Performing Situated Knowledges

The 7th annual conference on New materialisms Performing Situated Knowledges: Space, Time, and Vulnerability 21-23 September in Warsaw (see website) was a good preparation for our coming work. Tero Nauha presented a performance: “A speculation on a body and posture in performance art practice”, which utilized prerecorded voice with a sophisticated philosophical argument and electronic sound together with their live manipulation, an experiment which he can describe better himself.

My contribution was  a small paper “Performing (with) Lichen as Situated Practice” (see performing-with-lichen, sorry for the large image files that are slow to load) in a panel in the strand New Materialism, Politics, and Organizational Experiments titled Ethics-relationality-vulnerability-violence-reconfigurations. The context was rather strange, but turned out to be interesting, in many ways. Besides papers by Karolina Kucia and Magdalena Gorska the panel included philosopher Marzena Adamiak’s discussion on Karen Barad’s thinking in relation to the problem of exclusion. My contribution was originally programmed for a panel called Situated Practices / Situated Movements on Wednesday, in the strand New Materialism Embracing the Creative Arts, where it would have fitted in better, but I could not join on Wednesday due to teaching duties, and was happy that the organizers found a place for me to join in later. The video work I spoke about, created during Easter 2016 between Sandkås and Allinge on the northwestern coast of the island of Bornholm, is publicly available for view on the Research Catalogue, Lichen and Allinge 1-2.

The theme of the conference, situated knowledges, and the classic text by Donna Haraway from 1988, which the call alluded to, seemed like a fresh and provocative choice. Reading Haraway’s witty text “Situated Knowledges: the Science Question in Feminism and the Privilege of Partial Perspective”, originally written as a comment and reply to Sandra Harding, was inspiring. Take a look at it yourself, here.

Author: Annette Arlander


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