![\"Hands\"](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2016\/12\/Haptic_WP.jpg\")
<\/p>\n<\/p>\n
DESCRIPTION<\/a> PROGRAM<\/a> PARTICIPANT BIOS<\/a><\/p>\n <\/a><\/p>\n hap\u00b7tic How are we, as global citizens, accountable to each other? This year’s Scholar and Feminist Conference explores the haptic\u2014the perception and manipulation of objects using the sense of touch\u2014as an ethics of being in the world. Feminist scholars, artists, and activists come together in this utterly unique two-day conference to examine the many ways in which touch helps us better understand the politics and aesthetics of embodiment, situatedness, and performance. Through a series of panels and artistic encounters, we consider how our senses\u2014not only touch, but taste, sight, and sound\u2014situate us as bodies in political and economic contexts (such as labor), as well as in personal and sensory ones.<\/p>\n [su_button url=”https:\/\/www.eventbrite.com\/e\/haptic-bodies-perception-touch-and-the-ethics-of-being-tickets-30362588319″ background=”#ed6f1e” center=”yes”]RSVP to Attend[\/su_button]<\/p>\n <\/p>\n Please visit the concurrent exhibition\u00a0Weaving Gender\/Quilting Race\u00a0<\/strong>featuring\u00a0works by Vera P. Hall and Martha Friedman, on view from\u00a0March 1 \u2013\u00a028<\/span><\/span>\u00a0in the Tunnel Gallery, Altschul,\u00a0Lower Level.<\/p>\n Blue Herring by Martha Friedman<\/strong> Touching History:\u00a0The Quilts of Vera P. Hall<\/strong> <\/p>\n 4 PM – 5 PM: <\/b>Weaving Gender\/Quilting Race: The Politics of Digital Labor<\/b><\/p>\n Artist talkback with Vera P. Hall, Touching History<\/em>,\u00a0and Martha Friedman,\u00a0Blue Herring<\/em><\/span><\/p>\n Moderated by Tina Campt<\/span><\/p>\n 5 PM – 6 PM: Reception <\/b><\/p>\n 6 PM – 8 PM: Dance and Spoken Word Performances<\/b><\/p>\n Dance conduction – student\/faculty performance led by Gabri Christa with\u00a0live music by Burnt Sugar Arkestra<\/span><\/p>\n Spoken word performance by Ramya Ramana<\/span><\/p>\n Artist talkback moderated by Sarah Nooter<\/span><\/p>\n 10 AM: Welcome by Tina Campt and Nancy Worman<\/strong><\/p>\n 10:15 AM – 11:15 AM:\u00a0Art and the Senses: Panel 1<\/b><\/p>\n Josely Carvalho, “Open Diaries: Images and Smells”\u00a0<\/span><\/p>\n In conversation with Alicia Imperiale and\u00a0Alex Purves<\/span><\/p>\n Moderated by Nancy Worman<\/p>\n For people with chemical disabilities and scent\u00a0sensitivities, please note that scent cards will be distributed during this panel.\u00a0<\/em><\/p>\n 11:30 AM – 1 PM: <\/b>The Haptics of Race<\/b><\/p>\n Rizvana Bradley, “Certainly No Clamor for a Kiss: Hapticality, Intimacy, and the Frenzy of Kissed Sensation” Moderated by Tina Campt<\/span><\/p>\n 1 PM – 2 PM<\/b>:\u00a0Lunch<\/b><\/p>\n 2:30 PM – 3:45 PM \u00a0\u00a0<\/b> Haptic Animalities<\/b><\/p>\n Joshua Bennett,\u00a0“White Dogs” Moderated by Carla Freccero\u00a0<\/span><\/p>\n 4:30 PM – 5:30 PM:<\/b>\u00a0Art and the Senses: Panel 2<\/b><\/p>\n Grisha Coleman, “Ecology, Embodiment, and Information in the Science Fictions of echo::system<\/em>” In conversation with Victoria Wohl<\/span><\/p>\n Moderated by Nancy Worman<\/span><\/p>\n <\/b><\/a><\/p>\n Dr. Joshua Bennett is the author of The Sobbing School<\/em> (Penguin, 2016). He holds a Ph.D. in English from Princeton University, and an M.A. in Theatre and Performance Studies from the University of Warwick, where he was a Marshall Scholar. In 2010, Dr. Bennett delivered the Commencement Address at the University of Pennsylvania, from which he graduated with the distinctions of Phi Beta Kappa and magna cum laude.<\/p>\n Winner of the 2015 National Poetry Series, Dr. Bennett has received fellowships from the National Endowment for the Arts, the Callaloo Creative Writing Workshop, Cave Canem, and the Ford Foundation. His writing has been published or is forthcoming in The American Poetry Review<\/em>, Boston Review<\/em>, The New York Times<\/em>, Poetry<\/em> and elsewhere. He is currently a Junior Fellow in the Society of Fellows at Harvard University.<\/p>\n Rizvana Bradley\u00a0is Assistant Professor of Film and Media Studies and African-American Studies at Yale University.\u00a0 Currently she is finishing the year as a Visiting Research Fellow in the History of Art Department at University College London.\u00a0 She holds a BA from Williams College and a PhD from Duke University. She was a Helena Rubinstein Critical Studies Fellow at the Whitney Museum of American\u00a0Art\u00a0in New York.\u00a0 Her forthcoming book manuscript\u00a0<\/b>received a\u00a0Creative Capital | Andy Warhol Foundation Arts Writers Grant.\u00a0 She was the guest editor of a special issue of the journal\u00a0Women and Performance: A Journal of Feminist Theory<\/i>, and has published articles in\u00a0TDR: The Drama Review<\/i>,\u00a0Discourse: Journal for Theoretical Studies in Media and Culture<\/i>,\u00a0Rhizomes: Cultural Studies in Emerging Knowledge,\u00a0<\/i>and\u00a0Black Camera: An International Film Journal, and\u00a0<\/i>was also recently appointed Assistant Editor at the journal,\u00a0boundary 2.<\/i><\/p>\n Tina Campt\u00a0is Ann Whitney Olin Professor of Africana and Women\u2019s Gender and Studies, Director of the Barnard Center for Research on Women, and Chair of the Africana Studies Department at Barnard College-Columbia University. Campt\u2019s published work explores gender, racial and diasporic formation in black communities in Germany, and Europe more broadly. She is the author of two books: Other Germans: Black Germans and the Politics of Race, Gender and Memory in the Third Reich <\/i>(2004), an oral history that explores the experiences of Black Germans during the Third Reich, and Image Matters: Archive, Photography and the African Diaspora in Europe <\/i>(2012), which theorizes the affects of family photography of in early twentieth century Black German and Black British communities. Campt has edited special issues of Feminist Review<\/i>, Callaloo<\/i> and small axe<\/i>, and together with Paul Gilroy, co-edited Der Black Atlantik<\/i> (2004). Her most recent book, Listening to Images<\/i> theorizes the everyday practices of refusal and fugitivity enacted in a frequently overlooked genre of black vernacular photographs she calls \u2018quiet photography.\u2019<\/p>\n Brazilian-born multimedia artist <\/span>Josely Carvalho<\/a> lives and works in New York City and Rio de Janeiro. Her works range from paintings, sculptures and book art to printmaking, photography, video\/sound installations, internet and most recently olfactory art. Her installations incorporate varied technology in the construction of both digital and physical environments, while her provocative web concept, Book of Roofs<\/a><\/em> (2000), weaves sound, text, and images into interactive virtual perspectives on “shelter\/shelterless.” Carvalho has exhibited extensively and her work is the collection of several museums. \u00a0<\/span>Since 2009, she has been working in the development of conceptual smells<\/a> bringing this forgotten sense to the attention of contemporary visual art.<\/p>\n She has been awarded last year a Pollock-Krasner Foundation. Among other grants are: Fellow, Rockefeller Foundation’s Bellagio International Conference and Research Center residency in Italy; Frans Masserel Print Center, Kasterlee, Belgium; New York State Council for the Arts (NYSCA); Creative Capital Foundation; New York Foundation for the Arts; NEA Visual Artist Fellowship.\u00a0<\/span>As an artist, she has been actively engaged in communities founding and directing for eleven years The Silkscreen Project at St. Mark\u2019s Church in-the-Bowery, N.Y.C. \u00a0As a feminist artist, she created artistic events and exhibits to include Latin American Women artists in the New York contemporary art circle in the 80s. She was a member of the Heresies Collective; a Board member of College of Art Association and an Advisory artist at New York Foundation for the Arts.<\/span><\/p>\n Choreographer and filmmaker<\/span> Gabri Christa<\/a> hails from the island nation of Cura\u00e7ao. She choreographed and danced with companies such as Danza Contemporanea de Cuba (Cuba) and the Bill T. Jones Dance Company (USA). Awards include a Guggenheim for Choreography, an ABC television award for creative excellence. \u00a0Gabri was invited to Pangea Day Festival as one World\u2019s 100 most promising Filmmakers. \u00a0Her new Film \u201cOne Day At a Time\u201d won Best Short Documentary at the Harlem International Film Festival in the fall. She is Assistant Professor of Professional Practice at Barnard College, Columbia University, dance Department. \u00a0Read her writing in BCRW’s Scholar and Feminist Online, <\/em>“ANOTHER BUILDING dancing: Making Quarantine and Savoneta.”<\/a>\u00a0<\/em><\/span><\/p>\n Patricia Ticineto Clough is professor of Sociology and Women\u2019s Studies at the Graduate Center and Queens College of the City University of New York. Among her publications is Autoaffection: Unconscious Thought in the Age of Teletechnology<\/i> and as editor The Affective Turn: \u00a0Theorizing the Social<\/i>, and Beyond Biopolitics. <\/i>Forthcoming is The User Unconscious: Essays on Affect, Media and Computation<\/i>. Clough\u2019s work has drawn on theoretical traditions concerned with technology, affect, unconscious processes, political economy and experimental methods of research and presentation. She also is a psychoanalyst practicing in NYC.<\/p>\n <\/p>\n Ashon Crawley is Assistant Professor of Ethnic Studies at University of California, Riverside. His research and teaching experiences are in the areas of Black Studies, Performance Theory and Sound Studies, Philosophy and Theology, Black Feminist and Queer theories. His first book proje<\/span>ct, <\/span>Blackpentecostal Breath: The Aesthetics of Possibility <\/span><\/i>(Fordham University Press),\u200b is an \u200binvestigation of aesthetics and performance as modes of collective, social imaginings otherwise.<\/span><\/p>\n Carla Freccero is Distinguished Professor of Literature and History of Consciousness at UCSC. Trained in continental Renaissance Studies, she also works on Feminist and Queer Theory and Animal Studies. She is the author of several books, including <\/span>Father Figures<\/span><\/i> (Cornell 1991),<\/span>Popular Culture<\/span><\/i> (NYU 1999), and <\/span>Queer\/Early\/Modern<\/span><\/i> (Duke 2006). She co-edited <\/span>Premodern Sexualities<\/span><\/i>; and special issues of <\/span>American Quarterly<\/span><\/i> (on <\/span>Species\/Race\/Sex<\/span><\/i>) and <\/span>Yale French Studies<\/span><\/i> (<\/span>Animots<\/span><\/i>). Her current book project is <\/span>Animal Inscription<\/span><\/i>.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n Martha Friedman (b. Detroit, MI) lives and works in Greenpoint, Brooklyn. She earned her BFA from the School of the Art Institute of Chicago in 1998 and her MFA from Yale University School of Art in 2003. Solo exhibitions of her work have been held at the Andrea Rosen Gallery 2 in New York City, The Institute of Fine Arts New York University, New York (2016-17); Locust Projects, Miami (2015-16); Wallspace, New York (2012, 2009, 2007); the Museum of Contemporary Art Detroit, MI (2010); DeCordova Museum and Sculpture Park, Lincoln, MA (2010); and Shane Campbell Gallery, Chicago, IL (2010). Her work has been included in numerous group exhibitions, nationally and internationally. Select examples include Frieze New York Sculpture Park, curated by Tom Eccles, New York (2013) and Museum on the Seam, Jerusalem, Israel (2013). Friedman is a lecturer in Visual Arts at Princeton University. A solo exhibition of Friedman\u2019s work is forthcoming at the Henry Museum, Seattle in 2018. <\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n A former educator and political activist, Baltimore resident <\/span>Vera P. Hall has also been a textile artist for over 50 years. \u00a0She grew up in rural North Carolina with a love of clothing design and gradually moved from sewing for friends and family to becoming an expert in couture clothing techniques and wearable art. Throughout her life as a teacher, administrator, politician and mother, she continued to sew professionally. In addition to serving on the Baltimore City Council from 1985-1992, Vera made history when she was elected Chair of the Maryland Democratic Party in 1992, becoming the first African American female chair of a state <\/span>Democratic Party<\/span><\/a> by one vote. \u00a0During her retirement, she devoted herself to mastering applique quilting and has been creating a series of African American History quilts that draw on her wide reading in African history, her visits to historic sites, and, of course, her rich imagination. You can find a more biographical information on Vera in the African-American History archive<\/a>.\u00a0<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n Alicia Imperiale is a Fellow at the Society for the Humanities at Cornell University 2016-17. She is an architect and artist and received her Ph.D. in the history and theory of architecture from Princeton University in 2014. Her visual and scholarly work focuses on the impact of technology on art, architecture, representation, and fabrication. She is author of New Flatness: Surface Tension in Digital Architecture<\/i> (Birkhauser, 2000). Other essays include \u201cDigital skins: architecture of surface\u201d in SKIN: Surface, Substance and Design<\/i> (Princeton Architectural Press, 2002),\u201cTerritories of Protest,\u201d in Log 13<\/i>, \u201cSeminal Space: Getting under the Digital Skin,\u201d in RE: SKIN<\/i>, ed. Mary Flanagan, (MIT Press, 2006), \u201cDynamic Symmetries\u201d in Anne Tyng: Inhabiting Geometry<\/i> (ICA, 2011) and \u201cStupid Little Automata\u201d in Architecture & Culture<\/i> (2014). She is author of the forthcoming book Alternate Organics: The aesthetics of experimentation in art, technology & architecture in postwar Italy<\/i>. Her research has been supported by a Center for the Humanities at Temple University Faculty Fellowship, a Graham Foundation for Advanced Studies in the Fine Arts Research Grant among others.<\/span><\/p>\n<\/div>\n Erin Manning holds a University Research Chair in Relational Art and Philosophy in the Faculty of Fine Arts at Concordia University (Montreal, Canada). She is also the director of the SenseLab (www.senselab.ca), a laboratory that explores the intersections between art practice and philosophy through the matrix of the sensing body in movement. Current art projects are focused around the concept of minor gestures in relation to colour and movement. Publications include Always More Than One: Individuation\u2019s Dance<\/em> (Duke UP, 2013), Relationscapes: Movement, Art, Philosophy<\/em> (Cambridge, Mass.: MIT Press, 2009) and, with Brian Massumi, Thought in the Act: Passages in the Ecology of Experience<\/em> (Minnesota UP, 2014) and The Minor Gesture<\/em> (Duke UP, 2016).<\/span><\/p>\n<\/div>\n<\/div>\n Sarah Nooter\u00a0is an associate professor at the University of Chicago in Classics and Theater and Performance Studies. She works on ancient Greek poetry, particularly tragedy, from a literary and affective perspective, as well as on modern poetry and performance. She is the author of When Heroes Sing: Sophocles and the Shifting Soundscape of Tragedy<\/i> (Cambridge University Press, 2012) and The Mortal Voice in the Tragedies of Aeschylus<\/i> (Cambridge University Press, 2017) and is co-editor with Shane Butler of Sound and the Ancient Senses<\/i> (Routledge, 2017). She has also published on the reception of Greek drama in twentieth-century Africa and is currently working on questions of embodiment and time in Greek poetry.<\/p>\n Jasbir K. Puar\u00a0is Associate Professor of Women\u2019s & Gender Studies at Rutgers University. Puar is the author of The Right to Maim: Debility, Capacity, Disability <\/i>(Duke University Press, forthcoming in 2017), Affective Politics: States of Debility and Capacity <\/i>(Duke University Press, 2016), and Terrorist Assemblages: Homonationalism in Queer Times <\/i>(Duke University Press, 2007), which won the 2007 Cultural Studies Book Award from the Association for Asian American Studies. Puar\u2019s edited volumes include \u201cQueer Tourism: Geographies of Globalization\u201d (GLQ: A Journal of Lesbian and Gay Studies<\/i>); and co-edited volumes on \u201cSexuality and Space\u201d (Society and Space<\/i>); \u201cInterspecies\u201d (Social Text<\/i>); \u201cViral\u201d (Women\u2019s Studies Quarterly<\/i>). Her major awards include the Edward Said Chair of American Studies 2012-13 at the American University of Beirut, a Rockefeller Fellowship at the Center for Lesbian and Gay Studies at the CUNY Graduate Center (1999-2000) and a Ford Foundation grant for archival and ethnographic documentation work (2002-2003). She recently received the 2013 Modern Languages Association Gay Lesbian\/Queer Caucus Michael Lynch Award for her years of scholar-activist work.<\/p>\n<\/div>\nDESCRIPTION<\/h3>\n
\n<\/strong>\u02c8haptik\/
\nadjective technical
\n<\/em>of or relating to the sense of touch, in particular relating to the perception and manipulation of objects using the senses of touch and proprioception [relative perception].<\/p>\nGALLERY EXHIBIT:\u00a0March 3 \u2013\u00a028<\/span><\/span><\/h3>\n
\nBlue Herring<\/em>\u00a0is part of a body of work that consists of a series of large relief sculptures, which replicate the signature patterns of bespoke male suiting. It is a sculpture that dissects standard suiting cloth weaves, in this case, herringbone, to reconfigure it on a monumental scale. The patterns displayed present a symbolic representation of male power and privilege alluding to a gendered, hierarchical society in which some individuals are draped and girded by these fabrics, as others toil using unacknowledged digital labor to make them.<\/p>\n
\nQuilting is an unusually community oriented artistic practice, and even everyday quilts have \u201cstories stitched in the seams.\u201d Former educator and political activist, Vera P. Hall has been a textile artist for over 50 years. The black history quilts displayed in\u00a0Touching History<\/em>\u00a0combine Hall\u2019s masterful stitching with skills she developed as a second grade teacher and reading expert to digitally engage important questions: How do you tell a complicated story visually? How do you help people with different literacies learn our common history?<\/p>\n<\/a>
\nCONFERENCE PROGRAM<\/strong><\/h3>\nFriday, March 3rd<\/h4>\n
Saturday, March 4th<\/h4>\n
\n<\/span>Ashon Crawley, “The Lonely Letters (Or, Touching Friendship)”
\nSamantha Sheppard, “Sporting Blackness and Critical Muscle Memory”
\nMila Zuo, “Envisioning Flavors and Tasting Chinese Bodies”\u00a0<\/span><\/p>\n
\n<\/span>Patricia Clough, “Animality and Technicality: The Affective Infrastructure of the Haptic”
\nJasbir Puar, “Posthuman Subalterns” \u00a0<\/span><\/p>\n
\nErin Manning, “Touching Duration: A Collective Encounter with Time in the Making” <\/span><\/p>\nPARTICIPANT BIOS<\/strong><\/h3>\n
Joshua Bennett<\/strong><\/div>\n![](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2017\/02\/JoshuaBennett-150x100.jpg\")
<\/p>\n\n\n\nRizvana Bradley<\/strong><\/div>\n![\"Rizvana](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2016\/12\/Rizvana-Bradley-featured.jpg\")
<\/p>\nTina Campt<\/strong><\/div>\n![](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2014\/08\/tina-campt-featured.jpg\")
<\/p>\nJosely Carvalho<\/b><\/div>\n![\"Josely](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2017\/02\/JoselyCarvalho-150x100.jpg\")
<\/p>\n\n\n\nGabri Christa<\/b><\/div>\n![\"Gabri](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2016\/12\/GabriChrista_thumb.jpg\")
<\/p>\n\n\n\nPatricia Ticineto Clough<\/b><\/div>\n![\"Patricia](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2017\/02\/PatriciaClough-150x100.jpg\")
<\/p>\n\n\n\nGrisha Coleman<\/b><\/div>\n![\"Grisha](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2017\/02\/coleman_grisha-150x100.jpg\")
<\/p>\n\n\n\nGrisha<\/span> Coleman<\/span> works as a choreographer and\u00a0composer\u00a0in performance and experiential media. Her work explores relationships among our physiological, technological and ecological systems. She currently holds the position of\u00a0Associate Professor of Movement, Computation and Digital Media in the School of Arts, Media and Engineering, and the School of Dance at Arizona State University.\u00a0Her recent art and scholarly work,\u00a0echo::system,<\/i> is a springboard for re-imagining the environment, environmental change, and environmental justice. Coleman<\/span> is a New York City native with an M.F.A. in Composition and Integrated Media from the California Institute of the Arts.\u00a0Her work has been recognized nationally and internationally; including a 2012 National Endowment Arts in Media Grant [NEA], the 2014 Mohr Visiting Artist at Stanford University,\u00a0a fellowship at the STUDIO for Creative Inquiry at Carnegie Mellon University,\u00a0and grants from the Rockefeller M.A.P Fund, The Surdna Foundation, and The Creative Capital Foundation.<\/div>\n<\/div>\n<\/div>\nAshon Crawley<\/b><\/div>\n![\"Ashon](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2017\/02\/AshonCrawley-150x100.jpg\")
<\/p>\n\n\n\nCarla Freccero<\/b><\/div>\n![\"Carla](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2017\/02\/CarlaFreccero-150x100.jpeg\")
<\/p>\n\n\n\n\n\nMartha Friedman<\/b><\/div>\n![\"Martha](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2016\/12\/martha_friedman_thumb.jpg\")
<\/p>\n\n\n\n\n\nVera P. Hall<\/b><\/div>\n![\"Vera](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2016\/12\/VeraHall-150x100.jpg\")
<\/p>\n\n\n\n\n\nAlicia Imperiale<\/b><\/div>\n![\"Alex](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2016\/12\/AlexImperiale_featured.jpg\")
<\/p>\n\n\n\nErin Manning<\/b><\/div>\n![\"Erin](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2017\/02\/ErinManning-150x100.jpg\")
<\/p>\n\n\n\nSarah Nooter<\/b><\/div>\n![\"Sarah](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2016\/12\/SarahNooter_featured.jpg\")
<\/p>\n\n\n\nJasbir K. Puar<\/b><\/div>\n![\"Jasbir](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2016\/12\/jasbir_biopic_featured.jpg\")
<\/p>\n\n\n\nAlex Purves<\/b><\/div>\n![\"Alex](\"http:\/\/bcrw.barnard.edu\/wp-content\/uploads\/2016\/12\/AlexPurves_featured.jpg\")
<\/p>\n\n\n\n