B-52
Hartmut Bitomsky
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
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Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
A chat with Rashad about the communist, conceptual methodology that informs his ground-breaking synthetic music—a form of speculative sonic fiction writing to produce hyperreal non-representational auditive experiences.
Three intimate 45 minute sessions, reading your political questions – using Tarot, Palmistry, Reiki, Astrology, and Philosophy, and the invented methods of Fake and Political Therapy.
Koji Asano, Japanese composer and sound-artist performing slow groaning burbling tones, moaning echoes and drones.
Is it possible to dance our way out of the hardened stances and identity prisons we are locked in?
Do almost nothing: re-present (unaltered and arranged by chance) silent family home movies handed down to Flo, (Ken’s wife) and follow them with a “teach yourself Yiddish” cassette tape.
A conversation between Philip and Moten: how do we read NourbeSe’s anti-narrative poetic lament in Glasgow today, given the city’s role in the history of slavery?
Goodwin’s writing emanates from the social life of poetry, from a condition of entanglement before historically racially-specific forms of representation. Another word for this emanation is breath.
What does it mean to resist seeking assimilation or inclusion within, or let our demands be co-opted by the very systems we seek to dismantle?
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
How do communities formed under the duress of violent othering and the joy of solidarity – such as ballroom culture, Black diasporas, Zapatistas – reform bonds of kinship?
An audio and video investigation of gender cults, Catholicism, hauntings and nuns’ use of audio devices…