1. Alexander Dunst opens the debate, asking how the rise of the digital humanities and their focus on experimental methodologies may foster a new conception of knowledge and political engagement. Can literary and cultural studies learn from experimental science, as Raymond Williams believed? Read more: Alexander Dunst: The Experimental Humanities: Raymond Williams, Digital Data, and the Unfinished Project of “Materialist Recovery”.
Jayce Salloum (Kanada) & Mireille Kassar (Frankreich) kollaborieren mit internationalen Künstler*innen.
Die gezeigten Arbeiten überschreiten ihre Spezifik und werden Teil einer eigenständigen Geschichte, die sich über die Ausstellung hinaus immer weiter schreiben wird.
… „ Wir haben ein engagiertes Projekt geschaffen, dass zu sorgfältigen dialektischen Juxatpositionen anregt, schöpferische Eingriffe, Überlagerungen, Licht wie Spiel vereinigend, Interaktionen hervorruft die sich direkt auf die erfahrbaren Ebenen der Ausstellung auswirken. In diesem vielschichtigen Organismus in Bewegung können hier Dinge erscheinen und verschwinden – ein Geist in den Fasern der Ausstellung; wir müssen die Ideen erneuern, diesen kleinen Ort wie einen nomadischen Ort, das Scheußliche und das Erhabene entlang des Weges erblicken, den Künstler und den Betrachter mit dieser Trennung herausfordern und damit konfrontieren; unter vielfachen Klängen die Wahl treffen; die Architektur, das rohe Material, die Energie, unvorhersehbare Begegnungen zu bezeugen.” (Jayce Salloum & Mireille Kassar)
…„ Rencontres Improbables is to be considered as a stance, a sort of “pause” belonging to a much more global motion. Making a mark, the proposition is intense rather than merely a sampling, a set of statements of presence and articulations of being. The project is founded upon the idea of “intensity” rather than of “expansion” or “addition”. It is a summation of joint forces. There is no frivolity, or at least if there is, it will be for relief; for moments of plea- sure to counter the weight we feel tasked with, the meanings we are driven to make. These meanings are a matrix of lives, struggles, energies, sculpting the space and engaging the visitor.” (Jayce Salloum & Mireille Kassar)
As the first essay collection dedicated to Philip K. Dick in over two decades, this volume breaks new ground in science fiction scholarship and brings innovative critical perspectives to the study of one of America’s most influential authors. With contributions by major voices in literary and cultural studies, the book thoroughly situates Dick in the history of the twentieth century and includes sections on cultural theory, adaptation studies, as well as the first in-depth discussion of his last major work, The Exegesis of Philip K. Dick, only published in 2011.
Dick’s academic reputation and general popularity continue to grow. A steady flow of films based on his novels and short stories, and several biographies and critical monographs over the last decade, testify to his global appeal. As the publication of three volumes of selected novels in the prestigious Library of America series and a 900-page hardback edition of his Exegesis show, Dick is now considered a canonical author in US literature. The essays commissioned for this volume examine novel aspects of Dick’s oeuvre and revise our understanding of a writer who is now seen as a major literary and intellectual figure and often taken as representative of science fiction at large. At the same time, the conceptual and methodological arguments put forward by the authors—from Mark Bould’s analysis of ‘slipstream cinema’ and Laurence Rickels’ theorization of psychopathy to Marcus Boon’s ontology of the withdrawn object—will be of interest to a wide audience in literary and cultural studies.
More information here.
criticalhabitations 