https://sandrahuber.com sh Thu, 05 Oct 2023 12:52:34 +0000 https://sandrahuber.com en https://sandrahuber.com/interdisciplinary-projects Fri, 14 Dec 2018 15:49:19 +0000 sh https://sandrahuber.com/interdisciplinary-projects interdisciplinary projects&nbsp;︎︎︎︎&nbsp; <img width="3024" height="3780" width_o="3024" height_o="3780" data-src="https://freight.cargo.site/t/original/i/5ff7fcbcd9a079bfb25c8bcc12e37c069b5d97d54141335ef9fa6ff3d8fd884d/god_nail_process.jpg" data-mid="30681823" border="0" src="https://freight.cargo.site/w/1000/i/5ff7fcbcd9a079bfb25c8bcc12e37c069b5d97d54141335ef9fa6ff3d8fd884d/god_nail_process.jpg" /> <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2ae14dc9c0a4eb09c43cfe5e2704ed40a5aa4fea976cfdf3f57c150e2a6171d7/god_nails_sandra.jpg" data-mid="30681824" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/2ae14dc9c0a4eb09c43cfe5e2704ed40a5aa4fea976cfdf3f57c150e2a6171d7/god_nails_sandra.jpg" /> <img width="1001" height="1334" width_o="1001" height_o="1334" data-src="https://freight.cargo.site/t/original/i/048f17ef22d7dd720e1a7269be3a2702388902a72c9f762d8bfd9bb12dc9dc02/sandra_installview1.jpg" data-mid="30682442" border="0" src="https://freight.cargo.site/w/1000/i/048f17ef22d7dd720e1a7269be3a2702388902a72c9f762d8bfd9bb12dc9dc02/sandra_installview1.jpg" /> <img width="1020" height="1184" width_o="1020" height_o="1184" data-src="https://freight.cargo.site/t/original/i/8315dae88acef05c5a7c64776e91905308f5cc325eaa734e0da5d9f4393c48ea/god_nails.jpg" data-mid="30682438" border="0" src="https://freight.cargo.site/w/1000/i/8315dae88acef05c5a7c64776e91905308f5cc325eaa734e0da5d9f4393c48ea/god_nails.jpg" /> GOSSIPING WITH THE GODSCollaboration with Dagmar Atladóttir Banff Centre (2017) In this collaboration, artist Dagmar Atladóttir created a device called a God Nail, which served as both a writing utensil and an antenna, and was fitted to my index finger. With the God Nail, I opened a session of spirit writing within a circle of candles.&nbsp; The God Nail is made out of clay, a material which combines elements of water and earth and is then transformed through the fire of the kiln. In this alchemical process, the nails become tools for connection and listening. The project involved an automatic writing performance, text, ceramics, and a cocktail party where myriad ceramic vessels created by Dagmar were activated by participants drinking out of them. <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/9edd4b4fee789af418dcf043ded9f76a8ee3f357079fa5667da14c7106303924/dead_notdead.jpg" data-mid="30682434" border="0" src="https://freight.cargo.site/w/1000/i/9edd4b4fee789af418dcf043ded9f76a8ee3f357079fa5667da14c7106303924/dead_notdead.jpg" /> <img width="1038" height="1080" width_o="1038" height_o="1080" data-src="https://freight.cargo.site/t/original/i/7f97e38372b6e22a8661fb25c1347293cbd729a6c44b03085da46e1c13d0a2f8/oh_oh.jpg" data-mid="30682458" border="0" src="https://freight.cargo.site/w/1000/i/7f97e38372b6e22a8661fb25c1347293cbd729a6c44b03085da46e1c13d0a2f8/oh_oh.jpg" /> AUTOMATIC MUSEOngoing methodology (2017–) This is an ongoing methodology, where research questions are written on one side of the paper, the papers are then flipped over, and the questions are answered on the other side of the paper, randomly, in a process of channeling. Here, divination and mediumship, often used only for intimate questions, and/or considered fraudulent or mercenary, are used to speak on questions of philosophy and critical thought. <img width="960" height="960" width_o="960" height_o="960" data-src="https://freight.cargo.site/t/original/i/6d375cbc82164a799dd039d525e86fb6aa43a212f0e719e99e5da26b87269852/mystics_darling1.jpg" data-mid="30687296" border="0" src="https://freight.cargo.site/w/960/i/6d375cbc82164a799dd039d525e86fb6aa43a212f0e719e99e5da26b87269852/mystics_darling1.jpg" /> MYSTIC INSIGHTS, LTD. Collaboration with Rebecca LaMarreWords &amp; [ ] — A Durational Conference of Art &amp; Thought, Darling Foundry, Montreal (2016) + Darling Foundry Ad Astra Artists’ Constellation (2016) This collaboration involved fortune-telling using artificial neural networks that have been saturated with mystical texts and feminist poetry.In our collaboration, we were all limited as the title suggests: I was blindfolded and could not see, Rebecca could see but did not speak, and the neural networks had their own limitations of embodiment and capacity. Together, we created an interdependent feedback loop in a Tarot card reading for a querent. Mystic Insights, Ltd. also plays with the concept of “hot readings,” where publicly available data from the querent’s social media and online presence is woven into the tarot reading. Why and how do we use public forums to disseminate information and to what (unforeseeable) ends? Thanks to Cody Walker for programming the neural networks and to Lorna Bauer, whose installation can be seen in the photo below.&nbsp; <img width="1241" height="827" width_o="1241" height_o="827" data-src="https://freight.cargo.site/t/original/i/d40ccce77ea09e35eb27e355a89089a22f2fdd0bc65fa09f27ea6ef4f885f7ec/mystics1.jpg" data-mid="30687363" border="0" src="https://freight.cargo.site/w/1000/i/d40ccce77ea09e35eb27e355a89089a22f2fdd0bc65fa09f27ea6ef4f885f7ec/mystics1.jpg" /> <img width="1244" height="829" width_o="1244" height_o="829" data-src="https://freight.cargo.site/t/original/i/1e9c7b4be35e5dd327f0131cdb2eef706c2abee0e929bb5d83da982780ac9b6a/mystics2.jpg" data-mid="30688559" border="0" src="https://freight.cargo.site/w/1000/i/1e9c7b4be35e5dd327f0131cdb2eef706c2abee0e929bb5d83da982780ac9b6a/mystics2.jpg" /> <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/c99dd60505d07773ede68d9fc3eddd40ad9540721b427ba3e48897e2c82f263b/mystics_darling2.jpg" data-mid="30704984" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/c99dd60505d07773ede68d9fc3eddd40ad9540721b427ba3e48897e2c82f263b/mystics_darling2.jpg" /> <img width="1066" height="866" width_o="1066" height_o="866" data-src="https://freight.cargo.site/t/original/i/84ecdc21d56400901388de46efc4b0ab7ff666f579c27580393e4acf80475b15/mystics_fortune.jpg" data-mid="30688778" border="0" src="https://freight.cargo.site/w/1000/i/84ecdc21d56400901388de46efc4b0ab7ff666f579c27580393e4acf80475b15/mystics_fortune.jpg" /> <img width="3648" height="2048" width_o="3648" height_o="2048" data-src="https://freight.cargo.site/t/original/i/7c978e072ec497a9ca4addc015c3c266bd7fbf2acaf6b25f9e3fa98f87745437/writing.jpg" data-mid="30689524" border="0" src="https://freight.cargo.site/w/1000/i/7c978e072ec497a9ca4addc015c3c266bd7fbf2acaf6b25f9e3fa98f87745437/writing.jpg" /> <img width="2736" height="2736" width_o="2736" height_o="2736" data-src="https://freight.cargo.site/t/original/i/5cf263711b86bdbdb9e3bb1f8add32368584a692cf025e4a4e947a1fee092f7a/pebbles.jpg" data-mid="30689669" border="0" src="https://freight.cargo.site/w/1000/i/5cf263711b86bdbdb9e3bb1f8add32368584a692cf025e4a4e947a1fee092f7a/pebbles.jpg" /> THE PERCEPTION OF REALITY IS A LONELY TASK Sensitive Observers, Agora, Berlin (2015) In this workshop, participants were invited to work with the form of the circle as visible boundary and sacred geometry. The materials were pebbles, chalk, and public space. Participants spent time in their own, and others’, circles. <img width="3648" height="2048" width_o="3648" height_o="2048" data-src="https://freight.cargo.site/t/original/i/07d276194ac204f0c49ec2314f1549938810f03fb4bec160f0f20c03bf592815/border.jpg" data-mid="30689530" border="0" src="https://freight.cargo.site/w/1000/i/07d276194ac204f0c49ec2314f1549938810f03fb4bec160f0f20c03bf592815/border.jpg" /><img width="3648" height="2736" width_o="3648" height_o="2736" data-src="https://freight.cargo.site/t/original/i/0905367c655c8f25bbdfe423bfe9bcb2b6b738e5b91500a495de1221b3278bb5/participant2_circle.jpg" data-mid="30690144" border="0" src="https://freight.cargo.site/w/1000/i/0905367c655c8f25bbdfe423bfe9bcb2b6b738e5b91500a495de1221b3278bb5/participant2_circle.jpg" /> SLEEPWRITER Centre for Integrative Genomics, sleep laboratories of Dr. Paul Franken and Dr. Mehdi Tafti, Lausanne Switzerland, Swiss Artists-in-Labs (2010–14)What happens when words, which are always awake, are interfaced over the signals of the sleeping brain? The long poem Assembling the Morrow was composed using electroencephalogram (EEG) data, recorded at the Centre d’investigation et de recherche sur le sommeil, during a nine-month residency at a sleep laboratory in Lausanne, Switzerland.&nbsp; A text editor called SleepWriter, designed in collaboration with programmer Manolis Pahlke, vectorizes the raw EEG data so it can be turned into words. The video excerpt (bottom page) is just over 2 minutes from 24 minutes, and shows stage 2 sleep, which is light, non-dreaming sleep (N2). Soundscape in collaboration with Karl Heinz Jeron. <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/bba3f5dd2c29f60d5e0fb58602a2b8726e72ff577dcf0ab228539e49236e6acf/IMG_3164.jpg" data-mid="30691585" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/bba3f5dd2c29f60d5e0fb58602a2b8726e72ff577dcf0ab228539e49236e6acf/IMG_3164.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/3772b8aadd281fc3dd0ff1531763cb0fc40cff0511699a6af7d1fdbbda3b0009/IMG_3139.jpg" data-mid="30692473" border="0" src="https://freight.cargo.site/w/1000/i/3772b8aadd281fc3dd0ff1531763cb0fc40cff0511699a6af7d1fdbbda3b0009/IMG_3139.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/e28cac9695e84690882aca8d96f509066db2d7a5253bbd66be7db15913170933/thetadelta.jpg" data-mid="30743789" border="0" src="https://freight.cargo.site/w/1000/i/e28cac9695e84690882aca8d96f509066db2d7a5253bbd66be7db15913170933/thetadelta.jpg" /> <img width="900" height="1355" width_o="900" height_o="1355" data-src="https://freight.cargo.site/t/original/i/5175a09bb85b5fa8c8f1ad2543a75678c8e233da4a0fd1f43b386bee6ff04e5a/swee1a.jpg" data-mid="30743569" border="0" src="https://freight.cargo.site/w/900/i/5175a09bb85b5fa8c8f1ad2543a75678c8e233da4a0fd1f43b386bee6ff04e5a/swee1a.jpg" /><img width="5120" height="3401" width_o="5120" height_o="3401" data-src="https://freight.cargo.site/t/original/i/64c8d1cd4588c25ba93da48959b3bf8fb4bc860dc4e687428a9ba180d840c497/swee2.jpg" data-mid="30743571" border="0" src="https://freight.cargo.site/w/1000/i/64c8d1cd4588c25ba93da48959b3bf8fb4bc860dc4e687428a9ba180d840c497/swee2.jpg" /> <img width="5120" height="3401" width_o="5120" height_o="3401" data-src="https://freight.cargo.site/t/original/i/797aeced6a62777acb54ed6d554a4cab26e5d6cb23980d71291db56f74b5bd78/swee3.jpg" data-mid="30743572" border="0" src="https://freight.cargo.site/w/1000/i/797aeced6a62777acb54ed6d554a4cab26e5d6cb23980d71291db56f74b5bd78/swee3.jpg" /> Photos of sleep lab by Lee Wei Swee&nbsp;<img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/7233492f92b4997e11e8734904d431ecd1ddee65798fc802fde110584ed00452/sleepwriter.jpeg" data-mid="30691606" border="0" src="https://freight.cargo.site/w/1000/i/7233492f92b4997e11e8734904d431ecd1ddee65798fc802fde110584ed00452/sleepwriter.jpeg" /> https://sandrahuber.com/poetry-poetics Fri, 14 Dec 2018 15:49:19 +0000 sh https://sandrahuber.com/poetry-poetics poetry &amp; poetics ︎︎︎︎ ASSEMBLING THE MORROW: A POETICS OF SLEEP Talonbooks (2014) <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/8c0d281ff40aae231596083329093408cfe04eea3600e80767a3defe87eb2876/atm3.jpg" data-mid="30755354" border="0" src="https://freight.cargo.site/w/1000/i/8c0d281ff40aae231596083329093408cfe04eea3600e80767a3defe87eb2876/atm3.jpg" /> [Excerpt from “Non-REM 3 and 4 Sleep, 6:19:10–6:19:43 a.m.”] t s stairs s f t there e a a s stairs s f foiling g t the t there e s stairs s t there s stairs s f t there e s sta t there e s stairs s f fo t there s stairs t there e s stairs s f t there s t the s stairs s t ther s stairs s f foi t there e a are s stairs s f foil t there e a are s stairs t there e a s stairs s f foil t there e a are s stairs s f t there e a a s stairs s f foilin t there e a s s t there e s t the s stairs s f f t there s stairs t there e a s stairs s t there e a ar s stairs s f foiling t there e a ar s stairs s t there e a a s st t there e a are e n no o w s stairs s f foi t there e a are e n no o s stairs s f foiling g t the e l light t s stilling g t there s stairs s f foiling t there e a are e n no o w window s stairs s f foiling g t the e l li t there e a are s stairs s f foiling g t the t there e s stairs s f foiling g t the t there e a are e n s stairs s f foiling g t the e l light t s stilling g e every y m mirror r w wiring g t there e a are e n no o w wind s stairs s f foiling g t the t there e a are e n n s stairs s f foiling g t the e l light t s stilling g e every y m mirror r w wiring g t then n d drenching g t the e r room m t t there e a are e n no o w windows s i in n t this s r room m o of f w walls s t there e i is s t the e c cove e t to o w where e o one e d does s n not t g go o t there e a are e o outside e t the e s storms s t the e b body y a aliasing g s stairs s f foiling g t the e l light t s stilling g e e every y m mirror r w wiring g t s stairs s foiling g t the e l light t s stilling g t there s stairs s f fo t there s s t there e a are e n n s stairs s f foiling g t the t there s stairs s f t there e a are e n n s st t there e s stairs s f foiling g t the t the s t the s stairs s f foiling g t the e t there e a are e n no o w windows s sta Visit publisher’s page GOSSIPING WITH THE GODSSelected transcriptions of automatic writing(2017) <img width="300" height="397" width_o="300" height_o="397" data-src="https://freight.cargo.site/t/original/i/af2d71727ce761df6ed9968f14feffe20ea7c9e9167858e5c3b769e8dac32d7d/gossipsroots300.jpg" data-mid="30754427" border="0" src="https://freight.cargo.site/w/300/i/af2d71727ce761df6ed9968f14feffe20ea7c9e9167858e5c3b769e8dac32d7d/gossipsroots300.jpg" /> gossip’s roots <img width="300" height="400" width_o="300" height_o="400" data-src="https://freight.cargo.site/t/original/i/b2ba7d6971c30037f3ba30316f88c37a9ce0e5d8eda4af480f78baa9740b7a2c/thenews300.jpg" data-mid="30754710" border="0" src="https://freight.cargo.site/w/300/i/b2ba7d6971c30037f3ba30316f88c37a9ce0e5d8eda4af480f78baa9740b7a2c/thenews300.jpg" /> the news came too soon I liked the way it felt I had no control <img width="300" height="323" width_o="300" height_o="323" data-src="https://freight.cargo.site/t/original/i/4d3ffcf10cbbdbaef67d09c58a22c5d2307f578d7209809bef7ab75ddcabac23/recipeone300.jpg" data-mid="30754718" border="0" src="https://freight.cargo.site/w/300/i/4d3ffcf10cbbdbaef67d09c58a22c5d2307f578d7209809bef7ab75ddcabac23/recipeone300.jpg" /> recipe 1 go to house find a person’s last dream take your spit take their blood mix sleep wake tell someone <img width="300" height="482" width_o="300" height_o="482" data-src="https://freight.cargo.site/t/original/i/a9914ab66b7b6b577c16519711931bdc1f60804b4f8a0e2e91285a42b3708e17/recipethree300.jpg" data-mid="30754779" border="0" src="https://freight.cargo.site/w/300/i/a9914ab66b7b6b577c16519711931bdc1f60804b4f8a0e2e91285a42b3708e17/recipethree300.jpg" /> recipe 3 for your neighbor bend 4 metal prongs on Tuesday shave all beards walk sideways whistle feel the darkness whither are you <img width="300" height="400" width_o="300" height_o="400" data-src="https://freight.cargo.site/t/original/i/379e017e59bc06132e2ca8319cba6ca1c73dd7e8232ed1700badebc911e6e362/youput300.jpg" data-mid="30755144" border="0" src="https://freight.cargo.site/w/300/i/379e017e59bc06132e2ca8319cba6ca1c73dd7e8232ed1700badebc911e6e362/youput300.jpg" /> you put your mouth nearmy mouth andspeak <img width="300" height="354" width_o="300" height_o="354" data-src="https://freight.cargo.site/t/original/i/764135cf260cd25f616549b0337e0ae1b15df01d3fe17e34c51601f75e3b0aa8/sevenyears300.jpg" data-mid="30754954" border="0" src="https://freight.cargo.site/w/300/i/764135cf260cd25f616549b0337e0ae1b15df01d3fe17e34c51601f75e3b0aa8/sevenyears300.jpg" /> 7 years 6 wandering thoughts 5 pieces of saliva ≠ solitude <img width="300" height="404" width_o="300" height_o="404" data-src="https://freight.cargo.site/t/original/i/cfe504358c1f9b96d037f231850bf311dc1169aa2841f2a1a3c73430cc31ff1f/dangerdaphne300.jpg" data-mid="30755015" border="0" src="https://freight.cargo.site/w/300/i/cfe504358c1f9b96d037f231850bf311dc1169aa2841f2a1a3c73430cc31ff1f/dangerdaphne300.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; “she” &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; “told”&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; “me” &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; “that” &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; “story” &nbsp; &nbsp; &nbsp;&nbsp; Daphne &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; “about”&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; “who” Danger&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; “bleeds” &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; “first” <img width="300" height="413" width_o="300" height_o="413" data-src="https://freight.cargo.site/t/original/i/429354be495d9833bf58d0dc35545a354bdbcb4b78cd91c40981242392faec78/yesno300.jpg" data-mid="30755066" border="0" src="https://freight.cargo.site/w/300/i/429354be495d9833bf58d0dc35545a354bdbcb4b78cd91c40981242392faec78/yesno300.jpg" /> y/n then i saw the sun rise who are you <img width="300" height="291" width_o="300" height_o="291" data-src="https://freight.cargo.site/t/original/i/e82f7e422e4865a23d767a3abe404884ac951585dfb566a283fb1e3014a594a0/debbiedaughter300.jpg" data-mid="30755117" border="0" src="https://freight.cargo.site/w/300/i/e82f7e422e4865a23d767a3abe404884ac951585dfb566a283fb1e3014a594a0/debbiedaughter300.jpg" /> Did you hear the news? Daphne — I saw her Debbie — I waited Daughter — she says Disney — she doesn’t exist Delta — she calls THE TIME IS The Town Crier (2018) [Excerpt] So take up a pencil Sketch an orchid in puce &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; For the light of the city folds upon itself in thick grey pleats Rain falters from the crown of the sky &nbsp;&nbsp;&nbsp;&nbsp; You know how it is: tireless, amniotic The branches of the trees have gone mad with waiting and point accusingly to the codes of their offspring Lightning highlights the stems of ruby shoots Sapphire petals Leaves in its tender wake a trail Of singed and ruffled branches Bygone feathers Songbird casualties We are copious presence We are unknowing emergency Later I will return to the house of my ancestors and though it has long since crumbled to ashes I will open the pages of their daybooks I will see they’ve gone absent without notice lifetimes of pillage vaulted to smithereens. What is the draw of sanity? The scenery and I I and the scenery The scenery and I I and the scenery The scenery and I I and The scenery alone I am Within earshot of energy Read full poem <img width="650" height="822" width_o="650" height_o="822" data-src="https://freight.cargo.site/t/original/i/8706e6ba56f4692f5a83925bb727033db413f2378f585a772a66d579920060ce/timeis1_650.jpg" data-mid="30755988" border="0" src="https://freight.cargo.site/w/650/i/8706e6ba56f4692f5a83925bb727033db413f2378f585a772a66d579920060ce/timeis1_650.jpg" /><img width="650" height="867" width_o="650" height_o="867" data-src="https://freight.cargo.site/t/original/i/037983838e5801a80c8c6e9d32e6784418095fd80594dbfea28fb7cb1429616a/timeis2_650.jpg" data-mid="30755989" border="0" src="https://freight.cargo.site/w/650/i/037983838e5801a80c8c6e9d32e6784418095fd80594dbfea28fb7cb1429616a/timeis2_650.jpg" /> https://sandrahuber.com/essays Fri, 14 Dec 2018 15:49:20 +0000 sh https://sandrahuber.com/essays essays ︎︎︎︎ <img width="798" height="729" width_o="798" height_o="729" data-src="https://freight.cargo.site/t/original/i/18ef2a243ba466edfdd6b59fd3c81d9eb5a8ccdb2e3810396f95d3866c541ecb/bluerosessay.jpg" data-mid="30699213" border="0" src="https://freight.cargo.site/w/798/i/18ef2a243ba466edfdd6b59fd3c81d9eb5a8ccdb2e3810396f95d3866c541ecb/bluerosessay.jpg" /> ABSTRACTS Knots: Composition in the Fine Arts ClassroomCo-written with Molly-Claire Gillett Pedagogy, Culture &amp; Society (2025) Download full text How and why do we use writing in the contemporary Fine Arts classroom? What are the expanded possibilities of composition as a pedagogical tool, especially considering the mutability of writing and its already ambiguous role in interdisciplinary creative practice? This paper uses our year-long foundational course at Concordia University, with an enrolment of 900 students from across the Faculty of Fine Arts (including design and performance-based disciplines), as a case study to explore these questions. The class, “Keywords: Reading the Arts Across the Disciplines,” employs a roster of ever changing keywords – such as sense(s), failure, care and the future — as sites to develop interdisciplinary thought work and artwork. Drawing on problem-posing pedagogy and critical theory, we think of keywords as knots that invite us into an exploration of tangles. “Keywords” (the course) is also a knot, presenting us with a series of intertwined (and impossible) questions. What writing skills do all 900 of our students need? How will they use writing in their future practices? This paper follows a series of keywords that we have explored in class, offering practices and reflections at the intersection of writing, interdisciplinarity, and creative arts pedagogy, all of which centre composition as an embodied practice. The Scent of Sleep: On Night Knowledge and Its Atmospheres Intermediality:&nbsp;History and Theory of the Arts, Literature and Technologies Sleep / Dormir 41 (Spring 2023) Download full text What does scent have to say concerning the wider networks involved in the lived experiences of sleep? In this essay, I discuss the connection of scent to sleepers and sleepers to scent, not only in the ways that scent may enter our dreams to change them up but also the ways that technologies and methodologies of air, perfume, breath, or exhaust connect us as sleepers to the worlds of botany, synthetics, and other realms of kinship and sense that exist apace from dominant modes of waking or seeing. If sleep and scent have historically been situated as “empty” and “passive,” this essay aims to show how full, vital, and roomy these spaces can be. In this line, I move scent and sleep through an atmospheric methodology of rooms to unravel their wide relationship to night knowledge, an epistemology that seeks alternatives to enlightened knowledges of the day, reaching into secrets and spirits. To do so, my archive involves theory, technology, perfume blogs, artists, dreamers, anthropologists, activists, poets, architects, and botanical, animal, and synthetic elements. Finally, I ask: if sleep had a scent, what would it be? Spirit, Writer: Nineteenth-Century Mediumship and the Feminist Practice of (De-)Inscription Feminist Media Histories&nbsp; Embodiment (Summer 2020) Download full text Automatic writing, also called spirit writing, introduces a hidden feminist media history that puts into question the role of the author, divisions between automaticity and creativity, legibility and illegibility, and the porosity of the (writing) body. To trace the history and media of spirit writing, I focus predominantly on early 20th-century medium Geraldine Cummins, whose methodology of “stillness” as well as the extraordinary volume of text she “wrote” puts into question the role of bodies who write as well as bodies of writing. Asserting herself as a “transmitter,” Cummins brought her ghosts and guides out of the drawing room of the séance and into the court of law, revealing how the most ordinary tools of writing — pen, paper, the word itself — are not just there to be read, but also encountered as uncanny and talismanic presences. Throughout, I discuss specific techniques of radical listening that nineteenth-century mediums introduced, while opening up the discussion to contemporary manifestations of presence and de-inscription, such as Marina Abramović’s The Artist Is Present (2010), Rebecca Belmore’s Wave Sound (2017), the backwards writing in Jesse Jones’s Tremble Tremble (2017), and the emerging, illegible scripts of AI. The way that spirit writing shifts discourses around composition iterates Sarah Kember’s question, posed after Hélène Cixous — what can writing still do? Blood and Tears and Potions and Flame: Excesses of Transformation in Ari Aster’s Midsommar Frames Cinema Journal 16 Magical Women, Witches &amp; Healers (December 2019) Read full text Ari Aster’s Midsommar (2019) is rife with fluids. Tears, potions, blood and the incandescent presence of flames flow throughout the film as expressions of grief, vengeance, and pagan otherworlds. Through these excesses, I open a discussion of underworld rites and the magical women who reside there. Banshees, Furies, and the ghostly May Queen herself offer a set of methodologies, such as Keening or the ingestion of entheogens, that play a key role in the movement of Aster’s film while acting as counterpoints to sanctioned emotive containments. In order to discuss these fluidic excesses, I borrow the terms bloom-spaces and shimmerings from affect theory, both of which point towards extreme variation. How do we as individuals express love, or mourning, or grief, or vengeance within a neoliberal affective space that requires us to keep up the appearance of being contained: self-sufficient, self-caring? What does it mean to spill? The concatenation of potions and Keening in Midsommar lies, ultimately, in their abilities to heal; they are expressed as ancient rites which, like the locals in Aster’s Hårga, seem anachronistic, storybook-like, yet are, by the end of the film, the most real, and the most, literally, alive. In the final scene, the viewer is left with Dani, extended by a costume of living, breathing flowers that has become a second skin, her total metamorphosis as vengeful May Queen. &nbsp;&nbsp; Villains, Ghosts, and Roses, or How to Speak with the Dead Open Cultural Studies 3.1 Of Sacred Crossroads(February 2019) Download full text If narratives that uphold secular humanism have led to an "unparalleled catastrophe" as Sylvia Wynter notes in an interview with Katherine McKittrick, then it is time to unwrite them. In this essay, I examine the dead as a category that exceeds metaphysical classifications of subject and object and provides alternate possibilities of communication and hybridity. To do so, I call on work by Claire Colebrook, Jacques Derrida, John Durham Peters, Eve Tuck, and Unica Zürn, among others, with the cultural work and words of Sylvia Wynter as a guide and galvanizing force. Here, I repopulate the life/death seam with gorgons, witches, fates, and revenge stories. If ghosts are seen simply as other beings, albeit taboo ones like bacteria, or require alternate cultural narratives like villains, or exist both in the symbolic sphere of the mystical and the so-called natural world like roses, what kinds of methodologies can be opened? What do the dead have to say and how do we listen? Fire, Earth, Ecstasy: Gossiping with the Gods Public: Arts/Culture/Ideas 58Smoke: Figures, Genres, Forms(Winter 2019) Download full textDagmar Atladóttir and Sandra Huber combine practices of Icelandic paganism and contemporary witchcraft, via methodologies of ceramics and automatic writing, to create a God Nail, which attunes to voices between myths, fantasies, and deities. Created with earth and water, and passed through fire in the kiln, the God Nail points to histories of the accused witches burned at the stake during the European witch-hunts as well as the importance of the elements in contemporary witchcraft. Situated within the wildfires that were raging during the summer of their collaboration, the essay also discusses the violence of colonization and capitalism that was unleashed during the “burning times,” the trend of “witchiness,” and the importance of occulted channels of communication, which can act as refrains between the seen and unseen, heard and unheard. Pornography, Ectoplasm, and the Secret Dancer: A Twin Reading of Naomi Uman’s RemovedCo-written with Hilary Bergen Screening the Past 43(April 2018) Read full text Naomi Uman’s Removed (1999) portrays the sexualized feminine form as a ghostly shimmering. In “removing” the woman from the screen, she in turn highlights the actor’s constant motion as performative. In contrast with the visibility (and overwhelming presence) of male sexuality (erection, ejaculation) in film media, female sexual pleasure cannot often be explicitly seen, and therefore relies upon a kinetic and aural performance of the body—an output that is primarily affective and ephemeral rather than material and enduring. Uman’s work reveals the feminized screen body as always already performative while also enacting a specific type of erasure: the woman on the screen is not completely erased but rather translated into the imaginary. The spectrality of Uman’s work extends beyond a critique of the scopophilic porn gaze; what interests us here is the making-material (through gruelling techniques of handmade cinema) of female sexual presence in order to question the primacy of the visual as a mode of authentication. We see a link between Uman’s work and portrayals of sexual fluid as captured in the 19th–century phenomenon of ectoplasm—a gauzy white substance that emerged from the orifices of female mediums, and was said to be a materialization of the spirit world. This fluid (or media), which had the consistency of semen, yet emerged from a female body, is often brought into discussions around fraudulence—however, our interest in “truth” lies not in the presumed objective view of any camera, but in the embodied and experiential practice of the women whose bodies perform labour (or enact the labour of performance). Uman’s disappeared woman and the mediums whose bodies secrete ectoplasm occupy an uneasy space between presence and absence. https://sandrahuber.com/spirit-scripts-exercises-and-workshops Thu, 05 Oct 2023 12:52:34 +0000 sh https://sandrahuber.com/spirit-scripts-exercises-and-workshops spirit scripts: exercises and workshops&nbsp;︎︎︎︎ <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/17e6fdd844a0b2852c386c0574fd36d11db207a7174a60294f9c4df0cb6b2b9e/thanatos3.jpeg" data-mid="192812878" border="0" src="https://freight.cargo.site/w/1000/i/17e6fdd844a0b2852c386c0574fd36d11db207a7174a60294f9c4df0cb6b2b9e/thanatos3.jpeg" /> This is an induction into automatic writing or spirit writing.&nbsp; Engage with this induction anytime you want to move your (writing) energy or have a question to divine or want to connect to your surroundings through mark-making. All you need is a few pieces of paper and a pen or pencil. Headphones recommended, not required.&nbsp;Script and voice: Sandra HuberMusic and sound engineering: Stefana Fratila Writing: you Writing time: 8 mins Total time: 16:09 mins☿ Spirit Scripts: Exercises in Wild Writing (book in progress) Spirit writing and automatic writing are ways of divining occulted information.&nbsp;Wild writing includes these two while connecting us to the many inflections of the word “wild”: “undomesticated,” “free,” “feral,” and also to less neutral words like “heathen.”&nbsp;We have seen throughout history how knowledges that connect to spirit worlds and divination practices have been violently overridden by colonial, imperial, and rationalistic systems.&nbsp;Wild writing recalls the fact that standardized writing practices have had a violent history and are ready to be unsettled. Spirit Scripts emerges from over a decade of working with new (and ancient) media practices as well as writing a dissertation on the topic of witchy methodologies at Concordia University in Tio’tia’ke / Mooniyang / Montreal. The exercises are original and inspired by mediums and pagans and witches and artists and teachers, by esoteric books and podcasts, by research, and by my own relationships to writing and poetry. Past workshops “Spirit Scripts: Exercises in Wild Writing” Study for the Society of Affect conference (SSA), Lancaster, PAOct. 13, 2024 “Automatic Writing: Connecting with Muses and Spirits” Interessensgemeinschaft feministische Autorinnen (IGFEM), Vienna, Austria Oct. 25, Nov. 16, Nov. 22, 2023&nbsp; “Wild Writing” Colgate University, Hamilton, New York, part of Surrealist Engagements Program Nov. 8, 2023“Automatic Writing: Connecting with Muses, Avatars, and Spirits” Vienna School of Poetry, Vienna, AustriaMay 22 – 26, 2023“The Messenger,” automatic writing workshop, The Sociability of Sleep Research Retreat, Saint Adolphe d’Howard, QC September 17, 2022 “Yes, and Mediumship: A Midnight Workshop”Co-hosted with Rosa AielloBanff Centre for Arts and Creativity, Banff, AlbertaAugust 11, 2017“Automatic Writing as Multimedia Practice”Festival CouñaMayúscula, À Coruña, Galicia March 26 – 28, 2015 <img width="1776" height="1268" width_o="1776" height_o="1268" data-src="https://freight.cargo.site/t/original/i/35957a38bec70044f410316df0903b29188d1d3953b8d1238e53ba9f22a985ee/colgate.jpg" data-mid="197304096" border="0" src="https://freight.cargo.site/w/1000/i/35957a38bec70044f410316df0903b29188d1d3953b8d1238e53ba9f22a985ee/colgate.jpg" /> <img width="1670" height="918" width_o="1670" height_o="918" data-src="https://freight.cargo.site/t/original/i/fff8ee25568ccabf57e9cfc71930cb983ace2b31ad261b961773c77c95fb1e2f/slide1.jpg" data-mid="197304119" border="0" src="https://freight.cargo.site/w/1000/i/fff8ee25568ccabf57e9cfc71930cb983ace2b31ad261b961773c77c95fb1e2f/slide1.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/f911bdbf9802d7ee547664abf3e9fc810afcd88617a5dd062dcf7f9e0abacbfc/Banff-1.JPG" data-mid="197304452" border="0" src="https://freight.cargo.site/w/1000/i/f911bdbf9802d7ee547664abf3e9fc810afcd88617a5dd062dcf7f9e0abacbfc/Banff-1.JPG" /> <img width="1682" height="938" width_o="1682" height_o="938" data-src="https://freight.cargo.site/t/original/i/f8cfc3be4726a92792d4d46475abc7dc056aeee7855844a2408360bff1998dea/slide3.jpg" data-mid="197304122" border="0" data-scale="90" src="https://freight.cargo.site/w/1000/i/f8cfc3be4726a92792d4d46475abc7dc056aeee7855844a2408360bff1998dea/slide3.jpg" /> <img width="1658" height="922" width_o="1658" height_o="922" data-src="https://freight.cargo.site/t/original/i/4fff98c03497d2b21561591f6d90b275d4ea8ada658f56a981017237ba54622d/slide-4.jpg" data-mid="197304118" border="0" src="https://freight.cargo.site/w/1000/i/4fff98c03497d2b21561591f6d90b275d4ea8ada658f56a981017237ba54622d/slide-4.jpg" /> <img width="552" height="896" width_o="552" height_o="896" data-src="https://freight.cargo.site/t/original/i/a7fac89c1503aef3a8384c570a058cc807a4c3a3e4d1b460e6e6c1a0e7c79395/spirit-writing.PNG" data-mid="197304124" border="0" src="https://freight.cargo.site/w/552/i/a7fac89c1503aef3a8384c570a058cc807a4c3a3e4d1b460e6e6c1a0e7c79395/spirit-writing.PNG" /> <img width="1552" height="932" width_o="1552" height_o="932" data-src="https://freight.cargo.site/t/original/i/92c3a434088b6762032c1087e87e31abc8ca836ce31606d81a3ff632e94fae3a/slide2.jpg" data-mid="197304121" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/92c3a434088b6762032c1087e87e31abc8ca836ce31606d81a3ff632e94fae3a/slide2.jpg" /> <img width="1656" height="850" width_o="1656" height_o="850" data-src="https://freight.cargo.site/t/original/i/64142fd6adcf0196c404b07d8b648ae697d174868ad466181510bf98fa7ed28a/slide5.jpg" data-mid="197304123" border="0" src="https://freight.cargo.site/w/1000/i/64142fd6adcf0196c404b07d8b648ae697d174868ad466181510bf98fa7ed28a/slide5.jpg" /> <img width="2086" height="1568" width_o="2086" height_o="1568" data-src="https://freight.cargo.site/t/original/i/229ad83f1236d21b84d8d80f3aea63eb13bdad97e5f9d2b4ed6d9bc41c43bf37/colgate2.jpg" data-mid="197304874" border="0" src="https://freight.cargo.site/w/1000/i/229ad83f1236d21b84d8d80f3aea63eb13bdad97e5f9d2b4ed6d9bc41c43bf37/colgate2.jpg" /> https://sandrahuber.com/other-experiments Fri, 14 Dec 2018 15:49:20 +0000 sh https://sandrahuber.com/other-experiments other experiments ︎︎︎︎ THE WIILFRID TAROT(2015) Play game <img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/54b429f8d0c32728c4dee94861e87392ff89df00742621a4131cecc8d9e54213/wilfrid_amy.png" data-mid="30701012" border="0" src="https://freight.cargo.site/w/1000/i/54b429f8d0c32728c4dee94861e87392ff89df00742621a4131cecc8d9e54213/wilfrid_amy.png" />A Twine game exploring divination and cybertext. The cards used as omens in The Wilfrid Tarot are from a little-known deck designed by Wilfrid Pippet and John B. Trinick for A. E. Waite between 1917 and 1922. The deck can be found at the British Museum website and is incomplete. Therefore&nbsp;The Wilfrid Tarot only has 11 faces. <img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/f8d66ed9c70ab1cbb0bf104e7dcac90517b63a407089a2d0e352b3d1e0625770/wilfrid_devil.png" data-mid="30700474" border="0" src="https://freight.cargo.site/w/1000/i/f8d66ed9c70ab1cbb0bf104e7dcac90517b63a407089a2d0e352b3d1e0625770/wilfrid_devil.png" /> <img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/88b64d513344366cc7ab86459ef5f06dcf60322e30231597f3a0409b6038f39d/wilfrid_moon.png" data-mid="30700960" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/88b64d513344366cc7ab86459ef5f06dcf60322e30231597f3a0409b6038f39d/wilfrid_moon.png" /> <img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/4fbd1c0a51c90efe1e8dcce6b31e50b13b2b5f1c72015a4a32155fc4fbb47229/wilfrid1.png" data-mid="30700367" border="0" src="https://freight.cargo.site/w/1000/i/4fbd1c0a51c90efe1e8dcce6b31e50b13b2b5f1c72015a4a32155fc4fbb47229/wilfrid1.png" /> <img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/e6b34c77b60d449659933b22582aea604f28fc526752ced62e70cb25b8f59e07/wilfrid_priestess.png" data-mid="30701171" border="0" src="https://freight.cargo.site/w/1000/i/e6b34c77b60d449659933b22582aea604f28fc526752ced62e70cb25b8f59e07/wilfrid_priestess.png" /> <img width="2617" height="2205" width_o="2617" height_o="2205" data-src="https://freight.cargo.site/t/original/i/d38a11015e773e52a79d4e889c53df537afffad70d8bbcaa0963ed9335cfe117/tarot.jpg" data-mid="30701515" border="0" src="https://freight.cargo.site/w/1000/i/d38a11015e773e52a79d4e889c53df537afffad70d8bbcaa0963ed9335cfe117/tarot.jpg" /> WITCH HUTBanff Research in Culture (BRiC, 2017) To create is to create space.Situated amongst music huts at the Banff Centre, Witch Hut&nbsp; admitted whoever sought it out or stumbled upon it. Since the theme of the 2017 BRiC residency was “futurity,” Witch Hut offered itself as a space in which prophecies and longing for potential future paths were explored. Spells, fortune-telling, and general gossip were the domains of the witch hut.&nbsp; <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e81b3e42d12a7190d9e528fb7b903eaf1482a39f2d06a62bb0b6e95491679d0f/ancestors.jpg" data-mid="30701705" border="0" src="https://freight.cargo.site/w/1000/i/e81b3e42d12a7190d9e528fb7b903eaf1482a39f2d06a62bb0b6e95491679d0f/ancestors.jpg" /> <img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/a09b462ef0b62fd3402571e8315538f06b69515988bb6cbb35e632542af7505e/elise5.jpg" data-mid="30701901" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/a09b462ef0b62fd3402571e8315538f06b69515988bb6cbb35e632542af7505e/elise5.jpg" /> <img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/7de195f6b77c6f12e1aeda7ae9e35f245c02fb82165081a461d80daea379a4b9/elise2.jpg" data-mid="30701865" border="0" src="https://freight.cargo.site/w/1000/i/7de195f6b77c6f12e1aeda7ae9e35f245c02fb82165081a461d80daea379a4b9/elise2.jpg" /> <img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/fa306e9c0bc5ed8f9b1716b14ae4568df6f5c2853d852f44964ffc47a1a6ab31/elise6.jpg" data-mid="30702458" border="0" src="https://freight.cargo.site/w/1000/i/fa306e9c0bc5ed8f9b1716b14ae4568df6f5c2853d852f44964ffc47a1a6ab31/elise6.jpg" /> Photos by Elise Rasmussen; costumes with&nbsp;Elena VandakurovaBEAST Commissioned by artist Erica Scourti for Dark Archives (2015–16) Het Nieuwe Instituut, Rotterdam, the NetherlandsFor this project, artist Erica Scourti sought out writers to compose speculative captions for missing media in a personal archive.&nbsp;“BEAST” was written using Tarot cards as a prompt and guide. In the words of Het Nieuwe Instituut, “Erica Scourti activates an automatic, constantly updated archive to foreground the algorithmic outsourcing of personal media organisation and its implications for networked, distributed memory.” Read by Jenny Moore. See more of Scourti’s&nbsp;Dark Archives ABECEDARY OF SLEEP Part of the Sociability of Sleep, an interdisciplinary research-creation intitiative exploring the epistemologies and equities of sleep, McGill University, Université de Montréal,Sleep Salons, 2022An abecedary is an ancient poetic form structured to follow the letters of the alphabet. The Sleep Abecedary uses the Sleep Salons themselves as an alphabet that inspires further variations. Each entry accompanies and expands upon themes from each Sleep Salon, condensing the conversations into a keyword and drawing them out into miniature essays, poems, or dreams. The Sleep Abecedary works with the Sleep Salons vertically rather than horizontally — by falling into the centre of a single concept, each riff aims to pull out a thread behind the conversation that was maybe present all along. Read the abecedary <img width="900" height="900" width_o="900" height_o="900" data-src="https://freight.cargo.site/t/original/i/d19362a442a290455945fd9870d1d98cb89a172c3e778fc398261c5fb733d152/sociability_of_sleep.jpg" data-mid="204347675" border="0" src="https://freight.cargo.site/w/900/i/d19362a442a290455945fd9870d1d98cb89a172c3e778fc398261c5fb733d152/sociability_of_sleep.jpg" /> https://sandrahuber.com/Homepage Fri, 14 Dec 2018 15:49:21 +0000 sh https://sandrahuber.com/Homepage more potions less prisons