Monsters, mashups, and popular culture
Last week I gave a keynote at the fantastic Electricdreams (Sognielecttrici) film festival and conference in Milan. This was the third year the festival was running, with a conference theme of ‘Conflicts and Margins: Imagining Otherness, Ecocatastrophes, Perpetual War, Technological Imbalance, and Systemic Injustice Through Speculative Fiction’.
My talk was called ‘Salvaging the Future: Speculative Exercises in World(un)building’.
This week I gave a creative-critical workshop at the Cardiff Hub of the 2024 British Association of Victorian Studies annual conference!
It was lots of fun to be back after having studied and worked at Cardiff University almost a decade ago, and I was blessed with a genuinely warm and lovely group of Victorianists (and neo-Victorianists) for the session. We had a fruitful discussion and they produced some really fun and smart responses to the workshop prompt.
Building off of Chera Kee’s recent post on the Internet Ghost Collective website, I too decided to write a short reflection on the workshop we just had, in anticipation of the Internet Ghost Collective’s special issue of Gothic Studies. We’re interested in ‘Gothic Practice’ and all that entails.
We are excited to announce a special issue of Gothic Studies, guest edited by the Internet Ghost Collective (Chera Kee, Erika Kvistad, Line Henriksen, and Megen de Bruin-Molé)
“As a habitus, the Gothic describes a way of writing, a way of reading, a way of thinking about stories, a way of imagining,” writes Timothy G. Jones. “Perhaps the Gothic is something that is done rather than something that simply is” (2009, p. 127). In this special issue, we propose to consider the Gothic as not only a subject of research, but as something that we as researchers might do – the Gothic as a research method, a creative practice, a habitus. What might it mean for academics, artists, and other thinkers and makers to work in Gothic ways, or to experience their own work as Gothic, with its associations of unsettling power dynamics, intellectual uncertainty, and the potentially dangerous search for knowledge? Drawing on Jones’s idea of the Gothic as “something between the ceremonial and the ludic” which “ought to be understood, not as a set form, nor as a static accumulation of texts and tropes, but as a historicised practice which is durable yet transposable” (2009, p. 127), we ask contributors to explore the Gothic mode/genre and critical and creative practice. Just as Gothic fictions often explore the dynamics between those with immense power and the most vulnerable, we are interested in work that explores similar power structures in academia and the wider world – how might Gothic practice help us examine, challenge, or even counteract these dynamics?
Launching later this month, ‘The Speculative Space of Galleries, Libraries, Archives and Museums’ project will comprise a series of creative workshops that explore the critical ground that exists between science fiction (sf) and Gallery, Library, Archive and Museum (GLAM) spaces and collections. It will consider depictions of GLAM spaces in sf media, existing collections and exhibitions which contain sf media, and sf as a creative practice for engagement and critical reflection within GLAM spaces, looking to the imaginative futures and alternate presents of sf to critically reflect on the futures of these spaces and institutions.
In November 2022, Noriko Suzuki-Bosco, Amy Butt, and I ran a workshop at Winchester School of Art called ‘Retracing the Library’. The workshop was part of the UK’s Being Human Festival, an annual event that showcases work across the Arts and Humanities.
We came together to try and find ways to make something new and collaborative out of our shared interests in artists’ books, critical making, science fiction, environment, and the institutional spaces we occupy. For the first workshop we settled on Winchester School of Art library as a location, both because Noriko and I are based in Winchester, and because the library here has a particularly interesting environment and history.
Over the course of two hours, participants traced the library’s journey from the overflow shelves at its current location, to the gallery space it was rescued from during the flood of 1999, to the moated glass Rotunda where it began life in 1965. In each space participants were asked to remake and reimagine the library in a way that was meaningful to them.
Join artist David Blandy and curator and researcher Annie Jael Kwan as they discuss Blandy’s major new John Hansard Gallery solo exhibition, Atomic Light. The discussion reflects his use of archives, from pop cultural collectables, through to historic records and collective memories. The talk will be chaired by Dr Megen de Bruin-Molé. This event is in-person at John Hansard Gallery.
Read more about the event and the exhibition on the John Hansard Gallery website, and book your place here.
Want to geek out about Carmen Maria Machado? Want to see four literary professionals geek out about Carmen Maria Machado? Or are you just in the mood for a good book or for some good old fashioned spooky stories? Whatever the reason, join us at Cardiff BookTalk on 15 November, 19:00 – 20:30 GMT, for an online talk about Her Body and Other Parties, Machado’s debut short story collection. The event is free and open to all. Book your place via Eventbrite.
Join us for a free creative workshop where you will become part of the strange ebb and flow of Winchester School of Art Library! This session is part of both the Creative Posthumanism series and the UK’s Being Human Festival. It will take place in person on 16th November, 2022 (2-4pm UK time) and will start at Winchester School of Art library, West Side Building, Park Avenue, Winchester.
Today, the 26th of October, 2-4pm (UK time) I’ll be giving a talk / workshop for Winchester School of Art PhD Researchers on #HauntedTikTok. This will be in the WSA PGR room, but also on Microsoft Teams (link