April 7-11th 2015, Chicago
///Workshop on Visual Feedback Methodology at the Museums and the Web Conference. Sign up here.
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(Forthcoming 2015) "That's What We Think They Want" - User Camera Studies at the Rijksmuseum, In: Stylianou-Lambert, T.; Museums and Visitors Photography, MuseumsEtc.
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Aug 23-31st 2015, Shanghai, "On Your Plate - Socio-cultural Dimensions of Food and it's Leftovers", IVG Conference, Tongji University
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(Forthcoming 2015) "On Your Plate - sozio-kulturelle Dimensionen von Essen und was davon übrig bleibt", In: Essen und Trinken aus kultur- und sozial-wissenschaftlicher Perspektive, LIT Verlag.
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Ongoing 2014
digital museum interfaces at the Rijksmuseum for the University of Amsterdam
Talks
* 4th International Deleuze Conference, Copenhagen
* Lost Objects - NICA Summer School 2011
* Stendhal Symposium 2011
Being the object, becoming the Subject: Self-portraiture as a Mode of Reflection on Interdisciplinary Research Methodology (2011)
Abstract: I will be looking at the topic of self-portraiture through cultural objects that I have explicitly constructed myself, and will ask what that means for an academic analysis. My aim is to trace the social dimensions of institutional expression and to draw methodological implications from that for the interdisciplinary field I work in. This field consists of two practices, namely cultural analysis and artistic research, for both of which I propose the concept of the amateur as one possible mode of production.The analysis is carried out through photographic self-portraiture and self-analysis, which offer reflective moments.
The photographs that I took in the realm of my research practices are at the same time peculiar results (read cultural objects) and in the process of becoming (read cultural objects as well). The aspect of both end product and process, or being-in-between, is thus a topic which is inherent to this thesis, be it because of its interdisciplinary origin, its intermedial character, the style it is written in or the dichotomy of a personal and professional authorial voice.
The text includes a.o. referencing case studies of Jeff Wall's Picture for women, Luis Melendéz Self-portrait with Académie and Edouard Louis Dubufe Portrait of Rosa Bonheur.
Prowling in the Territories of Other Species - Territorial Behaviour in Interdisciplinary Environments. (2010)
In this essay I would like to build a bridge between the work of the bowerbird, the artist Andy Goldsworthy and my own working practice. I will focus on the way both artists are using material and deal with territory in their research process, rather than looking at their complete work. I believe that the way how they work, reflects their work as a whole. I will conclude with discussing the territory at the university as the environment I am working in myself. The latter aims to reflect on my own position in the field of Artistic Research, which is interdisciplinary as a basic principle.
Talks
* 3rd International Deleuze Conference
To Construct Someone – Adorno writing Benjamin’s autobiography (2009)
The close reading I would like to undertake in my essay, is a comparative one of the first and the latest published version of the "Berliner Kindheit um neunzehnhundert": Adorno’s from 1950 including his afterword, and Benjamin’s from 1938 (first published in 1981) in regard to his foreword. Through this I would like to reflect on the question of how someone constructs someone else’s autobiography with their words, and through that invents another person.
Mainly I will focus on comparing the fore- and afterword in the two different versions of the "Berliner Kindheit um neunzehnhundert": What do they suggest is this compilation of Benjamin’s memory fragments? How can we as readers relate to its development from one version to the other?
This part will also briefly ask the question of autobiographical writing: Can Adorno’s text be seen as a biography of Benjamin? It will deal with the question of what the consequences of 30 years of reading Adorno’s version as if it was Benjamin’s original version are.
Translation as Encounter
Joint reading of Elfriede Jelinek’s Die Klavierspielerin (2008)
A translation is made for someone not speaking the language in which a text is written. When reading a translation, one is incapable of understanding miscommunication or mistranslation in a text, unless you know the original source. This person would have to be able to sense the fractions within a text, as well as the discontinuity between the original text and the translation.
Is it possible to get insight into a text through joint reading? Would that make you capable of dealing with miscommunication? Not questioning misunderstanding, but meaning it in a way that you find a useful mode of dealing with it. The fruitful outcome of misunderstandings in any sense and being capable to misunderstand. What I would like to have a closer look at, is whether a translation and joint reading are a form of understanding, making a text accessible. Or giving you the capability to deal with being misunderstood, trusting a person’s translation and the necessity to surrender to a text.