Creative Writing Workshop by Jane Lewty

Creative Writing Workshop by Jane Lewty

17 or 21 January 2020


17 January 2020 | OMHP, Oudemanhuispoort, Amsterdam, room C 0.23
21 January 2020 | PCHoofthuis, Spuistraat 134, Amsterdam,  room 5.59

In this day-long workshop, participants will examine texts that interact with the creative process in a variety of ways, as models and prompts for our own narratives. What happens to prose writing when we engage with other constructions of language? What kinds of actions might be foregrounded, complicated, or transformed? How do we write something new?

The event will be divided into two sections; the first will take the form of a short lecture on current trends, patterns and concerns of creative writing practices. Focus will be given to hybridity as form, by expanding our definitions of “crossing genres” and questioning the binary of the poetry / prose definition. Then, we will look at contemporary writers whose work subverts narrative practice, and who have embarked on collaborative acts across mediums with artists, dancers, scientists, architects and musicians. Through short creative writing experiments, participants will investigate the ways in which sound and image can interrupt, complicate, and layer a text, as well as the reasons a writer might embrace this multimodal, multivocal form.

The second section will focus on the craft of writing. Participants will learn contemplative practices that ground mind and body in active attention, invite curiosity, and prompt new directions for their ongoing academic work. Part of writing creatively is to be aware of a space that is equally open to possibility and failure; in our explorations, we will see that “failure” can also be innovative. We will take chances with form that may bring surprise and insight, and build a space for writing in which original compositions are able to appear. At the end of the session, participants will have produced a short creative manuscript that both reflects their immediate embodied experience, and is in some way responsive to the texts we have consulted throughout the day. All disciplines are welcome, since the objective of this writing workshop is to see how genres can merge and perform alongside one another.

This workshop will be of interest to current PhD students who not only wish to investigate the correlation[s] between creative and critical writing, but also want to expand their knowledge of cross-genre work. Students undertaking the rMA at NICA and OSL will similarly be energized by writing exercises and research strategies that may compliment their existing practice. They may earn one or two credits for their involvement.

Registration contact: Eloe Kingma at Please mention your affiliation.

Jane Lewty is the author of two collections of poetry: Bravura Cool ( 1913 Press: 2013), winner of the 1913 First Book Prize in 2011, and In One Form To Find Another (Cleveland State University Press: 2017) winner of the 2016 CSU Open Book Prize. She has also co-edited two volumes of essays: Broadcasting Modernism (University Press of Florida, 2010) and Pornotopias: Image, Desire, Apocalypse (Litteraria Pragensia, 2009). She is currently collaborating with the Dutch artist Jennifer Tee in a series of multilingual performance pieces on ecology. At present, she teaches History of Art at Maryland Institute College of Art (MICA) and she has held faculty positions at universities in the UK, USA and The Netherlands

Transmission in Motion Seminar (2019-2020)

Transmission in Motion Seminar (2019-2020): “Expanded Practices of Knowing: Interdisciplinary Approaches”

Technological developments inform the ways information travels through media, turn archives into ‘dynarchives,’ and set knowledge cultures in motion. Such developments foreground the performativity of practices of sharing knowledge and the materiality of mediation; moreover, they point to the sensory, movement and embodiment as important aspects to take into account. This year’s seminar will investigate the potential of radical interdisciplinary collaborations between media and performance studies, science and the arts for understanding and developing ways of sharing information,  knowledge and expertise.  What can interdisciplinary collaboration bring to understanding the role of old and new technologies in these processes? How is interdisciplinary collaboration itself technological or at least a technique? How can it foster the development of new insights, technologies and practices?

TiM Seminar Programme (2019-2020)

*Session organized with the support of Liberal Arts & Sciences, Utrecht University.

The Transmission in Motion Seminar is a more-or-less monthly gathering of researchers and students from across disciplines. To participate, please send an email to to receive additional information and readings. RMA Students can acquire 3 EC if they attend all meetings and write blog posts after each meeting. Please register at For more information, contact Maaike Bleeker at m.a.bleeker[a]

Image credits: ”Sense of Motion” by Mr. Nixter is licensed under CC BY 2.0

Memory, Word and Image: W.G. Sebald’s Artistic Legacies

Seminar taught by Prof.Dr. Christa-Maria Lerm Hayes and Dr. Ilse van Rijn

Amsterdam, 6 December (Pre-meeting), 12-14 December (Conference), 16 December (post-meeting), 2019

Artists tend to work across disciplines and “art cannot be disciplined” (Hito Steyerl). Taking the case of W.G. Sebald’s interdisciplinary word and image practice on memory and presences of (migratory) lives as touchstone for our discussions, this conference seeks to foster academic, professional, artistic and public scholarship by exploring cutting-edge interdisciplinary research, findings, techniques, practices and theoretical advances in the areas of memory, word and image. Which role do art and literature play in this regard?

In order to deepen our understanding of writing with images (a key question in e.g. artistic research) and how it intersects with questions of memory, participants of the seminar will actively participate in the international conference 12-14 December 2019. The conference is the core activity in this NICA course; up-to-date details can be found at:

This seminar is meant for all researchers interested in word and image matters, whether from a literary, cultural analysis, art history or other vantage point.

In a pre-meeting with Mia Lerm Hayes on Friday 6 December, students are asked to relate the conference’s themes to their own research and motivate their plans for which of the parallel sessions and/or workshops they will attend. They will read at least one of Sebald’s major novels and prepare the conference keynote by James Elkins (details below) by consulting, where much primary and secondary literature are given. Art students of ‘Approaching Language,’ Sandberg Instituut, join university students, the course thus conceptually questioning the traditional separation between image and language, practice and theory, as does Sebald’s work.

On 16 December, the Monday after the conference, students will reflect on their findings in a morning workshop taught by Ilse van Rijn. This session is followed by a discussion with James Elkins in the afternoon. For these Monday encounters, students are asked to prepare (on basis of the pre-meeting) a page that relates their own projects to the matters of discussion (or Elkins’ work more broadly), leading to a question for Elkins to address at the meeting.

Finally, students will write a short reflection on their learning during the conference and meeting with Elkins, to be commented on with feedback by the teachers.

James Elkins : Models For Word and Image: From Rodenbach to Fernandez Mallo

Keynote Abstract:

The prevalence of Sebald in studies of fictional narratives that incorporate images has led to a lack of theorization of other practices. Sebald’s practice is generally to anchor the image in its surrounding text in such a way that the reader is led up to, into, and past the image with minimal interruption in the flow of reading. In that way his narratives can explore continuous paths of memory on which images are passing waystations. It is also possible to permit images to slow the narrative, or to draw readers repeatedly back to the images, or to use images to cast doubt on the narrator or the narration. I will compare Sebald’s practices to what can be found in Georges Rodenbach, Breton, Tan Lin, Anne Carson, Christian Bök, Fernandez Mallo, Philipp Weiss, and others, in order to suggest that Sebald is only one example of a long discontinuous history of writing on images.

James Elkins is C. Chadbourne Professor of Art History, Theory, and Criticism (1989). BA, cum laude, 1977, Cornell University; MFA and MA, 1983, and PhD with honors, 1989, University of Chicago. Books:Pictures and Tears: A History of People Who Have Cried in Front of Paintings; Chinese Landscape Painting as Western Art History; Pictures of the Body: Pain and Metamorphosis; The Domain of Images; How to Use Your Eyes; What Painting Is; The Poetics of Perspective; The Object Stares Back: On the Nature of Seeing; Why are our Pictures Puzzles?; On Pictures and the Words That Fail Them; What Happened to Art Criticism?; Six Stories from the End of Representation; Visual Studies: A Skeptical Introduction; What Photography Is; Art Critiques: A Guide.

Register by sending an email to Eloe Kingma at The seminar can host up to 10 participants and admission is on a first come, first in basis. For full participation and the written reflection you may earn 3 EC.


Cultural Studies Now

Cultural Studies Now
As Cultural Studies emerged in the early 1960s, perhaps its most pressing call was for academic knowledge to relate actively to the present socio-political situation or ‘conjuncture.’ In that vein, this course aims to revisit and, if necessary, criticize and update the canonical concerns and priorities of the field. What did crucial terms such as identity politics, interdisciplinarity, and popular culture mean in the 1960s, and what can they still mean today, a time when so much once-progressive notions may seem obsolete or co-opted by power? In this course, we revisit the main areas of concern for Cultural Studies – revolving on conjuncture, (identity) politics, reality, interdisciplinarity, and (popular) culture — in relation to current developments. Should Cultural Studies maintain a certain canonical or disciplinary form, or fundamentally adapt to changed and changing circumstances? With key readings by Stuart Hall, Mieke Bal, Paul Smith, Lawrence Grossberg, Asad Haidar, Nancy Fraser, and others.

Instructor: Murat Aydemir (

Time and Place: Tuesdays, from October 29 to December 10, 13:00-16:00. See below.

Registration is open from 15 September 2019. Registration is limited to 25 participants.

Register by sending an e-mail to Eloe Kingma at Please be sure to specify your research master program and university.


29 October 2019 | 13:00  16:00 | Roeterseiland Building JK | REC JK B.52

5 November 2019 | 13:00  16:00 | Roeterseiland Building JK | REC JK B.52

12 November 2019 | 13:00  16:00  | Roeterseiland Building JK | REC JK 3.38A 

19 November 2019 | 13:00  16:00 | Roeterseiland Building B |  REC B – BK.01

26 November 2019 | 13:00  16:00 | Roeterseiland Building C | REC C K.07 

3 December 2019 | 13:00  16:00 | Roeterseiland Building C |  REC C K.07 

10 December 2019 | 13:00  16:00 | Roeterseiland Building C | REC C K.07 



Radical Interdisciplinarity

Radical Interdisciplinarity

NICA core course
5 EC | offered by Maaike Bleeker and Iris van der Tuin

To register, please send a motivation (1/2 page) why you would like to participate to Eloe Kingma at If we have too many applications, we will need to select. Be sure to specify your research master program and university. Please be aware that we expect participants to be present at all sessions, do a short presentation and write a paper.

Radical Interdisciplinarity

“A characteristic of thinking that becomes theory is that it offers striking ‘moves’ that people can use in thinking about other topics,” observes Jonathan Culler. He makes this observation in a text about a new type of theoretical writings emerging since roughly the 1960s, writings that succeeded in challenging and reorienting thinking in fields other than those to which they originally belonged. The transpositional capacity of these writings to offer striking ‘moves’ to people working in differing fields of research greatly contributed to the development of new interdisciplinary approaches in the humanities, the outlining of new objects of research, and the formation of new fields of study, like cultural studies, gender studies, visual studies, postcolonial studies. These developments have profoundly changed ways of doing research in the humanities. Reflecting about their potential as well as their theoretical and methodological implications has been at the heart of PhD training offered by ASCA and NICA from the very beginning.

In this course we look at currently emerging interdisciplinary approaches that move beyond the borders of the humanities and investigate how they may challenge and reorient our thinking. How do certain ‘moves’ offered by state-of-the-art scientific approaches lead to radically interdisciplinary endeavors, change our understanding of the object of our research, the relationships between objects and concepts, and what it is that we do when we do theory?

We will start from a discussion of performance and performativity as onto-epistemological condition (Barad) and stratum of power/knowledge (McKenzie). From there we will look at how insights from (among others) quantum physics, enactive and nonconscious cognition, as well as ways of knowing embodied in skilled bodily practice, can be mobilized for new ways of knowing, and new ways of understanding what it means to theorize.

  • Thursday 28 November 10-13h
  • Thursday 12 December 10-13h
  • Thursday 9 January 10-13h
  • Thursday 23 January 10-13h
  • Thursday 6 February 10-13h

Maaike Bleeker is a professor in the department of Media & Culture Studies at Utrecht University. Her work engages with questions of perception, cognition and agency from an interdisciplinary perspective, with a special interest in embodiment, movement, and technology, and the performativity of meaning making and knowledge transmission. Her monograph Visuality in the Theatre was published by Palgrave. Recent publications include the co-edited volumes Performance and Phenomenology: Traditions and Transformations (Routledge, 2015), Thinking Through theatre and Performance (Bloomsbury 2019), and the edited volume Transmission in Motion. The Technologizing of Dance (Routledge, 2016).

Iris van der Tuin is professor in Theory of Cultural Inquiry and director of the School of Liberal Arts at Utrecht University (The Netherlands). She co-authored New Materialism: Interviews & Cartographies (Open Humanities Press, 2012) with Rick Dolphijn, wrote Generational Feminism: New Materialist Introduction to a Generative Approach (Lexington Books, 2015), and edited Nature for Macmillan Interdisciplinary Handbooks: Gender (Macmillan Reference USA, 2016). Iris was chair of the COST Action New Materialism: Networking European Scholarship on ‘How Matter comes to Matter’ (2014-18).

This is a NICA core activity. Completing this activity earns you a certificate specifying the number of EC credits at stake. You can have this certificate formally registered at your institution’s administrative office. You may need to acquire the permission of your program coordinator and/or board of examinations in order to participate and earn credits for this activity.