Launch Event of Sound in Action

Sound In Action is a student initiative organising interdisciplinary discussion and performance events in Amsterdam on the intersection of music and the everyday. It is supported by ASCA, the Musicology department of UvA and WO in Actie.

Sound in Action is an overt form of opposition to the education budget cuts in the Netherlands as well as similar issues in education worldwide. Cuts in education, in particular in the Humanities, disrupt the freedom for knowledge transmission by superimposing a service/consumer relationship mode within an educational institution. Because the Humanities do not create a product that can be fed into capitalist environ, this type of knowledge is undervalued and thus underfunded. By drawing attention to the knowledge of the Humanities in action we are showing how this type of education is discursive and does not need to be justified to exist.

Team members: António Maria Cartaxo, Abigail Golec, Ed Holland, Ieva Gudaitytė, Edda Stark.

https://www.facebook.com/soundinaction/

The series of events aims at bringing the discussion of Humanities education out of the isolated realm of academia and re-locate in the realm of the social. Each event will question a topic related to music’s importance in the social reality through investigating its relationship with protest, migration, space and compatibility, and censorship respectively. By doing so, we hope to show the utmost relevance of Humanities’ produced knowledge and the necessity to implement this knowledge in the everyday by bringing academics outside the comfort zone of the University space. The questions raised are of utmost relevance today with the global rise of populism and institutional discredit.

Launch event of Sound in Action

Panel discussion and drinks with Mavi Veloso and Mia Lerm-Hayes on 23 January, 19:30 – 00:00, OT301, Amsterdam, Entrance free

In the launch event of Sound in Action, an initiative aiming to bring music studies into the everyday and thus challenge the commodification of higher education, we talk about protest! How does protest sound like, and how far can its sound travel? In this day and age, how can social media aid activists to communicate their messages, sonic and visual, internationally? Finally, how far can they go before they become appropriated? As Pussy Riot will be touring in the Netherlands at the time of the event, their reception in the West and in Russia is taken as a starting point. We explore these and other questions with those who do, study, and are interested in activism.

Mavi Veloso is a Brazilian transdisciplinary artist, currently based in Amsterdam. She works as a visual and performance artist, dancer, actress, singer, and songwriter. Veloso has been a member of multiple performance groups such as MANADA and COMO clube, Queer City/Explode Residency and the radical and artistic pedagogy project Free Home University. With work being fuelled by her multidisciplinary training in various processes, both formal and informal, Mavi graduated at the State University of Londrina, Paraná, Brazil, did Postmaster at APASS in Brussels Belgium, and Master of Voice at the Sandberg Instituut in Amsterdam. Some of her recent works include films: the films “Maravilhosa”, and “Pink Color: Los Estados Unidos del Fuego”, performance projects “PRIVATE ROOM”, projeto “Preta” and “Indumentária Popular”. She is currently developing the “#iwannamakerevolution”, a transdisciplinary umbrella research that hosts creations such as Quase Show, MUDA/MUTE, TravaLíngua, the Trans Opera and more.

Mia Lerm Hayes researches / writes / curates on word and image studies, social practices (Beuys etc), post-War histories, performance, historiography of art, curation (literary art exhibitions, experimental institutionalism) and artistic research. She is Professor of Modern and Contemporary Art History, University of Amsterdam. Her books include: Brian O’Doherty/Patrick Ireland: Word, Image and Institutional Critique(ed., Valiz 2017), Post-War Germany and ‘Objective Chance’: W.G. Sebald, Joseph Beuys and Tacita Dean (Steidl 2011), Beuysian Legacies in Ireland and Beyond: Art, Culture and Politics (co-ed., LIT 2011), Joyce in Art (Lilliput 2004), and James Joyce als Inspirationsquelle für Joseph Beuys (Olms 2001). She has curated numerous exhibitions, including Strijd ∞ , which arose from the 2014 student / staff protests against financialization and managerialization of universities. Students and I exhibited images of previous occupations of the Maagdenhuis. The exhibition has been shown at Van Abbemuseum, Eindhoven, FU Berlin, BAK Utrecht, EHESS Paris et al  (see www.strijdinfinity.com).

More TBA.

Moderation by Matisse Huiskens, chief-editor of Simulacrum magazine.

The second meeting of Sound in Action is on Narratives if Displacement and planned on 7 February in Studie Yalla.

The European Graduate School, 2019 Sessions in Switzerland and Malta

The Division of the Philosophy, Art, and Critical Thought of the European Graduate School is pleased to send you information about its academic sessions for the coming year. We return again in 2019 to our campus in Saas Fee, Switzerland, and to Malta, where we are in our fourth year of operation.  We carry forward our traditions and the magic that has always been associated with the EGS experience, even as we introduce exciting new faculty in our annual migration between a mountain village high in the Alps and a harbour charged with history in the Mediterranean.

Applications are now being accepted for the MA and PhD degree programs in  “Philosophy, Art, and Social Thought,” and “Literary, Musical, and Visual Thought.”   The EGS has also created a Certificate of Post-Doctoral Research, as well as a Certificate of Study (for individuals who do not seek a degree program but would like to undertake an EGS session).  Students may attend sessions in Saas Fee, Switzerland (June 6-29, July 31-24), or Valletta, Malta (October 9-31).  They may also apply to attend individual courses in any of these sessions, space permitting.

The academic programs of the EGS serve exceptional students in traditional academic tracks, as well as individuals from a wide range of fields who seek intellectual challenge through study with our distinguished faculty.  Its low-residency programs enable accomplished professionals to fit advanced study of the highest level into their endeavours.  Any given seminar may include, for example, graduate students, professors, artists, journalists, and practicing architects.  A singularly diverse group of highly talented and motivated students thus comes together to enjoy cross-disciplinary encounters in intensive sessions with some of the most famous professors in the world from fields such as philosophy, critical theory, media and communications, film, music, and digital design.

Our sessions in 2019 will have a structure comparable to that of the 2018 program.  In June, we will convene in Venice for a seminar in the context of the Biennale.  We will then proceed to Saas Fee for seminar sequences featuring our faculty group from Slovenia (Slavoj Žižek, Mladen Dolar, and Alenka Zupančič, this year joined by Avital Ronell) and our continuing investigation of topics relating to contemporary scientific and digital thought (with Sha Xin Wei, Elie During, Benjamin Bratton and other prominent thinkers and practitioners).  We will also have seminars on musical theory, Levinasian ethics, and film.

For our August session, we are organising a cluster of seminars relating to questions raised by Angela Davis and Gina Dent this past August in Saas Fee.  We hope to welcome them again, together with Manthia Diawara, Frederick Moten, and several other distinguished thinkers and activists.  Other faculty will include Catherine Malabou, Peter Szendy, Terry Smith, Carlos Amorales, Boris Groys and Siegfried Zielinski.  We await other confirmations, looking forward to the presence of a distinguished film-maker.

Film will also be an important component of our October session in Malta, and we are eager to welcome back Judith Butler, Jean-Luc Nancy, Karen Barad, Robert Brewer Young, Achille Mbembe, Sarah Nuttall, Thomas Keenan, and several other distinguished faculty whose names will be confirmed.  This session will feature a theatrical event on the island of Comino in the context of one of its seminars and promises to be no less exciting than the ground-breaking session of 2018.

We attach with this message a testimonial video featuring some of our faculty and students.  For a detailed view of our programs, faculty (our offerings in 2018 may still be consulted), and the institution itself, please see our website (www.egs.edu). You will also find the portal for our application here.

For updates regarding our 2019 programming and other announcements, please see our postings on Facebook, Twitter, and Instagram.

Should you have any questions regarding our unique programs or the procedure for application, please do not hesitate to write to our Registrar, Sarah Hannis or Christopher Fynsk, Dean of the PACT Division.

Creaturely Ethics and Poetics. Vibrant Possibilities of Human-Animal Organization and Culture

CFP Conference Stream 37 11th Critical Management Studies Conference
June 27-29, 2019, The Open University, Milton Keynes, UK

The domination-exploitation of human beings begins with animals, wild beasts and cattle; the humans associated with these inaugurated an experience that would turn back against them: killings, stockbreeding, slaughters, sacrifices and (in order better to submit) castration. All these practices were put to the test and succeeded. The castration of beasts, what power! And what a symbol of anti-nature…the living (except those who accepted domestication, such as cats and dogs) provided a raw material, a primary substance [matière prémière] that each society treated in its own way. After which human beings separated themselves from each other: on the one hand the masters, men (sic) worthy of this name – and on the other, the subhumans, treated like animals, and with the same methods: dominated, exploited and humiliated.

Call for Papers: https://www.creaturelyethicsconferencestream.com/

Contact: creaturelyethics2019@gmail.com

A Score, A Groove, A Phantom

This exhibition reconfigures two recent bodies of work by artist Evan Ifekoya, Ritual Without Belief (2018), an immersive sound installation recently commissioned by Gasworks London, and the project A Score, A Groove, A Phantom (2016 – ongoing), both of which investigate topics of polyvocality, subjectivity, authorship, and collaboration. A Score, A Groove, A Phantom explores archives of blackness, sociality, and inheritance as they diffract through queer nightlife and trauma in the present moment. Ritual Without Belief introduces “an algorithm across generations, locations and political affiliations,” with vocal samples that draw from literature and theory, music, conversations with friends, and more intimate thoughts and reflections. For this iteration, Evan Ifekoya will be drawing on legacies of black queer resistance in the Netherlands.

The exhibition will take place from 18 January until 16 February 2019, and will be on view Wednesdays – Saturdays from 14:00-18:00 at De Appel, Schipluidenlaan 12. More information can be find here:

http://deappel.nl/en/exhibitions/a-score-a-groove-a-phantom-a-congregation

Music, Performance and Politics: Tatming and the postcolonial ruins of Hong Kong

Music, Performance and Politics: Tatming and the postcolonial ruins of Hong Kong

A colloquium by

Jeroen de Kloet, Yiu Fai Chow, and Leonie Schmidt

Thursday 13 December 2018 at 15:30
In room 3.01 at Nieuwe Doelenstraat 16

 

In this colloquium De Kloet, Chow, and Schmidt will engage with two rounds of performances by the Hong Kong band Tatming. The Hong Kong pop duo Tatming Pair started in 1986 and has since built a reputation with their engaged lyrics, extravagant aesthetics, and electronic sounds. In 2012 Tatming Pair, vented in a series of concerts, their worries, frustrations and anger over the future of the city, giving voice to a deafening sense of disquiet. In the first part of our presentation, we will analyse this performance as a foreboding of the upcoming political protests, since in September 2014 thousands of people started occupying different areas of Hong Kong, demanding ‘true democracy’, ushering in what was known as the ‘Umbrella Movement.’ This attests, we argue, to the close alliance between the cultural and the political. It shows how popular music, in word, sound and image, both reflects, as well as impacts on, the city of Hong Kong.

In 2017 Tatming staged a round of three reunion concerts in the Hong Kong Coliseum. Building on a discourse analysis of the reports that have emerged in different media platforms before, during, and after the concerts, the second part of our presentation explores the production side of massive pop concerts. We do so also by way of conducting interviews with the band and their close collaborators, ultimately reflecting on the tension between political engagement and commercial entertainment. The 2017 concerts took the classic novel 1984 by George Orwell as the lynchpin. The performance was structured into three themes and sections: surveillance, brainwashing, and suppression. Using production ethnography as a method, we will investigate how on each level of the production makers and creative workers negotiate the tension between creating an appealing aesthetic spectacle on the one hand, while trying to convey a message on the other hand.

Jeroen de Kloet is professor of Globalisation Studies and Director of the Amsterdam Centre for Globalisation Studies (ACGS) at the University of Amsterdam. His work focuses on cultural globalisation, in particular in the context of East Asia. He is the principal investigator of a project funded by the European Grant Council (ERC), titled “From Made in China to Created in China. A Comparative Study of Creative Practice and Production in Contemporary China.

Yiu Fai Chow is associate professor, Department of Humanities and Creative Writing, at the Hong Kong Baptist University. Born in Hong Kong, Chow Yiu Fai received his PhD degree at the Amsterdam School of Communication Research, University of Amsterdam. Aside from his academic work, Chow is also an award-winning lyric writer. He released his first lyrics in 1989. Since then he has penned some 1,000 lyrical works for a diversity of pop artists in Hong Kong, Taiwan and mainland China. Lately, Chow has been increasingly involved in prose writing, multi-media and visual art projects.

Leonie Schmidt is assistant professor in the Media Studies Department of the University of Amsterdam and Associate Researcher at SOAS, University of London. Currently, she is working on a Veni project, which explores how in Indonesia Islamic ‘counter-terror pop culture’ helps to limit Islamic radicalisation and terrorism.