Documente Academic
Documente Profesional
Documente Cultură
7 April 2016
Love Letters to O ther W orlds
Dickson St Community Space, N ewtown
8 April 2016
Propositions for Hacking the Anthropocene
Law Foyer, University of Sydney
Love
Letters
to
Other
Worlds
An
evening
of
art,
engagement,
and
collaboration
with
other
worlds.
Thursday
7
April
2016
6:30
9:00
pm
IWCS
Dickson
St
Community
Space
35
Dickson
St,
Newtown
NSW
2042
All
welcome!
Free
and
family-friendly.
No
registration
required.
In
an
era
of
uncertainty
about
action
in
the
face
of
complex
and
dispersed
environmental
problems,
the
Anthropocene
asks
us
perhaps
to
infiltrate
change
as
much
as
anything.
Participants
at
this
evening
of
art,
conversation,
exploration,
and
digestion
will
be
encouraged
to
show
their
debt
to
(un)charismatic
others
and
ask
the
world
of
invisible
beings
about
what
our
common
futures
might
hold.
Waste
Matters:
You
are
my
Future
(Kathy
High)
is
a
multi-media
and
interactive
exploration
of
the
power
of
poo.
It
investigates
our
intimate
relation
to
the
gut
microbiome
and
asks
whose
poo
would
make
you
a
superstar.
Kathy
High
(USA)
is
an
interdisciplinary
artist
researching
the
ways
we
relate
to
This
evening
will
feature
a
unique
gastronomic
experience
our
own
bodies
and
the
world
around
us.
She
does
this
by
looking
at
cells
and
brought
to
you
by
the
Bioart
Kitchen
(Lindsay
Kelley).
Bioart
Kitchen:
Art,
Feminism,
Technoscience
(London:
IB
microbiomes,
animals
and
institutional
biotechnology
systems,
including
the
Tauris,
2016)
will
be
available
for
purchase
at
a
discount
medical
and
pharmaceutical.
price.
Caution,
workers
below
(Perdita
Phillips)
takes
the
form
of
a
modified
ouija
Lindsay
Kelley
(AU)
locates
her
art
and
scholarship
in
the
board,
designed
to
communicate
with
the
world
of
termites.
kitchen,
where
she
explores
how
the
experience
of
eating
8:30-9:00
-
Registration
2:30-2:50
break
9:00-9:15
Welcome
and
Acknowledgement
of
Country
2:50-3:20
Propositions
for
Hacking
the
Anthropocene
III
9:15-10:15
OPENING
KEYNOTE
TALK
Eve
Vincent
(Macquarie)
&
Timothy
Neale
(Western
Sydney),
Mining,
Heat
and
Light
and
Water:
Resistance
Through
Fiction
Indigeneity,
Alterity:
Or,
Mining
Indigenous
Alterity?
Ellen
van
Neerven
(Black&Write!
Author
of
Heat
&
Light)
Majidi
Warda
(University
of
Sydney),
Spontaneous
Combustions
and
Fire
as
Moderated
Discussion
Hack
Textuality
in
the
Anthropo/scene:
An
Augury
from
the
Chthulcene
Jennifer
Hamilton
(University
of
Sydney/NYU
Sydney),
Snow
Day
10:15-10:45
coffee/tea
Undine
Sellbach
&
Stephen
Loo
(Macquarie
University),
The
blind
and
deaf
highway
woman
10:45-11:30:
Propositions
for
Hacking
the
Anthropocene
I
Helen
Moore
(poet),
ECOZOA:
A
Cellular
Response
to
the
Anthropocene
3:20
-3:45
Moderated
Discussion
/
The
Audience
Hacks
Back
Vicki
Kirby
(UNSW),
At
home
with
the
alien
that
we
are?
Suzi
Hayes
(La
Trobe
University),
anthropocene
privilege
3:45-4:00
-
break
Romand
Coles
(ACU),
What's
New
in
the
Anthropocene?
Natality
as
Receptive
Agency
4-6
pm
CLOSING
KEYNOTE
TALKS:
Pony
Express,
The
Ecosexual
Mystique
A
Thousand
Tiny
Anthropocenes:
Worlding
Troubles
from
Swedish
Feminist
Stephanie
Springgay
(University
of
Toronto),
Volatizing
Bouquet
Perspectives
Professor
Cecilia
Asberg
(Linkoping
U)
11:30-12:00
-
Moderated
Discussion
/
The
Audience
Hacks
Back
Toward
the
Idea
of
a
Black
Anthropocene
Dr.
Kathryn
Yusoff
(Queen
Mary
UK)
12:00-1:00
lunch
(vegan;
provided)
Moderated
Discussion
1:00-2:00:
Propositions
for
Hacking
the
Anthropocene
II
Emily
Parsons-Lord
(artist),
Collective
Denial
Ongoing
/
Dispersed
Hacks:
Thom
van
Dooren
and
Deborah
Bird
Rose
(UNSW),
Animist
Lures:
Arts
of
Cat
Jones
(artist),
Somatic
Drifts
Witness
Kay
Are
(Melbourne),
On
Touching
Back
Fiona
Probyn-Rapsey
(University
of
Sydney),
Howling
the
Anthropocene!
Regrette
Etcetera
(artist/activist),
Stretch
Marx:
Oestrogenic
Ecosystems,
Solastalgia,
and
Species-Panic
in
the
Capitalocene
Victoria
Hunt
(artist/perfomer),
Erasure
Lindsay
Kelley
(UNSW),
Extreme
Baking:
Toward
an
anticolonial
ingestion
of
hard
tack
Hack
the
Anthropocene!
PROPOSITIONS
FOR
HACKING
THE
ANTHROPOCENE
I
Liner
Notes
-
Friday
8
April
2016
Helen
Moore,
ECOZOA:
A
Cellular
Response
to
the
Anthropocene
MORNING
KEYNOTE
TALK:
A
reading
of
Deep
Time,
Deep
Tissue,
from
ECOZOA
by
Helen
Moore
(Permanent
Heat
and
Light
and
Water:
Resistance
Through
Fiction
Publications,
2015).
Embodying
evolutionary
wisdom
and
inspired
by
the
concept
of
the
Ecozoic
Era,
Thomas
Berrys
visionary
alternative
to
the
Anthropocene,
this
Ellen
van
Neerven
hack
stands
for
collective
transformation
towards
a
sustainable
planetary
future.
Ellen
van
Neerven
is
a
Yugambeh
woman
and
the
award-winning
author
of
Heat
Helen
Moore
is
an
award-winning
ecopoet
and
socially
engaged
artist
currently
and
Light
(UQP
2014).
She
works
at
the
black&write!
Indigenous
writing
and
editing
based
in
the
UK.
Her
debut
poetry
collection,
Hedge
Fund,
And
Other
Living
project
at
the
State
Library
of
Queensland.
Margins
(Shearsman
Books,
2012),
was
described
by
Alasdair
Paterson
as
being
in
the
great
tradition
of
visionary
politics
in
British
poetry.
Her
second
collection,
ECOZOA
(Permanent
Publications,
2015),
which
responds
to
Thomas
Berrys
vision
of
the
Ecozoic
Era,
where
we
live
in
harmony
with
the
Earth
as
community
has
already
been
acclaimed
by
John
Kinsella
as
a
milestone
in
the
journey
of
ecopoetics.
FFI:
www.natures-words.co.uk
Vicki
Kirby,
At
home
with
the
alien
that
we
are?
Suzi
Hayes,
anthropocene
privilege
How
should
we
respond
to
the
confusing
argument
that
condemns
human
Tracing
the
phenomenon
of
white
privilege
through
the
notion
of
the
exceptionalism
on
the
one
hand,
diagnosing
anthropocentrisms
pomposity,
anthropocene.
myopia
and
murderous
self-absorption
we
are
culpable
-
only
then
to
attribute
the
special
role
of
responsible
overseer,
the
one
who
can
take
reparative
action
Suzi
Hayes
is
a
PhD
Candidate
in
the
Department
of
Creative
Arts
and
English
at
La
and
redeem
previous
sins
to
human
exeptionalism?
Can
we
be
satisfied
with
this
Trobe
University.
Her
current
work
explores
questions
of
writing
and
agency
in
the
familiar
tale
of
good
versus
evil,
of
sinners
and
saviours,
as
if
the
way
to
engage
context
of
twenty-first
century
global
warming.
ethical
quandaries
is
by
dividing
us
from
them:
as
if
all
the
lessons
we
learned
about
identitiarian
politics
in
other
arenas
have
no
application
in
this
one?
Vicki
Kirby
is
Professor
of
Sociology
in
the
School
of
Social
Sciences,
The
University
of
New
South
Wales.
She
is
the
author
of
Quantum
Anthropologies:
Life
at
Large
(Duke
2011),
Judith
Butler:
Live
Theory
(Continuum
2006)
and
Telling
Flesh:
the
substance
of
the
corporeal
(Routledge
(1997).
She
is
also
editor
of
What
if
Culture
was
Really
Nature?
forthcoming
Edinburgh
University
Press.
She
has
articles
forthcoming
in
Derrida
Today;
Parallax,
PhiloSophia
and
in
David
Woods
et
al.
eds.,
Eco-Deconstruction
(Fordham
UP).
Romand
Coles,
What's
New
in
the
Anthropocene?
Natality
as
Receptive
Agency
Pony
Express,
The
Ecosexual
Mystique
The
Anthropocene
often
denotes
the
new
(cene)
epoch
in
which
geological
Pony
Express
offer
up
a
slew
of
ecosexual
life
hacks
and
pick-up
tricks.
Learn
how
and
biological
processes
are
profoundly
altered
by
humans
(Anthropos).
to
love
the
environment
through
submission,
seduction,
and
self-annihilation.
Brought
on
by
often
devastating
practices
of
oblivious
human
mastery,
the
Anthropocene
conjures
an
end
to
the
Cenozoic
(new
life)
era.
I
suggest
we
read
Pony
Express
is
a
collaborative
body
led
by
playwright
and
performance
maker
Ian
the
Anthropocene
as
a
call
to
new
eco-political
modes
of
becoming
in
response
to
Sinclair
and
transdisciplinary
artist
Loren
Kronemyer.
Through
their
pandrogynous
the
catastrophe
underway.
What
would
be
new
about
the
Anthropos
would
be
a
collaborative
process,
Pony
Express
work
across
platforms
of
media
art,
live
art,
renewal
of
the
very
idea
of
natality
(our
capacity
for
birthing
new
action)
as
and
transdisciplinary
research
to
create
immersive
alternate
realities.
Their
work
receptive
agency
with
nonhuman
beings
and
macro-systems.
Receptive
agency
is
reflects
themes
of
environment,
apocalypse,
and
the
future.
They
are
currently
briefly
sketched
in
three
dimensions:
intercorporeal
vivacity,
mourning,
and
fury.
making
the
worlds
first
Ecosexual
Bathhouse,
a
multi-chamber
walk
through
labyrinth
that
plunges
participants
into
the
world
environmental
eroticism,
testing
Romand
Coles
has
recently
become
a
professor
at
the
Institute
for
Social
Justice
at
the
boundaries
of
evolution
and
inhibition.
Ecosexual
Bathhouse
is
part
of
Next
Australian
Catholic
University
in
Sydney,
after
collaborating
in
the
leadership
of
a
Wave
Festival
2016.
radical
and
ecological
democracy
action
research
movement
at
Northern
Arizona
University
and
in
the
US
Southwest.
Before
that
he
taught
political
theory
at
Duke
University
and
engaged
in
community
organizing.
He
is
the
author
of
several
books,
including
Visionary
Pragmatism:
Radical
and
Ecological
Democracy
in
Neoliberal
Times
and
Beyond
Gated
Politics:
Reflections
for
the
Possibility
of
Democracy.
At
the
Institute
for
Social
Justice
he
is
working
to
make
environmental
justice
and
action
research
vital
strands
of
the
new
doctoral
program
in
Social
and
Political
Thought.
Stephanie
Springgay,
Volatizing
Bouquet
PROPOSITIONS
FOR
HACKING
THE
ANTHROPOCENE
II
Traditionally,
smell
is
thought
of
as
primitive,
innate,
and
natural.
We
frequently,
Emily
Parsons-Lord,
Collective
Denial
and
easily
categorize
smells
as
good
or
bad,
pleasing
or
offensive,
yet
rarely
consider
their
integral
connections
to
the
constructions
of
identity
and
The
history
of
the
air
on
Earth
is
inexorably
linked
to
the
history
of
life.
252.5
bodily
knowledge.
For
instance,
smells
are
not
naturally
agreeable
or
repulsive.
million
years
ago,
during
the
End
Permian
extinction,
93-97%
of
all
species
died
What
one
person
may
find
distasteful
might
smell
satisfying
to
another.
When
we
out,
those
that
survived
evolved
into
the
dinosaurs
and
mammals
of
the
Triassic
smell
something
our
bodies
merge
and
intermingle
with
the
sensation
and
thus
we
age.
The
period
is
known
colloquially
as
The
Great
Dying
and
took
place
over
just
become
aware
of
our
body
in
relation
to
space,
place,
and
memory.
Smells
are
60
000
80
000
years.
The
mass
extinction
coincides
with
a
dramatic
spike
in
perceived
and
coded
as
good
or
bad
dependent
on
prior
experiences
we
have
had
carbon
dioxide
and
methane
in
the
air,
plummeting
levels
of
oxygen
below
half
with
smells,
the
ways
we
have
been
taught
to
understand
smells,
and
the
what
it
is
today
and
transforming
the
necessary
aerobic
conditions
for
life
on
Earth
environment
or
context
in
which
we
sense
a
smell.
and
acidifying
the
oceans.
The
course
of
life
on
Earth
had
inexorably
altered.
The
proximinal
senses
are
far
more
threatening
because
of
their
apparent
How
does
it
feel
to
breathe
this
air?
How
does
it
affect
your
body,
your
closeness
to
the
body
and
the
ways
that
they
are
comprehended
by
being
taken
consciousness,
your
emotional
state?
into
the
body.
When
smells
are
taken
into
the
body
for
survival
or
pleasure,
we
open
up
our
body
to
that
which
is
not
us;
to
the
other.
Smells
are
not
inherently
Carbon
dioxide
levels
in
The
Great
Dying
increased
over
a
period
of
just
60
000
-80
unpleasant
but
when
it
is
brought
into
contact
with
our
body
through
the
nose
or
000
years.
The
rate
of
this
increase
is
shallower
than
the
rate
of
increase
in
carbon
the
mouth,
then
this
proximity
is
felt
as
offensive.
dioxide
since
the
Industrial
Revolution.
Species
extinction
since
the
1970s
suggests
that
we
are
in
the
middle
of
another
great
extinction
event.
The
Great
Dying
is
Stephanie
Springgay
is
an
Associate
Professor
in
the
Department
of
Curriculum,
past,
present
and
future.
Collective
Denial
offers
the
audience
the
opportunity
to
Teaching,
and
Learning
at
the
Ontario
Institute
for
Studies
in
Education,
University
breathe
this
air.
of
Toronto.
Her
research
focuses
on
the
intersections
between
contemporary
art
and
pedagogy,
with
a
particular
interest
in
theories
of
matter,
movement,
and
Emily
Parsons-Lord
is
an
emerging
cross-disciplinary
artist
whose
art
practice
is
affect.
Her
most
recent
research-creation
projects
are
documented
at
informed
by
research
and
critical
dialogue
with
materials
and
climate
science,
www.thepedagogicalimpulse.com,
www.walkinglab.org
and
through
investigation
into
air,
both
materially,
and
culturally.
Exploring
air
as
both
www.artistsoupkitchen.com.
a
dynamic
physical
material,
as
well
as
an
amorphous
subconscious
site
to
project
imagination,
Parsons-Lord
considers
scale
between
the
individual
and
the
planet.
This
area
of
research
interrogates
notions
of
the
natural
and
considers
deep
history
and
speculative
futures
for
the
environment,and
the
role
of
humans
in
this
relationship.
Tragi-humour
and
futility
are
often
used
as
access
points
into
the
content
of
climate
change,
human
obscurity
and
folly,
and
scale.
Thom
van
Dooren
and
Deborah
Bird
Rose,
Animist
Lures:
Arts
of
Witness
Fiona
Probyn-Rapsey,
Howling
the
Anthropocene!
Is
the
Anthropocene
discourse
becoming
an
encumbering,
self-referential
monolith
Anthropogenic
climate
changes
effects
humans
and
nonhumans
which
we
now
need
to
circumvent?
Drawing
on
our
recent
work
on
ecological
disproportionately,
not
least
when
it
comes
to
sound
bites,
airwaves
and
a
animism,
we
offer
two
lures
to
draw
attention
away
from
abstracted
debates
and
cacophony
of
human
centred
noise.
Consider
the
dingo
howl
-
not
wild
but
into
encounter
with
the
peril
and
grace
of
actual
lives,
and
actual
qualities
of
life:
periurban.
How
does
a
dingo,
once
tethered
to
a
sanctuary
fence,
her
body
Radiant
beauty
and
Attentive
response.
bearing
old
wounds
of
cigarette
burns,
learn
to
howl
alongside
the
howling
of
inmates?
The
howling
of
inmates
together,
started
off
by
one,
joined
by
others
-
is
Deborah
Bird
Rose
is
a
professor
in
the
Environmental
Humanities
group
at
the
a
sound
for
the
anthropocene
-
a
goodnight,
a
nightmare,
a
prisoners
lament,
a
University
of
New
South
Wales.
Her
most
recent
book
is
Wild
Dog
Dreaming:
Love
warning,
an
eery
embrace,
a
speculation,
an
agreement
to
sing
along,
a
wave
at
the
and
Extinction.
outside.
What
might
carry
this
call?
Thom
van
Dooren
is
a
senior
lecturer
in
the
Environmental
Humanities
group
at
the
Fiona
Probyn-Rapsey
is
an
Associate
Professor
in
the
Department
of
Gender
and
University
of
New
South
Wales.
His
most
recent
book
is
Flight
Ways:
Life
and
Loss
at
Cultural
Studies
at
the
University
of
Sydney,
Australia.
Fionas
research
interests
the
Edge
of
Extinciton.
connect
feminist
postcolonial/
critical
race
studies
and
Animal
studies
(also
known
as
human-animal
studies),
examining
where,
when
and
how
gender,
race
and
species
intersect.
Her
first
book
Made
to
Matter:
White
Fathers,
Stolen
Generations
(2013),
examines
how
the
white
fathers
of
Indigenous
children
(many
now
part
of
the
Stolen
Generations)
reacted
to
and
were
positioned
by
Australian
assimilation
policies.
This
book
highlights
a
research
interest
in
the
reproductive
and
biopolitical
nature
of
postcolonial
societies,
a
common
thread
that
extends
into
more
recent
research
in
animal
studies,
including
2
co-edited
books,
Animal
Death
(2013)
and
also
Animals
in
the
Anthropocene:
Critical
Perspectives
on
Non-human
futures
(2015
HARN
Editorial
Collective).
Fiona
is
currently
Chair
of
the
AASA:
Australasian
Animal
Studies
Association
and
Series
Editor
(with
Melissa
Boyde)
of
the
Animal
Publics
book
series
through
Sydney
University
Press,
She
is
currently
working
on
a
project
about
dingoes
and
the
cultural
logic
of
eradication,
as
well
as
project
on
Animaladies,
the
intersections
of
species,
madness
and
gender.
Regrette
Etcetera,
Stretch
Marx:
Oestrogenic
Ecosystems,
Solastalgia,
and
Victoria
Hunt,
Erasure
Species-Panic
in
the
Capitalocene
Three
million
for
the
Goddess
of
Death
-
Hinenuitepo;
three
million
for
a
carved
As
Anthropocene
discourses
drive
the
ascendance
of
a
mainstream
secular
house
lintel;
three
million
for
my
pelvis;
looted,
sold
on
the
black
market,
caught
in
apocalypticism,
luckily
for
a
moribund
and
equally
eschatological
Left
it
appears
a
separation...
a
frozen
marriage.
that
capitalism
is
in
crisis
as
it
confronts
the
limits
of
an
exhausted
Earth
or
does
it?
Ancestral
house
I
dance
the
house
and
the
house
is
dancing
me.
I
dance
her
history
and
she
reveals
my
history.
I
speak.
She
speaks.
Stretch
Marx
is
a
chirpily
chiliastic
whirlwind
tour
of
some
ambivalent
Anthropocenes,
tracing
productive
pollutions
in
Natures
flooded
with
gender-
Pull
it
down,
dismantle
it,
record,
document,
store
it
safely
REPATRIATE.
bending
xenoestrogens,
and
following
the
species-panics
of
an
imperilled
whiteness
through
the
great
shemale-ing
of
humanity
and
on
into
a
unknown
Victoria
Hunt
is
a
performance
maker
dedicated
to
creating
a
space
of
continual
land
beyond
Capitalism...
evocation
from
mythic
origins
to
the
colonial
present.
Central
to
this
is
the
role
of
womens
ceremonial
lore,
decolonizing
strategies
and
feminist
indigeneity.
Her
Regrette
Etcetera
is
a
Sydney-based
DJ,
performer,
artist,
activist,
whore
etcetera,
work
draws
on
her
Maori
heritage
alongside
BODYWEATHER
philosophy
and
with
a
set
of
marketable
identity
descriptors
that
land
university
gigs
like
this.
methods.
Lindsay
Kelley,
Extreme
Baking:
Toward
an
anticolonial
ingestion
of
hard
tack
PROPOSITIONS
FOR
HACKING
THE
ANTHROPOCENE
III
By
tasting
and
writing
an
eating
body,
Extreme
Baking
invites
radical
speculative
Eve
Vincent
&
Timothy
Neale,
Mining,
Indigeneity,
Alterity:
Or,
Mining
reimagining
of
the
kitchen
as
a
vector
for
war,
peace,
and
care.
We
will
be
hacking
Indigenous
Alterity?
our
digestion
with
hard
tack,
a
survival
food
that
sustained
European
voyages
of
conquest.
White
supremacist
patriarchal
colonial
culture
continues
to
reckon
with
What
does
the
Australian
mining
industry
want
with
Indigenous
cultural
the
bodies
hard
tack
made.
How
might
we
taste
differently?
difference?
What
does
cultural
studies
and
anthropology
want
from
Indigenous
Please
note-
this
hack
involves
food
which
will
contain
gluten,
dairy
and
sugar.
cultural
difference?
This
hack
considers
two
urgent
and
entangled
questions:
the
There
will
be
a
citrus
based
alternative.
political
economy
of
mining
and
Indigenous
interests
in
Australia,
and
the
moral
economy
of
indigeneity
within
cultural
studies
and
anthropology.
Working
in
the
kitchen,
Lindsay
Kelley's
art
practice
and
scholarship
explore
how
the
experience
of
eating
changes
when
technologies
are
being
eaten.
Her
book,
Todays
renewed
interest
in
radical
alterity
suggests
a
welcome
movement
away
Bioart
Kitchen:
Art,
Feminism
and
Technoscience,
is
forthcoming
from
IB
Tauris.
from
the
task
of
analysing
representations
of
difference
as
potentially
extractive
or
Bioart
Kitchen
emerges
from
her
work
at
the
University
of
California
Santa
Cruz
exploitative.
Meanwhile,
Indigenous
interests
are
now
touted
as
potentially
(Ph.D
in
the
History
of
Consciousness
and
MFA
in
Digital
Art
and
New
Media).
Kelley
commensurate
with,
rather
than
obstructive
of,
extractive
industry
activity
in
is
an
International
Research
Fellow
at
the
Center
for
Fine
Art
Research,
Birmingham
remote
Australia.
But
are
the
kinds
of
Indigenous
or
ontologically-alter
worlds
that
City
University.
Her
current
work
asks,
"what
does
nationalism
taste
like?"
scholars
seek
out
are
extant,
or
are
better
understood
as
fundamentally
enmeshed,
in
violently
unequal
ways,
with
our
world.
Acknowledgments:
UNSW
Australia
Art
&
Design,
University
of
Alberta
Canada
Research--Creation
and
Eve
Vincent
is
a
lecturer
in
the
Department
of
Anthropology,
Macquarie
University.
Social
Justice
CoLABoratory:
Arts
and
the
Anthropocene
Timothy
Neale
is
currently
a
research
fellow
at
the
Institute
for
Culture
and
Society,
Western
Sydney
University.
His
primary
research
areas
are
environmental
knowledges,
indigenous
politics
and
cultural
geography,
and
he
has
published
work
on
these
topics
in
multiple
journals
and
edited
collections.
For
more
see
@tdneale
or
www.timdneale.wordpress.com
Majidi
Warda
(University
of
Sydney),
Spontaneous
Combustions
and
Fire
as
Hack
Jennifer
Mae
Hamilton
(University
of
Sydney/NYU
Sydney),
Snow
Day
Textuality1
in
the
Anthropo/scene2:
An
Augury
from
the
Chthulcene3
Excuses
not
to
go
to
school
or
work
scaled
for
the
Anthropocene.
Carbon
from
fossil-fuels
heats
up
the
earth,
species
become
extinct,
ice
caps
melt.
Humans
anticipate
their
inevitable
end.
These
are
the
mysteries
of
being
and
Jennifer
Mae
Hamilton
is
a
Postdoctoral
Research
Associate
in
Gender
and
Cultural
dying4
that
men
(sic),
machines
and
mines
are
learning.
What
happens
now
that
Studies
at
the
University
of
Sydney,
funded
by
The
Seed
Box:
a
MISTRA-FORMAS
the
low
carbon
moans
of
the
ghostly
hollows
have
found
their
way
out
from
in
Environmental
Humanities
Collaboratory.
She
also
lectures
in
Ecocriticism
at
NYU
between
a
rock
a
hard
place?
This
Hack
is
a
chemiluminescent
postcard
from
the
(Sydney).
Her
current
research
project
is
"Weathering
the
City"
Underworld,
an
ode
to
Dark
Matter
and
an
omen
of
irrevocable
change.
(weatheringthecity.wordpress.com).
She
blogs
about
domesticity,
plants
and
labour
(earlwoodfarm.com)
and
has
an
ongoing
arts
and
curatorial
practice
including
the
1
Kirby,
V.
2011.
Quantum
Anthropologies:
Life
at
Large.
London
&
Durham:
Duke
University
Press.
work
"Walking
in
the
Rain"
(Performance
Space,
2011)
and
the
event
"The
2
Kathryn
Yusoff's
term
in
her
paper
Queer
Coal:
Genealogies
in/
of
the
Blood
philoSOPHIA,
Volume
5,
Number
2,
Summer
2015,
pp.
203-229
Christmas
Climate
Change
Variety
Hour"
(Earlwood
Farm,
2015).
Her
first
book,
This
3
Donna
Haraway's
term
from
her
paper
Anthropocene,
Capitalocene,
Plantationocene,
Chthulucene:
Making
Contentious
Storm:
An
Ecocritical
and
Performance
History
of
King
Lear
is
Kin
Environmental
Humanities,
vol.
6,
2015,
pp.
159-165
4
forthcoming
with
Bloomsbury
Academic.
Glenys
Livingstone's
term,
inspired
by
the
work
of
Joan
Hallifax.
More
found
in
PaGain
Cosmology:
Re-
inventing
Earth-based
Goddess
Religion.
2005.
p.
56.
NE:
iUniverse
Majidi
Warda
is
currently
undertaking
a
Master
of
Arts
(Research)
in
the
Department
of
Gender
and
Culture
Studies
at
the
University
of
Sydney.
The
working
title
of
her
research
is
Natural
Born
Disasters:
Wild
Women,
Queer
Fires
and
Other
Irreversible
Combustions.
Undine
Sellbach
and
Stephen
Loo,
The
Blind
and
Deaf
Highway
Woman
CLOSING
KEYNOTE
TALKS:
Writing
in
the
1930s,
when
science
studied
animals
in
terms
of
mechanistic
A
thousand
tiny
anthropocenes:
Worlding
troubles
from
Swedish
behaviours,
Jakob
von
Uexkll
proposed
that
all
living
things
are
subjects
with
distinct
perceptions,
orientations
and
appetites.
The
tick,
his
most
famous
feminist
environmental
humanities
perspectives
example,
is
viewed
as
a
high
point
of
Modernist
anti-humanism,
influencing
Professor
Cecilia
sberg
Biosemiotics
and
Posthumanities
scholarship,
from
Agamben
on
Biopolitics
to
Deleuze
on
Affect.
What
is
rarely
considered,
however,
is
the
improvised,
playful,
Cecilia
sberg
is
Professor
and
Chair
of
Gender,
Nature,
Culture
at
TEMA
(Gender
pantomime
dimension
of
Uexkll's
biology.
The
original
English
translation,
now
Studies),
Linkping
University,
Sweden.
She
works
at
the
intersections
of
feminist
superseded
by
more
neutral
wording,
casts
the
tick
as
a
Blind
and
Deaf
Highway
cultural
studies,
environmental
humanities,
STS,
and
Human
Animal
Studies.
She
is
Woman,
and
Uexkll
invites
us
to
ventriloquizes
her
Umwelt,
or
life
world,
using
also
the
founding
director
of
The
Posthumanities
Hub
and
heads
the
The
Seed
make
shift
objects,
sensations
and
words.
To
consider
the
strange
subjects
and
Box:
An
Environmental
Humanities
Collaboratory.
new
modes
of
address
Uexkll's
biology
opens
up,
our
proposition
is
to
enact,
and
hacking
into,
the
ticks
Umwelt
cycle.
Towards
the
Idea
of
a
Black
Anthropocene
Undine
Sellbach
is
a
philosopher,
writer
and
artist.
She
lectures
in
the
Department
Dr.
Kathryn
Yusoff
of
Media,
Music
and
Cultural
Studies,
Macquarie
University,
Australia.
Her
work
explores
life,
gender,
instinct,
ethics,
ethology
and
performance.
She
is
currently
Kathryn
Yusoff
is
a
Senior
Lecturer
in
the
School
of
Geography
at
Queen
Mary
editing
The
Edinburgh
Companion
to
Animal
Studies
(with
Lynn
Turner
and
Ron
University
of
London.
She
is
working
on
a
book
that
addresses
questions
of
Broglio)
and
writing
a
book
on
the
Entomological
Imagination
(with
Stephen
Loo).
Geologic
Life
within
the
Anthropocene,
which
draws
insights
from
contemporary
She
is
author
of
the
childrens
book
The
Floating
Islands
(2006).
Her
creative
work
is
feminist
philosophy,
critical
human
geography
and
the
earth
sciences.
documented
at:
undinefrancescasellbach.blogspot.com
Stephen
Loo
is
Professor
of
Architecture
and
Director
of
CxI
(Creative
Exchange
Institute)
and
ACIPA
(Academy
of
Creative
Industries
and
Performing
Arts)
at
the
University
of
Tasmania,
Australia.
His
recent
publications
include
Deleuze
and
Architecture
with
Hlne
Frichot;
essays
on
the
relationship
between
insects,
instincts
and
ethics
in
Angelaki
and
Parallax
and
a
forthcoming
monograph
with
Undine
Sellbach;
and
an
edited
volume
on
Poetic
Biopolitics
with
Peg
Rawes
and
Tim
Matthews,
which
is
under
publication.
Ongoing
/
Dispersed
Hacks:
Kay
Are,
On
Touching
Back
Cat
Jones,
Somatic
Drifts
Somatic
Drifts
is
a
one-to-one,
live,
immersive
artwork
and
accumulative
installation
within
which
the
artist
enables
participants
to
experience
the
bodies
of
other
entities
through
touch
and
illusion.
These
shamanic
mediations
what
realm
does
the
human
exist
within?
How
far
can
we
drift?
What
can
this
drift
enable
us
to
change?
The
live
experience
accumulates
a
bank
of
recorded
bodies
and
the
internal
narratives
that
inhabit
them
as
they
travel
beyond
their
own
boundaries
to
communicate
with
each
other
across
culture,
geography,
time
and
consciousness.
Cat
Jones
is
an
interdisciplinary
artist,
writer,
curator.
Her
work
investigates
concepts
that
include
climate
futures,
human
and
species
empathy,
sexual
and
gender
politics
through
the
subversion
of
social
constructs,
science,
history,
language,
and
the
senses.
Her
artworks
are
realised
in
diverse
forms
and
currently
include
live
art,
one
to
one
performance,
visual-tactile
illusion,
audio-visual
installation,
site-specific
experience
and
olfactory
art.
In
2012
she
was
awarded
a
Creative
Australia
Fellowship
for
research
including
the
science
of
plant
signaling
and
the
history
of
female
botanists;
in
2014
an
ANAT
Synapse
residency
to
work
with
leading
Australian
neuroscientists
in
body
illusions
and
chronic
pain;
and
in
I
write
poetry
and
prose.
My
approach
to
writing
and
reading
is
materialist,
2015
a
residency
with
The
Institute
of
Art
and
Olfaction
in
Los
Angeles.
feminist
and
posthumanist.
A
good
part
of
my
practice
involves
coming
to
www.catjones.net
understand
what
this
might
mean.
I
am
an
early
career
parent
and
academic.
I
was
raised
in
the
Blue
Mountains,
live
in
Melbourne,
work
at
Melbourne
Acknowledgements:
teaching
Creative
Writing
and
Hispanic
Cultural
Studies
sessionally.
So
This
project
has
been
supported
by
the
Australian
government
through
the
sessionally.
Please
be
in
touch
at
karomez@gmail.com
Australia
Council
for
the
arts,
its
arts
funding
and
advisory
body;
Australian
Network
for
Art
and
Technology,
Creative
Practice
Lab,
School
of
Arts
and
Media,
UNSW;
Bundanon
Trust
AIR;
Adhocracy,
Vitalstatistix;
Waverley
Artist
Studio
AIR;
SymbioticA;
and
residencies
with
Sansom
Institute,
Body
and
Mind,
UniSA;
and
School
of
Medicine
and
Pharmacology,
UWA.
Thank
you
Wunderkind
Mark
Mitchell,
Gordy
Rymer,
Vicki
Sowry,
Su
Goldfish,
Prof
Stephan
Schug,
Prof
Lorimer
Moseley,
the
Body
in
Mind
research
team,
students
of
the
Nuragili
Winter
School,
Rene
Christen,
Antonietta
Morgillo,
Kate
Brown,
Cate
Hull,
Min
Wong,
Hayley
Stone
and
many
others.
Thank
you
Ben
Bolton
Michelle
St
Anne
Oscar
Monaghan
Perdy
Phillips
Kathy
High
Lindsay
Kelley
Mark
Mitchell
(Creative
Practice
Lab,
UNSW)
Maria
White
Jennifer
Mae
Hamilton
Peter
Adams
Kim
Ligers
Krusa
Neimligers
Something
for
Jess
(lunch
catering)
Photo
Credit:
Perdita
Phillips,
Red
Water
Line.
This
event
was
made
possible
by
funding
and
support
provided
by
the
Sydney
Environment
Institute,
with
additional
assistance
from
the
School
of
Philosophical
and
Historical
Inquiry
of
the
University
of
Sydney.
It
is
being
presented
in
cooperation
with
THE
SEED
BOX:
A
MISTRA-FORMAS
Environmental
Humanities
Collaboratory
(theseedbox.liu.se).