HIC ROSA 2018 Studio in MAD Politics

ABBAS, Asma a Iva ŠMÍDOVÁ. HIC ROSA 2018 Studio in MAD Politics. 2018.

Základní údaje

Originální název

HIC ROSA 2018 Studio in MAD Politics

Název česky

HIC ROSA 2018 Studio in MAD Politics

Autoři

ABBAS, Asma a Iva ŠMÍDOVÁ

Vydání

2018

---

Další údaje

Jazyk

angličtina

Typ výsledku

Uspořádání workshopu

Obor

50000 5. Social Sciences

Stát vydavatele

Česká republika

Utajení

není předmětem státního či obchodního tajemství

Odkazy

HIC ROSA COLLECTIVE studio and conference web

Organizační jednotka

Fakulta sociálních studií

Klíčová slova česky

politika; politologie; postsocialismus; postkoloniální studia

Klíčová slova anglicky

politics; poluitical science; postsocialism; poscolonial studies

Příznaky

Mezinárodní význam, Recenzováno

---

Anotace

V originále

Citing calls, honours, summons, locates, remembers, accuses, and it also produces genealogies and tangles of knowledge, feeling, and meaning. It names resonances, verbalises hauntings, acknowledges debt, claims community, and establishes inheritances. It alleges meaning, and is itself a practice of allegiance and filiality. It extracts but can also extort. It appropriates, but can also misappropriate and expropriate. Its lack can be theft, but its presence can be a betrayal at times. Its absence can be equalising in an unequal world, and protective in dangerous contexts, but can also disappear those already overwritten as producers in systems of power and meaning. Certain prescribed and professionalised practices of citation in art and scholarship traditionally demarcate the terrain as one of proprietary relations, beholden to the capitalist law of value and a colonial tradition of mastery. Needful reparations for what Lewis Gordon names “citational apartheid,” and the wishful recoveries of life maimed by institutions, raise the question of which codes must be followed, overloaded, rewritten, violated, or broken entirely–and when, and by whom. What new sensibilities do incite and recite–as emissaries from other worlds of reading, claiming, affiliating, declaiming, authorising, announcing, pronouncing–convene for us? In assembling different enunciations of presence and authority, these riffs on citation make available not only who is cited or not, but also who is citing and as what. Thus are raised questions of responsibility and answerability to something–perhaps unnamed, unspoken, and uncited– that exists beyond what and who is cited and what and who cites. What, if anything, is to be done with this? The 2nd Hic Rosa Studio in Materialist and Decolonial (MAD) Politics and Aesthetics is built around the themes of re/in/citation as a way to examine the relation between our politics and our aesthetics in a materialist, uncolonial, and unfascist vein–and to map out the coordinates of form, content, and method in our various labours that may allow us to think of decolonising beyond delinking, hospitality beyond occupation, filiality beyond appropriation, inquiry beyond settlement, solidarity beyond confession, authoring beyond authority, presence beyond immediacy, abundance beyond superfluity, and history beyond debt.

Česky

(anotace v CZ nebyla pořízena)Citing calls, honours, summons, locates, remembers, accuses, and it also produces genealogies and tangles of knowledge, feeling, and meaning. It names resonances, verbalises hauntings, acknowledges debt, claims community, and establishes inheritances. It alleges meaning, and is itself a practice of allegiance and filiality. It extracts but can also extort. It appropriates, but can also misappropriate and expropriate. Its lack can be theft, but its presence can be a betrayal at times. Its absence can be equalising in an unequal world, and protective in dangerous contexts, but can also disappear those already overwritten as producers in systems of power and meaning. Certain prescribed and professionalised practices of citation in art and scholarship traditionally demarcate the terrain as one of proprietary relations, beholden to the capitalist law of value and a colonial tradition of mastery. Needful reparations for what Lewis Gordon names “citational apartheid,” and the wishful recoveries of life maimed by institutions, raise the question of which codes must be followed, overloaded, rewritten, violated, or broken entirely–and when, and by whom. What new sensibilities do incite and recite–as emissaries from other worlds of reading, claiming, affiliating, declaiming, authorising, announcing, pronouncing–convene for us? In assembling different enunciations of presence and authority, these riffs on citation make available not only who is cited or not, but also who is citing and as what. Thus are raised questions of responsibility and answerability to something–perhaps unnamed, unspoken, and uncited– that exists beyond what and who is cited and what and who cites. What, if anything, is to be done with this? The 2nd Hic Rosa Studio in Materialist and Decolonial (MAD) Politics and Aesthetics is built around the themes of re/in/citation as a way to examine the relation between our politics and our aesthetics in a materialist, uncolonial, and unfascist vein–and to map out the coordinates of form, content, and method in our various labours that may allow us to think of decolonising beyond delinking, hospitality beyond occupation, filiality beyond appropriation, inquiry beyond settlement, solidarity beyond confession, authoring beyond authority, presence beyond immediacy, abundance beyond superfluity, and history beyond debt.