{"id":1618,"date":"2022-03-15T00:23:35","date_gmt":"2022-03-14T22:23:35","guid":{"rendered":"https:\/\/metamorf.no\/2024\/?p=1618"},"modified":"2024-03-22T10:04:13","modified_gmt":"2024-03-22T08:04:13","slug":"marietta-radomska","status":"publish","type":"post","link":"https:\/\/metamorf.no\/2024\/marietta-radomska\/","title":{"rendered":"RESURRECT.ME 2.0: Invoking the Dead, or on a Thousand (Tiny) Extinctions"},"content":{"rendered":"

Marietta Radomska<\/span><\/h3>\n

Meta.Morf 2024 \u2013 [up]Loaded Bodies \/ Kj\u00f8pmannsgata Ung Kunst<\/a> <\/span>\/<\/span> Conference April 20 \/ Curator: Zane Cerpina<\/span><\/span><\/p>\n

RESURRECT.ME 2.0: Invoking the Dead, or on a Thousand (Tiny) Extinctions<\/h5>\n

What does resurrection mean in the digital era and beyond religious associations or sentimentality? The virtual and the physical are more entangled than they may seem, blurring the boundaries between the living and the non-living, or further: the dead. The environmental cost of generative AI might be one example. But digital worlds also play a special role in the context of the question of death as such. Around 20 years into the existence of Myspace, Facebook, and other social media platforms, these spaces have been populated by profiles of people long gone. On the other hand, digitalized venues of remembrance multiply: from digital \u2018tombstones\u2019 in China, through various memorial websites (commemorating humans and their nonhuman companions alike), to digital transformation of photography in the practices of remembering, like in the case of \u201c<\/span>New Dimensions of Testimony\u201d <\/span><\/i>by the Shoah Foundation, which enables interaction with holograms of Holocaust survivors. Yet, human (mass) death is not the only one that \u2018materializes\u2019 digitally. The Anthropocene necropolitics is being fleshed out in many ways: the sixth mass species extinction, extractivist capitalism- and war-induced ecocide, pollution, toxicity, and slaughter for the sake of slaughter. The more-than-human worlds are dying. While finding new ways of staying with and caring for \u2018terminally ill\u2019 environments \u2013 to paraphrase queer-ecocritical scholar Sarah Ensor \u2013 is a must, there is also a need for cultural and affective ways of working with the actual or potential loss, for communities to partake in. This is where the digital meets the physical, once again. Following this intuition, the present talk will zoom in on new-media artworks, design projects, or digital sound archives that venture into the living\/non-living interface by bringing back to \u2018life\u2019 \u2013 even if for a brief moment \u2013 that which in one way or another has been marked as \u2018extinct.\u2019 Some of the examples include: Tanja Vujinovic\u2019s \u201c<\/span>Carboflora,\u201d<\/span><\/i> a virtual environment populated by the plants of the Carboniferous period; C-Lab\u2019s \u201c<\/span>The Living Dead: On the Trail of a Female,\u201d<\/span><\/i> which uses a drone with a multispectral camera to search for a potential last remaining female specimen of the \u201c<\/span>Encephalartos woodii\u201d\u00a0<\/span><\/i>cycad \u2013 a plant species that does not exist in the wild; or Alexandra Daisy Ginsberg\u2019s \u201c<\/span>The Substitute,\u201d<\/span><\/i> dealing with the extinction of the northern white rhinoceros. What do such projects tell us about practices of remembrance? How are they linked to the de-extinction movement? What do they tell us about our relation to that (more-than-human) which is gone? And perhaps, even more importantly, to that (more-than-human) which is not gone yet? Where does the boundary between the living and non-living run \u2013 if there is still one? Who is at the center of digitalized resurrections? These are some of the questions this talk aims to tackle.<\/span><\/span><\/p>\n

\n

\"\"Marietta Radomska <\/strong>(PL\/SE), PhD, is an Assistant Professor of Environmental Humanities at Department of Thematic Studies, Link\u00f6ping University, SE; founding director of research platform The Eco- and Bioart Lab (<\/span>https:\/\/ecobioartlab.net\/<\/span><\/a>); co-founder of Queer Death Studies Network (<\/span>https:\/\/queerdeathstudies.net\/<\/span><\/a>); and member of Bioart Society (<\/span>https:\/\/bioartsociety.fi\/<\/span><\/a>). She works at the intersection of <\/span>environmental humanities, continental philosophy, feminist theory, queer death studies, visual culture, contemporary art, and artistic research<\/span>. In the years 2017-2022, she led two research projects on ecologies of death, environmental violence, and contemporary art (funded by Vetenskapsr\u00e5det, FORMAS, and MISTRA), and since 2022 has been the PI of the research project \u201cEcological Grief, Crisis Imaginaries and Resilience in Nordic Lights\u201d (2022-26), funded by FORMAS. Radomska is the author of \u201c<\/span>Uncontainable Life: A Biophilosophy of Bioart\u201d<\/span><\/i> (2016); co-editor of the book series \u201cFocus on More-than-human Humanities\u201d at Routledge (with C. \u00c5sberg); co-editor of books: \u201c<\/span>State of the Art \u2013 Elements for Critical Thinking and Doing\u201d <\/span><\/i>(2023; with E. Berger, M. Kesi-Korsu and L. Thastum) and \u201c<\/span>Routledge Handbook of Queer Death Studies\u201d <\/span><\/i>(forthcoming 2025, with N. Lykke and T. Mehrabi); and has published in \u201c<\/span>Australian Feminist Studies<\/span><\/i>; <\/span>Somatechnics<\/span><\/i>; <\/span>Women, Gender & Research<\/span><\/i>, <\/span>Artnodes, Environment and Planning E<\/span><\/i>,<\/span> Research in Arts and <\/span><\/i>Education,\u201d among others. Personal web: <\/span><\/span><\/p>\n

https:\/\/mariettaradomska.com\/<\/span><\/a> \u00a0 | <\/span>https:\/\/ecobioartlab.net\/<\/span><\/a>\u00a0 | <\/span>https:\/\/queerdeathstudies.net\/<\/span><\/a><\/span><\/p>\n


Header Graphics: “Humming”-detail, courtesy of the artist. Portrait photo courtesy of the artist.\u00a0<\/span><\/em><\/span><\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Marietta Radomska (PL\/SE)<\/span>
Kj\u00f8pmannsgata Ung Kunst, April 20 \/
\nWhat does resurrection mean in the digital era and beyond religious associations or sentimentality? <\/p>\n

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