worldsensingnotes

With quantum field physics describing time as entangled across the past, present,
and the future, in the same way that materiality is entangled across space (Barad,
2007, 2017), a complex patterning perspective is indicated. In this perspective,
time is emergent, with people as capable of temporal participatory co-generativity
in equal measure with our capacity for destruction. In moving beyond the capitalist
project of the control of time as expressed in educational institutions
(Murris and Kohan, 2021), we can engage an embodied experience of our
human capacity for co-generativity through relational complex time. Pattern
thinking with spiraltime design is an introductory contribution to developing
our co-generative capacities. From the quantum field physics perspective of
agential realism, this is not just marking time, it is making time (Barad, 2007).

haptic visuality involves the body more than is the case with optical visuality. Touch is a sense located on the surface of the body: thinking of cinema as haptic is only a step toward considering the ways cinema appeals to the body as a whole. The difference between haptic and optical visuality is a matter of degree. In most processes of seeing, both are involved, in a dialectical movement from far to near. And obviously we need both kinds of visuality: it is hard to look closely at a lover's skin with optical vision; it is hard to drive a car with haptic vision.
Haptic images are actually a subset of what Deleuze referred to as optical images: those images that are so "thin" and uncliched that the viewer must bring his or her resources of memory and imagi nation to complete them. The haptic image forces the viewer to contemplate the image itself instead of being pulled into narrative. Thus it has a place in Deleuze's time-image cinema. Optical visu ality, by contrast, assumes that all the resources the viewer requires are available in the image. Accordingly, the optical image in Riegl's sense corresponds to Deleuze's movement-image, as it affords the illusion of completeness that lends itself to narrative.
The haptic image, like other sensuous images, can also be under stood as a particular kind of affection-image that lends itself to the time-image cinema. Recall that the affection-image, while it usually extends into action, may also force a visceral and emotional contem plation in those any-spaces-whatever divorced from action. Thus the haptic image connects directly to sense perception, while by passing the sensory-motor schema. A sensuous engagement with a tactile or, for example, olfactory image is pure affection, prior to any extension into movement. Such an image may then be bound into the sensory-motor schema, but it need not be. The affection-image, then, can bring us to the direct experience of time through the body.

Haptic cinema does not invite identification with a figure—a sen sory-motor reaction—so much as it encourages a bodily relationship between the viewer and the image. Consequently, as in the mimetic relationship, it is not proper to speak of the object of a haptic look as to speak of a dynamic subjectivity between looker and image. Be cause haptic visuality tends less to isolate and focus upon objects than simply to be co-present with them, it seems to correspond, if only formally, to Trinh T. Minh-ha's example (in Reassemblage, 1982) of "speaking not about, but nearby" the object she is filming.
In revaluing haptic visuality I am suggesting that a sensuous re sponse may be elicited without abstraction, through the mimetic relationship between the perceiver and a sensuous object. This re lationship does not require an initial separation between perceiver and object that is mediated by representation.

19.00 GEOCINEMA
"Geocinema" is a project by Solveig Suess, Asia Bazdyrieva and Alexey Orlov that considers planetary-scale sensory networks —cell phones, surveillance cameras, satellites, geosensors— as a vastly distributed cinematic apparatus. Their stitching processes are used for imperial observation, surveillance, verification and tracking. Whether planned or accidental, they contribute to a visual culture for an uncertain future-present.

Making of Earths explores the longue durée of the modern trope that the future is manageable. Following a year-long, documentary-led research, the film traces current efforts made across China and Southeast Asia under the Digital Belt and Road project, aimed to predict the future of Earth’s increasingly strange climates. The film dives into the chasm between the lived experience of overwhelming uncertainty, and the mass of data collected to profit from this instability. Circuiting inside a cinema-globe situated at the center of the Chinese Academy of Sciences before satellite ground stations, climate research centers, conference halls, and landscapes under transformation across China and Thailand—the film picks up on the

In Whiteout, Menkman tells the story of a mountain hike during a snowstorm.

As Menkman made her way up the mountain, she noted not only her physical sensations: inability to see, hear, or orient herself, but also the oversaturation of the environment, the realization that spatial dimension was seemingly wiped out.
What does it mean to navigate a grey, dimensionless space? To move without visual or auditory references and to physically plot a course when there is no sense of direction or even horizon?

For Menkman, the experience of Whiteout is one of “slices of consciousness, and traversing a virtual axis to nowhere. A landscape with multiple horizons, in which orientation between top and bottom does not exist except within the mind of the wanderer. And even though things seemed to happen in the same space, this state created different places, all layered at once.”

18.00 RINDON JOHNSON how we see / Sea?
: “How does a Black American, raised on the edge of the Pacific, move through the ocean to reach Shanghai? Apart from obvious forms of resource extraction as forms of exploitation, on what levels am I also responsible for this destruction? As a consuming human on this earth? As an American citizen? As a Black person? As my parents’ only son? What seismic shifts will come from the collapse of so many in-concert ecosystems? Besides, ultimately, what does anyone gain from exploitation of this magnitude? How do I witness this ocean’s past, present, and future? How do I attempt to atone for the United States’ historical, current, and impending destruction and exploitation of the Pacific Ocean and the people who call it home? How do I name all of that? How to swim through it? How big is the Pacific Ocean, really? Nothing is so big it cannot be measured, right?”

SEEDS by COLECTIVO LOS INGRÁVIDOS
2023 / Super 8 / color / sound / 1 screen / 10' 54
This is the contained power of the sacred seeds, the vibration of the ancient seeds of corn and their passage through an ocean of pulsating luminosity. A germinal liturgy of holy seeds.

7 JULI 19.00 Chto Delat (What is to be done?)
he canary in the coal mine warns the miners when the oxygen level falls by ceasing to sing. It is a metaphor that can be seen as a paradigmatic image for the anthropocentric relationship to the world, the broken connection between humans and the planet and the important need for the rare sensory perception of threat indicators in current times
, our canary seems to have gone silent (the sharpest and clearest signal it can send), a fact we have discovered too late; and now we are locked in a shaft filled with poisonous fumes. And in this haze it is difficult to remember where the exit is and where to run.
Is it possible to do something in a situation of shock, paralysis, fear, coming in waves, rendering all exertion meaningless?

In House a (2026), a new 2-channel video work commissioned by the Kunstverein in Hamburg, the artists investigate the shutdown of the covert Taiwanese nuclear programme, which ended operations in 1988 following U.S. intervention. After its closure, authorities sealed the plant’s underground laboratory with concrete, effectively entombing it. Here, moulding becomes a political operation: casting the space into permanence while suspending its legibility, fixing history as an immobilised form and a silent archive. Through interviews, digital simulations, and forensic imaging techniques, Hsu and Chen render the processes of enclosure tangible, treating the reconstruction of the past as a contested terrain, which is always politically situated. They investigate the historical site through digital technologies that generate eerie visuals with sculptural qualities, constructing spatial forms while leaving the entombed interior untouched and producing images that index absence. Drawing on interviews with David Ho as well as other former nuclear scientists, and members of the Sawuazhi community affected by radioactive contamination, House a overlays technological memory with collective witnessing, framing memory as a situated practice where expertise, lived experience, and political responsibility converge.

Accompanying the installation is Accelerator (2026), a video work centred on the first linear particle accelerator built in Taiwan in the 1930s under Japanese colonial rule by physicist Bunsaku Arakatsu. The accelerator symbolises a technological link between colonial scientific infrastructure and militarised nuclear ambition.

ENTOMBED foregrounds a structural affinity between these different sites, emphasising how technoscientific instruments, though framed as neutral research infrastructures, are embedded within military funding regimes, classified knowledge systems, and geopolitical strategies of control.

METHODS
1. Haptic visuality, a kind of intimate and embodied looking distinct from the more common
optical visuality
Optical visuality: distant view of complete subject associated with Renaissance
perspective. Renders the image as a figure distinct from ground. Viewer can receive it from a
distance.
Haptic visuality (Aloïs Riegl): close, “grasping” view. Antonia Lant adapts for cinema1
Riegl’s concept of haptic image revised by Deleuze + Guattari in A Thousand Plateaus; I
adapt it for cinema
2:
viewer not completely distinct from object beheld. Figure-ground difference not clear.
Invites viewer to subjectively come forward and merge with the beheld. e.g.:
-low resolution: analog video, super-8, some kinds of digital video (though corrected for
edge recognition)
-diminished figure-ground distinction

5. the index, a sign that builds a connection between the pro-filmic scene and the viewer
Index: C.S. Peirce, a sign that refers to its object by necessity. Often the result of physical
causation--photograph, fossil.
More broadly, index is whatever the image points at. Simple fact that the initial gesture
reaches the viewer. Image makes a social connection to other viewers and environments along
the way from source to receiver.3

6. Embodied response occurs at several levels, building a physical andaffective relationships to
the image
-autonomic nervous system (sweating, arousal, etc.)
-mimesis, where the film elicits physical responses in the viewer. “Mirror neurons”
actually a new term for Carpenter’s effect, 1876: how people reproduce the actions of others
they see with their own bodies
-mirror-touch synaesthesia4
Possible to cultivate these responses

Shift in discursive-affective balance
affective response to the way a film feels, not cognitive responses to the film’s discourse
Haptic-optical, affective-discursive, are dialectical. Need both.
Hot and cool
“hot” media reach out, “cool” media draw the viewer in (Marshall McLuhan)
high resolution, 3D, virtual reality are hot: can analyze with Riegl’s theory of grasping eye
low resolution, poor-quality images are cool; they draw us toward them

Cao Fei Shadow Life

multiply indexical as recorded
work, shadow play

yearnings for mattering differently

https://www.sensesofcinema.com/2024/film-and-the-nonhuman/multispecies-filmography-networks-of-kin-in-the-films-of-ana-vaz-sriwhana-spong-and-tina-stefanou/

Camille Billops / Take your bags
Shadow play and oral history mix when Camille Billops teaches a young boy an important lesson about heritage and its abuse. Billops explains how his ancestors were brought to the Americas, taking with them their history and culture, only to be robbed of it upon arrival.

images do not represent but transmit, make contact

In political cinema of agitation there is a juxtaposition of the old and the new that entails an audiovisual practice in the form of aberration. In this cinema, agitation no longer emerges from new awareness nor calls for mass mobilization, but rather consists of putting everything in a trance, including the camera itself, relating the different instances of violence to each other, so that the trance, the crisis or the aberration determines a constructivity that, intervened from the real, produces collective audiovisuals of the Missing People.

https://www.sensesofcinema.com/2025/interviews/nothing-needs-to-exist-in-conversation-with-colectivo-los-ingravidos/

TUE 19 MAY
Focus: Ana Vaz

considering time differently

Excursion Kunstverein Hamburg
Hsu Che-Yu with Chen Wan-Yin ENTOMBED

Indexed abscence/forensic imaging techniques

its after the end of the world

sensory practice with Vera

COLECTIVO LOS INGRÁVIDOS
trance & counter-infrastructures

Collective Board

Focus: Rindon Johnson

Only by facing the ghosts, in their materiality, and acknowledging injustice without the empty promise of complete repair (of making amends finally) can we come close to [hearing the silent speaking, the speaking silence of the ghosts]. The past is never closed, never finished once and for all, but there is no taking it back, setting time aright, putting the world back on its axis. There is no erasure [of past violences] finally. The trace of all reconfigurings are written into the [iterative] enfolded materiali-sations of what was/is/to-come. Time can’t be fixed. To address the past (and future), to speak with ghosts, is not to entertain or reconstruct some narrative of the way it was, but to respond, to be responsible, to take responsibility for that which we inherit (from the past and the future), for the entangled relationalities of inheritance that ‘we’ are, to acknowledge and be responsive to the noncontemporaneity of the present, to put oneself at risk, to risk oneself (which is never one or self), to open oneself up to indeterminacy in moving towards what is to come. …Only in this ongoing responsi-bility to the entangled other, without dismissal (without ‘enough already!’), is there the possibility of justice-to-come (Barad 2010).

planetary-scale sensory networks - uncertainty & prediction

Field day or glasfoyer

spiral time patterning fragments / gaps /index / Traces/enfolding /opacityFOLDS

sensory ethnographic filmmaking

rare sensory perception

SEEDLING & SAPLING
GROUND / CONTEXT
earth rythms, ancestry

FLOWERING
cross polination
entanglements

SETTING
decisions focusing

RIPENING
small details
process

apichatpong weerasethakul mysterious object at noon

collective history - openness

HARVESTING
gathering, sharing
celebration

PRESERVING
Evaluating processing refining

SEEDING
futures, transformation
death chaos

6-9 JULI
WORLD SENSING Gathering & Exhibition

‘what is time?’
disucssion, and then input of how time is structured
the hegemony of linear conceptualisations of time in western knowledge.

Ideas of many rhythms and a diversity of qualities in variously experienced and lived temporalities,
for people and other species, can be introduced and discussed.

how can we touch and reconnect

Learning how to get in touch with the planet in another
and much more susceptible way

Screening Lucas program

each students bring something from their own research /field of interest
15.30 - 16.45 INTRO & Collective board - connections Student projects
17.00 -18.00 SPCE set up / Research Rindon Johnson
18.00-20.00 Artist talk, screening & Discussion SPCE RINDON JOHNSON

Guests: Benjamin Janzen and Cuplus
15.30 - 19:00 main project

15.30 - 19.00 main project
19.00 Screening & Artist talk Julia Tielke

Intercultural cinema has been implicitly and explicitly theorized by a number of writers and artists, including Black Audio Film Col lective, Julio Garcia Espinosa, Coco Fusco, Fernando Solanas and Octavio Getino, Teshome Gabriel, Kobena Mercer, Hamid Naficy, and Trinh T. Minh-ha, who describe the ways that cinematic form cultivates a politics and poetics by which to represent the experi ence of racial minorities and diasporic peoples. Their writings often emphasize this work's double movement of tearing away old, op pressive representations and making room for new ones to emerge.
From its earliest formulations, intercultural cinema obviates the distinction between "Western" and "non-Western" practices. Many of the Latin American makers and theorists of the Third Cinema movement took up critical and activist traditions of European and North American cinema. Similarly, Teshome Gabriel's (1988) theory of nomad aesthetics is Afrocentric but intercultural in its synthesis of European, African, Latin American, and Asian sources.

The body of work produced by Black Audio between 1986 and 1993 was concerned with the historical archive—what gets included in it, and who has access to it—in terms from the rigorously theoreti cal to the literal. The structural, as well as visible, racism of the mainstream documentary media of film, television, and the print press is a subject that recurs throughout Black Audio's works. Their first, controversial feature, Handsworth Songs (1986), responded to the racist media coverage of the "riots" in Handsworth following the death of Mrs. Cynthia Jarrett after a bungled police raid. At- g tempting to trace the story from within the Black neighborhoods, g; the film found only, in an often-quoted line, "ghosts of stories."

Black Audio Film Collective uses a similar strategy of divorcing the visual from the verbal. As I noted in the Introduction, the col lective's representations of Black diasporan experience were always formed in struggle with hegemonic media images.

Fetishes and Fossils of Transnational Life
Fossils, fetishes, and recollection-objects should again remind us of the dialectical images Benjamin found in the nineteenth-century shopping arcades, the cracks in material reality in which one can read repressed histories. Susan Buck-Morss suggests that "fetish" and "fossil" both describe the commodity (1989, 211), in its con- cretization of history and concentration of affect. Such objects are rubble in the ruin of recent history. They are not only the wish images of past histories, but also the material of which "a new order can be constructed" (212). Bricoleurs—people who take the rubble f another time or place, invest it with new significance, and put it 89 to new purposes—create the possibilities of new history. The dis placed person is the preeminent bricoleur, asserts The Last Angel H of History (1995), John Akomfrah's film about Black science fiction. ® The film surveys African diaspora futurist artists from the late (and © mourned) jazzman Sun Ra to the novelist Octavia Butler, interspers- o ing them with a Black flaneur figure who wanders in a sort of industrial wasteland. He says in passing, "African people have always H done science fiction, because we've always been able to see the 5'
holes in the present." The bricoleur is able to find creative potential in the ruins of another culture because these objects, surrounded by a forcefield of imperfect translation, acquire a transformational quality in their travels.
Fetishes and fossils, then, are two kinds of objects that condense cryptic histories within themselves and that gather their peculiar power by virtue of a prior contact with some originary object. Fe tishes and fossils are nodes, or knots, in which historical, cultural, and spiritual forces gather with a particular intensity. They translate experience through space and time in a material medium, encoding the histories produced in intercultural traffic. This view of the fetish as an object produced in the encounter between cultures strongly underscores Homi Bhabha's characterization of colonial stereotypes as fetishes: sites where cultural difference is fixed, but in their very fixity belie the instability of the encounter (1994b, 70-75). The inter cultural space in which fetishes and fossils are produced is always charged with power; it is not a neutral ground where meanings can be remade with impunity.
If we understand fetishes as properly the product not of a single culture, but of the encounter between two, then we see how fetishes
are produced not only in the course of built-up time, but also
in the disjunctive movement through space. Colonial power rela- __.. tions in particular, with their propensity for crossbreeding indige nous and imported meanings, are prime sites for the production
of these objects. Where two or more material discourses crash to gether are formed any number of peculiar artifacts: consider the Korean peasant ceramics that were taken up as aesthetic objects by their sixteenth-century Japanese colonizers (and the aestheti- cized copies that ensued).

The Skin of the Film, offers a metaphor to emphasize the way film signifies through its materiality, through a contact between perceiver and object represented. It also suggests the way vision itself can be tactile, as though one were touching a film with one's eyes: I term this haptic visuality Finally, to think of film as a skin acknowledges the effect of a work's circulation among different audiences, all of which mark it with their presence. The title is meant to suggest polemically that film (and video) may be
thought of as impressionable and conductive, like skin.

I want to emphasize the tactile and contagious quality of cinema PLH as something we viewers brush up against like another body. The words contact, contingent, and contagion all share the Latin root contingere, "to have contact with; pollute; befall." The contingent and contagious circumstances of intercultural cinema events effect a transformation in its audience. As hybrids, the works challenge the separateness of cultures and make visible the colonial and racist power relations that seek to maintain this separation. The works pollute viewers' ideas of cultural distinction, implicating each of us in them. In addition, as well as bearing meanings to the audi ence, these works receive impressions from the people who have seen them. Intercultural cinema builds up these impressions like a palimpsest and passes them on to other audiences. The very circula tion of a film among different viewers is like a series of skin contacts
that leave mutual traces.

The Skin of the Film is devoted to sensory representation in inter cultural cinema,

the role of sound, important though it is.
the power of nonverbal sound to have mean ing in ways that cannot be reduced to simple signification. Sound can be uncanny, moving the listener in ways that cannot be easily
described or contained. Also, like the other senses, the use of hear ing differs markedly from culture to culture. Characteristically, in CD Western societies and urban spaces, sound is primarily an informa- & tion medium (Rodaway 1994,113), and dialogue-centered narrative CL. cinema reflects this use of sound. But sound can also be ambient and textural

how film and video represent the "unrepresentable" senses, such as touch, smell, and taste; and of course sound plays a large part in the answer. Sound does come into play insofar as it is experienced kinesthetically; for example, the booming in the chest caused by deep bass tones, or the complex effects of rhythm on the body. And ultimately the exile of the senses of hearing and vision in my analysis is only temporary, for I will return to argue that all the senses work together in the embodied
experience of cinema.

Cinema exists on the threshold of language,

Memory is a process at once cerebral and emotional, and this is
especially evident with smell. Research suggests that we cannot re member an odor unless that odor is waved in front of our noses again (Engen 1991, 80). I would love to be able to dispute this, because it seems that I can remember just what a magnolia smells like, though this may be only the stirring of my other sense memories and asso ciations around an empty center of magnolia fragrance. In any case, an audiovisual image evokes bodily associations, so that when I hear crickets and see a magnolia I remember the prickle of sweat on my skin, and (nanoseconds later) the words for the smell of a magnolia— pungent, sap-like, always about to rot (!)—emerge from the emo tional associations I formed with magnolias when I did smell them

Movies like Samirah Alkassim’s Far from You (1997), Mona Hatoum’s Measures of Distance (1988), Rea Tajiri’s History and Memory: For Akiko and Takashige (1991), Ming-Yuen S. Ma’s Sni< (1997), Hopi video artist Victor Masayesva’s Siskyavi: The Place of Chasms (1991), and many experiments by Trinh T. Minh-ha and Black Audio Film Collective suggested to me a way of being that elides representation and instead clings close
to the thing seen and heard.

The knowledge these movies granted required that I yield to them, loosen my own subjectivity, or enter
a kind of dialectic between audiovisual certainty and haptic doubt. They demonstrated again and again
that when vision, and sometimes hearing, were colonized by dominant ways of grasping the world, the
closer senses of touch, taste, smell, and kinaesthesia bore knowledge that was relatively less colonized.
The movies opened perception into the body, appealing to sense memories and forgettings as a repository
of cultural meaning for people whose experiences are elided in dominant culture.

I expanded Henri Bergson’s concept of the image to include images of touch, smell-images, and other images that take shape on the surface of the body. My ignorance, faced with a cultural experience that was not mine, acknowledged that much of experience remains opaque to those who do not have the means to unfold it
– the understanding that grounds my later concept of enfolding-unfolding aesthetics.

Openness, not mastery,

fossil-images. Now I also think of them as radically enfolded,
in that they enfold experience that is not accessible from my (or some other being’s) point of view. They
remain indexical, but they index something inaccessible, something that may be far away in space, in
time, or in the depths of one’s own being.

Over the years my interest in the indexical has grown like a wild vine, to become a concept of the tactile
cosmos, where all is connected to all but in ways that are mostly inaccessible to us. My friends to
thought in this period have ranged from Leibniz’s fold-philosophy, as tinkered with by Deleuze, to physicist
David Bohm’s holographic image that reflects the entire universe, to Édouard Glissant’s point that
what is opaque to one may be unfolded by another, to tenth-century philosopher Al-Kindī’s conception
that the universe is causally interconnected by rays that touch every being differently. Touch is still the
foundation, though now it moves from the cosmos to your body, as I write in my recent book The Fold.

fossil-images / Folds /index.

A haptic image is not formless but populated: it is a field of folds. One of the main findings of this book is that a field that appears homogeneous turns out, when you look, listen, feel, or think closer, to be composed of a throng of individual entities, monads of all
sorts. If you draw near you can figure out which ones to unfold. I’ve suggested that even the obdurate large-scale folds of culture and ideology, which I’ve called information folds, are aggregations of many unique unfoldings. They are enfolded or implicate in the larger field. They are virtual from certain points of view and actual from others. Enfoldedness is what gives shimmer to the virtual: the attractive twinkle of countless enfolded points gleaming on the surface of the infinite, each of them a microcosm. Respecting the opacity of these shimmering points, it’s important to determine whether they are yours (singular or collective) to unfold, and when is the propitious time to do it. Sometimes it’s more appropriate to honor the haze. Visually and sonically, that haziness has the effect of haptic space and haptic sound: a proliferation of individual elements composes a whole that doesn’t resolve into a figure but keeps moving and transforming. Those individual entities throng, coalesce, and diverge, forming soul-assemblages that may reaffirm or contest dominant folds. If you accept that each of those monads incorporates all the others—selectively, in its own way—then you see that each point in the teeming field is a microcosm, a condensation of the whole event. As each of those smoky particles in my lungs condenses the burning trees, the animals consumed by the fire, and the many causes of the heat and dryness that include the world’s reliance on fossil fuels, the Canadian government’s ruinous subsidies of the fossil-fuel economy, the energy corporations, the individual shareholders who make money from them, the pension funds that invest in them, and the individual pensioners who retire more comfortably because of that money. The forest fire soul-assemblage contains a multitude of souls, some of which both benefit and suffer from the harm. No wonder our smarting eyes fill with tears.

The unity of the cosmos is rarely beautiful, certainly not static, but ever inflecting anew as each restless soul uniquely embodies it. The political act is to recognize the effects of the soul-assemblages to which we belong and to take part in unfolding differently.

Marks, Laura U.. The Fold: From Your Body to the Cosmos (p. 250). Duke University Press. Kindle Edition.

The Fold is a book of practical philosophy about living in a folded cosmos. Because it begins with the body and the senses, this philosophy is an aesthetics, which I call enfolding-unfolding aesthetics. It proposes a theory of mediation as contact and connection and offers a set of embodied methods for detecting cosmic connections. Key thinkers that contribute to this concept of the folded cosmos include German 18th C philosopher G.F.W. Leibniz, British quantum physicist David Bohm, and Martinican poet-philosopher Édouard Glissant.

I suggest that the folded substance that constitutes the cosmos is composed of everything and everyone, all of us living beings. I argue that living beings include from humans to particles, sandwiches to stars, and thoughts and images too. I argue we compose and recompose in ever-shifting assemblages. Introducing the concept of the soul-assemblage, The Fold suggests ways to strengthen connections to the cosmos.

My cosmology includes human-made entities, which allows for more analysis of culture and of power relations. Thus I engage extensively with contemporary thinkers of culture and technology in the age of information capitalism. I propose ways to counter the dominance of information folds by “unfolding differently.”

SPCE
13.00-15.30 speed dating SVEN

15.30 -18.00 KIMCHI -WORKSHOP Jane Han &Seoyeong Choi

Text: Marks, Soul-assemblages--from your body to the cosmos

18.00- 19.00. Research Artist/Filmaker: COLECTIVO LOS INGRÁVIDOS

19.00-20.30 Screning: COLECTIVO LOS INGRÁVIDOS
THE SUN QUARTETT

Laura U. Marks

Laura U. Marks is a philosopher and scholar of new media and film.[1] She is the Grant Strate University Professor at Simon Fraser University (SFU).[2] Previously, she was the Dana Wosk University Professor of Art and Cultural Studies at SFU.[3] Among her theoretical contributions is the concept of haptic visuality, according to which a spectator's contact with media is conceived of as touching, as opposed to seeing.[4] Marks is also a curator, and has developed exhibitions of Arab cinema

The image depicts John Archibald Wheeler’s "Participatory Universe" concept, illustrating a fundamental shift in how physics views the relationship between the observer and reality.
Key Concepts

The Observer (Left): Represents the classical physics view where a person is an "onlooker" watching a pre-existing, objective universe from behind a safe glass plate. In this view, the universe exists independently of being seen.
The Participator (Right): Represents the quantum mechanical view proposed by Wheeler. Here, the "glass plate" is shattered. The observer becomes a participator because the act of measurement and observation actively "collapses" quantum possibilities into a definite reality.
The Cosmic Scale: The galaxies and stars shown above the figures emphasize that this principle applies to the entire cosmos. Wheeler argued that through our observations today, we help "bring into being" the universe of the far away and long ago.

HAPTIC CINEMA (LAURA MARKS)

Ana Vaz (born 1986, Brazil) is a renowned filmmaker, artist, and educator whose work explores the relationships between self, other, land, and myth, often highlighting the impact of colonialism and the Anthropocene. Her notable 2022 film, It Is Night in America (É Noite na América), focuses on animal reintroduction and rescue in Brasília, exploring the urban, environmental, and nocturnal experiences of non-human creatures

It Is Night in America (É Noite na América)

On the wings of Brazil’s aeroplane-shaped capital city – a necropolis transformed into an oasis by architects – thousands of trapped lives seek refuge in its gardens. IT IS NIGHT IN AMERICA (É NOITE NA AMÉRICA) was filmed at Brasilia Zoo, habitat of hundreds of rescued species fleeing the violence of agribusiness, urbanisation and the pollution of the Brazilian cerrado. As a nocturnal feast filmed on expired 16mm – a material also in danger of extinction –, this immersive installation casts an animalistic spell with shades of eco-horror, wildlife fictions and documentary, subverting the limits of cinematic genres. Giant anteaters and otters, maned wolves, owls and capybaras meet with biologists, veterinarians, caretakers and the environmental police in a sombre plot where the challenges of preserving life weave a web of intersecting perspectives. In the end, who are the real captives?

HAPTIC METHODS
1. Haptic visuality, Optical visuality
2. Tactile sound
3. Material breakdown emphasizes physicality of the medium
paradox that when the image is weaker, the bond can be stronger.
4. Other artifacts layered on the image: watermarks of copyright
5. the index, a sign that builds a connection between the pro-filmic
6. Embodied response

Tactile Techniques

Miniature Cameras: The filmmakers often use specialized, small cameras (sometimes called "lipstick cameras") to get inside, under, or onto subjects, breaking down the barrier between the viewer and the subject.
Sensory Ethnography: Their work focuses on non-human perspectives and the visceral, often messy, reality of life, using sound and texture to immerse the audience.
Immersive Installations: Their work is often exhibited in gallery spaces, transforming films into multi-screen installations that heighten the sensory, experiential, and tactile qualities of the footage.

15.30 - 16.00 presentation exhibition ENTOMBED by Hsu Che-Yu with Chen Wan-Yin
16.45 - 18.00 Collective (board) exercise (Annika at Prüfung)
18.00- 19.00 Discussion exercise Collective board connections

First Connections / Sound
/Laura U Marks: The Skin of Film Soul assamblage-Media /Hsu Che-Yu & Chen Wan-Yin

15.30 - 19.00 main project
19.00 Leviathan Screening

15.30 - 19.00 main project
19.00 Ana Vaz SCREENING & ARTIST TALK

15.30 - 19.00 main project
19.00 GEOCINEMA

Doireann O Malley Blockseminar
Tentacular thinking

Julia Tielke Blockseminar
Camera as Sensory Practice

Alisa Berger Block Seminar
Self Erasure, Personal Film and Archives as a Starting Point for Situational and Performative Film Practices

METHODS/ SCRIPT / DRAFT 1

This workshop explores coexistence between humans and microorganisms, as well as interactions across cultures, through kimchi.

Kimchi is not just food, but a fermentation system that responds to time and environment—a medium that carries inherited memory. During fermentation, lactic acid bacteria produce different outcomes depending on external conditions, continuing their activity within the human body and forming new relationships.

This workshop offers an experimental approach to these processes, inviting participants to engage with kimchi as a living medium and to explore how different entities become entangled.