Liquidity, Flows, Circulation: The Cultural Logic of EnvironmentalizationDec 10-11, 2020 & Apr 22-23, 2021| Leuphana University Lüneburg
Annie McClanahan, Esther Leslie, Ursula Biemann, Yvonne Volkart, Beny Wagner, Christian Schwinghammer, Hannah Schmedes, Jacob Soule, Katerina Genidogan, Malte Rauch, Martin Doll, Maryse Ouellet, Rahma Khazam, Stefan Yong, Yannick Schütte
with the participation of
Anne Breimeier, Erich Hörl, Lisa Conrad and more…
Thursday Dec, 10
With Mathias Denecke, Holger Kuhn and Milan Stürmer
Is there a cultural logic of environmentalization that revisits and perhaps radically revises the notion of the cultural logic of late capitalism famously described by Fredric Jameson?
It has become a truism that capital circulates, that data, populations and materials flow, that money offers liquidity. Investigating the production of these movements and states from a logistical perspective, the proposed workshop focusses on issues of endless, frictionless circulations and continuous flow to investigate their specific logic. Our assumption is that nothing circulates or flows without also being regulated. This places us within the discussions of environmentality, of regulation, modulation and control through the environment and qua processes of becoming-environmental. Focussing on concrete spaces of circulation, flow and liquidity, as well as their cultural (re)presentation, we want to discuss whether there is a cultural logic of environmentalization that revisits and perhaps radically revises the notion of the cultural logic of late capitalism famously described by Fredric Jameson.
15:00 - 16:15
Modes of Circulation
With Stefan Yong and Jacob Soule, response by tbd. Chair: Milan Stürmer
From the logistical sublime to merely interesting affects, and from the city to exhausting urban environments.
The Sublime and the Logistical: On the Dullness of Circulation Aesthetics (Stefan Yong)
Abstract coming soon
Stefan Yong is a PhD student in History of Consciousness at the University of California, Santa Cruz. His current project, shaped by political economy, infrastructure studies, and Marxist literary theory, investigates the historical co-determinations of logistics and capitalist crisis.
The City Novel After the City: From Density to Circulation (Jacob Soule)
This paper will aim to put forward some general arguments from an ongoing project on the city novel in its contemporary form. Beginning with a re-reading of Raymond Williams’ The Country and the City, it will ask what happens to the idea of the city once its opposite—the country—no longer serves as its primary conceptual antagonist. I will argue that city novels in the contemporary period can no longer be read in the light of Williams’ opposition, but must be understand as interrogating the emergence of the “urban” as a distinctive third term: neither city nor country. Key to understanding this transition, I will argue, is to analyze how novelists are engaging with “the city” as a site of circulation (broadly conceived), exponentially unthinkable as a discrete spatial unit measured by population density. Indeed, a major part of my argument will be that the city novel, as a literary mode (not quite a genre), has always understood the city as a circulatory site—primarily through the construction of narrative patterns that privilege the circulation of objects, people, and money. I will end my discussion with a brief analysis of Georges Perec’s An Attempt at Exhausting a Place in Paris (1975), interpreting it as a moment in literary history that marks a shift from circulation as an implicit concern of literary writing about the city, to an explicit one.
Jacob Soule is a Postdoctoral Teaching Fellow at Auburn University. In December 2019, he received his PhD from Duke University’s Program in Literature. His writing has appeared in Contemporary Literature, Alluvium, and Failed Architecture, among other venues. He is currently at work on a book project provisionally titled The City Novel After the City: Planetary Metropolis, World Literature.
17:00 - 18:15
With and Against the Flow
With Yvonne Volkart and Maryse Ouellet, response by Anne Breimeier. Chair: Mathias Denecke
Experience and Representation: Investigating aesthetic strategies of expressing relations
Technologies of Care (Yvonne Volkart)
We life in times of extreme contradictions. On the one hand, we face ubiquitous computing and datafication of the world in the hands of few, on the other, old cultural practices like (permaculture) gardening, fermentation, cooking etc. are claimed to be alternative ways to interrupt the economy of seamless circulation. However, alternative ways do not necessarily suspend the dominant culture. In the opposite, we notice an increased interest in the use of technological means for e.g. sensing non-human forms of existence, and generating new forms of relationality and care for «the environment». Can this widespread hope into the emphatic power of ecomedia be interpreted as a symptom of «The Cultural Logic of Envirionmentalization», as proposed by the organizers? Especially if we consider the fact that they belong themselves to a ravenous infrastructure of depletion? And how comes an aesthetics of flow into play? Drawing on my ongoing research *Ecodata-Ecomedia-Ecoaesthetics* which, among other, involves artists working with environmental media and developing an aesthetics of flow, I try to show that the transversal potential of an artistic project lies in the creation of an aesthetic event which provides unexpected relations with my (more-than-human) co-beings and affects me to care for them.
Dr. Yvonne Volkart lectures art and media theory at the Academy of Art and Design FHNW Basel where she has led the Swiss National Science Foundation research project Ecodata – Ecomedia –Ecoesthetics. The Role and Significance of New Media, Technologies and Technoscientific Methods in the Arts for the Perception and Awareness of the Ecological (2017-2021). In collaboration with Sabine Himmelsbach (HeK, Basel) and Karin Ohlenschläger (LABoral, Gijon) she co-curated the exhibition and book project Eco-Visionaries. Art, Architecture and New Media After the Anthropocene (2018), a follow-up of the exhibition project Ecomedia (2007). Completed research projects include: Times of Waste (2015–2018). From 2009 to 2012 Volkart was co-curator at the Shedhalle Zürich. She writes regularly for Springerin. Dissertation: Fluide Subjekte. Anpassung und Widerspenstigkeit in der Medienkunst, Bielefeld: transcript 2006. Last publication: “Aesthetic Strategies in the Wasteocene”, in: Aldouby, Hava (ed.): Shifting Interfaces. Presence and Relationality in New Media Arts of the Early 21st Century. Leuven University Press Leuven (peer reviewed)
Her concerns lie in the modes how aesthetics, ecology, technology, and feminism come together and bring us in relation to the world.
Toward an Aesthetics of Environmentalization: Realist Sublime in Contemporary Art (Maryse Ouellet)
This paper will examine how the climate crisis impacts contemporary visual representations of global capital. I want to confront the realist aesthetic of videos and films, including Ursula Biemann’s Deep Weather (2013), with the postmodern one theorized by Fredric Jameson. More specifically, I will focus on their respective interpretation of the category of the sublime. Jameson conceived of capitalism’s flows and systems of power has having a derealizing effect, which supposedly translated, aesthetically, in an experience of the sublime. Contemporary art, however, tends to try and anchor the transcendent power of global capitalism in the environmental context it affects. Through an analysis of the aesthetic strategies that artists use to render this reality sensible, I will demonstrate they do not simply refute the aesthetic of the sublime rightly attributed to the vast network of relations that connects local actors within the larger ecological and economical chain; rather, artists move away from the postmodern interpretation of the sublime toward a realist sublime. The transformation of the aesthetic category of the sublime, from the postmodern to the realist, will thus serve as a guide to map the emergence of a cultural logic of environmentalization.
Maryse Ouellet is a postdoctoral fellow in the department of media studies at the University of Bonn. She holds a PhD in art history from McGill University. Her research focuses on the intersection between art and philosophy as it manifests itself in the way contemporary artists reinterpret transhistorical categories such as melancholy, the sublime or realism. Her recent work has been published in Racar, Canadian Art Review and Konsthistorisk tidskrift/Journal of art History.
Friday Dec, 11
15:00 - 16:15
Fluidity, Movement, and the Built Environment
With Malte Fabian Rauch and Yannick Schütte, response by Martin Doll. Chair: Lisa Conrad
Can liquid architecture be built on solid ground? Can drifting through urban space create an unsettling of architecture?
Critique de la circulation: Constant, Debord and the Design of Environments (Malte Fabian Rauch)
If one were to write a history of the “cultural logic” of liquidity and circulation, the Situationist would have to be characterized both as a critique and a symptom of the “becoming-environmental” (Hörl) of power, capital, and art. Grounded in a Marxist critique of post-war architecture and cybernetics, Debord and Constant may be among the first theorists who targeted the space of the metropolis as a restrictive field of circulation, strictly determined by the flows of capital. In opposition, they developed the vision of a generalized form of circulation through urban space that would actualize the transformative potential and revolutionary energies latent in the city. Debord and Constant theorized these dérives—unproductive drifts through the city—as experimental field work that would lay the foundations for a new architecture: an architecture that would not be concerned with settlement, but with movement—constantly changing environments that allow for permanent circulation. The aim of this talk is to highlight the relation between Situationists and cybernetics and to addresses the Situationist reception of urban ecology. Reading the Situationist project against the backdrop of this discourse, the talk will outline their janus-faced place in the history of environmentalization.
Malte Fabian Rauch is a researcher in the DFG project “Cultures of Critique” at Leuphana University in Lüneburg. He is the editor of Reiner Schürmann Essays and Lecture Notes, published by Diaphanes and Chicago University Press. In 2019, he edited a collection with essays by Reiner Schürmann, Tomorrow the Manifold: Essays on Foucault. Currently he prepares an edition with Reiner Schürmann’s lecture notes on Marx, which is scheduled to be published in the Fall. Besides his work as an editor, he has published extensively on a wide range of themes in critical theory, contemporary art and aesthetics.
Lead Fish. Architecture between fluidity and stasis. (Yannick Schütte)
In his seminal work Fish Story Allan Sekula observes the erasure of the sea’s fluidity by a new fixity of transport routes and the imposition of a terrestrial, perspectival ground plan due to the circulation of container ships. Meanwhile the land as a site of production becomes increasingly fluid itself by means of a global informational infrastructure and the flows of labour, finance and logistics. This contribution examines a parallel phase transition between solid and liquid of material and form within architecture. While traditionally associated with solid, rectangular structures of concrete and steel, contemporary architecture follows an aesthetics of curves, flows and a topological complexity that insinuates the liquefaction of forms. At the same time the advent of this new International Style is closely intertwined with the emergence and comprehensive usage of computer-aided-design (CAD) software that has been crucial for the production of spatial simultaneities. This fluid architecture of continuous variation and relationality is the actualisation of a politics and economy of flexibility, a mode of production that obscures labour conditions and power structures behind pliable surfaces. The paper explores this very tension between the aesthetics of fluidity, circulation on the one hand and the material solidity of the built environment and spatial organisation on the other.
Yannick Schütte is a MA student of European Media Studies at the University of Potsdam and works as a student assistant at the Cluster of Excellency »Matters of Activity. Image Space Material« of the Humboldt-Universität zu Berlin. In 2018 he finished his bachelor’s degree of Cultural Sciences, Digital Media and Cultural Informatics at Leuphana Universität Lüneburg with a thesis on Susan Schuppli’s concept of the material witness. In his practice he is interested in researching interdependencies of technology, infrastructure and knowledge as well as its genealogies through the lens of epistemology, aesthetics and material culture.
19:00 - 20:30
Epistemic Ecologies in the Arctic and the Amazon
With Ursula Biemann, Maryse Ouellet, Erich Hörl and Rahma Khazam. Chair: Holger Kuhn
Artist talk, panel discussion and screening of Acoustic Ocean (Biemann 2018) and Subatlantic (Biemann 2015)
Part I: Film-Screenings
Ursula Biemann, Acoustic Ocean,2018, 18 minutes
Ursula Biemann, Subatlantic, 2015, 11 minutes
In her most recent work, Acoustic Ocean, Biemann combines scientific, personal, and phenomenological narrative in an exploration of oceanic depths and interspecies relations above and below the waterline of the Lofoten Islands in Northern Norway. The female aquanaut and human protagonist of this semi-fictional narrative places sensing instruments such as hydrophones and parabolic microphones along the shore in search of communication and connection with beings that inhabit the depths below. This watery world holds memories of evolution that span time scales, and also swirl with the possibility of dissolution. Microscopic creatures, for example, with bodies porous and vulnerable to the increasing acidification of their habitat, foretell of an unknown future existence.
The speculative SF video essay Subatlantic (2015), like much of Biemann’s creative practice, poetically considers how issues in geology and climatology merge with human politics and history. Set in the Shetland Islands, Greenland’s Disco Bay and on a tiny Caribbean Island, and occurring at the end of the 2,500 year old Holocene epoch, the video’s relational eco-geography captures moments of aquatic flows through invisible ocean streams and melting Arctic icescapes, and reads this interconnected system as both a hyperobject (one of an expanded geo-space-time, as Timothy Morton writes), and a modeling of intensive science and virtual philosophy (as according to Manuel De Landa).
Part II: Ursula Biemann: Video-presentation on the project: Devenir University. Indigenous University Project in Amazonia, 2019-2021
„Commissioned by curator Maria-Belen Saez de Ibarra of the Art Museum at the National University of Colombia UNAL in Bogota, my field research in the summer 2018 took me to the South of Colombia. At the invitation of the leader of the indigenous Inga people who guided me for several weeks through these panamazonic post-conflict territories, I am now involved in the co-creation of their most ambitious project, an indigenous University. The project aims to create an institution for higher learning and knowledge production toward life-sustaining ecological cohabitation in the region.
In the Latin American indigenous context, despite the violent impact of colonization, the cosmovision that humans are an integral and equal part of all life systems has enjoyed a long uninterrupted history from which we have much to learn at this time. Locating the institution at the confluence of an Indigenous cosmological understanding of interaction with Earth and all species, and Western environmental science sharing these concerns, the project examines the many creative possibilities of merging these distinct knowledge systems in fertile ways.
The University plays an important part in repairing and maintaining the ongoingness of relationships occupied by extractivist economies. It’s a decolonial as well as a relational University, searching for an ecology of knowledges (Boaventura de Sousa Santos).“
Part III: Online discussion with Ursula Biemann, Maryse Ouellet, Erich Hörl, and Rahma Khazam, chaired by Holger Kuhn
Thursday April, 22
exact time tbd
Lüneburg + ONLINE
With Annie McClanahan and Martin Doll, response by tbd.
Exact time TBD
Lüneburg + ONLINE
Capturing Elusive Forms
With Esther Leslie and Beny Wagner, response by Yvonne Volkart.
From instagrammable coffee foam and foggy smart networks to Eisenstein’s concept of plasmaticness and the fluidity of form in early animated cartoons
Adrift on a Froth of Turbid Currents: Economy, Ecology and Smart Technology (Esther Leslie)
Fogs, froths and foams are part of a turbulent world, with frenetic industrial activity and after-effects, in a context of global warming. Foams and froths drift into daily lives as pollution, but also as desirable – instagrammable – commodities. Coffee foam and froth is symbol and fuel of today’s economy: the networker with a microfoam-topped latte, in one hand, smartphone in the other –the latter, a device linked into a fogging network or Internet of Things. These forms are liquid become dense with particles or data – turbid currents. How do they press into consciousness, as matter we encounter, but also as vaguenesses that suffuse our lives? Is there a nexus between the world of noxious fogs and foamsand the local ones that power, as well as symbolise, contemporary life? How do these turbulent forces impact on environments, social and cultural life, and also language? What are the technical and imaginative capacities of fog, froth and foam? What does their presence in various forms make possible, politically, socially and in terms of the adaptation of our imaginations? Furthermore, in what ways do these turbid currents in multiple registers produce, direct, inflate, extend economic action – and how is this perceivable – as our fogging networks of smartware merge, indistinctly, with the foggy perceptions of an obscured abode of contemporary capitalist production.
Esther Leslie is Professor in Political Aesthetics and Co-director of the Birkbeck Institute for the Humanities. She has research interests in Marxist theories of aesthetics and culture, with a particular focus on the work of Walter Benjamin and Theodor Adorno. Other research interests include the poetics of science, the bleeding edge of technologies, European literary and visual modernism and avant gardes, animation, colour and madness, art philosophy and politics. Her books are Walter Benjamin: Overpowering Conformism (Pluto 2000), and Hollywood Flatlands, Animation, Critical Theory and the Avant Garde (Verso 2002), Synthetic Worlds: Nature, Art and the Chemical Industry (Reaktion, 2005) and Walter Benjamin (Reaktion 2007), Derelicts: Thought Worms from the Wreckage(Unkant, 2014), Liquid Crystals: The Science and Art of a Fluid Form (Reaktion, 2016) and, with Melanie Jackson, Deeper in the Pyramid (Banner Repeater, 2018).
Her translations include Georg Lukacs, A Defence of ‘History and Class Consciousness‘ (Verso 2002) and Walter Benjamin: The Archives (Verso, 2007), On Photography (Reaktion, 2015) and, with Sam Dolbear and Sebastian Truskolaski, Walter Benjamin The Storyteller: Tales out of Loneliness, (Verso, 2016).
Becoming Plasmatic: From Cells to Cel Animation (Beny Wagner)
My paper charts a historical shift in the visual culture of flow and circulation in the first half of the twentieth century by examining Sergei Eisenstein’s concept of plasmaticness in relation to early microcinematography. In On Disney (1986 [1941-44]), Eisenstein developed this concept in response to what he saw as Walt Disney’s achievement of conjuring life’s pure essence onto the screen: plasmaticness “behaves like the primal protoplasm, not yet possessing a stable form, but capable of assuming any form” (Eisenstein 1986: 32). I will explore Eisenstein’s equation of fluidity with liberation as indicative of a historical crossroads during which the interwoven forces of capital, technology and science were becoming liquid. The fluidity of form identified in early animated cartoons was also a major concern in early scientific moving images, nowhere more evident than in microcinematographic films. Reading animation through microcinematography, my paper will sketch an emergent set of relations between body, technology, and environment, in which spectators were summoned to escape the confines of their limiting subjectivities and “become more like blood: fluid, pervasive, and unfixed from a locale” (Cartwright 1995: 82). By exploring plasmaticness in relation to the pervasive liquidity of contemporary power structures, I aim to draw a series of conceptual and artistic strategies in the context of circulation in the Anthropocene.
Beny Wagner is an artist, filmmaker, researcher and lecturer. His work across different media unfolds along the ever shifting boundaries of the human body. He has researched topics such as the history of metabolism, agricultural production, the politics of waste, histories of monsters. He has presented films, exhibitions and lectures globally: Berlinale, International Film Festival Rotterdam, Guanajuato Film Festival, Eye Film Museum, CAC Vilnius, Sonic Acts, Haus der Kulturen der Welt, 5th and 6th Moscow Biennale for Young Art, Berlin Atonal, Media Biennale WRO, Venice Biennale, among many others. His work has been featured in Artforum, Spike Magazine Quarterly, Frieze Magazine, Kaleidoscope Press, Flash Art, and his writing has been published by Sonic Acts Press and Valiz. Wagner is currently a PhD candidate at the Archeologies of Media Technologies research group at Winchester School of Art, Southampton University, supported by the South Southwest and Wales Doctoral Training Partnership (AHRC). Wagner has been a senior lecturer at Gerrit Rietveld Academy, Amsterdam since 2017. He was a researcher at Jan van Eyck Academy in 2015-6.
Friday April, 23
Exact time tbd
Lüneburg + ONLINE
With Rahma Khazam and Christian Schwinghammer, response by tbd.
Putting scientifically inspired onto-flux into profane and fleshly contexts and exploring the binary of liquidity and regulation in contemporary art.
The Ambivalent Logic of Liquidity (Dr. Rahma Khazam)
Contemporary artworks exploring the logic of liquidity and flow reveal not only unsuspected continuities between seemingly different phenomena, but also friction and even discontinuities. Jenna Sutela’s works, for instance, remind us that the human perspective is just one among many, and that although we are entangled with our surroundings, the circulation of information can be discontinuous – regulated or even impeded by the difference in perspective of the technological and microbial systems with which we co-exist.
The friction between regulation and flow may be traced back to Zygmunt Baumann, who pinpointed the ambivalence of modern society, split between the desire for radical transformation but also for order and regulation: postmodernity, or liquid modernity as he later called it, was the expansion of modernity’s thirst for change, at the expense of its insistence on control. Pursuing this course, the logic of flow on which environmentalization is based distances itself ever further from rigid forms of control. This paper will explore the binary of liquidity and regulation, showing how it recurs in contemporary art and in the philosophical and technological discourses informing environmentalization, from new materialism through to the environmental monitoring systems described by N. Katherine Hayles in Unthought (2017): these operate autonomously, while undergoing increasingly pliable and distributed forms of control.
Dr. Rahma Khazam is a Paris-based researcher and art historian affiliated to Institut ACTE, Sorbonne Paris 1. She studied philosophy and art history and received her Ph.D. from the Sorbonne in aesthetics and art theory. Her research spans the fields of contemporaneity, modernism, the post-human, speculative realism and new materialism and has been published in edited volumes, exhibition catalogues and academic journals. She recently completed an edited volume on the work of the artist Franck Leibovici and is currently a researcher (Ingénieure de recherche) at ENSAD, Paris.
Onto-Flux? Groundings of an ever-flowing world and the question of context (Christian Schwinghammer)
In the wake of neo-materialist inflections of the ‘humanities‘, there is currently a tendency to ground reality in a state of onto-flux, as pulsating in relentless process and movement from the ground up. By bundling scientific inspiration, especially from (quantum) physics and biology, into generic concepts such as matter itself or life itself, the emphasis here is often on a preindividual ‘stream’ that continually overflows every ‘thing’ with potentialities to become otherwise. The presentation will follow such ontological imaginings in their ethico-political thrust while at the same time pursuing recent attempts to orient them to their own context sensitivity (see, e.g., Roy 2016). This is not only to suggest the need to read encompassing ontological concepts in light of concrete techno-scientific experiments, practices, and measures. It is also about contrasting the implications of a notion of reality as thoroughly flowing with what seems to lie at its conceptual margins: the layer of profane (human and non-human) existences, the connections and exposures of fleshly realities to concrete environmental conditions, impressions, and impacts. To this effect, (re-)turning to the issue of contextuality might put weight on questions of what exceeds a gesture
Christian Schwinghammer studied Political Science with a focus on Political Theory at the Free University Berlin. He is currently a PhD Student at the Research Group SENSING: The Knowledge of Sensitive Media in Potsdam (University of Potsdam, University of Applied Sciences Potsdam (FHP), Film University Babelsberg KONRAD WOLF, ZeM – Brandenburg Centre for Media Studies). In his doctoral project, he deals with questions of alterity in the context of the recent theoretico-practical turn to the ontological premises of indeterminacy and relationality. His research interests include theories of alterity, ontology and metaphysics, media philosophy, and philosophy of technology.
Exact Time TBD
Lüneburg + ONLINE
Reasoning with and against Circulation
With Hannah Schmedes and Katerina Genidogan, response by tbd.
How can the leak as a feminist figure of thought unravel operations of circulation, containment and its insufficiencies? And how can the documentary Before the Flood (2016) shed light on eco-governmentality, green capitalism and the logistics of turbulence?
The White Cultural Logic of Green Capitalism: Reflections on the Post-politics of the Future in Before the Flood (Katerina Genidogan)
For this presentation I will try to outline the cultural logic of green capitalism as expressed by the trend of ‘sustainable development’ that is part of a broader process of post-politicization, and elaborate on how it constitutes part and parcel of what I call logistics of global turbulence. Drawing on the imagery and the dialectics of the 2016 documentary film Before the Flood, I aim at problematizing the emergence of green idols and the overall popularization of sustainability culture that eventually succeeds through the neoliberalisation of nature, fantasies of liberal cosmopolitanism, and mechanisms of post-political governance. By concentrating on specific instances in the film, I will show how today’s white green politics of mainstream culture are intertwined with white epistemological assumptions that lead to the reduction of the future to the prediction of climate, and inevitably play a crucial role in the post-apocalyptic discourse of climate change and its material consequences at the level of eco-governmentality. The circulation of specific reasoning, I will point out eventually, disseminates fears through the contamination of the imaginary with threats for a rather dystopic future, making the future safe for the greening of the markets and the futures industry.
Katerina Genidogan is a doctoral candidate within the Research Training Group ‘Cultures of Critique’ at Leuphana University of Lüneburg in Germany, where she is working on her dissertation under the title “Chronobiopolitics, Postcolonial Governmentality and Whiteness on Global Scale,” a researcher at Nubuke Foundation in Ghana and a member of the collective Partial Versions. She has completed a BA in Business Administration with major in Financial Management at AUEB (Athens University of Economics & Business), a Graduate Diploma in Contemporary Art History and a MRes in Curatorial/Knowledge within the Visual Cultures Department at Goldsmiths University of London. For the winter semester 2020-21 she will be teaching “Chronobiopolitics” as part of the Complementary Studies at Leuphana Univeristy.
Leaky Infrastructures – Figures of containment and leakage in feminist thought (Hannah Schmedes)
“Leaks and eddies are everywhere” writes Donna Haraway in Staying With the Trouble. Indeed, leaks are omnipresent: in discourses about the female body, in closed systems sciences as the failure of flow in material infrastructures, but also in discursive constellations of knowledge production in the form of leaked documents or whistleblowing. These infrastructures are designed to maintain a background status and to become anesthetic in their intermediary function. Contrary leaks symbolize their becoming-apparent as a failure to contain. In this sense, the leak appears as a figure of knowledge that can reveal something previously enigmatic.
Following up on these forms of leakage, the notion of containment and its porosity are revisited, regarding their gendered and sexualized implications. From this point of view, I will develop a reading of the leak, which departs from this very localization of technologies of circulation and containment. In following various infrastructural lines and their porous points I will pursue Sarah Ahmed’s thesis as to whether and to what extent a “leak” can become a “lead”.
Hannah Schmedes is currently finishing her Master’s in European Media Sciences at the University of Potsdam. She received her Bachelor’s degree in Cultural Sciences and Philosophy by the Leuphana University of Lüneburg, with a thesis on Donna Haraway’s Cyborg. She is part of the theory collective texture, where she currently runs a feminist writing workshop that deals with Wikipedia’s publishing and interface policies.