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37 Cultural Policies: Agendas of Impact – Introduction – Lara Garcia Diaz & Cristina Marques Moran

22 August 2017

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tijdschriftkunstlicht

Kunstlicht is an academic journal for visual culture.
Buy “The Swamp Potential” in our shop now!✨

CONTRIBUTION FROM OUR SWAMP POTENTIAL ISSUE 🌳

CONTRIBUTION FROM OUR SWAMP POTENTIAL ISSUE 🌳

‘Under the Blanket Bog’
By Katerina Sidorova, Yulia Carolin Kothe, Max Brück

This play script is a fictionalised narrative based on a field trip in 2023 to Mount Gabriel, West Cork, Ireland. It merges scientific and local knowledge through the perspectives of fictional characters -a biologist, sound artist, writer, sculptor, and farmer - alongside the mountain’s environmental and mythical history. Drawing from conversations with local residents and biologist Martin Wren, the characters explore the ecology of blanket bogs and their cultural significance. The narrative blends folklore, geology, and biology, highlighting the human impact on wetlands. As the group explores Mount Gabriel, they engage with its biodiversity, peat-cutting history, and mythical figures like mermaids. The script reflects on human dominance over nature, ecological preservation, and the cultural memory embedded in landscapes, prompting a deeper investigation into how human actions shape and transform natural environments.

To read the full play you can purchase your copy of our issue ‘The Swamp Potential’ on our website via the link in bio! 🔗

Images: Digitally altered photo documentation by authors, Mont Gabriel, Ireland.

#kunstlicht #academicjournal #visualculture

❗️EXTENDED: Call for Papers New Deadline: Ma

❗️EXTENDED: Call for Papers

New Deadline: May 18

Established in 1961 at the Belgrade Conference, the Non-Aligned Movement (NAM) aimed to offer a decolonial and peaceful alternative to the polarised aftermath of WWII and the unfolding of the Cold War. While its political influence declined after the 1970s, its ideals of solidarity, cultural equality, and resistance to colonial dominance continue to inspire contemporary political and artistic practices. Initiatives like the 1985 Gallery for the Art of the Non-Aligned Countries in Montenegro and the 1995 Jakarta exhibition reflected NAM’s artistic and cultural diplomacy. This legacy continues in contemporary projects like documenta 15, with contributions like Borrowed Faces, or exhibitions like Past Disquiet in Amsterdam, each exemplifying distinct approaches to building international artistic solidarity beyond Western hegemonic models.

We invite scholars, writers, artists, and creative or cultural practitioners to submit ideas for articles, reviews, visual works, or other forms of contributions that are compatible with the printed form. We are interested in exploring questions of:
What are the living legacies of Non-Alignment? What does/could non-alignment mean in our current political climates? (How) Can non-alignment, both as a movement emerging from a specific historical context and as a concept that possibly exceeds it, help us conceive of alternative forms of political existence, resistance, and liberation rooted in solidarity and friendship, including those made possible through artistic and cultural praxis? And what are some examples of present-day aesthetic expressions and practices that can be considered activations of unfulfilled non-aligned visions and aspirations?

We look forward to receiving your submissions together with your CV or portfolio by no later than May 18.

For the full Call for Papers and submission details, please visit our website via the link in bio! 🌟

Image: Naeem Mohaimen, Two Meetings and a Funeral, 2017, installation view at Landesmuseum, Kassel, documenta 14, photo courtesy of the artist.

#callforpapers #academicjournal #visualculture #tijdschriftkunstlicht

💡REMINDER: CALL FOR PAPERS Aesthetics of Non-

💡REMINDER: CALL FOR PAPERS

Aesthetics of Non-Alignment, Vol.45, no.3-4

Deadline: May 4, 2025

Established in 1961 at the Belgrade Conference, the Non-Aligned Movement (NAM) aimed to offer a decolonial and peaceful alternative to the polarised aftermath of WWII and the unfolding of the Cold War. While its political influence declined after the 1970s, its ideals of solidarity, cultural equality, and resistance to colonial dominance continue to inspire contemporary political and artistic practices. Initiatives like the 1985 Gallery for the Art of the Non-Aligned Countries in Montenegro and the 1995 Jakarta exhibition reflected NAM’s artistic and cultural diplomacy. This legacy continues in contemporary projects like documenta 15, with contributions like Borrowed Faces, or exhibitions like Past Disquiet in Amsterdam, each exemplifying distinct approaches to building international artistic solidarity beyond Western hegemonic models

We are interested in exploring questions of:

What are the living legacies of Non-Alignment? What does/could non-alignment mean in our current political climates? (How) Can non-alignment, both as a movement emerging from a specific historical context and as a concept that possibly exceeds it, help us conceive of alternative forms of political existence, resistance, and liberation rooted in solidarity and friendship, including those made possible through artistic and cultural praxis? And what are some examples of present-day aesthetic expressions and practices that can be considered activations of unfulfilled non-aligned visions and aspirations?

We look forward to receiving your submissions together with your CV or portfolio by no later than May 4, 2025.

For the full Call for Papers and submission details, please visit our website via the link in bio! 🌟

Image: Antun Augustinčić, Yekatit 12: Monument to the Victims of Fascism, 1955, Addis Ababa, Ethiopia, detail of bronze sculptures, photo: Abuti Engidashet

#callforpapers #tijdschriftkunstlicht #kunstlicht

ARTICLE FROM OUR SWAMP POTENTIAL ISSUE 📓 The S

ARTICLE FROM OUR SWAMP POTENTIAL ISSUE 📓

The Sun’s Storehouse: Wetlands Between Death Drive and Libidinal Excess.
By Andrey Shental

“This text explores the complex interplay of the human unconscious, sexuality, and ecology within swamp landscapes, as reflected in Mikhail Prishvin’s post-war short novel, The Sun’s Storehouse. Swamps, marked by the dialectic of life-giving resources and mortal dangers, evoke a paradoxical allure in human beings. Prishvin, an eco-activist avant la lettre, portrays swamps not merely as settings but as living entities with distinct agencies in his narrative. The novel, inspired by the writer’s actual observations of the Bludov marsh, features siblings Mitya and Nastya who navigate the swamp’s seductive, yet perilous terrain. Mitya’s dramatic descent into the quagmire parallels Freud’s death drive — nature’s intrinsic pull towards its original inorganic homeostatic state. In contrast, Nastya’s obsessive cranberry foraging underscores an unbounded desire, reflecting Lacanian excess and lack. Yet, Prishvin’s nuanced depiction transcends a binary choice between self-annihilation and reckless consumption, suggesting a potential for interspecies communication and ecological harmony.”

You can get The Swamp Potential issue via the link in our bio🌾

Image 1: Venus Jasper, Murky Medicine Swamp, installation at Rupert, Vilnius, 2023. Photography: Andrej Vasilenko. Drifting among the mire, the cultural debris mirrors the swamp’s power to consume and preserve all that enters.

Image 2: Venus Jasper, OAKBaLLZ and EELSkin, performance in installation at Rupert, Vilnius, 2023. Photography: Andrej Vasilenko. The human body becomes part of the wetlands, blurring the line between organic and mineral in a slow descent into the primordial state of being.

#kunstlicht #tijdschriftkunstlicht #academicjournal #visualculture

ARTICLE FROM OUR SWAMP POTENTIAL ISSUE 🪴 Hangi

ARTICLE FROM OUR SWAMP POTENTIAL ISSUE 🪴

Hanging Between Two Worlds at Once: Notes on Burnout, Swamps and the In-Between.
By Martine van Lubeek

“Inspired by Silvia Federici’s Beyond the Periphery of the Skin: Rethinking, Remaking and Reclaiming the Body in Contemporary Capitalism and personal testimonies of burnout, this essay explores the relationship between burnout, swamps, and the biopolitics of contemporary capitalism. By drawing parallels between the metaphor “being swamped” and real-life swamps, I argue that both my body and the body of the swamp are burnt out, after which I conceptualise the in-between as a site of resilience, relationality, regeneration, resistance, and imagination. I conclude my thoughts with the conception that the in-between paves the way for both resisting the identity politics of capitalism and imagining postcapitalist futures.“

Get your copy of The Swamp Potential issue through the link in our bio! 🔗

Image: Lie down in the woods and let the moss reclaim you..

#kunstlicht #tijdschriftkunstlicht #academicjournal #visualculture

ARTICLE FROM OUR SWAMP POTENTIAL ISSUE 🌿 Peatl

ARTICLE FROM OUR SWAMP POTENTIAL ISSUE 🌿

Peatlands as a Portal: Undoing Colonial Historicities from Tierra del Fuego to The Netherlands.
By Sofía Fernández Blanco

“The modern conception of time as a linear succession of discrete moments is inextricably linked to the western idea of inevitable progress. If everyone is put on the same clock, some people or cultures will inevitably be seen as running late. The expansion of Western empires during the XV and XVII centuries was justified by the idea of “civilising missions,” which dictated that a single race has the right to civilise, dominate, and impose its own values on other people or cultures. Thus, the idea of linear time became a useful conceptual tool that still aids colonisation and exploitation.

Peatlands are accumulations of partly decomposed matter that build up for thousands of years, holding within them multiple times and histories that coexist with each other. By travel hopping from the peatlands of Tierra del Fuego to the peatlands of the Netherlands, the text is an attempt at re-configuring the entangled historicities of the two seemingly unrelated landscapes.

The perceived emptiness or barrenness of peatland landscapes is yet another way for colonisers to legitimise their plunder. By conceptualising these types of landscapes as voids, they become ripe for exploitation and commodification. At the same time, by declaring a landscape empty, there is an erasure of the Indigenous people living in that land. But nothing can be truly erased: the act of erasure itself leaves its own marks.”

💡You can order your copy of The Swamp Potential via the link in our bio

Image: Peatlands in Bargerveen, the Netherlands. Photo courtesy of Sofía Fernández Blanco

#academicjournal #visualculture #kunstlicht

CALL FOR PAPERS 📝 Aesthetics of Non-Alignment,

CALL FOR PAPERS 📝

Aesthetics of Non-Alignment, Vol.45, no.3-4

Deadline: May 4, 2025

Established in 1961 at the Belgrade Conference, the Non-Aligned Movement (NAM) aimed to offer a decolonial and peaceful alternative to the polarised aftermath of WWII and the unfolding of the Cold War. While its political influence declined after the 1970s, its ideals of solidarity, cultural equality, and resistance to colonial dominance continue to inspire contemporary political and artistic practices. Initiatives like the 1985 Gallery for the Art of the Non-Aligned Countries in Montenegro and the 1995 Jakarta exhibition reflected NAM’s artistic and cultural diplomacy. This legacy continues in contemporary projects like documenta 15, with contributions like Borrowed Faces, or exhibitions like Past Disquiet in Amsterdam, each exemplifying distinct approaches to building international artistic solidarity beyond Western hegemonic models

We invite scholars, writers, artists, and creative or cultural practitioners to submit ideas for articles, reviews, visual works, or other forms of contributions that are compatible with the printed form. We are interested in exploring questions of:

What are the living legacies of Non-Alignment? What does/could non-alignment mean in our current political climates? (How) Can non-alignment, both as a movement emerging from a specific historical context and as a concept that possibly exceeds it, help us conceive of alternative forms of political existence, resistance, and liberation rooted in solidarity and friendship, including those made possible through artistic and cultural praxis? And what are some examples of present-day aesthetic expressions and practices that can be considered activations of unfulfilled non-aligned visions and aspirations?

We look forward to receiving your submissions together with your CV or portfolio by no later than May 4, 2025.

For the full Call for Papers and submission details, please visit our website via the link in bio! 🌟

Image: documenta fifteen, Fehras Publishing Practices, Borrowed Faces, 2022, photo: Maja Wirkus

VISUAL CONTRIBUTION FROM OUR SWAMP POTENTIAL ISSUE

VISUAL CONTRIBUTION FROM OUR SWAMP POTENTIAL ISSUE ⁠
⁠
A Feral Knot. Recording Presences at an Urban Swamp
by: ZAKOLE Collective

1. ⁠The sedges have sharp leaves, but once I sit down between them, I feel nestled and safe, settling down like a deer on its bed.
2. We sometimes think of slugs and snails as our kin spirits from Zakole Wawerskie.. 3. Stories of their moisty travels dry up as sparkling trails painted on wood, trash, rocks and plants.
4. During one of the summer walks we found a dried Iris tangled up with horsetails and sedges. The fruit was ripe and round seeds spilled out of it at every touch.
5. The alder forest is sliced by many old canals, which makes it difficult for us to enter it. But the water there is not flowing anymore, they are taken over by beavers.
6. Although it doesn't seem visible in winter, this is one of the paths to the broken poplar where we like to make stops.
7. During one of our walks, we tested how our skin would feel if it was wet and sticky. We then lubricate our hands with homemade linseed mucus.

You can order tijdschrift Kunstlicht online via the link in our bio!⁠

FREE ARTICLE FROM OUR SWAMP POTENTIAL ISSUE 📝

FREE ARTICLE FROM OUR SWAMP POTENTIAL ISSUE 📝

For a Future(s) Against Progress: Bog-Time and the Troubling of Ecological Grief.
By Moss Berke.

“For a Future(s) Against Progress: Bog-time and the Troubling of Ecological Grief presents a re-reading of the phenomenon of ecological grief as informed by the melancholic temporalities embodied in boglands. Providing an ecologically-generative reframing of melancholia that brings forward its disruptive potential, boglands offer an alternative to capitalist chrononormativity, referred to in this article as “bog-time.” This is a heterogenous temporality where the past and present combine and intertwine to co-constitute futures. This article argues that by thinking from the example of boglands, we may be able to approach the widespread phenomenon of ecological grief, and recognise it for its potential to disrupt the supposed ongoingness of capitalist temporalities by demonstrating that the dead are necessary players in the crafting of more equitable futures. While ecological grief is presently recognised in most scholarship for expanding the boundaries of what is a grievable subject, this article contends that if learning from the bog, ecological grief can also trouble the temporal constrictions left implied in current theorisations of ecological grief. Resisting a narrow vision of the future, boglands demonstrate that time itself is cumulative in nature, and that conviviality with the dead is a necessary project in the time of mass death and destruction that has come to define the Anthropocene.”

You can now access this article for free on our website. To read the rest of the articles, you can order tijdschrift Kunstlicht online through the link in our bio! 💡

🌟LAUNCH EVENT | Tijdschrift Kunstlicht warmly w

🌟LAUNCH EVENT | Tijdschrift Kunstlicht warmly welcomes you to the launch event of our issue on ‘Reverberant Ecologies: On the Relational Impact of Sonic Practices, hosted at the Niuewe Instituut’s Research Centre (Rotterdam NL), on the evening of Thursday 13th March at 19:00-21:00

The event will centre around the question: “What does it mean for human and non-human entities to be ecologically and communally linked through sounds?” and will bring together contributors from both Kunstlicht and ‘Through Sounds, a project initiated by researcher Federica Notari at Nieuwe Institut. Invited speakers include Gabriel Paiuk, Nele Moller, Martina Raponi, and Colette Aliman.

We hope to see you there for an engaging and vibrant evening🌿. The event is free but please RSVP via the link in our bio as there are limited spots!

photo: Angelina Nonaj and Benni Cappini, Untitled For Now,
2023

#kunstlicht #academicjournal

Kunstlicht spotted at @athenaeumboekhandel ✨✨

Kunstlicht spotted at @athenaeumboekhandel ✨✨

Stop in Athenaeum to browse an incredible selection of books and take a peek at our latest issue THE SWAMP POTENTIAL, guest edited by @robbieschweiger and @suzievanstaaveren 🌱

“Going beyond the swamp’s ecological potential as carbon sinks and buffer zones between land and water in times of climate crisis, this issue of Kunstlicht positions swamps as entities, spaces, and communities where complexity, interspecies interdependence, and relationality take precedence over human domination and productivity. Contributions to this issue under-
score the swamp’s potential as a disruptive, polychronic space, resisting linear time and capitalist notions of progress. They explore how swamps preserve mythologies and provide material evidence that past and present, life and death are interconnected, and offer alternative ways of grieving and co-existing. Swamps, as spaces where many worlds fit, invite us to rethink our relationship with the environment, embracing uncertainty and doubt as generative forces for transformative thought.”

Get your issue through the link in our bio!

✨Kunstlicht spotted at Rijksmuseum Research Libr

✨Kunstlicht spotted at Rijksmuseum Research Library✨

Stop in for a cozy break from the winter weather to check out Reverberant Ecologies: On the Relational Impact of Sonic Practices, guest edited by Manuela Zammit, or our other Kunstlicht issues. ❄️

This issue explores the interconnectedness and interdependence that make up ecological systems and social formations through the affordances of sound and sonic practices. It is an exploration into the far and diverse reach of sound and sonic waves, materialising as a force of nature, a meditative encounter, an alchemical reaction, or an interspecies conversation.

Get your own copy through the shop link in our bio, and check our out latest issue: THE SWAMP POTENTIAL 🌱

NEW ISSUE 🌱 NEW ISSUE 🌬️ Just in time for

NEW ISSUE 🌱 NEW ISSUE 🌬️

Just in time for the holidays! Our second issue of 2024, The Swamp Potential, with guest editors @robbieschweiger and @suzievanstaaveren is out now!

“Going beyond the swamp’s ecological potential as carbon sinks and buffer zones between land and water in times of climate crisis, this issue of Kunstlicht positions swamps as entities, spaces, and communities where complexity, interspecies interdependence, and relationality take precedence over human domination and productivity. Contributions to this issue under-
score the swamp’s potential as a disruptive, polychronic space, resisting linear time and capitalist notions of progress. They explore how swamps preserve mythologies and provide material evidence that past and present, life and death are interconnected, and offer alternative ways of grieving and co-existing. Swamps, as spaces where many worlds fit, invite us to rethink our relationship with the environment, embracing uncertainty and doubt as generative forces for transformative thought.”

Get your issue through the link in our bio!

Come find us this Sunday 24 November at DRUK 2024

Come find us this Sunday 24 November at DRUK 2024 book fair at @paradisoadam ! ✨

Doors open at 12:00 until 16:00

We are very excited and honoured to be amongst all these great publishers. The annual book fair hosts more than 100 Dutch and Belgian exhibitors and has talks throughout the day.

Don’t miss it and get your tickets (€3,5) on the Paradiso website!

REMINDER: Call for Papers 📝⁠ ⁠ ONLINE CURAT

REMINDER: Call for Papers 📝⁠
⁠
ONLINE CURATING, Kunstlicht Vol. 46, no. 1-2⁠
⁠
We are excited to present our open call for the first issue of 2025 called ‘Online Curating’ guest edited by dr. Annet Dekker.⁠
⁠
Deadline: 5 September 2024⁠
Published: April 2025⁠
⁠
Online curating challenges traditional models and methods for presenting, accessing and distributing art in relation to the use of space (from white cubes to online spaces) and collaboration (from the expert curator or artist to technology and users). Whereas online exhibitions were perhaps something of a novelty at the time, in the last fifteen years online exhibitions are participating in a wider info-technical development that has and is impacting multiple areas of society and culture, and thus they have become relevant and of interest to people far beyond the various insider circles. In the ongoing exploration of aesthetics, space, time and narrative are frequently discussed topics in exhibition design and curating, in which the relationality and processuality are often emphasised. How is this conceptual triangle shaped in the web?⁠
⁠
We seek contributions that investigate the interdependency of curatorial praxis and the socio-technical space of the web. Subsequently, we are looking for analyses of how the diversification of curating practices impacts the value and experience of exhibitions. How does this affect the traditional authority of institutions and their curatorial agency? How might it influence the historical relevance or cultural memory of online exhibitions? Finally, we are particularly interested in contributions that explore how conventional institutions are developing new ways of sharing curatorial authority, with users and technology, thereby empowering users to produce new content and value.⁠
⁠
Read the full Call for Papers via the link in our bio!⁠
⁠
Image: https://www.neddam.info/madja-edelsteinxgomez – Madja Edelstein-Gomez, The Recombinants, 2017-20.

VISUAL CONTRIBUTION FROM OUR REVERBERANT ECOLOGIES

VISUAL CONTRIBUTION FROM OUR REVERBERANT ECOLOGIES ISSUE ⁠
⁠
Scores for Human Body - Mountain Body Transmutation⁠
By Abigail Agius⁠
⁠
"How can I transcend the membranes which divide my body from the body of the landscape?⁠
⁠
Part essay, part visual contribution, Scores for Human Body — Mountain Body Transmutation explores the research behind Ma’ Muntanja, a sound installation performed at the Steintheater Hellbrunn — a disused quarry and stone theatre — in the heart of the Salzkammergut Alpine mountains in 2022. ⁠
⁠
In search of fluid physicalities, transmutation, transcendence, and possibilities for becoming otherwise, Scores for Human Body — Mountain Body Transmutation offers a set of three text scores (exercises or attempts) towards deepening understanding, closeness, and intimacy between the human and the mountain."⁠
⁠
You can order tijdschrift Kunstlicht online via the link in our bio!⁠
⁠
Image: ⁠
⁠

ARTICLE FROM OUR REVERBERANT ECOLOGIES ISSUE⁠
⁠
Deaf Reasonance: Percussing Aurality. ⁠
By Martina Raponi.⁠
⁠
"This text aims to percuss a notion of aurality that accounts for bodies that, in order to interact with their environment, do not rely on speech or audible sound but rather on the expanded vibrational continuum of the sonic, in concert with other sensorial affordances. I claim that when considering the history of reason in relation to otology, Deaf culture and Deaf reason ought to be discussed. Thinking through Veit Erlmann’s Reason and Resonance in order to deconstruct the idea of distant rationality, and considering the Deaf practices of musicking and sounding by artist Christine Sun Kim, I illuminate lesser-known understandings of ways of sensing and making sense. I follow how the artist’s reappropriation of sound speaks to a wider concern and need: of amplifying the reverberating potential of Deaf practices."⁠
⁠
You can order tijdschrift Kunstlicht online via the link in our bio!⁠

REMINDER: Call for Papers 📝 ONLINE CURATING, K

REMINDER: Call for Papers 📝

ONLINE CURATING, Kunstlicht Vol. 46, no. 1-2

We are excited to present our open call for the first issue of 2025 called ‘Online Curating’ guest edited by dr. Annet Dekker.

Deadline: 5 September 2024
Published: April 2025

Online curating challenges traditional models and methods for presenting, accessing and distributing art in relation to the use of space (from white cubes to online spaces) and collaboration (from the expert curator or artist to technology and users). Whereas online exhibitions were perhaps something of a novelty at the time, in the last fifteen years online exhibitions are participating in a wider info-technical development that has and is impacting multiple areas of society and culture, and thus they have become relevant and of interest to people far beyond the various insider circles. In the ongoing exploration of aesthetics, space, time and narrative are frequently discussed topics in exhibition design and curating, in which the relationality and processuality are often emphasised. How is this conceptual triangle shaped in the web?

We seek contributions that investigate the interdependency of curatorial praxis and the socio-technical space of the web. Subsequently, we are looking for analyses of how the diversification of curating practices impacts the value and experience of exhibitions. How does this affect the traditional authority of institutions and their curatorial agency? How might it influence the historical relevance or cultural memory of online exhibitions? Finally, we are particularly interested in contributions that explore how conventional institutions are developing new ways of sharing curatorial authority, with users and technology, thereby empowering users to produce new content and value.

Read the full Call for Papers via the link in our bio!

Image: https://artport.whitney.org/commissions/the-next-biennial/ – UBERMORGEN, Leonardo Impett, Joasia Krysa, The Next Biennial Should Be Curated by a Machine, 2021.

ARTICLE FROM OUR REVERBERANT ECOLOGIES ISSUE⁠
⁠
Amplified Abstractions: Automated Subservience, Ubiquitous Control, and the Potentials of Sonic Practice.⁠
By Taufan ter Weel.⁠
⁠
"Ubiquitous computing transforms and complicates how we engage with the environment with which we reciprocally produce subjectivity and make sense of life. With regard to the workings of present-day machines and machinic assemblages, and through the work of French thinkers Gilles Deleuze, Félix Guattari, and Gilbert Simondon, this article discusses three sound installations made by the author in relation to the physical principles and philosophical concepts of modulation and transduction. It argues that modulation and transduction are inherently relational as these physical principles tend not to presuppose the existence of fully formed entities that pre-exist relations but rather imply an intermediate zone – a continuous process of becoming or individuation. The installations explore the reciprocal relationship between bodies, machines, and associated environments by means of transduction circuits and modulation links which allow experimenting with relational operations in a continuous process."⁠
⁠
You can order tijdschrift Kunstlicht online via the link in our bio!⁠
⁠
Image: Taufan ter Weel, Modulation and Transduction Beyond Control, Deleuze and Guattari Studies conference, Faculty of Media and Communications, Belgrade, 2023. Photos by Đorđe Bulajić.

ARTICLE FROM OUR REVERBERANT ECOLOGIES ISSUE 📝

ARTICLE FROM OUR REVERBERANT ECOLOGIES ISSUE 📝

Vibrations Through the Page: (Soma)tic Rituals in Amanda Paradise: Resurrect Extinct Vibration by CAConrad.
By Luka Hattuma.

“Considering vibration as a process of becoming through collective reverberations, this article explores the materialisations of sonic vibrations through the process of writing, and the ways in which they resonate in contemporary poetic ecologies. By engaging with the theoretic work of Vinciane Despret, Donna Haraway and Brandon LaBelle, I argue that CAConrad’s poetry collection Amanda Paradise: Resurrect Extinct Vibration (2021) has paralinguistic features that invite readers to pay attention to the tonal cues in and around the page. These features ultimately link our bodies with the reverberant ecologies in which we live. More specifically, I aim to highlight the interconnected aspects of the collection’s layered sonic architecture, which features fragmentary poetic utterances of extinct nonhuman animals, both in form and in content, and in syntax and semantics. By reverberating with the linguistic and paralinguistic spaces of resistance created by CAConrad this article is an invitation to reconsider how we listen to and through the (poetic) ecologies that we are part of.”

You can order tijdschrift Kunstlicht online via the link in our bio!

Image 1: “72 Corona Transmutations” Book: Amanda Paradise: Resurrect Extinct Vibration. Author: CA Conrad. Year: 2021. Page: 98.
Image 2: “72 Corona Transmutations” Book: Amanda Paradise: Resurrect Extinct Vibration. Author: CA Conrad. Year: 2021. Page: 75.
Image 3: “72 Corona Transmutations” Book: Amanda Paradise: Resurrect Extinct Vibration. Author: CA Conrad. Year: 2021. Page: 92.

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