Criticality2 - Revision history

Juju: /* criticality */

2022-04-19T09:38:23Z

criticality

← Older revision		Revision as of 11:38, 19 April 2022
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	'''LM:''' In a.pass, the participants are invited to be part of the institutional apparatus, somehow. They are part of the development of the practices generated in the <mark class="c3">institution</mark>. We practice it in the sense that a.pass is not a stable structure. We have many institutional questions that arise from the participants’ practices. We can take this one: ‘what is <mark class="c3">criticality</mark>?’ and your invitation to write together. If we dig into this: How is this going to change our relations? Not just the existing relationship between the two of us but also the relation between the <mark class="c3">institutions</mark> that are part of this publication, like West, the Workgroup and all the others participating. I think that a.pass as an <mark class="c3">institution</mark> is shaped through the research practices that are present each moment, but also through how people deal with them and what their desire for <mark class="c3">criticality</mark> is, how much they want to move through it or not. The capacity of listening. The desire to be confronted or not. I think all these things are determining what happens in a.pass and how content and infrastructures of research are interwoven.		'''LM:''' In a.pass, the participants are invited to be part of the institutional apparatus, somehow. They are part of the development of the practices generated in the <mark class="c3">institution</mark>. We practice it in the sense that a.pass is not a stable structure. We have many institutional questions that arise from the participants’ practices. We can take this one: ‘what is <mark class="c3">criticality</mark>?’ and your invitation to write together. If we dig into this: How is this going to change our relations? Not just the existing relationship between the two of us but also the relation between the <mark class="c3">institutions</mark> that are part of this publication, like West, the Workgroup and all the others participating. I think that a.pass as an <mark class="c3">institution</mark> is shaped through the research practices that are present each moment, but also through how people deal with them and what their desire for <mark class="c3">criticality</mark> is, how much they want to move through it or not. The capacity of listening. The desire to be confronted or not. I think all these things are determining what happens in a.pass and how content and infrastructures of research are interwoven.

	'''PL:''' This idea that one can participate as a mode of <mark class="c3">criticality</mark>, the idea of becoming part of the apparatus, is something that I clearly recognize as a practice in a.pass. In art education on often finds practices of critique for which the intentions of the artist have to be determined, to compare them to the work that either deviates from or falls in line with that intention. I was thinking that what seems different to me in the forms of feedback and critique that I experienced in a.pass, is the invitation to participate. I think Vladimir<ref>Vladimir Miller is an artist, researcher, scenographer and dramaturge. His practice aims at re-negotiating modes of spatial production within collaborative structures. He is a curator for the a.pass Research Center.</ref> once explained it to me as treating the group, or thinking of the group as a sort of extension of your body as a researcher, in that you are really invited into the apparatus. In turn you always consider how you invite others into your work, making them part of it. It takes away the illusion of the object of critique as separate from yourself as a participatory subject.		'''PL:''' This idea that one can participate as a mode of <mark class="c3">criticality</mark>, the idea of becoming part of the apparatus, is something that I clearly recognize as a practice in a.pass. In art education on often finds practices of critique for which the intentions of the artist have to be determined, to compare them to the work that either deviates from or falls in line with that intention. I was thinking that what seems different to me in the forms of feedback and critique that I experienced in a.pass, is the invitation to participate.
			<br>I think Vladimir<ref>Vladimir Miller is an artist, researcher, scenographer and dramaturge. His practice aims at re-negotiating modes of spatial production within collaborative structures. He is a curator for the a.pass Research Center.</ref> once explained it to me as treating the group, or thinking of the group as a sort of extension of your body as a researcher, in that you are really invited into the apparatus. In turn you always consider how you invite others into your work, making them part of it. It takes away the illusion of the object of critique as separate from yourself as a participatory subject.

	'''LM:''' The sense of participation in the context of <mark class="c3">criticality</mark> is also very important if we think about the audience that we want to address. Let’s say that art is like the spectacle of phenomena, right; art exposes a certain phenomenon in certain conditions and invites people to attend through the conditions provided. I want the invitation, for me as an audience member, to be similar to the one that you described. I want to be able to participate, which doesn’t necessarily mean active participation. But I want to know what is the invitation for me to respond and let feelings, emotions, thoughts, whatever it wants to create with me, appear. This is the potential of modifying it already, or at least to be able to be responsive to it.		'''LM:''' The sense of participation in the context of <mark class="c3">criticality</mark> is also very important if we think about the audience that we want to address. Let’s say that art is like the spectacle of phenomena, right; art exposes a certain phenomenon in certain conditions and invites people to attend through the conditions provided.
			<br>I want the invitation, for me as an audience member, to be similar to the one that you described. I want to be able to participate, which doesn’t necessarily mean active participation. But I want to know what is the invitation for me to respond and let feelings, emotions, thoughts, whatever it wants to create with me, appear. This is the potential of modifying it already, or at least to be able to be responsive to it.

	How do you do that in your practice?		How do you do that in your practice?

	'''PL:''' As you know I’m very present in my work and my practice, as a subject that is an object as well. So, I read everything both through myself and with a kind of distance. I see myself as practicing institutional critique, but it is inherently a critique of myself as part of the <mark class="c3">institution</mark> or situation. This way I hope to invite others to consider their institutional entanglements as well.		'''PL:''' As you know I’m very present in my work and my practice, as a subject that is an object as well. So,
			<br>I read everything both through myself and with a kind of distance. I see myself as practicing institutional critique, but it is inherently a critique of myself as part of the <mark class="c3">institution</mark> or situation. This way I hope to invite others to consider their institutional entanglements as well.

	'''LM:''' This is hard and very interesting work, because ultimately, you see yourself as an apparatus already, right, with a structure that conditions your power position, paradoxes, problems, and alliances. I think it’s important to acknowledge that objects of study are complex objects and include the self and its context and background, including social class, gender, race, economic support, species, and so on.		'''LM:''' This is hard and very interesting work, because ultimately, you see yourself as an apparatus already, right, with a structure that conditions your power position, paradoxes, problems, and alliances. I think it’s important to acknowledge that objects of study are complex objects and include the self and its context and background, including social class, gender, race, economic support, species, and so on.

Juju: /* criticality */

2022-04-12T09:30:21Z

criticality

← Older revision		Revision as of 11:30, 12 April 2022
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	<span class="author">Lilia Mestre & Pia Louwerens</span>		<span class="author">Lilia Mestre & Pia Louwerens</span>

	<span class="tighter">'''Pia Louwerens:''' The notion of ''<mark class="c3">criticality</span>'' has accompanied me throughout my research with the workgroup <mark class="c6">material practices</mark>, not in the least because of the workgroup’s initial interest in <mark class="c5">critical making</mark>. When my practice was embedded in West Den Haag<ref>West Den Haag, exhibition space in The Hague, www.westdenhaag.nl.</ref> (see <mark class="c1">embeddedness</mark>), one of my main questions became how to practice <mark class="c3">criticality</mark> from a position of proximity. When thinking about <mark class="c3">criticality</mark>, my frame of reference is shaped by a.pass. a.pass is an educational <mark class="c2">platform</mark> for <mark class="c5">artistic research</mark> based in Brussels (Belgium), where I participated in the post-graduate programme, and where I am currently involved as an Associate Researcher. Lilia Mestre is the artistic coordinator at a.pass. In the following, we will engage in a conversation to tease out what it actually is for us, this <mark class="c3">criticality</mark>. In preparation for our talk, we read an interview with Karen Barad,<ref>Rick Dolphijn and Iris van der Tuin, ‘Matter Feels, Converses, Suffers, Desires, Yearns and Remembers. Interview with Karen Barad’, ''New Materialism: Interviews & Cartographies'' (Ann Arbor, MI: 2 Open Humanities Press, 2012), pp. 48–70, dx.doi.org/10.3998/ohp.11515701.0001.001.</ref> which we will refer to throughout our conversation.</span>		<div class="no-indent"><span class="tighter">'''Pia Louwerens:''' The notion of ''<mark class="c3">criticality</span>'' has accompanied me throughout my research with the workgroup <mark class="c6">material practices</mark>, not in the least because of the workgroup’s initial interest in <mark class="c5">critical making</mark>. When my practice was embedded in West Den Haag<ref>West Den Haag, exhibition space in The Hague, www.westdenhaag.nl.</ref> (see <mark class="c1">embeddedness</mark>), one of my main questions became how to practice <mark class="c3">criticality</mark> from a position of proximity. When thinking about <mark class="c3">criticality</mark>, my frame of reference is shaped by a.pass. a.pass is an educational <mark class="c2">platform</mark> for <mark class="c5">artistic research</mark> based in Brussels (Belgium), where I participated in the post-graduate programme, and where I am currently involved as an Associate Researcher. Lilia Mestre is the artistic coordinator at a.pass. In the following, we will engage in a conversation to tease out what it actually is for us, this <mark class="c3">criticality</mark>. In preparation for our talk, we read an interview with Karen Barad,<ref>Rick Dolphijn and Iris van der Tuin, ‘Matter Feels, Converses, Suffers, Desires, Yearns and Remembers. Interview with Karen Barad’, ''New Materialism: Interviews & Cartographies'' (Ann Arbor, MI: 2 Open Humanities Press, 2012), pp. 48–70, dx.doi.org/10.3998/ohp.11515701.0001.001.</ref> which we will refer to throughout our conversation.</span></div>

	Lilia, can you maybe start by saying how you think <mark class="c3">criticality</mark> is practiced at a.pass?		Lilia, can you maybe start by saying how you think <mark class="c3">criticality</mark> is practiced at a.pass?

Juju: /* criticality */

2022-04-07T12:40:39Z

criticality

← Older revision		Revision as of 14:40, 7 April 2022
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	<span class="author">Lilia Mestre & Pia Louwerens</span>		<span class="author">Lilia Mestre & Pia Louwerens</span>

	<span class="tighter">'''Pia Louwerens:''' The notion of ''<mark class="c3">criticality</span>'' has accompanied me throughout my research with the workgroup <mark class="c6">material practices</mark>, not in the least because of the workgroup’s initial interest in <mark class="c5">critical making</mark>. When my practice was embedded in West Den Haag<ref>West Den Haag, exhibition space in The Hague, www.westdenhaag.nl.</ref> (see <mark class="c1">embeddedness</mark>), one of my main questions became how to practice <mark class="c3">criticality</mark> from a position of proximity. When thinking about <mark class="c3">criticality</mark>, my frame of reference is shaped by a.pass. a.pass is an educational <mark class="c2">platform</mark> for <mark class="c5">artistic research</mark> based in Brussels (Belgium), where I participated in the post-graduate programme, and where I am currently involved as an Associate Researcher. Lilia Mestre is the artistic coordinator at a.pass. In the following, we will engage in a conversation to tease out what it actually is for us, this <mark class="c3">criticality</mark>. In preparation for our talk, we read an interview with Karen Barad,<ref>Rick Dolphijn and Iris van der Tuin, ‘Matter Feels, Converses, Suffers, Desires, Yearns and Remembers. Interview with Karen Barad’, ''New Materialism: Interviews & Cartographies (Ann Arbor, MI: 2'' Open Humanities Press, 2012), pp. 48–70, dx.doi.org/10.3998/ohp.11515701.0001.001.</ref> which we will refer to throughout our conversation.</span>		<span class="tighter">'''Pia Louwerens:''' The notion of ''<mark class="c3">criticality</span>'' has accompanied me throughout my research with the workgroup <mark class="c6">material practices</mark>, not in the least because of the workgroup’s initial interest in <mark class="c5">critical making</mark>. When my practice was embedded in West Den Haag<ref>West Den Haag, exhibition space in The Hague, www.westdenhaag.nl.</ref> (see <mark class="c1">embeddedness</mark>), one of my main questions became how to practice <mark class="c3">criticality</mark> from a position of proximity. When thinking about <mark class="c3">criticality</mark>, my frame of reference is shaped by a.pass. a.pass is an educational <mark class="c2">platform</mark> for <mark class="c5">artistic research</mark> based in Brussels (Belgium), where I participated in the post-graduate programme, and where I am currently involved as an Associate Researcher. Lilia Mestre is the artistic coordinator at a.pass. In the following, we will engage in a conversation to tease out what it actually is for us, this <mark class="c3">criticality</mark>. In preparation for our talk, we read an interview with Karen Barad,<ref>Rick Dolphijn and Iris van der Tuin, ‘Matter Feels, Converses, Suffers, Desires, Yearns and Remembers. Interview with Karen Barad’, ''New Materialism: Interviews & Cartographies'' (Ann Arbor, MI: 2 Open Humanities Press, 2012), pp. 48–70, dx.doi.org/10.3998/ohp.11515701.0001.001.</ref> which we will refer to throughout our conversation.</span>

	Lilia, can you maybe start by saying how you think <mark class="c3">criticality</mark> is practiced at a.pass?		Lilia, can you maybe start by saying how you think <mark class="c3">criticality</mark> is practiced at a.pass?
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	I like the idea of consciousness as put forward by Karen Barad, as a conscious critical view; something that creates awareness could be called critical, right? <mark class="c3">Criticality</mark> can be seen as a skill or a tool that develops a set of antennas—maybe antennas is a good metaphor. Seen this way, <mark class="c3">criticality</mark> becomes a sensitive tool, responsive to what is proposed. I see <mark class="c3">criticality</mark> as the desire to understand how to be involved.		I like the idea of consciousness as put forward by Karen Barad, as a conscious critical view; something that creates awareness could be called critical, right? <mark class="c3">Criticality</mark> can be seen as a skill or a tool that develops a set of antennas—maybe antennas is a good metaphor. Seen this way, <mark class="c3">criticality</mark> becomes a sensitive tool, responsive to what is proposed. I see <mark class="c3">criticality</mark> as the desire to understand how to be involved.

	'''PL:''' When I look up the etymology of ‘critic’ or ‘critique’, it leads to the Greek word krinein ‘to separate, decide’ which comes from a root that translates as ‘to sieve’, thus ‘discriminate, distinguish’.<ref>etymonline.com/word/critic, accessed 5~~-4-~~2021.</ref> So, it’s an interaction with an apparatus that makes a selection, or distinguishes. Funny actually, the two-slit experiment that Karen Barad bases her theory on is a sieving experiment as well, literally. It’s the sieving that causes a diffraction pattern. According to Barad, studying the experiment doesn’t tell you anything about the thing that you sieve, but you will know something about the phenomenon, which is the sieving plus the thing that came out.		'''PL:''' When I look up the etymology of ‘critic’ or ‘critique’, it leads to the Greek word krinein ‘to separate, decide’ which comes from a root that translates as ‘to sieve’, thus ‘discriminate, distinguish’.<ref>etymonline.com/word/critic, accessed 5 April 2021.</ref> So, it’s an interaction with an apparatus that makes a selection, or distinguishes. Funny actually, the two-slit experiment that Karen Barad bases her theory on is a sieving experiment as well, literally. It’s the sieving that causes a diffraction pattern. According to Barad, studying the experiment doesn’t tell you anything about the thing that you sieve, but you will know something about the phenomenon, which is the sieving plus the thing that came out.

	'''LM:''' Perhaps the understanding of the apparatus, whether a two-slit sieve or an artwork, makes visible what the performativity of the apparatus itself is. It’s like a mise-en-scene of the apparatus. As in the apparatus of theatre, which contains the setting, the scenario, the operation itself including the audience.		'''LM:''' Perhaps the understanding of the apparatus, whether a two-slit sieve or an artwork, makes visible what the performativity of the apparatus itself is. It’s like a mise-en-scene of the apparatus. As in the apparatus of theatre, which contains the setting, the scenario, the operation itself including the audience.

Juju: /* criticality */

2022-04-07T12:38:51Z

criticality

← Older revision		Revision as of 14:38, 7 April 2022
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	<span class="author">Lilia Mestre & Pia Louwerens</span>		<span class="author">Lilia Mestre & Pia Louwerens</span>

	<span class="tighter">'''Pia Louwerens:''' The notion of ''<mark class="c3">criticality</span>'' has accompanied me throughout my research with the workgroup <mark class="c6">material practices</mark>, not in the least because of the workgroup’s initial interest in <mark class="c5">critical making</mark>. When my practice was embedded in West Den Haag<ref>West Den Haag, exhibition space in The Hague, www.westdenhaag.nl.</ref> (see <mark class="c1">embeddedness</mark>), one of my main questions became how to practice <mark class="c3">criticality</mark> from a position of proximity. When thinking about <mark class="c3">criticality</mark>, my frame of reference is shaped by a.pass. a.pass is an educational <mark class="c2">platform</mark> for artistic research based in Brussels (Belgium), where I participated in the post-graduate programme, and where I am currently involved as an Associate Researcher. Lilia Mestre is the artistic coordinator at a.pass. In the following, we will engage in a conversation to tease out what it actually is for us, this <mark class="c3">criticality</mark>. In preparation for our talk, we read an interview with Karen Barad,<ref>Rick Dolphijn and Iris van der Tuin, ‘Matter Feels, Converses, Suffers, Desires, Yearns and Remembers. Interview with Karen Barad’, ''New Materialism: Interviews & Cartographies (Ann Arbor, MI: 2'' Open Humanities Press, 2012), pp. 48–70, dx.doi.org/10.3998/ohp.11515701.0001.001.</ref> which we will refer to throughout our conversation.</span>		<span class="tighter">'''Pia Louwerens:''' The notion of ''<mark class="c3">criticality</span>'' has accompanied me throughout my research with the workgroup <mark class="c6">material practices</mark>, not in the least because of the workgroup’s initial interest in <mark class="c5">critical making</mark>. When my practice was embedded in West Den Haag<ref>West Den Haag, exhibition space in The Hague, www.westdenhaag.nl.</ref> (see <mark class="c1">embeddedness</mark>), one of my main questions became how to practice <mark class="c3">criticality</mark> from a position of proximity. When thinking about <mark class="c3">criticality</mark>, my frame of reference is shaped by a.pass. a.pass is an educational <mark class="c2">platform</mark> for <mark class="c5">artistic research</mark> based in Brussels (Belgium), where I participated in the post-graduate programme, and where I am currently involved as an Associate Researcher. Lilia Mestre is the artistic coordinator at a.pass. In the following, we will engage in a conversation to tease out what it actually is for us, this <mark class="c3">criticality</mark>. In preparation for our talk, we read an interview with Karen Barad,<ref>Rick Dolphijn and Iris van der Tuin, ‘Matter Feels, Converses, Suffers, Desires, Yearns and Remembers. Interview with Karen Barad’, ''New Materialism: Interviews & Cartographies (Ann Arbor, MI: 2'' Open Humanities Press, 2012), pp. 48–70, dx.doi.org/10.3998/ohp.11515701.0001.001.</ref> which we will refer to throughout our conversation.</span>

	Lilia, can you maybe start by saying how you think <mark class="c3">criticality</mark> is practiced at a.pass?		Lilia, can you maybe start by saying how you think <mark class="c3">criticality</mark> is practiced at a.pass?

Juju: /* criticality */

2022-03-28T12:54:40Z

criticality

← Older revision		Revision as of 14:54, 28 March 2022
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	<span class="author">Lilia Mestre & Pia Louwerens</span>		<span class="author">Lilia Mestre & Pia Louwerens</span>

	<span class="tighter">'''Pia Louwerens:''' The notion of criticality has accompanied me throughout my research with the workgroup <mark class="c6">material practices</mark>, not in the least because of the workgroup’s initial interest in <mark class="c5">critical making</mark>. When my practice was embedded in West Den Haag<ref>West Den Haag, exhibition space in The Hague, www.westdenhaag.nl.</ref> (see <mark class="c1">embeddedness</mark>), one of my main questions became how to practice <mark class="c3">criticality</mark> from a position of proximity. When thinking about <mark class="c3">criticality</mark>, my frame of reference is shaped by a.pass. a.pass is an educational <mark class="c2">platform</mark> for artistic research based in Brussels (Belgium), where I participated in the post-graduate programme, and where I am currently involved as an Associate Researcher. Lilia Mestre is the artistic coordinator at a.pass. In the following, we will engage in a conversation to tease out what it actually is for us, this <mark class="c3">criticality</mark>. In preparation for our talk, we read an interview with Karen Barad,<ref>Rick Dolphijn and Iris van der Tuin, ‘Matter Feels, Converses, Suffers, Desires, Yearns and Remembers. Interview with Karen Barad’, ''New Materialism: Interviews & Cartographies (Ann Arbor, MI: 2'' Open Humanities Press, 2012), pp. 48–70, dx.doi.org/10.3998/ohp.11515701.0001.001.</ref> which we will refer to throughout our conversation.</span>		<span class="tighter">'''Pia Louwerens:''' The notion of ''<mark class="c3">criticality</span>'' has accompanied me throughout my research with the workgroup <mark class="c6">material practices</mark>, not in the least because of the workgroup’s initial interest in <mark class="c5">critical making</mark>. When my practice was embedded in West Den Haag<ref>West Den Haag, exhibition space in The Hague, www.westdenhaag.nl.</ref> (see <mark class="c1">embeddedness</mark>), one of my main questions became how to practice <mark class="c3">criticality</mark> from a position of proximity. When thinking about <mark class="c3">criticality</mark>, my frame of reference is shaped by a.pass. a.pass is an educational <mark class="c2">platform</mark> for artistic research based in Brussels (Belgium), where I participated in the post-graduate programme, and where I am currently involved as an Associate Researcher. Lilia Mestre is the artistic coordinator at a.pass. In the following, we will engage in a conversation to tease out what it actually is for us, this <mark class="c3">criticality</mark>. In preparation for our talk, we read an interview with Karen Barad,<ref>Rick Dolphijn and Iris van der Tuin, ‘Matter Feels, Converses, Suffers, Desires, Yearns and Remembers. Interview with Karen Barad’, ''New Materialism: Interviews & Cartographies (Ann Arbor, MI: 2'' Open Humanities Press, 2012), pp. 48–70, dx.doi.org/10.3998/ohp.11515701.0001.001.</ref> which we will refer to throughout our conversation.</span>

	Lilia, can you maybe start by saying how you think <mark class="c3">criticality</mark> is practiced at a.pass?		Lilia, can you maybe start by saying how you think <mark class="c3">criticality</mark> is practiced at a.pass?

Hd-onions: /* criticality */

2022-03-25T19:30:37Z

criticality

← Older revision		Revision as of 21:30, 25 March 2022
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	==criticality==		==criticality==
	===a conversation===		===a conversation===
	<span class="author">Lilia Mestre ~~and~~ Pia Louwerens</span>		<span class="author">Lilia Mestre & Pia Louwerens</span>

	<span class="tighter">'''Pia Louwerens:''' The notion of criticality has accompanied me throughout my research with the workgroup <mark class="c6">material practices</mark>, not in the least because of the workgroup’s initial interest in <mark class="c5">critical making</mark>. When my practice was embedded in West Den Haag<ref>West Den Haag, exhibition space in The Hague, www.westdenhaag.nl.</ref> (see <mark class="c1">embeddedness</mark>), one of my main questions became how to practice <mark class="c3">criticality</mark> from a position of proximity. When thinking about <mark class="c3">criticality</mark>, my frame of reference is shaped by a.pass. a.pass is an educational <mark class="c2">platform</mark> for artistic research based in Brussels (Belgium), where I participated in the post-graduate programme, and where I am currently involved as an Associate Researcher. Lilia Mestre is the artistic coordinator at a.pass. In the following, we will engage in a conversation to tease out what it actually is for us, this <mark class="c3">criticality</mark>. In preparation for our talk, we read an interview with Karen Barad,<ref>Rick Dolphijn and Iris van der Tuin, ‘Matter Feels, Converses, Suffers, Desires, Yearns and Remembers. Interview with Karen Barad’, ''New Materialism: Interviews & Cartographies (Ann Arbor, MI: 2'' Open Humanities Press, 2012), pp. 48–70, dx.doi.org/10.3998/ohp.11515701.0001.001.</ref> which we will refer to throughout our conversation.</span>		<span class="tighter">'''Pia Louwerens:''' The notion of criticality has accompanied me throughout my research with the workgroup <mark class="c6">material practices</mark>, not in the least because of the workgroup’s initial interest in <mark class="c5">critical making</mark>. When my practice was embedded in West Den Haag<ref>West Den Haag, exhibition space in The Hague, www.westdenhaag.nl.</ref> (see <mark class="c1">embeddedness</mark>), one of my main questions became how to practice <mark class="c3">criticality</mark> from a position of proximity. When thinking about <mark class="c3">criticality</mark>, my frame of reference is shaped by a.pass. a.pass is an educational <mark class="c2">platform</mark> for artistic research based in Brussels (Belgium), where I participated in the post-graduate programme, and where I am currently involved as an Associate Researcher. Lilia Mestre is the artistic coordinator at a.pass. In the following, we will engage in a conversation to tease out what it actually is for us, this <mark class="c3">criticality</mark>. In preparation for our talk, we read an interview with Karen Barad,<ref>Rick Dolphijn and Iris van der Tuin, ‘Matter Feels, Converses, Suffers, Desires, Yearns and Remembers. Interview with Karen Barad’, ''New Materialism: Interviews & Cartographies (Ann Arbor, MI: 2'' Open Humanities Press, 2012), pp. 48–70, dx.doi.org/10.3998/ohp.11515701.0001.001.</ref> which we will refer to throughout our conversation.</span>

Hd-onions: /* a conversation */

2022-03-24T17:57:00Z

a conversation

← Older revision		Revision as of 19:57, 24 March 2022
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	<span class="author">Lilia Mestre and Pia Louwerens</span>		<span class="author">Lilia Mestre and Pia Louwerens</span>

	<span class="tighter">'''Pia Louwerens:''' The notion of criticality has accompanied me throughout my research with the workgroup <mark class="c6">material practices</mark>, not in the least because of the workgroup’s initial interest in <mark class="c5">critical making</mark>. When my practice was embedded in West Den Haag<ref>West Den Haag, exhibition space in The Hague, www.westdenhaag.nl.</ref> (see <mark class="c1">embeddedness</mark>), one of my main questions became how to practice <mark class="c3">criticality</mark> from a position of proximity. When thinking about <mark class="c3">criticality</mark>, my frame of reference is shaped by a.pass. a.pass is an educational <mark class="c2">platform</mark> for artistic research based in Brussels (Belgium), where I participated in the post-graduate programme, and where I am currently involved as an Associate Researcher. Lilia Mestre is the artistic coordinator at a.pass. In the following, we will engage in a conversation to tease out what it actually is for us, this <mark class="c3">criticality</mark>. In preparation for our talk, we read an interview with Karen Barad,<ref>Rick Dolphijn and Iris van der Tuin, ‘Matter Feels, Converses, Suffers, Desires, Yearns and Remembers. Interview with Karen Barad’, ''New Materialism: Interviews & Cartographies (Ann Arbor, MI: 2'' Open Humanities Press, 2012), pp. 48–70, ~~[[https://~~dx.doi.org/10.3998/ohp.11515701.0001.001]].</ref> which we will refer to throughout our conversation.</span>		<span class="tighter">'''Pia Louwerens:''' The notion of criticality has accompanied me throughout my research with the workgroup <mark class="c6">material practices</mark>, not in the least because of the workgroup’s initial interest in <mark class="c5">critical making</mark>. When my practice was embedded in West Den Haag<ref>West Den Haag, exhibition space in The Hague, www.westdenhaag.nl.</ref> (see <mark class="c1">embeddedness</mark>), one of my main questions became how to practice <mark class="c3">criticality</mark> from a position of proximity. When thinking about <mark class="c3">criticality</mark>, my frame of reference is shaped by a.pass. a.pass is an educational <mark class="c2">platform</mark> for artistic research based in Brussels (Belgium), where I participated in the post-graduate programme, and where I am currently involved as an Associate Researcher. Lilia Mestre is the artistic coordinator at a.pass. In the following, we will engage in a conversation to tease out what it actually is for us, this <mark class="c3">criticality</mark>. In preparation for our talk, we read an interview with Karen Barad,<ref>Rick Dolphijn and Iris van der Tuin, ‘Matter Feels, Converses, Suffers, Desires, Yearns and Remembers. Interview with Karen Barad’, ''New Materialism: Interviews & Cartographies (Ann Arbor, MI: 2'' Open Humanities Press, 2012), pp. 48–70, dx.doi.org/10.3998/ohp.11515701.0001.001.</ref> which we will refer to throughout our conversation.</span>

	Lilia, can you maybe start by saying how you think <mark class="c3">criticality</mark> is practiced at a.pass?		Lilia, can you maybe start by saying how you think <mark class="c3">criticality</mark> is practiced at a.pass?
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	I like the idea of consciousness as put forward by Karen Barad, as a conscious critical view; something that creates awareness could be called critical, right? <mark class="c3">Criticality</mark> can be seen as a skill or a tool that develops a set of antennas—maybe antennas is a good metaphor. Seen this way, <mark class="c3">criticality</mark> becomes a sensitive tool, responsive to what is proposed. I see <mark class="c3">criticality</mark> as the desire to understand how to be involved.		I like the idea of consciousness as put forward by Karen Barad, as a conscious critical view; something that creates awareness could be called critical, right? <mark class="c3">Criticality</mark> can be seen as a skill or a tool that develops a set of antennas—maybe antennas is a good metaphor. Seen this way, <mark class="c3">criticality</mark> becomes a sensitive tool, responsive to what is proposed. I see <mark class="c3">criticality</mark> as the desire to understand how to be involved.

	'''PL:''' When I look up the etymology of ‘critic’ or ‘critique’, it leads to the Greek word krinein ‘to separate, decide’ which comes from a root that translates as ‘to sieve’, thus ‘discriminate, distinguish’.<ref>~~www.~~etymonline.com/word/critic, accessed 5-4-2021.</ref> So, it’s an interaction with an apparatus that makes a selection, or distinguishes. Funny actually, the two-slit experiment that Karen Barad bases her theory on is a sieving experiment as well, literally. It’s the sieving that causes a diffraction pattern. According to Barad, studying the experiment doesn’t tell you anything about the thing that you sieve, but you will know something about the phenomenon, which is the sieving plus the thing that came out.		'''PL:''' When I look up the etymology of ‘critic’ or ‘critique’, it leads to the Greek word krinein ‘to separate, decide’ which comes from a root that translates as ‘to sieve’, thus ‘discriminate, distinguish’.<ref>etymonline.com/word/critic, accessed 5-4-2021.</ref> So, it’s an interaction with an apparatus that makes a selection, or distinguishes. Funny actually, the two-slit experiment that Karen Barad bases her theory on is a sieving experiment as well, literally. It’s the sieving that causes a diffraction pattern. According to Barad, studying the experiment doesn’t tell you anything about the thing that you sieve, but you will know something about the phenomenon, which is the sieving plus the thing that came out.

	'''LM:''' Perhaps the understanding of the apparatus, whether a two-slit sieve or an artwork, makes visible what the performativity of the apparatus itself is. It’s like a mise-en-scene of the apparatus. As in the apparatus of theatre, which contains the setting, the scenario, the operation itself including the audience.		'''LM:''' Perhaps the understanding of the apparatus, whether a two-slit sieve or an artwork, makes visible what the performativity of the apparatus itself is. It’s like a mise-en-scene of the apparatus. As in the apparatus of theatre, which contains the setting, the scenario, the operation itself including the audience.

Juju: /* criticality */

2022-03-23T12:18:08Z

criticality

← Older revision		Revision as of 14:18, 23 March 2022
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	<span class="author">Lilia Mestre and Pia Louwerens</span>		<span class="author">Lilia Mestre and Pia Louwerens</span>

	'''Pia Louwerens:''' The notion of criticality has accompanied me throughout my research with the workgroup <mark class="c6">material practices</mark>, not in the least because of the workgroup’s initial interest in <mark class="c5">critical making</mark>. When my practice was embedded in West Den Haag<ref>West Den Haag, exhibition space in The Hague, www.westdenhaag.nl.</ref> (see <mark class="c1">embeddedness</mark>), one of my main questions became how to practice <mark class="c3">criticality</mark> from a position of proximity. When thinking about <mark class="c3">criticality</mark>, my frame of reference is shaped by a.pass. a.pass is an educational <mark class="c2">platform</mark> for artistic research based in Brussels (Belgium), where I participated in the post-graduate programme, and where I am currently involved as an Associate Researcher. Lilia Mestre is the artistic coordinator at a.pass. In the following, we will engage in a conversation to tease out what it actually is for us, this <mark class="c3">criticality</mark>. In preparation for our talk, we read an interview with Karen Barad,<ref>Rick Dolphijn and Iris van der Tuin, ‘Matter Feels, Converses, Suffers, Desires, Yearns and Remembers. Interview with Karen Barad’, ''New Materialism: Interviews & Cartographies (Ann Arbor, MI: 2'' Open Humanities Press, 2012), pp. 48–70, [[https://dx.doi.org/10.3998/ohp.11515701.0001.001]].</ref> which we will refer to throughout our conversation.		<span class="tighter">'''Pia Louwerens:''' The notion of criticality has accompanied me throughout my research with the workgroup <mark class="c6">material practices</mark>, not in the least because of the workgroup’s initial interest in <mark class="c5">critical making</mark>. When my practice was embedded in West Den Haag<ref>West Den Haag, exhibition space in The Hague, www.westdenhaag.nl.</ref> (see <mark class="c1">embeddedness</mark>), one of my main questions became how to practice <mark class="c3">criticality</mark> from a position of proximity. When thinking about <mark class="c3">criticality</mark>, my frame of reference is shaped by a.pass. a.pass is an educational <mark class="c2">platform</mark> for artistic research based in Brussels (Belgium), where I participated in the post-graduate programme, and where I am currently involved as an Associate Researcher. Lilia Mestre is the artistic coordinator at a.pass. In the following, we will engage in a conversation to tease out what it actually is for us, this <mark class="c3">criticality</mark>. In preparation for our talk, we read an interview with Karen Barad,<ref>Rick Dolphijn and Iris van der Tuin, ‘Matter Feels, Converses, Suffers, Desires, Yearns and Remembers. Interview with Karen Barad’, ''New Materialism: Interviews & Cartographies (Ann Arbor, MI: 2'' Open Humanities Press, 2012), pp. 48–70, [[https://dx.doi.org/10.3998/ohp.11515701.0001.001]].</ref> which we will refer to throughout our conversation.</span>

	Lilia, can you maybe start by saying how you think <mark class="c3">criticality</mark> is practiced at a.pass?		Lilia, can you maybe start by saying how you think <mark class="c3">criticality</mark> is practiced at a.pass?

Juju: /* a conversation */

2022-03-21T21:50:06Z

a conversation

← Older revision		Revision as of 23:50, 21 March 2022
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	'''PL:''' I’m starting to realize now that this is a mode of making, for me. Practicing <mark class="c3">criticality</mark> creates so much material, all the time, and for me it is exciting to simply re-stage it in the place where I found it. It’s like Barad’s description of the expanded apparatus. To be with something and seeing, activating all your antennas, while taking into account how you are part of it, creates a kind of generative feedback loop, an abundance, in every singular situation. This is both a mode of <mark class="c3">criticality</mark> and source of creativity, if I may be so romantic to use that word. Now we’re back to a.pass, because I think it’s something that I got from you since you use this expression a lot, but it also really does ‘open up’—a continuous folding and unfolding.		'''PL:''' I’m starting to realize now that this is a mode of making, for me. Practicing <mark class="c3">criticality</mark> creates so much material, all the time, and for me it is exciting to simply re-stage it in the place where I found it. It’s like Barad’s description of the expanded apparatus. To be with something and seeing, activating all your antennas, while taking into account how you are part of it, creates a kind of generative feedback loop, an abundance, in every singular situation. This is both a mode of <mark class="c3">criticality</mark> and source of creativity, if I may be so romantic to use that word. Now we’re back to a.pass, because I think it’s something that I got from you since you use this expression a lot, but it also really does ‘open up’—a continuous folding and unfolding.

	~~<references />~~

Heerko: /* a conversation */

2022-03-21T11:58:43Z

a conversation