CAMPUS Episteme

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What do we mean by meaning?

CAMPUS Episteme is the third in a series of events exploring ideas around education and critical pedagogies.

‘What do we mean by meaning?’ explores ways of sensing that challenge the norms of knowledge production and knowing. Tina Campt and Ayesha Hameed look beyond what one usually sees and attune their senses to the other affective frequencies through which images and sound register. Through listening closely to images, Tina Campt engages with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with discourses of fugitivity, black futurity, and black feminist theory, tools of colonialism are repurposed, hearing and sharing their moments of refusal, rupture, and imagination.

Ayesha Hameed presents the lecture-performance Black Atlantis: Retrograde Futurism (2019). Hovering between the film and the essay form, it follows the path of a ghost ship in the Atlantic based on a crossing from April 29, 2006. The retelling of this story draws on the materials and tools at hand to make sense of the complicity of weather, ocean currents and state violence in the journey of this ship, questioning of the adequacy of languages to make evident the materiality of the sea, and the both measurable and immeasurable horror contained in the figure of the ghost ship.

Free. Booking recommended.

Tina Campt is Claire Tow and Ann Whitney Olin Professor of Africana and Women’s, Gender and Sexuality Studies at Barnard College-Columbia University. Campt is the author of three books: Other Germans: Black Germans and the Politics of Race, Gender and Memory in the Third Reich (2004), Image Matters: Archive, Photography and the African Diaspora in Europe (2012), and Listening to Images (2017). Campt is a black feminist theorist of visual culture and contemporary art, and is completing a new collection of essays entitled, The New Black Gaze. Campt is currently in residence as Abigail R. Cohen Fellow at the Columbia Institute for Ideas and Imagination in Paris, and was recently appointed as a Research Associate at the Visual Identities in Art and Design at the University of Johannesburg, South Africa.

Ayesha Hameed’s moving image, performance and written work explore contemporary borders and migration, and visual cultures of the Black Atlantic. Her projects Black Atlantis and A Rough History (of the destruction of fingerprints) have been performed and exhibited internationally. She is the co-editor of Futures and Fictions (Repeater 2017), and is currently the Programme Leader for the MA in Contemporary Art Theory in the Department of Visual Cultures at Goldsmiths University of London.

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