Academics
Scrolling through https://hexagram.ca/index.php/eng/who-are-we/student-members
The Moldy Strategy
https://www.antoniahernandez.com/artwork/the-moldy-strategy/
This research-creation project has two principal outcomes. One is a theoretical framework that presents online sex in material terms. The other, a series of art experiments that have been exhibited recently and are documented in a website. The relation between these two different expressions is by no means tautological. Rather, it should be understood as an ongoing conversation, perhaps a digression, certainly a permanent back and forth.
Villains, Ghosts, and Roses, or, How to Speak with the Dead
Huber, Sandra. “Villains, Ghosts, and Roses, or, How to Speak with the Dead”. Open Cultural Studies 3.1 (2019): 15-25. https://doi.org/10.1515/culture-2019-0002 Web.
Disability as a Method of Creative Practice
Dokumaci, Arseli (2018). Supplementary Video Resources for “Disability as Method: Interventions in the Habitus of Ableism through Media-Creation.” Disability Studies Quarterly, 38(3), https://doi.org/10.18061/dsq.v38i3.6491
In this article, I share and reflect on a research-creation video that introduces what I call ‘disability as method’ to critical disability and media studies. The video draws on a year-long visual ethnography, during which I collaborated with a blind and a physically disabled participant to explore the specificities of their mobility experiences in the city of Montreal. In making this video, I use the affordances of filming and editing in creative ways both to explore what access could mean to differently disabled people in the space of the city and to reimagine new possibilities of media-making informed by blindness gain. To this end, I introduce a new audio description (AD) technique by using stop-time as crip-time, and deploying AD not only as an accessibility feature but also as a blind intervention in the creative process of filmmaking itself.
video: http://performingdisability.com/manifest (26:08)
Dokumaci, A. (2019) “A Theory of Micro-activist Affordances: Disability, Improvisation and Disorienting Affordances,” The South Atlantic Quarterly 118 (3): 491-519.
This article proposes a new theory of affordances that is developed through a critical disability and performance lens. Through parallels to be drawn between the creative space of aesthetic performance and the performance of everyday life lived with disability, this new theory situates affordances in the improvisatory space of performance, and introduces the notion of “micro-activist affordances” as a way to understand mundane acts of world-building that could emerge from encounters with a world of “disorienting affordances.” Experiencing disability is inherently disorienting. The environment, as years of disability activism have shown us, is built with a very limited conception of the human being in mind. But the environment can also be disorienting when experiencing bodily pain and chronic disease. I argue that disability, in all of its various manifestations, is experienced as the shrinking of the environment, and its readily available affordances. But, as I shall also argue, precisely at such moments of shrinking, something else happens. When the environment is narrowed down in its offerings, I propose that it is the creative space of performance (on or offstage) that opens up to make it afford otherwise. This very potential to invent affordances is precisely how I conceptualize everyday lives lived with disability as being analogous to the reimagined space of aesthetic performance and its reorientations.
Dokumaci, A. (In press) “People as affordances”: Building disability worlds through care intimacy,” Cultural Anthropology.
Dokumaci, A. (2018) “Disability as Method: Interventions in the Habitus of Ableism through Media-Creation,” Disability Studies Quarterly, 38:3.
Dokumaci, A. (2017) “Performing Pain and Inflammation: Rendering the Invisible Visible”, AMA Journal of Ethics, Special section: Images of Healing and Learning, 19(8): 834-838.
Dokumaci, A. (2017) “Performing Pain and Inflammation: Rendering the Invisible Visible”, AMA Journal of Ethics, Special section: Images of Healing and Learning, 19(8): 834-838.
LETS GET YOU PREGNANT
Heidi Barkun
The first “test-tube baby” came into the world over 40 years ago. Since then, over seven million children have been born through in vitro fertilization. Popular culture leads us to believe that every attempt of this biotechnology is successful. In Quebec, stars such as Céline Dion and Julie Snyder have become models of its triumph. However the global success rate is just 27%. LET’S GET YOU PREGNANT! reveals the experience of failure of in vitro fertilization within the same social, political and medical systems that place motherhood at the forefront of women’s lives. An audio and museum installation creates a virtual conversation between 28 participants, including the artist, who have undergone failed in vitro fertilization cycles and have not become mothers.
(walltext)
link, includes walkthrough of exhibition w/ audio+subtitles: https://www.heidibarkun.com/projects/let-s-get-you-pregnant-
Additional
https://www.colleenleonardphotography.com/
http://www.cecilemartin.ca/conchashumanas.html (architecture of the invisible)
https://www.dariangoldinstahl.com/ (multi-sensory printmaking practices)
Disability Studies
Cartwright, Lisa. “Affect.” Keywords for Disability Studies, edited by Rachel Adams et al., NYU Press, 2015, pp. 30–32. JSTOR, www.jstor.org/stable/j.ctt15nmhws.11. Accessed 5 Oct. 2020.
Lewis, Victoria Ann. “Crip.” Keywords for Disability Studies, edited by Rachel Adams et al., NYU Press, 2015, pp. 46–48. JSTOR, www.jstor.org/stable/j.ctt15nmhws.17. Accessed 5 Oct. 2020.
Davidson, Michael. “Aesthetics.” Keywords for Disability Studies, edited by Rachel Adams et al., NYU Press, 2015, pp. 26–30. JSTOR, www.jstor.org/stable/j.ctt15nmhws.10. Accessed 5 Oct. 2020.
Wilkerson, Abby. “Embodiment.” Keywords for Disability Studies, edited by Rachel Adams et al., NYU Press, 2015, pp. 67–70. JSTOR, www.jstor.org/stable/j.ctt15nmhws.24. Accessed 5 Oct. 2020.
Tech
https://www.are.na/explore (ex https://www.are.na/antonia-hernandez)
There is no right or wrong way to use Are.na. It’s an open-ended space where you can organize your thoughts, projects, or research with anyone else. Some people organize their open browser tabs, some make mood boards, some start creative projects with collaborators, and others simply collect their thoughts. Try playing around for a while. Adding content, connecting channels, and following other members are the best ways to get a feel for Are.na.
