
The View From Nowhere Part 1
Ray Brassier Thomas Metzinger
Ray and Thomas talking about how cognitive neuroscience is unlocking the physical basis of personal experience.
Arika have been creating events since 2001. The Archive is space to share the documentation of our work, over 600 events from the past 20 years. Browse the archive by event, artists and collections, explore using theme pairs, or use the index for a comprehensive overview.
Ray and Thomas talking about how cognitive neuroscience is unlocking the physical basis of personal experience.
We’ll be looking at decolonising ‘global mental health’. We’ll look at the concepts of decoloniality, of things being ‘culture bound’, and at hermeneutical injustice* as ways to examine dominator knowledge systems, and the institution of psych/iatry.
Out holler/ howl of English pukenoise posterboys exploded by incessant insect chatter of Northern fug dweller.
An improvisation that may or may not involve (typical) improvisation.
The Scottish based Paragon Ensemble has commissioned David Fennessy to compose music for Instal, which will be performed during the evening.
A queer black operatic requiem for piano and voice that asks us to stay in the hold of the slave ship, that tries to understand the connection from the slave ship to the prison.
What happens when you are engaged in a deep and extended artistic practice that intersects between literature and music, notation and improvisation, sight and sound?
How do people both inside and outside of prison work together to dismantle the criminal justice system and build a society based on collective care?
A multi-speaker, electronic, spacious and spatial performance from Florian Hecker.
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.
How might two of the great musicians working within contrasting traditions of freedom collaborate? What might this produce: musically, socially, allegorically?
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.