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?
practice
Being Human as Praxis: Technology, Activism, Play
I’m very excited to present ‘Being Human as Praxis’, a series of events I have organised together with my teaching team at Winchester School of Art as part of Southampton’s ‘Human Worlds’ digital festival of the humanities (12-22 November 2020).
Posthumanism in Practice (CfP)
Readers of this blog are warmly encouraged to consider submitting an abstract to this edited collection, which is seeking chapters by artists and makers, as well as scholars of all backgrounds. I have worked with both the collection editors (Matthew Hayler and Christine Daigle) and the series editors (Matthew Hayler and Danielle Sands) in relation to my work with the Critical Posthumanism Network, and highly recommend the experience!
“It matters what ideas we use to think other ideas.” This claim by Marilyn Strathem is quoted and given many variations in Donna Haraway’s Staying With the Trouble (2016). Ideas are assemblages that emerge from the various entanglements in which we exist and that constantly shape what we are and can be. Ideas spring from the dynamic material engagments humans have with one another and with the other beings and objects in our worlds. Therefore, our manner of engaging, the very practices we adopt to think, feel, experience, and theorise our entanglements, matter a great deal. As Karen Barad famously posited, “knowing does not come from standing at a distance and representing but rather from a direct material engagement with the world” (2007, 49): the ways in which we engage determine our knowing.
Critical posthumanism seeks to challenge contemporary anthropocentric and Humanist worldviews, and to establish new ways to conceive of ourselves and the environments and relationships in which we arc enmeshed. It has become clear that new thoughts and actions are needed as posthumanism demonstrates its usefulness. For this to be possible, we need to engage in thinking differently, shaking off old habits, embracing new methodologies, and rediscovering, or listening for the first time, to what has come before, or is going on right now, in other disciplines, cultures, and the actions of humans and non-humans. Putting posthumanism into practice, in short, demands exploratory, attentive, and speculative ventures that may, as yet, be unconventional in an academic setting, but generate new ideas and ways of acting. Posthumanism in practice also seeks to create ways and objects of knowing co-produced across the arts, humanities, and sciences, across sectors, disciplines, practitioners, and species. It asks: how is your practice, whatever your field of activity, transformed when enlivened by posthumanist ideas?