|from 19:30 —||Yoel Regevlecture|
|till 22:30 —||Farhood / Kepla / Linglive|
from 19:30 — Yoel Regev
In everyday experience, we speak of coincidence when we encounter a series of events that, on the one hand, cannot be reduced to any pre-established unity as, for example, instances of the operation of some general law, but at the same time are not completely without connection. We usually ascribe such cases to our inadequate knowledge of reality: the connection does exist, but we do not know its source; or there is in fact no connection and it is us who bring it into reality («it only seems to us»). Really, however, we can only speak of a coincidence in the proper sense when none of these reductions are satisfactory and we are left oscillating between them. But this balancing between alternatives does not characterise coincidence as such: coincidence here does not stand forth as something substantial and existing in itself, but is only thinkable on the basis of what it is not, i.e. by starting out from necessity and chance, unity and plurality, which are what is primary and independent. In this ordinary understanding, coincidence functions as a certain «neither nor», as an unknown variable, an impenetrable object. The point of the materialist dialectic of coincidence is to open up this impenetrability, confirming the substantiality of coincidence and making direct knowledge of it possible. Yoel Regev is a philosopher, a teacher of philosophy at the European University in St. Petersburg, and author of the books Coincidentology: A Brief Treatise on the Method (2015) and The Impossible and Coincidence: On the Revolutionary Situation in Philosophy (2016).
till 22:30 — Farhood / Kepla / Ling
Farhood is a rapper from Iran. Since leaving his homeland in 2011, he has lived and worked in Liverpool, UK. Departure from Iran was prompted by Farhood’s political activity and criticism of the country’s government, but his application for political asylum in England was rejected, and the search for a way to legalize his immigrant status led to several years of wandering without employment or fixed abode and even to a short prison sentence. The musician finally able to settle in Liverpool legally. Farhood writes lyrics in Farsi, using the devices of traditional Persian poetry and the modern language of the streets. His works are sharply critical of the Iranian government and the political system in his country. The musician’s debut EP Tike Tike combines the expression of a political position with calls for social change and defence of the rights of LGBT people in the Middle East. Tike Tike was made with support from the Liverpool experimental musicians, Kepla and Ling. With their help Farhood has created a unique sound that projects a sense of melancholy, shot through with tension.
|16:00 —||LeviathanLucien Castaing-Taylor, Véréna Paravel|
16:00 — Leviathan
USA/France/Great Britain, 2012, 87 minutes 12+
This film study, created by the staff of the Sensory Ethnography Lab, an experimental laboratory of visual anthropology at Harvard University, is stylistically located at the junction of narrative cinema and experimental video. The authors follow a fishing trawler on a long expedition to create a fascinating portrait of one of the oldest human occupations, using an approach without precedent in the tradition of documentary films about work and human endeavour. Non-human vision is achieved through a monotonous account of everyday life on a fishing vessel. The directors used GoPro cameras and the capabilities of mobile recorders. Each frame produces the effect of «sterile» machine vision, expanding the boundaries of everyday perception.
|from 19:30 —||Vladimir Budanovlecture|
|till 22:30 —||Kablam|
from 19:30 — Vladimir Budanov
What is there in common between a burning candle and an idée fixe, the Great Red Spot on the planet Jupiter and a cultural tradition, a jazz composition and a frosty pattern on the windowpane? What unites these and many other complex phenomena? Synergetics, sometimes referred to the theory of self-organisation or complexity theory, can help find answers to these questions. The term «synergetics» (from the Greek «synergetikos», «acting together») was introduced by the German theoretical physicist Hermann Haken in 1970 to describe joint action, cooperative behaviour, which occurs in the most various multicomponent systems, from gas molecules to brain neurons, members of a community or elementary particles. Haken, a specialist in quantum optics, was struck by the similar nature of self-organisation in realms completely different from each other, specifically, the mechanisms for generation of coherent laser radiation and the mechanisms by which panic or rumour arise in an agitated social environment. Thence the idea of constructing a universal synergetic language for working with complexity. As long ago as the 1980s one of the leaders of synergetics in Russia, Sergei Pavlovich Kurdyumov, caused a stir among fellow mathematicians when he declared that in the 21st century most of the tasks of mathematical modelling would be related to the economy, social sciences and interdisciplinary projects. Today, this trend is clear to everyone, technological innovation in the post-industrial world is always interdisciplinary, and technologies can be social, cognitive, and convergent (nano-bio-information-cognitive-technologies). Vladimir Budanov is a physicist and philosopher, leading researcher of the Section for Interdisciplinary Issues in Science at the Institute of Philosophy of the Russian Academy of Sciences, and the author of numerous articles and publications on synergetics and the philosophy of science.
till 22:30 — Kablam
Kajsa Andrea Blom grew up in the suburbs of Gothenburg in Sweden, and moved to Berlin in 2012 in search of inspiration. There she found a new direction by creation of the KABLAM project jointly with the Janus team, including Lotic and the producer M.E.S.H. Blom now lives and works in Stockholm. In the Kablam project Blom makes tracks that deconstruct contemporary pop music, exposing the mechanistic nature of its internal structure. Blom first full-length disc, Furiosa, released in 2016 is a vivid example of the gravitation of experimental electronic music in recent years towards sound maximalism. The overloaded, occasionally disorienting sound of these compositions is peopled with noises: hoots, creaks, snaps and buzzes. The rhythm is generated by the imposition of various sounds, natural and artificial: the creaking of a door, the clang of metal, the growling of animals. The human voice traces a melodic line through these sound collages, but the voice occasionally breaks off, emphasizing prevalence of the phonetic over the semantic. The album explores and calls into question the boundary between the natural and the synthetic. This music denies the division between human, animal and machine, and brings its conclusions to an alarming sound culmination.
|16:00 —||District 9Neill Blomcamp|
16:00 — District 9
USA/South Africa/New Zealand, 2009, 112 minutes 16+
In 1982 an alien spaceship comes to a halt in the sky above Johannesburg, but those inside make no contact with the city. Human scientists penetrate the ship, where they find half-starved, insect-like aliens. The civilization on the aliens’ home planet experienced a cataclysm, which forced them to flee. The South African government sets up a refugee camp and moves the aliens into it. They have difficulty adapting to conditions in this «ghetto», and local people refuse to accept the uninvited guests, eventually resorting to protest. District 9 is an original treatment of the traditional story of man’s collision with an extra-terrestrial civilization. The issue of «intraspecies exclusion» as the main characteristic of humanity is highlighted by showing how the figure of an external enemy enables people (for once) to feel solidarity with each other.
|from 19:30 —||Igor Burtsevlecture|
|till 22:30 —||Kid Fourteenlive|
from 19:30 — Igor Burtsev
The possible existence on Earth of a human-like, but not quite human creature — the Yeti, Sasquatch or «abominable snowman» — has been treated by various disciplines, both academic (biology, biochemistry, genetics, anthropology, ethnography) and non-academic (ufology and cryptozoology), and reaches into the sphere of mysticism. Igor Burtsev, a doctoral candidate in historical science, has been a researcher in hominology (study of the possible continued existence in isolated parts of the world of ancient forms of the human race,or «relic hominids») since 1965. His has planned and carried out the search for such creatures, organizing and leading many expeditions, and in 2014 he compiled a map of the region around Moscow, marking more than two dozen places, where traces of the «snowman» have allegedly been found. Burtsev builds on the work of the Soviet historian and sociologist, Boris Porshnev, who is often considered the founder of hominology. Porshnev studied the physiology of the nervous system and the higher nervous system, linguistics and psycholinguistics, and the differences between instinctive and conscious labour. In his 1964 paper, «From Higher Animals to Man» he proposed that the genesis of the human race should not be viewed as a historical, evolutionary process, by which a certain physical type emerged gradually, but as a parting of the ways between «paleoanthropines» and «neoanthropines» — a specific «leap», which created the distinction between «people» and «non-people.» As part of the Experiences of Inhuman Hospitality project, Igor Burtsev will talk about his many years of research, the hunt for the snowman, the evidence of his existence, which has been found (blood traces, fingerprints, fragments of skin and hair), as well as the potential for communication between ourselves and relic hominids. Igor Burtsev is President of the Cryptosphere Foundation, Director of the International Centre for Hominology, and co-author of studies conducted by the DNA Diagnostics Laboratory in Nacagdoches (USA), the Biochemistry Department of the Institute of Medical Research in Birmingham (USA), and the Department of Physiology, Anatomy and Genetics at Oxford University in the UK.
till 22:30 — Kid Fourteen
Kid Fourteen is the creative pseudonym of Khodor Ellaik, who lives and works in Beirut. From 2010 to 2014 the musician was the frontman of the punk band Beirut Scum Society and the postpunk group Friendly Faces. Ellaik then began a solo career based on the Kid Fourteen project, which he brought to several European festivals, including Incubate in Holland and Waveteef in Belgium. His debut album Dream Kids Never Sleep was released in September 2016. The signature sound of Kid Fourteen combines a small set of synthesizers and drum machines with a distinctive melancholic vocal to create a paradoxical mixture of punk aesthetics and elements of noise-pop. The listener also detects strands of classic punk and electropunk (Joe Strummer of The Clash and Alan Vega of Suicide are the musician’s heroes), as well as Belgian electronic music of the 80s and 90s and more recent bands such as Dirty Beaches and Sleaford Mods.
|16:00 —||BipedalismYevgeny Yufit|
16:00 — Bipedalism
Netherlands/Russia, 2005, 90 minutes 18+
An absurdist, quasi-documentary detective film about an artist with a successful career who accidentally discovers the archive of an unknown film director. The archive records the events of an archaeological expedition, the results of which offer a new understanding of mankind’s development. In a separate storyline, human-like beings prepare a mysterious action. Bipedalism is the last film by the famous Russian filmmaker, Yevgeny Yufit, creator of the necrorealism genre in cinema. His art deals with a borderline reality between life and death, where the person acquires a new ontological dimension. Bipedalism, which can be seen as Yufit’s magnum opus, uses images and narrative devices familiar from his earlier work, but it also reinterprets Yufit’s artistic heritage.
|from 19:30 —||Egor Rogalev, Alexey Bogolepov, Valia Fetisov, Andrey Shentaldiscussion|
|till 22:30 —||Elysia Cramptonlive|
from 19:30 — Egor Rogalev, Alexey Bogolepov, Valia Fetisov, Andrey Shental
Egor Rogalev, Alexey Bogolepov, Andrey Shental and Valia Fetisov are all taking part in project Hosting the Inhuman. They share an interest in self-organising systems, whether the laws of physics as such, beyond subject-object relations, mycelia, with their potential to transmit information both internally and into the surrounding environment, or artificial intelligence, based on a self-teaching algorithm. The artists will say more about their practice and discuss the problems of artistic representation of the «non-human.»
till 22:30 — Elysia Crampton
Elysia Crampton is an Aymara producer, sound artist, conceptual collagist and musician. Her career began in 2008 under the pseudonym E+E with a focus on remixes made with keyboards and samplers and a cappella vocals. By 2015 Crampton began writing her own music and performing under her own name, broadening the scope of her musicianship. Her first full-length album won critical acclaim. Crampton’s music is a large-scale fusion of ideas, a synthesis of many meanings, geographical regions, musical genres and cultural symbols, brought together in a musical shape that is making waves on dance floors today. Her first EP American Drift, released on Blueberry Records, was followed this summer on the Break World label by Elysia Crampton presents: Demon City. This concept album, centred on an epic poem featuring Chino Amobi, Why Be, Rabit and Lexxi, will accompany a live performance work entitled Dissolution of the Sovereign: A Timeslide into the Future. The audiovisual action unfolds as a DJ set and theatrical performance connecting the oral traditions of the Aymaran Indians, theatrical heritage and Crampton’s transfeminist and abolitionist understanding of the future.
|16:00 —||Friendship’s DeathPeter Wollen|
16:00 — Friendship’s Death
Great Britain, 1987, 78 minutes No restrictions
The film is set in the Middle East at the time of the conflict between the Jordanian government and Palestinian militants in the early 1970s. A journalist called Sullivan rescues a girl from Palestinian fighters and the girl tells him that she is in fact an android by the name of Friendship, sent to earth on a peacekeeping mission by aliens. The British film critic and director Peter Wollen was inspired in this film by the stylistic and conceptual freedom of the science fiction genre. What he offers is a complex, multilevel meditation on the interaction between man and machine, and on the cruel and dark sides of rationality. Wollen’s fantasy takes him far beyond the banal plot lines, usually employed to portray coexistence of the human and the Other, and unearths new, uncustomary ethical problems.
|from 19:30 —||Mikhail Gelfandlecture|
|till 22:30 —||Nuclear Cthulhulive|
from 19:30 — Mikhail Gelfand
Biology is one of the sciences that is leading us away from the anthropocentric model of the world, if only because bacteria appeared and communicated with multicellular organisms long before the appearance of man. Life at the molecular or cellular level is a biosystem, in which a system of connections is established and communication — the exchange of energy and substances — is carried out. Many aspects of the life of a bacteria colony require the coordinated action of many cells. In nature, every cell is selfish, and all its actions are directed to its own well-being. But at the stage of formation of more complex organisms, the cell ceases to be selfish, and the goal of all cells is to work together for the prosperity and life of the whole organism. For example, if a colony of bacteria wants to feed on cellulose, then proteins must be released into the environment that can break this polymer down into simple molecules. But the cell can be a «cheater», not releasing proteins and consuming the simple molecules obtained by the efforts of its fellows, or it can be an an altruist, going as far as suicide for the good of the colony. Mikhail Gelfand will talk about molecular communication, bacterial communities and the interaction between bacteria and multicellular organisms. Mikhail Gelfand is a Doctor of Biological Science, Professor of the Faculty of Bioengineering and Bioinformatics at Moscow State University, head of the Master Programme in Biotechnology at the Skolkovo Institute of Science and Technology (Skoltech), Deputy Director of the Institute for Information Transmission of the Russian Academy of Sciences, and Deputy Editor of the periodical Troitsky Variant-Science.
till 22:30 — Nuclear Cthulhu
The Nuclear Cthulhu project comes from the Russian black metal band, Blackdeath, based in St. Petersburg, where it was born in 1995. Since 2015 Abysslooker (guitar), Colonel Para Bellum (vocals and bass) and Polar Maya (drum) have turned to stoner-doom metal with elements of black metal. Their strict rule is to give only a specific and very small number of concerts each year. The Nuclear Cthulhu debut album Desecration was released in 2016. The sound of the band and the stuff of its music centres on the theme of the Apocalypse and related cataclysms. The sinister, heavy guitar riffs are an unstoppable lava flow, the bass is the muffled roar of tectonic shifts, and the whole is held together by a thick growling vocal — an inhuman sound, unlike any creature known to us on earth. The rhythms suggest ritual instruments and we occasionally hear the sound of the shofar (a ritual wind instrument made from the horn of an animal). The grotesquerie of Nuclear Cthulhu’s music opens onto chthonic origins and echoes Lovecraft’s dreams of mystical worlds and the drama of the Weltbau. These themes are reflected in the band’s name and woven into the band’s history: Abysslooker, the guitarist of Nuclear Cthulhu, has translated Lovecraft’s work into Russian.
|16:00 —||Donna Haraway: Story Telling for Earthly SurvivalFabrizio Terranova|
|17:40 —||MetamorphosisValery Fokin|
16:00 — Donna Haraway: Story Telling for Earthly Survival
Belgium/France/Spain, 2016, 90 minutes No restrictions
The film is a portrait of Donna Haraway, an original thinker and activist who has advanced a number of innovative theses on the essence of scientific knowledge, technological processes, gender and interspecies relationships. Working at the epicentre of contemporary philosophical discourse, Haraway proposes that we abandon the idea of human exclusivity and think of the world as a complex intertwining of relationships between people, animals and machines.
17:40 — Metamorphosis
Russia, 2002, 84 minutes 18+
One morning, the travelling salesman Gregor Samsa wakes up to find that he has been transformed into a giant insect. His family treat him with disgust and lock the door of his small room. Only his sister comes to feed him. The hero retains the ability to think and blames himself for the suffering he has brought on his family. He finally dies. Metamorphosis is a screen version of one of the most famous stories by Franz Kafka, a scathing pamphlet that exposes the essence of lower-middle class philistinism, its consequences of moral degradation and the drama of dehumanization. Remaining true to Kafka’s unique narrative style, Valery Fokin shows us the disintegration of a family, making it the background for the tragedy of a lonely man, unable to resist the cruel absurdity of reality and expelled from life.
|15:00 —||The Creeping GardenTim Grabham, Jasper Sharp|
|from 18:30 —||Ben Woodardlecture|
|till 23:00 —||Dyad & the Sleepers Club, Mårble (Echotourist)live|
15:00 — The Creeping Garden
Great Britain, 2014, 81 minutes No restrictions
A documentary film about one of the most mysterious entities in nature — slime mould, an organism that belongs to the fungi kingdom, but has features that mark it out as a unique type of living being. Scientists worldwide, from Britain to Japan, are studying slime mould in an attempt to understand its remarkable essence, while artists see it as an extended metaphor for the inexplicable mysteries of living nature.
from 18:30 — Ben Woodard
Instead of discussing formalism as merely imposing itself on materiality (as many new materialists do), or arguing that formalism is what sets human minds apart from the world (as many rationalists and normativists do) Ben Woodard treats the formal as an invasion of the mind by nature. Taking this as a starting point, early romanticism and idealism (especially Goethe, Novalis, and Schelling) can be viewed not as imprinting all of nature with ideal forms, but rather arguing that nature’s forms can only be discovered in nature (including in our own minds). In this sense inside and outside become forms of nature thereby giving Schelling’s statement: «What thinks in me is outside of me» a potentially nightmarish valence. Woodard offers to examine formalism as an alienation of the mind and the body from each other through works of horror fiction and film. Ben Woodard is a philosopher specializing in media, 19th natural philosophy, cinema and literature in the horror genre, and video games. He is a member of staff at the University of Lüneburg in Germany.
— Chino Amobi
Chino Amobi is a musician and producer, born in Alabama in a family of immigrants from Nigeria, and now living and working in Virginia. He studied music from age 12, recording and rapping to simple rhythms. He worked on his first music project at school and later at the University of Virginia, and made about a dozen releases under the name Diamond Black Hearted Boy. He then dropped the pseudonym and set up his own NON label with his friends and producers ANGEL-HO and Nkisi. The NON label publishes music on the Internet and works without AR and publicists. Amobi describes NON as a collective of African artists, and of the diaspora, using sound as their primary media, to articulate the visible and invisible structures that create binaries in society, and in turn distribute power. The label founders are united by their interest in politically charged electronic music and by a specific perception of place and identity. Chino Amobi’s music reflects his interest in the study of everyday life, marked by the fragmentariness of post-Internet existence and loneliness experienced in a space that seems like home, but isn’t. Amobi’s experiments began with the deconstruction of ambient monotony and led to the combination of noise tracks with the sound of synthesizers and planned orchestration. The compilation of dissonances assaults the listener, mimicking the brutality of the modern society. By defining the problem Amobi takes a first step towards its solution.
till 23:00 — Dyad & the Sleepers Club, Mårble (Echotourist)
Echotourist is a record label and association of musicians from Novosibirsk, who work with artists living in Siberia. They also organize parties — the Wintering series since 2015 — where they play dance music, ambient and noise. The also take part in Siberia’s vibrant music «Frontier» festival. The Echotourist style extends from house and techno to kraut-rock. Their focus is on live performance, not DJ sets. Dyad is an electronic project by Evgeny Gavrilov, who is a key figures in the Novosibirsk electronic scene, and is the co-founder of Echotourist and of the shoegaze group FPRF. This project name comes from ancient philosophy and describes a dialectical contradiction that arises within formal logic. The Echotourist member Anton Glebov created the cassette label Hair Del and has a new project entitled Mårble. Glebov leans towards improvisation, even when recording, but makes use processing and production techniques.
|from 19:30 —||Jeffrey Jerome Cohenlecture|
|till 22:30 —||Ored Recordingslive|
from 19:30 — Jeffrey Jerome Cohen
Fear of monsters, aliens, inhuman and abnormal creatures, combined with passionate curiosity about them is characteristic of many cultures. The writer and researcher Jeffrey Jerome Cohen examines these life forms from the standpoint of post-humanism and eco-criticism. His research examines phenomena at once alien and intimate. Hence the hybrid methodology he uses in his work: he is interested in how queer theory, critical race studies and posthumanism might help us to better understand the texts and cultures of the Middle Ages. In his talk Cohen will discuss the Genesis narrative of Noah and his ark as the oldest story about climate change. Happy animals and salvific rainbows are only a small part of that story. Divine, human and environmental justice are constantly questioned as a select few enjoy floating refuge, while the rest of the world is left to drown. But this time-honoured story also reminds us that in a situation of cataclysm, the chances of survival for humans and non-humans are at least equal. Jeffrey Jerome Cohen is Professor of English and Director of the Institute for Medieval and Early Modern Studies at the George Washington University in the USA; he is the author of Stone: An Ecology of the Inhuman (2016), Earth (co-authored with Lindy Elkins-Tanton, 2017) and editor (with Lindy Elkins-Tanton) of the collection of articles Elemental Ecocriticism (2016).
till 22:30 — Ored Recordings
Ored Recordings is an independent ethnographic project from Kabardino-Balkaria (southern Russia), founded in 2013 by Bulat Khalilov, Timur Kodzokov, Milana Khalilova, Yaroslav Suzdaltsev, Olesya Altynbaeva and Elizaveta Vdovina. They have performed their music at the Science and Art cultural centre and at Locus Solos in Moscow and have given lectures at the Higher School of Economics (also in the Russian capital). They have taken part in a number of traditional music festivals in Kabardino-Balkaria. Ored Recordings travel to towns, villages and mountain settlements in Kabardino-Balkaria, Adygea, Southern Dagestan and Azerbaijan in search of folk musicians. The guiding principle of the project is the use of recordings made in the field: Ored use only live recordings and are opposed to studio work with archaic folk music. They are interested in living sound that captures a specific moment with its special atmosphere and natural imperfections. Ored Recordings is keen to popularize and manifest the artistic potential of traditional music. The creators of the label value Circassian legends, Cossack songs, and the Sufi rituals of Chechnya. They collect field recordings from dinner parties, services of worship and festivals. They are interested in questions of authenticity, personality and canon. The group members give lectures to accompany their musical program, focusing on how local, folk art exists in the modern global information space.
|16:00 —||Tetsuo the Iron ManShinya Tsukamoto|
16:00 — Tetsuo the Iron Man
Japan, 1989, 67 minutes 18+
A middle-aged businessman accidentally knocks over a stranger on the road and hastily hides the body. Some time later, the hero discovers a metal spike on his hand, after which his body begins to transform rapidly, turning the unremarkable businessman into an aggressive techno-monster, unable to control his own actions. He kills his mistress and does battle with the «techno fetishist» — the victim of the earlier car accident — whose experiments modifying his own body have completely changed his attitude towards life and the world. The cinematic universe of Shinya Tsukamoto, populated by utterly fantastic creatures, is one of the most outlandish in the history of cinema, and Tetsuo the Iron Man has a central place in it. This reflection on unbridled technological progress, a terrifying schizophrenic fantasy about parasitic machines, is more than another film about the dangers of mechanisms that run out-of-control. It is an attempt to demonstrate the poetics of technology, at once repulsive and captivating.
|from 19:30 —||Vinciane Despretlecture|
|till 22:30 —||Yves Tumorlive|
from 19:30 — Vinciane Despret
The philosopher Vinciane Despret, based in Belgium, studies means of psychological manoeuvre between the two poles of the rational/magical dichotomy, as exemplified by the relationship between the living and the dead, and between animals and humans. She is also interested in the phenomenon of «observation». Pursuing this interest, she studied the work of ethologists who carried out field studies of a particular bird species (the Arabian babbler) in the Negev desert in Israel. The way the scientists developed their theories, how they interacted with the historical and social context, and the contradictory conclusions, at which they eventually arrived, led Vinciane Despret to the idea that certain modes of behaviour, which we like to view as distinguishing us from animals, cannot be viewed as specifically human. This is reflected in her book What Would Animals Say If We Asked the Right Questions? where, in 20 chapters, the philosopher subjects to a critical analysis our belief that we understand why animals perform certain actions, what they think and what they want. Vinciane Despret’s idea is that people build communication with the dead in a similar way: they are troubled by the feeling that something is required of them, that something unfinished must be completed, that they are under obligation to offer, not just an extension of life, but another way of being of the deceased party. This concept is based on the concept of «instauration», coined by the French philosopher and expert in aesthetics, Étienne Souriau, to account for nature and human thinking, as well as such phenomena as creativity and creation. In her lecture as part of the Experiences of Inhuman Hospitality project, Vinciane Despret will discuss the philosophical and psychological aspect of the relationship between the observer and the object of observation. Vinciane Despret is a philosopher of science, lecturer at the University of Liège, and author of numerous articles and books, including Ethology between Empathy, Standpoint and Perspectivism: the Case of the Arabian Babblers (1996), Our Emotional Makeup. Ethnopsychology and Selfhood (2004), Au Bonheur des Morts (2015) and What Would Animals Say If We Asked the Right Questions (2016).
till 22:30 — Yves Tumor
Yves Tumor is a controversial image created by Sean Lee Bowie, a producer and performer from Tennessee. But the truth is that no one knows the artist’s real name: Yves Tumor has changed pseudonyms more often than socks and mystification is his artistic credo. Yves has worked with such progressive musical figures as NON and the rapper Mykki Blanco, experimenting with music in different genres. His most recent musical statement is the LP Serpent Music, released on the PAN label. Material for the new record took shape since 2013. Initial gravitation was towards a variety of soul, based on songs in different genres. But the final album combines seemingly incompatible elements: groove r’n'b and dissonant echoes, a rhythmic section and grating noise, as well as recordings of natural conversations, ambient sounds of nature, broken electronic insets and even funk. Yves Tumor’s well-known live shows are strikingly different from his studio recordings, offering multifaceted performances with an unpredictable theatre-of-one-actor.
|16:00 —||Under the SkinJonathan Glazer|
16:00 — Under the Skin
Great Britain/USA/Switzerland, 2013, 108 minutes 16+
This loose screen adaptation of the famous novel by Michel Faber tells the story of an alien female who abducts men on a deserted stretch of road near Glasgow. Glazer leaves only the storyline of the main character, refusing to explain her motives and turning the plot into a succession of situations, which are unsusceptible to traditional narrative logic. The narrative of Under the Skin resembles pages torn from the diary of a serial killer, the bearer of an infernal behaviour model, which even the most skilful interpreters cannot comprehend. The director succeeds in portraying the «unknowable» and challenges the viewer to make sense of the inhuman nature of the heroine.
|from 19:30 —||Michael Hampelecture|
|till 22:30 —||Lara Sarkissianlive|
from 19:30 — Michael Hampe
The philosopher Michael Hampe claims that the division into organic and non-organic, living and non-living is an unverifiable theoretical construction, ultimately not scientific, but metaphysical. His work draws on ideas put forward by proponents of pragmatic methodology in logic and the theory of knowledge: the American philosopher and teacher John Dewey, the Norwegian philosopher and ecologist, and author of the concept of «deep ecology», Arne Naess, the French sociologist, Bruno Latour, the British logician and philosopher, Alfred Whitehead, and others. Hampe does not contrast theory and practice as different activities, but focuses on the intrinsic value of abstract categories, of our experience and of the relationships, which we construct with each other and with the world around us. They take on the shape of a mathematical formation, a union of diverse individuals or, in other words, nature. A vivid illustration of this is the event that Michael Hampe considers in his natural-philosophy book Tunguska, or the End of Nature, which centres on the massive explosion that occurred on 30 June 1908 near the Podkamennaya Tunguska river in the Siberian taiga. The supposition of a meteorite strike has not been fully confirmed, as scientists have not found a crater or meteorite fragments. Alternative explanations range from an insect invasion to a visitation by aliens. For Michael Hampe the Tunguska event is the quintessence of «nature» and confirmation of the theory of «practical panpsychism», which suggests that there is no boundary between living and non-living matter: both are self-sufficient, all things are animated and endowed with psyche and life, like a human being. Michael Hampe is Professor of Theoretical Philosophy and Dean of the Faculty of Humanities at the Swiss Higher Technical School in Zurich, he has authored works on the philosophy of early modern times, pragmatism, the philosophy of psychoanalysis and natural philosophy.
till 22:30 — Lara Sarkissian
Lara Sarkissian is a director, creative producer and sound artist living and working in San Francisco, California. She is co-founder and resident DJ of the Club Chai curatorial project and label with 8ULENTINA, based in Oakland, California. The project organisers now have monthly shows on Radar Radio. Sarkissian is interested in interdisciplinary studies of media and information-communication technologies, in which she obtained a bachelor’s degree from the University of California at Berkeley in 2014, offering as her graduation thesis a work that dealt with identity of the Armenian diaspora using citations from movies. In her musical works, Lara Sarkissian touches on the themes of memory, family archives and the history of the diaspora. Her tracks are original mini-archives, bringing together samples of various sounds—the wind, a resonating string, sounds of percussion from traditional Armenian music, and electronic effects. Lara makes use of traditional instruments such as the duduk or qanun, which were important in national music, traditional dances, religious rituals and revolutionary songs.