The question of the experiment (as the basis for knowledge production) is implicated in the question of who and what is recognized as a viable participant in the production of knowledge, in the boundaries of what is understood as “public space” and the politicized distinction of knowledge producers and subjects of the experiment. In her contribution to the debate on experimental humanities, “Experimental Inhabitations”, Sara Morais dos Santos Bruss argues that an emancipatory notion of the experiment lies in an experimental practice that affirms embodied genealogies within the digital and plays with the multiplicities these necessitate, resulting – possibly – in a democratization of the “private” space of digital infrastructures.
3. Working with autistic children in the Cevennes in southern France, Fernand Deligny and his group of collaborators developed an intriguing cartography in his network of living places (1967-1986), a method that disrupts clinical knowledge. In his contribution to the debate on the experimental humanities, Marlon Miguel argues that the invention of this form of cartography contributes to a practice in an experimental field in which knowledge is indissociable from its performance: not so much knowledge on or of autism, but knowledge with these dissident autistic bodies. Read more: Marlon Miguel: To Permit: Fernand Deligny’s Cartography of Autism.
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”.
2. Elahe Haschemi Yekani asks if there are ethical ways of reading in the archives of enslavement by discussing competing methodologies of “close” versus “surface” readings. Read more: Elahe Haschemi Yekani: The Ethics of Reading the Archives of Enslavement: Experiments in Interpretation.
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”.
The explorer Ludwig Leichhardt (*1813 in Trebatsch – †1848? in Central Australia) is a colonial figure shared by Germany and Australia alike. After a successful expedition together with a party of Indigenous and non-Indigenous men, travelling north – east from Moreton Bay (Brisbane) to Port Essington in 1844 and 1845 – Leichhardt was hailed as hero in both his native Prussia and in the Australian colonies. His and his party’s subsequent disappearance in the Australian interior on a further expedition in 1848 bound for the west coast remains a mystery, and together with his controversial character and the mixed nature of his legacies, continues to fascinate, engage or trouble Australians, Germans and others.
Today Leichhardt is remembered as a scientific hero, a cultural enquirer, and as an agent of colonial expansion. He has been portrayed through fiction and visual art, sung about, and cudgelled by opinion. He has been claimed or vilified by the Australian colonies, the British Empire and Prussia, by National Socialism and the East German state, as well as by contemporary Germany and Australia. Still missing, he is found in so many places.
In the light of important contemporary reassessments of Germany’s colonial past, how can cultural studies adequately engage with such a legacy? Given how little we can ever know about Leichhardt’s fate, what is the potential, in this context, of a fragmented yet composite picture of the explorer? A little over 200 years after his birth and exactly 170 years after departing on the journey from which he never returned, researchers, cultural producers and family members within and beyond the Academy were asked to experiment with the memory of this ambiguous colonial actor. They were invited to share a Leichhardt yarn and to contribute to the ongoing renegotiations of meaning attached to him as a dynamic figure enmeshed in the forces of memory.
In ‘Failure: The Curse of Leichhardt’, Anna Haebich introduces the reader to the Australian politician Bill Grayden, who set out on an expedition to find Leichhardt and returned as a modern-day prophet with a new cause: to “help” the Ngaanyatjarra desert people.
In ‘Dreaming Leichhardt: Wim Wenders at the End of the World’, Gail Jones analyses how Wim Wenders is cinema-seancing Leichhardt in his movie “Until the End of the World” (1991).
Lindsay Barret describes a traumatic experience he had, living in the inner-Sydney suburb of Leichhardt. He explains how the suburb was named after Leichhardt and how he and Leichhardt actually share a few things in common, especially the urge to record, observe and make traces.
Gerrit Haas’s, ‘How to Write About Leichhardt? _Towards a Ficto/critical Manifesto‘, is a declaration on how to write about Leichhardt in a ficto/critical way and why Leichhardt is a subject for ficto-critical writing. His essay ‘How to Write Like … Hard? – Manifestly Untoward: The Ficto/critical –’, is the performance of ficto-critical writing on Leichhardt.
In ‘Schoolbook Leichhardts: Discovering Ludwig Leichhardt in Historical Narratives for Children‘, Stefanie Land-Hilbert reflects on her discoveries on Leichhardt in Australian and German textbooks.
Anja Schwarz reflects on a puzzling comment by Irrwanyere elder Bingey Lowe in ‘Too many Ludwig Leichhardts‘.
These and many other Leichhardt stories can be accessed here.
What kind of knowledge do we have to define in order to initiate a decolonial university? In her contribution to the “Pluralising Practices” debate, Katrin Köppert takes this question as a starting point to discuss the project “DE_colonize Uni_VERSITY”.
After the interrogation of pluralising activist and artistic practices, Hongwei Bao cautions against an uncritical celebration of pluralising practices without taking into consideration its neoliberal conditions for both academics and cultural workers in his contribution to the second instalment of the “pluralising practices” debate.
criticalhabitations opens the third debate on: pluralising practices.
Introduced by the editors of critical habitations, the debate features contributions by Anna Artaker, who describes her artistic practice which transforms Walter Benjamin’s concept of the “dialectical image” into a body of artworks in her project MEDIUMS OF HISTORY, and Sumugan Sivanesan who interrogates transmedia civil disobedience in the age of fossil-fuelled information capitalism.
criticalhabitations opens the second debate on: the posthuman present.
Introduced by Alexander Dunst, the debate features contributions by James Burton who returns to the writing of Philip K. Dick to question our understanding of the android and the human and Fabienne Collignon, who takes up Burton’s inquiry into human versus posthuman to seek an escape from the latter’s violence in a poetic inhumanity.
In his contribution “Inhabiting Photography – Between Medium and Mediality” to the debate section Saadi Nikro considers the life of photographs as embodied circulations and social economies of affect.