transformational humanities to the people. The Posthumanities Hub collaborates with other institutions through our research group, visiting scholars, affiliated researchers, advisory board, and international networks. For instance, during these three years we have worked with Bonniers Konsthall and Färgfabriken in Stockholm, the Rachel Carson Centre for Environment and Society in Munich, Lofoten Art Festival in Norway, the International Science Festival in Göteborg, The Public Art Agency Sweden, the Finnish Bioart Society, and UNESCO World Humanities: Europe, to mention a few.We have been giving talks, PhD responses, and keynotes, at Swedish and international universities, art events, research conferences, and at the Swedish Radio. We have hosted more than 20 seminars at KTH as part of The Posthumanities Hub Seminar Series, which since 2020 have been taking place online, with the number of participants skyrocketing from 30 to 150.Marietta Radomska has set up a sub-group of the Posthumanities Hub, focusing on Eco- and Bioart research. Janna Holmstedt has initiated the Humus Economicus Collaboratory, focusing on human-soil relations. Cecilia Åsberg and Hub-researcher Christina Fredengren are finalizing the project Checking in with Deep Time, and Åsberg will explore AI and the Artistic Imaginary with André Holzapfel and Bob Sturm, KTH.Among the varied activities we have engaged in besides research are:• Open Humanities Lab Symposium: New Humanities and Anthropocene we organized at KTH, with 25 extra-ordinary speakers (2019)• a mixed and postdisciplinary gathering of artists and researchers on the theme of /Mis/communication/s/ in KTH’s Reaktorhallen, curated by Janna Holmstedt on invitation by The Public Art Agency Sweden (2019);• PH has been a proud partner and participant in The Kelp Congress, Lofoten International Festival (LIAF), NO (2019), the Posthumanism Research Institute at Brock University, Canada, and the State of the Art Network, a Nordic-Baltic network of artists, practitioners, researchers, and organizations exploring the role, responsibility, and potential of art and culture in the Anthropocene (2018 –present).• We’ve initiated two Formas Communication Projects (Åsberg) involving students, in collaboration with Bromma gymnasium, Färgfabriken in Stockholm and Art Lab Gnesta.Our teaching focuses on gender, environment and sustainability. We were proud to inherit Gender and Technology (Åsberg), a flagship course of the Division that we ran 2019 – 2020 with students doing MAs in engineering. In 2020 we started up the new PhD course Gender and Sustainability: Introducing Feminist Environmental Humanities with Meike Schalk at KTH School of Architecture, with over 30 participants from many corners of the world. Both courses were very highly rated and appreciated, to the degree of forming new lively phd-networks (Genderation for Future Sustainability Network).Read more about the research group,our companions, seminars, projectsand events here:http://posthumanities.net/http://www.facebook.com/posthumanitieshub/Director and founder:Cecilia Åsberg, KTH/LiU.co-director:Marietta Radomska, LiU.artistic director and coordinator:Janna Holmstedt, KTH.senior strategic advisor:Christina Fredengren, SU. Ragnar Holm postdoc:Lina Rahm, KTH.
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| 91. |
- Åsberg, Cecilia, 1974-, et al.
(författare)
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Towards a Low-Trophic Theory in Feminist Posthumanities : Staying with Environmental Violence, Ecological Grief and the Trouble of Consumption
- 2023. - 1
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Ingår i: Mapping the Posthuman. - London : Routledge. - 9781032334615
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Bokkapitel (refereegranskat)abstract
- Violent but slow changes to marine climates and blue biodiversity, to warming oceans and coastal areas have been understood as nested problems in need of increased scientific and technological solutions. Instead, this chapter begins from the position that these interlinked problems of human environmental impact on oceans and coastal areas require connected, affective and cultural studies-informed approaches of more-than-human arts (posthumanities put to practice) to complement scientific insight on how to consume better with the sea. Human-induced impacts range from ocean warming and acidification, loss of biodiversity, eutrophication and marine pollution to local degradation of coastal environments and habitats. In order to deal with the nested challenges of such oceanic environmental violence in terms of consumption and grief, we propose to show four cases of coastal and marine slow violence from our Scandinavian “backyards” with the purpose to story exposures and provide counter-narratives on how to reinvent our consumerist ocean imaginary. From diverse locations in the field and in research, we have developed what is here referred to as “low trophic theory”, a situated local stance that attends to entanglements of cultural theory, food practice, affect and grief, violence, more-than-human humanities, multispecies ethics, and the oceanic consumer imaginary. We combine field-philosophical case studies with insights from marine science, eco-art and cultural practices in the Baltic and North Sea region. In the process, we develop analytical notions for the practices and theories of feminist posthumanities. Here in particular as targeted arts of learning to live and die, consume less violently, and to grieve on a damaged blue planet.
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| 92. |
- Åsberg, Cecilia, 1974-, et al.
(författare)
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Why we need feminist posthumanities for a more-than-human world
- 2019
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Ingår i: Transformative Humanities KTH Blog. - Stockholm : KTH Royal Institute of Technology. ; 8
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Tidskriftsartikel (refereegranskat)abstract
- Today, the environment is in us, and we humans are fully in the environment. That much is clear in this new planetary era of uncertainty some call the Anthropocene. Postdisciplinary practices and situated knowledges (Haraway again!) are of course especially salient in this regard: a brute necessity. The planet knows no disciplinary borders, it does not separate between nature and culture. Our planetary issues can not be solved by demarcations where sciences do nature and humanities do culture. In truth, our Anthropocene predicament belies the whole classical distinction between nature and culture! The needed efficacy of such postdisciplinary work is evidenced in many new, old and déja vu fields like feminist science studies and networked new materialisms, in bio-art and eco-art, in somatechnics, new media studies, post-continental philosophy, in anthropocene studies or transcorporeal theory, in multispecies- and medical humanities, in transgender studies, xenofeminism, cyborg- or techno-humanities, ecological or environmental humanities, queer death studies, critical veganism, and a mounting range of posthumanisms, inhumanisms and ahumanisms. Yes, critical and creative scholars in and around the humanities have not been lazy in the face of the many issues that face us today. Feminist posthumanities cover or converse with such postdisciplinary practices. It labels a wide-spread, multi-sited, evolving and growing effort to rework the role of the humanities and their relation to science, technology, art and contemporary society on the basis that our idea of the human is fundamentally reaching its limits, and changing. Feminist posthumanities thus responds to the need for more-than-human humanities.
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| 93. |
- Åsberg, Cecilia, 1974-, et al.
(författare)
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Why we need feminist posthumanities for a more-than-human world
- 2019
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- If the humanities and the arts can be said to be broadly concerned with the self-reflection and understanding of the human species, the posthumanities comes about when we recognise the relationships between the multiple planetary alterations that go sometimes under the name the Anthropocene. We have drastic ecological changes to air, soil and biological reproduction, we have rapid species extinction rates, ubiquitous toxic embodiment and environmental health concerns, and non-sustainable climate changes ahead. Posthumanities also comes about with growing computational systems, security terrors, new biomedical ways of life, re-arranged life forms and synthetic biologies, amongst many many many things. All this impel us to recognise the wider forms and constituents of the condition that is no longer nameable simply as humanity. The world is not the same, now more humanised than ever (perhaps even all too human?), so why should the thinking habits and concepts we live our life by be the same?
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