‘Re-‘ Events at CRASSH

Re- As an Embodied Practice (Workshop)

23 January 2019, 16:00 – 18:00

Judith E. Wilson Studio, Faculty of English, 9 West Road

Sophie Seita (Cambridge/New York)

Peter McMurray (Ethnomusicologist, Saxophonist, and Media Artist. Music, Cambridge)
Claudia Tobin (Leverhulme Fellow, and curator at the Royal Drawing School. Art History, English, Cambridge)
Emma Attwood (Theatremaker and Performer. Playwright, Director), whose cross-disciplinary work explores the intersections between live and video performance.
Chana Morgenstern (Prose Writer and Lecturer in Postcolonial Literature, English Faculty, Cambridge).

Artist and academic Sophie Seita (Cambridge, New York) will lead a research-driven creative practice workshop about repetition, community, and the concept of remaking or re-staging. Practical exercises using voice, movement, and text, drawing on the singing method from the Lichtenberg Institute for Applied Physiology of the Voice, Feldenkrais, and 5Rhythms, will be followed by a roundtable discussion about participants’ experiences of practice-based research, and the challenges of integrating scholarship, creative practice, pedagogy, and politics.

Seita works with text on the page, performance and video, often using translation or in multi-media collaborations, with a commitment to queer-feminist politics.

Repetition as Claiming Space

6 February 2019, 14:00 – 17:00

Seminar Room SG2, Alison Richard Building, 7 West Road, Cambridge CB3 9DT

Professor Richard Coyne (Architecture, Edinburgh)‘Mindless Repetition: Re-running the Territorial Imperative’

3.30pm -5.00pm Respondents:

Dr Cristina Baldacci (Università Ca’ Foscari, Venice/ICI Berlin)
The Re-turn in contemporary art

Dr Francesco Giusti (Institute for Cultural Inquiry, Berlin)
Lyric Time and the Trans-historical

Richard Coyne researches and teaches in digital technologies and design. His most recent books are Mood and Mobility, Navigating the Emotional Spaces of Digital Social Networks with MIT Press, and Network Nature: The Place of Nature in the Digital Age with Bloomsbury Academic. He is interested in sound and space, the persistence of romanticism in digital cultures, and philosophical pragmatism, and will soon release a book on C.S. Peirce. His blog ‘Reflections on Technology, Media and Culture’ is at https://richardcoyne.com/. The title of his lecture refers to Ardrey, R. (1967) The Territorial Imperative: A Personal Inquiry into the Animal Origins of Property and Nations, London, Collins) and its applicability to video gaming and other more recent pursuits.

Cristina Baldacci is Senior Researcher at the Università Ca’ Foscari, Venice, and still affiliated to the ICI Berlin, where she was a 2016-18 fellow. Her research interests focus on the archive and atlas as artistic gestures and visual forms of knowledge; appropriation and montage as artistic strategies; “re”-practices in contemporary art; image theory and visual culture; contemporary sculpture and installation art; new media art. She has written for various magazines and essay collections, and co-edited, among others, the volumes: Quando è scultura (2010), Montages: Assembling as a Form and Symptom in Contemporary Arts (2018), Abstraction Matters: Contemporary Sculptors in Their Own Words (forthcoming), and Over and Over and Over Again: Re-Enactment Strategies in Contemporary Arts and Theory (forthcoming). She is the author of Archivi impossibili. Un’ossessione dell’arte contemporanea (2016), a monograph on archiving as artistic practice.

Francesco Giusti is currently affiliated to the ICI Berlin, where he was a 2016-2018 fellow. After his PhD in Comparative literature at the Italian Institute of Human Sciences and Sapienza University of Rome, he pursued his research on the history and theory of the lyric at the University of York and the Goethe-Universität Frankfurt. He is a member of the Centre for Research in Philosophy and Psychoanalysis Après-coup (University of L’Aquila) and the author of two books devoted respectively to the ethics of mourning and to creative desire in lyric poetry: Canzonieri in morte. Per un’etica poetica del lutto(2015) and Il desiderio della lirica. Poesia, creazione, conoscenza (2016). With Christine Ott and Damiano Frasca, he co-edited the volume Poesia e nuovi media (2018).

Reimagining ‘The Classics’

12 February 2019, 12:00 – 14:00

Seminar Room SG2, Alison Richard Building, 7 West Road, Cambridge CB3 9DT

Professor Salvatore Settis (Columbia/Pisa).

Special ‘Re-‘ lecture about two recent highly successful exhibitions he recently curated for the Prada Foundation: ‘The Portable Classic’, in Venice, about the origins and functions of miniature reproductions of classical sculptures and their role in canon formation in antiquity and beyond
(http://www.fondazioneprada.org/project/portable-classic/?lang=en);  and ‘The Serial Classic’, in Milan, about classical sculpture and the ambivalent relationship between originality and imitation in Roman culture

Salvatore Settis is the former Director of the Getty Research Institute in Los Angeles (1994–1999) and of the Scuola Normale Superiore di Pisa (1999–2010), where he also taught Classical Archaeology and Art History. He was Warburg Professor at the University of Hamburg (1991) and delivered the Isaiah Berlin Lectures at the Ashmolean Museum, Oxford (2000), the A.W. Mellon Lectures at the National Gallery of Art, Washington D.C. (2001), and the Lectures of the Cátedra del Museo Nacional del Prado, Madrid (2010-11). He is a member of the American Academy of Arts and Sciences, the Institut de France, the American Philosophical Society, the Istituto Veneto di Scienze, Lettere, ed Arti, and the Academies of Sciences in Berlin, Munich, Brussels, and Turin. He currently chairs the Scientific Council of the Musée du Louvre.  Books include If Venice Dies (2016), Azione popolare: Cittadini per il bene comune (2012), Artisti e committenti fra Quattro e Cinquecento (2010), and The Future of the Classical (2006); co-editor with Anthony Grafton and Glenn W. Most The Classical Tradition (2010).



The Performer as Interpreter: an Embodied Double (Artist’s talk)

27 February 2019, 15:00 – 27 March 2019, 17:00

Judith E. Wilson Studio, Faculty of English, 9 West Road

Professor Raphael Sbrzesny (University of the Arts, Bremen)

Berlin-based performance and video artist and classically trained drummer Raphael Sbrzesny (Professor for Creation and Interpretation with a focus on sound, performance and concept at the University of the Arts in Bremen) will talk about his work of re-staging and re-interpreting pieces of classical music and works by Beckett and John Cage. He will introduce his performance concept of ‘the figure of the interpreter as the performer’s second body’. https://www.raphaelsbrzesny.com/

Curated by Dr Sophie Seita (https://www.english.cam.ac.uk/people/Sophie.Seita/)

Raphael Sbrzesny studied New Music, Classical Drums and Chamber Music in Stuttgart and Paris, Experimental Music Theater and Composition in Bern, and Visual Arts in Stuttgart and Munich. He has received scholarships and prizes from the Kunststiftung Baden-Württemberg, the Cité Internationale des Arts Paris, the Karl Schmidt-Rottluff scholarship for fine arts, and was a Fellow at the Akademie Schloss Solitude in 2017. He has performed at the Maxim Gorki Theater in Berlin and the Staatsgalerie Stuttgart and had solo exhibitions at the Kunstmuseum Stuttgart in 2015/2016; group exhibitions at the Videonale.15 in Bonn, the Grassi Museum for Applied Arts, Leipzig, Open Studios in the Villa Romana, Florence, and the Venice Biennale. Spector Books published his artist book and exhibition catalogue Service Continu 7/7 in 2017.


Technologies of Reproduction and the Craft of Activism

6 March 2019, 14:30 – 16:30

JOINT EVENT WITH Cambridge Digital Humanities (https://www.cdh.cam.ac.uk)

Seminar Room SG1, Alison Richard Building, 7 West Road

Professor Annabelle Sreberny (SOAS)

Dr Anne Alexander (CDH, CRASSH)

It is one of the great paradoxes of modern society that a machine for making copies can become “a means for making things different”.[1] For more than 500 years the mechanical reproduction of words and images has been a routine of power. Yet copying has also been central to the process of challenging the existing political order through the circulation of unlicensed books, pamphlets and tracts from hand to hand in the early modern era to the millions of copies of webpages, Facebook postings, tweets and SMS messages sent electronically during the wave of mass protests and revolutionary upheavals in the Middle East between 2009 and 2013.

This event will explore the relationship between technologies of reproduction and the craft of activism, with a particular focus on the Middle East. We will investigate how that craft has changed across generations of reproductive technology, the affordances of specific devices in relation to how they articulate identity and practice anonymity and correlations between form and function across mechanical and digital ‘versions’ of particular artefacts (button badges and online icons, for example). We will also address broader themes, such as the extent to which these artefacts were regarded as ephemeral or “for the record”, and the ways in which their construction reveals or hides the roles of their publishers, editors, authors and readers/audiences.

[1] Matthew Fuller, ‘Interview with a Photocopier’, May 2004, http://www.spc.org/fuller/fiction/interview-with-a-photocopier/.

Annabelle Sreberny is Emeritus Professor at the Centre for Global Media and Communications, and the School of Arts, SOAS. She has consulted for UNESCO, the British Council, Article 19, the EU and the Council of Europe and is a member of the Royal Society of Arts. Her research spans the histories of international communication, globalization, feminism, and changing configurations of the public and private. Publications include Persian Service: The BBC and British Interests in Iran(2014) Blogistan: The Internet and Politics in Iran (2011) ‘The 2015 Charlie Hebdo Killings, Media Event Chains, and Global Political Responses‘ (2016) ‘Talking soft about “soft “war‘.(2013) ‘Transcultural journalism and the politics of translation: Interrogating the BBC World Service’.(2011) ‘Becoming Intellectual: The Blogestan and Public Political Space in the Islamic Republic’ (2007) https://www.soas.ac.uk/staff/staff31856.php

 Dr Anne Alexander is Director of the Learning Programme at Cambridge Digital Humanities. Her research interests include ethics of big data, activist media in the Middle East and the political economy of the Internet. She is a member of the Data Ethics Group at the Alan Turing Institute and a member of the Steering Group of the Trust and Technology Strategic Research Initiative.

Cambridge Digital Humanities combines a network, research projects, a learning programme, and a lab to connect all those in the arts and humanities engaging with the changes brought by digital technologies. https://www.cdh.cam.ac.uk/


Iteration as Persuasion Symposium: ‘Redirecting the potentials of the digital age’

June 12th 2019 11:00-17:00, SG2

CRASSH, University of Cambridge.

The internet and new digital media technologies are increasingly talked about as “dangerous”, “deadly” even, in terms of their imagined or felt societal implications. These conversations have tended to limit our ability to talk about what developments in digital culture are actually doing, in their present moment, and what they could do for us in the future. This interdisciplinary symposium is an attempt to engage each other in more complex discussions about where we see technological affordances taking us. How does digital repetition trigger emotions, nudge behaviours, (re-)form habits, construct identities, (re)perform traditions, (re)produce beliefs? The underlying question to be addressed is how the digital environment itself persuades. We welcome papers that address these or any other aspects of the digital environment, and/or how we could harness those same negative structures to a positive end. The proceedings are to be published as a special issue of AI and Society journal.

Students and researchers of all disciplines and levels, including creative artists, are encouraged to submit 200-300 word proposals, with a short biography. Informal enquiries can be addressed to rootfrancesca@gmail.com. Deadline for final abstracts is Tuesday April 30th 2019. Accepted applicants will be notified on May 14th.

More information can also be found on our website.

Part of the ‘Iteration as Persuasion’ series at CRASSH, held by the ‘Re-‘ Interdisciplinary Network, A Mellon-Newton Faculty Research Network.