tag /22

    • Documentation
    • Publication
    • Block 17/I
    • RRadio Triton
    • RRadio Triton Data Retrieval Interface 29 December 2019
      posted by: Sina Seifee
    • online:
    • 01 July 2018
    • case of: Sina Seifee
      case of: Pierre Rubio
    • RRadio Triton Data Retrieval Interface

      RRadio Triton is an experimental radio project aiming at producing collective audio documents gathered in and disseminated by the ad hoc fictional radio label/station, recording, editing, sampling, remixing and releasing audio and soundscapes. The audio publications of RRadio Triton are the recomposition of the outcomes of the voluntary contributions from all the actors of the 2017 a.pass seminar, BLOCK 17/I TROUBLE ON RADIO TRITON_ ((((((( CHANGING (THE) WORLD (S) )))))) curated by Pierre Rubio.

      RRadio Triton Data Retrieval Interface, inspired by the hybrid dispositive of its makers, is intended to be a science-fiction entity, a problematic database design, and a speculation site for the politics of imagination. The website is result of the initiation and curation of Pierre Rubio with the artistic and technological dramaturgy of Sina Seifee, and the supported of Christian Hansen.

      The website is an instance of a labor-intensive artistic work, deliberately creating the visual language and semantic for the composing of image assemblage. Made by Rubio's laborious editing and situated imaginary, and Seifee's tailor-made chaoticism. In terms of programming the site, our problem was how knowledge can resist appropriation and translation into an idiom of digital interface, and how to create a living context of the "representations" that were done in the RRadio Triton seminar. The interface is designed as a landscape in the manner of a vortex, filled with a series gif objects, as successive approximations or placings-in-variations. The gif animations are chosen meticulously as semiotically invested figures to play with their vague morphology (a vase, a wheel, a skull, a sun, an eye). They do not visualize the audio pieces, rather populate the field of view by rendering the sound timeline as a topological singularity.

      For further information go to Seifee's techno-epistemological report on the making of the interface here.

    • Archive
    • Documentation
    • Publication
    • Block 17/I
    • RRadio Triton
    • RRadio Triton audio publication
      18 January 2019
      posted by: Lilia Mestre
    • a.pass
    • case of: Pierre Rubio
    • RRadio Triton




      RRadio Triton is an intentionally hybridised dispositive, operating within a grey zone between archiving, documenting, publishing, performing and broadcasting. Different modes of relating to the past events are called for, and these modes determine different definitions of the very nature of present time, future outlook, and of what an archive can be. The diverse audio objects it produces all relate to the politics of imagination and speculation, here envisaged as cultural and ecological instruments operative on the real.


      RRadio Triton is supported by a.pass (advanced performance and scenography studies - platform for artistic research), a young institute for artistic research based in Brussels, that currently reflects on experimental modes of documenting, archiving, publishing and sharing. These modes try to mirror the institute’s criticality, its singular modes of operation, agonistic environment and ongoing reformulation of tools, practices and research. Moreover, the institute is concerned with a complex equation: how to develop a specific attitude towards archiving and dissemination that combines both a critique of the usual institutional ‘archival reason’ and the production of readable (structured) ‘forms of knowledge’? Or, in other words, how to avoid and/or assume commodification, reification and authority while documenting and publishing polymorph artistic research practices and discourses? Ultimately a.pass engages with documenting, archiving and disseminating independent and experimental artistic research practices to produce an ecology of text critique and to find inventive modes of co-operation and fair technological practices interlacing politically in ways that are non-innocent and the least toxic as possible.

      The project RRadio Triton is one of the many current expressions of this endeavor.


      Nourished by its participants, RRadio Triton is an after effect of the artistic research seminar named Trouble on Radio Triton ((((((( changing (the) world (s) )))))) that was held in Brussels between January and April 2017 curated and organised by Pierre Rubio within the institution a.pass. The seminar gathered artists-researchers, lecturers, cultural workers and curators around the thorny problem of the relations between imagination and political agency and was concerned with issues addressing the potential (in)capacity of art in general to produce actual social changes and the (im)possible contribution of art to collective empowerment by means of artistic imagination and fictional speculation. Among other research topics, the seminar at large focused on a few main transversal questions : Do you -as artists- through your research contribute to changes in contemporary culture? And if so, what are the cultures generated by your research? Which alternative worlds does your artistic research/practice contain? What is the operative link between your artistic research and the future?


      A full list of involved practices and participants in the seminar includes: +++The artists-researchers who participated in the seminar with their projects, ideas and practices as Aela Royer, Luiza Crosman, Sina Seifee, Zoumana Meite, Sana Ghobbeh, Sven Dehens, Marialena Marouda, Ekaterina Kaplunova, Juan Duque, Esta Matkovic, Sébastien Hendrickx, Pierre Rubio, Eunkyung Jeong, Lili M. Rampre and Esther Rodriguez Barbero. +++ Lectures and reading sessions with Sol Archer, Peggy Pierrot, Edward George, Laurence Rassel, Fabrizio Terranova, Sina Seifee, Sébastien Hendrickx, Michiel Vandevelde, Wouter De Raeve, Marialena Marouda and Caroline Godart. +++ Workshops and ateliers with Myriam Van Imschoot, Alice Chauchat, Helena Dietrich and Christian Hansen that intersected sound art, speculative embodiment and worlding. +++ Theoretical references on speculative fiction with Suvin’s Cognitive Estrangement, Goodman and Eshun’s Afrofuturisms, Gilroy’s Black Atlantic identity politics, Le Guin’s feminist and anarchist science fiction, Donna Haraway's notion of the tentacular, situated knowledges and reparative strategies, Accelerationism, and Benjamin’s theory of language as magic. +++ Screenings revisiting SF cinema curated and hosted by Ekaterina Kaplunova and Sven Dehens.+++ Inputs by the seminar mentors Veridiana Zurita, Kristien Van den Brande, Peggy Pierrot and Caroline Godart.


      Not merely archiving, rather activating a labor-intensive work of memory elaborated by the notion of radio as an instrument operative on the real, the RRadio Triton project is a compost of all these contributions and their transformation in the present time. The broadcasting agenda of the RRadio Triton to come will be structured around by three kind of shows. Three main programs. Three playlists. The first consists of multiple forms of interviews with the numerous actors of the seminar. The second of more or less fictional experimental sound pieces produced with or by the seminar’s participants. The third being a series of edits of the lectures, reading sessions and workshops that were part of the theoretical/practice based body of the seminar. The radio will be online soon on a digital interface that will assemble in an elegant and complex way all the “pieces” and will perform live in different contexts different kind of broadcasts in collaboration with different institutions/hosts. . Determining fluidly the critical nature of the fictional radio and within its intentionally heterogeneous and plastic landscape, all the RRadio Triton 'pieces' will collectively activate different types of issues engaging the problems of the operativity of speculative fiction and of, at large, political art. But not only.


      The audio publication RRadio Triton is the outcome of the voluntary contributions of all the actors of the 2017 seminar and their recomposition in the present time. RRadio Triton is an a.pass production initiated, curated and hosted by Pierre Rubio, and is technically, artistically and dramaturgically supported by Christian Hansen and Sina Seifee.


      A beta version of RRadio Triton audio publication here

      A comprehensive presentation of the 2017 seminar here .



    • Night Session
    • Screening
    • Block 17/I
    • YOU CALL THIS PROGRESS ?! 4/4 (revisiting SF Cinema) curated by Dehens & Kaplunova
      17 March 2017
      posted by: Pierre Rubio
    • a.pass
    • 20 March 2017



      Screening starts at 16h00
      Entrance free
      Extended, closing program for Monday 20/03/17
      2016/ 100'
      Christopher Roth with Armen Avanessian

      Features Georg Diez, Anke Hennig, Tom Lamberty, Nick Land, Quentin Meillassoux, Reza Negarestani, Björn Quiring, Patricia Reed, Tom Streidl, James Trafford, Jeanne Tremsal, Alex Williams, and Slavoj Žižek.

      Neil Beloufa

      Shot in Mali, Neil Beloufa’s Kempinski (2007) is a science fiction documentary featuring interviews with local inhabitants as they imagine their visions of the future.

      +++ BREAK/ Starts again at 19h30 +++

      1986 / USSR/ 135'
      Georgiy Daneliya

      Kin-dza-dza! is one of the strangest artefacts in all of Soviet cinema. It’s a science fiction satire in which Vladmir and Gedevan, a gruff Russian construction worker and a Georgian student, find themselves accidentally transported to Pluke, a barren desert-world with a barbaric, bureaucratic society. Gradually realising that they are not in a ‘capitalist country’, the two men begin a long and farcical voyage home that more closely resembles the theatre of the absurd than it does any preconceived notion of cinematic science fiction. The men befriend two locals, Bi and Wef, and are soon busking their way across Pluke and becoming ensnared in various misadventures that stem from the planet’s bizarre and unbendable social rules, and its two-tier social structure of ruling Chatlanians and subservient Patsaks.

      Heart of a Dog 
      1988 / USSR / 113'
      Vladimir Bortko

      An adaptation of Mikhail Bulgakov’s dystopian and comic sci-fi novel Sobache Serdtse about a Soviet experiment of turning a dog into a human, set in Moscow in 1925, not long after the Revolution of 1917.
      Old Prof. Preobrazhensky and his young colleague Dr. Bormental inserted the human's hypophysis into a dog's brain. Couple of weeks later the dog named Sharik became a slovenly and narcissistic incarnation of the New Soviet Man.
    • Reading Session
    • Block 17/I
    • Book Club #9 Language as Magic and the Language of Things Book Club Series / Caroline Godart & Marialena Marouda
      03 March 2017
      posted by: Pierre Rubio
    • a.pass
    • 17 March 2017
    • Book Club #9 Language as Magic and the Language of Things




      Bookclub #9

      Close Reading Session with Caroline Godart and Marialena Marouda

      Language as Magic and the Language of Things

      Walter Benjamin’s “On Language as Such and on the Language of Man”





      “To whom does the lamp communicate itself? The mountain? The fox?”


      In the essay “On Language as Such and on the Language of Man” Benjamin proposes a language metaphysics that extends to every thing. Every thing has a language: objects, animals, human beings but also immaterial things, like the Arts or Technology. For Benjamin language is therefore a medium going very much beyond human language and the communication through words. One could say language is the way in which some thing – indeed every thing – communicates itself to the world.

      During this morning session we will read Benjamin’s text on the metaphysics of language by using the method of the feminist close reading. By encountering the text in such a way we will try to unfold concepts such as the magic in language and the language of things.




      Caroline Godart holds a PhD in Comparative Literature with a concentration in Cinema Studies from Rutgers University (USA), where she studied under the direction of Elizabeth Grosz. She is now an Assistant Professor of Communication, Germanic Languages and Cultural Studies at IHECS (Institut des Hautes Études des Communications Sociales, Brussels) and a Scientific Collaborator at the Université Libre de Bruxelles (ULB). Her first book, The Dimensions of Difference, was published by Rowman and Littlefield in 2016. It explores the question of difference, and in particular of sexual difference, through three axes (space, time, and embodiment), which are approached both as aesthetic devices and as philosophical concepts in the works of Luce Irigaray, Gilles Deleuze and Henri Bergson.


      Marialena Marouda works in the fields of performance art and choreography. She studied philosophy and visual arts at Columbia University in New York, USA (B.A., 2004) and continued her studies at the Institute for Applied Theater Studies at the University of Giessen, Germany (M.A., 2011).  Marialena Marouda’s work is focused primarily on the development of performance exercises, self-invented practices for relating to and for inhabiting spaces. The experimentation with walking, listening and storytelling as relational spatial practices forms the basis of her work.



      Friday 17th from 10am to 2pm

      @ a.pass 4th floor

      participation to the costs : 5 euros


    • Night Session
    • Screening
    • Block 17/I
    • YOU CALL THIS PROGRESS?! 3/4 (Revisiting SF Cinema) curated by Dehens & Kaplunova
      03 March 2017
      posted by: Pierre Rubio
    • 06 March 2017



      Program for Monday 06/03
      Screening starts at 19h30
      John Akomfrah
      1988 / Ghana / 88 min
      Preceeding the visit of Dr. Edward George, member of Black Audio Film Collective (1982-1998), we present Testament, the first narrative feature film of the collective. Link to the event / on Facebook
      In Testament, the condition of the postcolony is embodied in the figure of activist turned television reporter Abena who returns to contemporary Ghana, for the first time since the 1966 coup that ended President Kwame Nkrumah’s experiment in African socialism. Adrift in a ‘war zone of memories’ in the words of the film’s subtitle, Abena is caught in the tension between public history and private memory Testament is characterised by a depopulated frame and the deliberately cold look that evoke an emotional landscape of postcolonial trauma.
      The Unity of All Things
      Alexander Craver & Daniel Schmidt
      2013 / USA, Switzerland, China/ 97 min
      The Unity of All Things is a work of experimental science fiction about the construction of a particle accelerator beneath the U.S./Mexico border. It is grappling with questions of self and other by employing particle physics as a metaphor for the morphing nature of human identity. The film engages the utopian impulses of the genre, not through the imagining of another world, but through the rendering of this world as Other. All subjects are treated as alien, or as radical others, who search for, or advance different ideological, psychological, or sexual ideals of belonging. Subjects oscillate between the contemplation of past societal traumas and idealizations of futurity that refuse to synthesize or resolve, but instead reveal a troubling satire of the present.
      Program for Monday 06/03
      Screening starts at 19h30
      Entrance free
      location a.pass 4th floor,+1080+Molenbeek-Saint-Jean/@50.8530792,4.3300367,17z/data=!4m2!3m1!1s0x47c3c3f46c54e4c7:0x4e61e376c2f6b53a


    • Lecture
    • Talk
    • Block 17/I
    • Book Club #6 A STITCHED AND SPLIT HOSPITALITY Book Club Series / Laurence Rassel
      02 March 2017
      posted by: Pierre Rubio
    • a.pass
    • 09 March 2017




      with Laurence Rassel

      Thursday March 9th / 10am-1.30pm



      “The split and contradictory self is the one who can interrogate positionings and be accountable, the one who can construct and join rational conversations and fantastic imaginings that change history. Splitting, not being, is the privileged image for feminist epistemologies of scientific knowledge. "Splitting" in this context should be about heterogeneous multiplicities that are simultaneously salient and incapable of being squashed into isomorphic slots or cumulative lists. This geometry pertains within and among subjects. Subjectivity is multidimensional; so, therefore, is vision. The knowing self is partial in all its guises, never finished, whole, simply there and original; it is always constructed and stitched together imperfectly, and therefore able to join with another, to see together without claiming to be another.”

      Donna Haraway, Situated Knowledges



      Upcoming Book Club welcomes “what if” expert-consultant Laurence Rassel. Long ago she diagnosed the vacuity of artistic practices when its formats of knowledge-production are not ‘situated’ in an ecology of art that encompasses social and psychological factors. Paradoxically she considers fiction, science-fiction, narratives and role plays as paramount tools to achieve that goal.

      Laurence Rassel will address the notion of ‘Radical Hospitality’ by revisiting Stitch and Split, and some of the curatorial operating principles and practices she developed in Fundació Antoni Tàpies in Barcelona: ‘re.act.feminism’, ‘Retrospective’ by Xavier Le Roy, ‘FAQ: Zone of frequently asked questions’, ‘Allan Kaprow. Other Ways’.


      At Tàpies Foundation she engaged the staff-members in a continuous play of becoming aliens of their own activity, all the while practising different modes of welcoming and establishing actual rules for how to use the ‘house’. How can rules be read, understood and negotiated if we take the model of children who change the rules of the game as they play: “Now, what if? And if? Now You, Now I.”

      The science and fiction approach in Stitch and Split is an early exemplarity of her hybrid curatorial practice that steers towards a politics of imagination-as-critique and alternative forms of life and work ‘invented’ in common. Stitch and Split explored the joints, the interstices, and the reciprocal contaminations between two registers which might be considered opposed, science and fiction. Science fiction as a zone of tension that amalgamates imaginary and real, utopia and dystopia, flesh and machine; the use of intrusion, incongruity and discrepancy as a system of resistance and a tool for questioning the present. Science fiction is not considered here as an oracle that can predict the future more or less exactly, but as a critical, inventive, cross-genre/gender and cross-disciplinary discourse on the body, identity and contemporary territories.


      Laurence Rassel is a Brussels based cultural worker who acts as curator, teacher, organizer. She is currently the director of ERG (École de recherche Graphique). From 2008 to 2015 she was the Director of Fundació Antoni Tàpies, Barcelona, an institution created in 1984 by the artist Antoni Tàpies to promote the study and knowledge of modern and contemporary art. From 1997 to 2008, Rassel was member of Constant, a Brussels based non-profit association and interdisciplinary arts-lab that advocates free software, copyright alternatives and (cyber)feminism.



      Trouble on Radio Triton”, the dispositive of the current block in a.pass, revolves around a series of questions (de)forming alternatively its centre and its periphery: As artists, do our researches contribute to changes in contemporary culture? And if yes, which alternative worlds do our researches/practices contain and produce immanently? What do we see with/through artistic-research? How do we relate to the future via artistic-research? Through a series of strategic ‘if’s’, ‘what if’s’, ‘as if’s’ we imagine alternatives and exercise criticality along diverse speculative collective practices.





      Thursday March 9th / 10am-1.30pm

      participation to the costs : 5 euros


      @ a.pass / 4th floor,+1080+Molenbeek-Saint-Jean/@50.8530792,4.3300367,17z/data=!4m2!3m1!1s0x47c3c3f46c54e4c7:0x4e61e376c2f6b53a


    • Performance
    • Block 17/I
    • Book club #7bis An Animal Escape Case Book club series special event / Sina Seifee
      28 February 2017
      posted by: Pierre Rubio
    • a.pass
    • 10 March 2017
    • case of: Sina Seifee
    • Book club #7bis  An Animal Escape Case



      Book Club #7  'Special event'  by Sina Seifee

      An animal escape case

      March 10th – 2.30am-3.30pm



      This essay/performance investigates the fragile intersections of friendship between digital avatars and trans-animals in the social media in Tehran’s landscape. Through personal animal-findings and fairy-tale associations the An Animal Escape Case interprets the epistemological openings and closings in cross-species sociality in Tehran domestic landscape exemplified in the everyday use of mobile phones where images of pets circulates and different species meet in mediated formats. The essay/performance analyzes all that anthropomorphism performs and withholds on and with animality in the situated conditions of contemporary Tehran domestic life and addresses the relationships between people, animals and place in a socio-technological milieu as complex as Tehran's urban environment with its politics, televised operations, public/private cross- boundaries, its wilderness, and technologically mediated stories and rumors that populate its landscape. By going through the politics of friendship in a political and historical milieu the essay explores different modes of friendship in the literary texts such as: the 8th century Kalile va Demne’s indo-Iranian essence of friendship, the quotidian of middle ages registered in the works of Saadi, an Iranian modality of everyday happening of greeting in Taarof, children animation films, and ‘Telegram’ social networks in my own family. The An Animal Escape Case as an artistic concern with “foreign-policy” remains committed to the finite essence of friendship while investigating the origins of reciprocity, identification, and greeting in quotidian technologized performances. By problematizing the notion of Democracy as an institutionalizations of a Graeco-Roman model of friendship, the essay/performance asks for other forms of friendship that has stakes in multi-species contingencies in a “difficult” landscapes such as Tehran, operations of disproportion and disidentification empowered by middle ages Indo-Persian cosmologies, and the possibilities of empathic non-understanding in everyday life.


      Sina Seifee is an interdisciplinary artist working in the field of computer art, writing, drawing and performance. He is involved in research and work on technology, narrative, globalism, and intercultural mythologies.



      Book Club #7  'Special event'  / Sina Seifee

      March 10th – 2.30am-3.30pm

      Entrance free

    • Lecture
    • Talk
    • Block 17/I
    • Book Club #7 Politics of Speculative fabulation Book Club Series / Fabrizio Terranova
      28 February 2017
      posted by: Pierre Rubio
    • a.pass
    • 10 March 2017
    • Book Club #7 Politics of Speculative fabulation



      Book Club #7 with Fabrizio Terranova

      Politics of Speculative Fabulation

      March 10th - 10am-1.30pm


      In this talk/reading session, Fabrizio Terranova will revisit a recent text by Donna Haraway, “Tentacular Thinking” and talk about the different projects he is involved in where activism, speculative fiction and pedagogy merge.


      "We need new types of narrative", once wrote Haraway (1). We follow in her tracks. Indeed we need new types of narrative and techniques. Stories that reclaim the earth and the commons that capitalism has stolen from us. Stories that invite us to take up and create trans-species sensitivities, trans-matters vitalities and trans-cerebral unrests. And it’s not enough imagining them, these stories have to be made. And even making them does not suffice, it is necessary to learn how to fabulate what concerns us, what we are confronted with, that is to say, to venture into narrations and cosmologies that can welcome these sensibilities, vitalities and crossing unrests. Fabulating is indeed a new kind of construction, at least for those who seek knowledge and in our opinion, fabulations are those narratives that dig interstices in our world, queering and manipulating it in a more than imaginary take off’s until sparking new attachments and forcing the investigation to be reopened, so that we may once again explore this forsaken territory, which did not seem to deserve even a bit of our attention. Fabulating is an act of repopulating which will no longer be trapped by the limited question of True and False. Stuttering the real, launching the orderly sabotage of the categories of thought, enlarging the spectre, bringing out connected and baffling new worlds, deploying them by triggering desires for the possible and shifting a too well described overwhelming World. Finding tricks, playing, tirelessly returning to our practices, affirming the necessity of new ways of telling and experiencing these worlds, is what we must learn to do.

      Fabrizio Terranova

      (1) D. Haraway, “Primatology is Politics by Other Means”, 1986

      Fabrizio Terranova, who lives and works in Brussels, is a film-maker, activist, dramaturge, and teacher at erg (École de recherche graphique) in Brussels, where he launched and runs the master’s programme in Récits et expérimentation/Narration spéculative (Narrations and experimentation/ Speculative narration). Terranova is the author of Josée Andrei, An Insane Portrait, an experimental documentary that was turned into a book published by Les Editions du souffle. He is also a founding member of DingDingDong – an institute to jointly improve knowledge about Huntington’s disease. He has recently published the article “Les Enfants du compost” in the a publication edited by isabelle Stengers and Didier Debaise : Gestes spéculatifs (Les Presses du réel, 2015). Fabrizio Terranova directed a documentary/film on/with Donna Haraway - 'Donna Haraway: Story Telling for Earthly Survival'. The film will be presented at the end of March 2017 in Brussels within a series of conferences with and around Donna Haraway.




      Fabrizio Terranova’s cinematic choice, a pseudo-realist but discretely fictional one, corresponds very precisely to the mode of presence that makes this portrait a model of integrity. Neither taking over nor offering a neutral opinion, it is a device that constrains Haraway no more than it constrained Josée Andréi, the subject of his first, admirable film, but leaves them to use their own mode of being honest and entrusts in the work of the image the responsibility of turning this recorded document into a co-created documentary work. I am profoundly grateful to this director for knowing how to use his talent, his intelligence and his sensitivity to serve what will be a real transmission of intelligence and emotion. I would also like to emphasise the exceptional confidence that he was able to inspire in Haraway, whose recorded lectures are so far all we know about her, allowing her to give free rein to a “thought” live.

      Isabelle Stengers



      Book Club #7 with Fabrizio Terranova

      March 10th - 10am-1.30pm

      Participation to the costs : 5 euros


      at 2.30pm, an essay-performance will follow Fabrizio Terranova's presentation.

      "An animal escape case" by Sina Seifee





    • Seminar
    • Block 17/I
    • BOOK CLUB #8 ACCELERA.PASS Book Club Series / Michiel Vandevelde & Wouter De Raeve curated by Sébastien Hendrickx
      24 February 2017
      posted by: Pierre Rubio
    • a.pass
    • 16 March 2017




      Book Club #8 with Michiel Vandevelde and Wouter De Raeve




      A seminar-presentation by Michiel Vandevelde and Wouter De Raeve curated by Sébastien Hendrickx


      How to render our future habitable again, without resorting to the false paradise of disembodied utopias? The societal challenges of the 21st century urge to re-think tactics, methodologies and productions of knowledge how to challenge the prevailing hegemony. In 2013 the Accelerationist Manifesto by Nick Srnicek and Alex Williams emerged, aiming to do exactly that. It questions the traditional Left and demarcates a renewed relation with capitalism, while its provocative aura generated a whirlwind of pros and cons.


      During this seminar we will not merely read excerpts of the manifesto. By means of a genealogy of the concept, we'll try to frame this tendency within the larger philosophical evolutions of the past decennia and nuance its “accelerating” characteristic.


      Michiel Vandevelde (Belgium, 1990) began his dance career at an early age with the Leuven-based company fABULEUS. Since graduating from P.A.R.T.S. in 2012 he has been building up his own practice as a choreographer, curator and writer. A political and artistic activism is the common thread running through his work. He is a member of the Bâtard festival’s artistic team and of Etcetera’s editorial team. Michiel has previously appeared at Kaaitheater with Antithesis. The future of the image (2015).

      From 2013 to 2017 Michiel Vandevelde will be artist in residence at Kaaitheater.


      Wouter De Raeve (BE, 1982) studied landscape architecture and is currently pursuing a master degree in visual arts at KASK (Ghent, Belgium). An interest in the interaction between the spatial realm and how society is thought is the leitmotif running through his projects. He recently co-initiated the platform Perhaps it is high time for a xeno-architecture (of knowing) to match, a Brussels-based curatorial and research platform that seeks to examine the possibilities for re-radicalizing spatial practice.


      March 16th, 10am-1.30pm

      @ a.pass 4th floor

      Participation to the costs : 5 euros


    • conference
    • Event
    • Lecture
    • Recent Past
    • Block 17/I
    • LAST ANGEL OF HISTORY screening and presentation by Dr EDWARD GEORGE
      23 February 2017
      posted by: Pierre Rubio
    • a.pass
    • 08 March 2017





      a screening and presentation by Dr EDWARD GEORGE

      (Black Audio Film Collective, London)


      The Last Angel of History is one of the most influential video-essays of the 1990s influencing filmmakers and inspiring conferences, novels and exhibitions. Black Audio Film Collective's exploration of the chromatic possibilities of digital video is embedded within a mythology of the future that creates connections between black unpopular culture, outer space and the limits of the human condition. The influential Black Audio Film Collective crafted this experimental blend of sci-fi parable and essay film, which also serves as an essential primer on the aesthetics and dynamics of contemporary Afrofuturism. Interviews with esteemed musicians, writers, and cultural critics are interwoven with the fictional story of the “data thief,” who must travel through time and space in search of the code that holds the key to his future.

      Edward George, the writer, researcher, presenter of this ground breaking science fiction documentary, will present and discuss the film and its themes of music, Diaspora, science fiction, and its engagement with Afro futurism.


      Dr. Edward George is a founder of Black Audio Film Collective (1982-1998), the multimedia duo Flow Motion (1996-present), and the electronic music group Hallucinator (1998-present).



      March 8th, 2017 _ 7pm-10pm


      @ a.pass

      Delaunoystraat 58

      1080 Brussels


      ​entrance free​!


      Screening at 7pm

      Presentation at 8pm

      Discussion at 9pm




    • Night Session
    • Screening
    • Block 17/I
    • YOU CALL THIS PROGRESS?! 2/4 (Revisiting SF Cinema) curated by Dehens & Kaplunova
      10 February 2017
      posted by: Pierre Rubio
    • a.pass
    • 16 February 2017



      Program for Thursday 16/02, 19h30

      The stuff of stars has come alive
      A Visit To The Underground Cities Of Mars
      1977/ USA/ 58"

      We'll go visit the underground cities of Mars, as imaginated and documented by an actual psychic experience. It shows for a more embodied approach to the SF imagination and reconsiders the trope of the guest, the visitor, the witness as experience. We will be guided by Uriel and her students of the UNARIUS academy of science, an UFO-religion still active today. 

      The Co-Star Tapes
      Compiled by Miranda July
      1998-2002/ USA/ Var.
      Then we head to scroll through The Co-Star Tapes, a series of videos compiled and distributed by Miranda July in the 90s. Let's look at the co-stars of the sky. It's a feminist, queer sky; a betaville for the future.

      The selection includes:

      How The Miracle of Masturbation Saved Me From Becoming a Teenage Space Alien - Dulcie Clarkson
      A coming-of-age story you've never seen before.

      The Amateurist - Miranda July 
      A “professional” woman monitors an “amateur” woman (both played by July) via video surveillance, as she has for the last four and a half years. She has never had direct contact with the amateur, but creates a sense of communion through numbers, knobs and careful language.

      Transeltown - Myra Paci 
      Dante transported to Times Square.

      NOTE: The event is open for limited public. Feel free to invite some friends. 
      Before the screening at 7.30pm, around 6pm we will cook some vegetarian pasta and eat together. 
    • Reading Session
    • Talk
    • Block 17/I
    • Book Club #5 Sacred Drift, a journey into political consciousness of sound Book Club Series / Peggy Pierrot
      09 February 2017
      posted by: Pierre Rubio
    • a.pass
    • 16 February 2017
    • Book Club #5 Sacred Drift, a journey into political consciousness of sound



      Now if six turned out to be nine,
      I don't mind, I don't mind (…)
      Alright, 'cause I got my own world to look through,
      And I ain't gonna copy you.

      - J.Hendrix


      Stimulating the audio nerve directly
      You wanna come flex with me?

      - The Spaceape



      In this Book Club, we drown together in an ocean of sound and words.

      We listen to echoes of submarine writings. We vibrate to the whale’s praise chants. We embrace syncretic marginal cults. We embark on a slave/space/ship for a time travel into modern cultures.

      1492. Knowledge Freedom/Culture Born Wisdom.

      We build or we destroy.

      We find our way through popular cultures and music. Is there something to hear between the 0 and the 1 of digtised compressed music? Is there something to de-cypher in our coded Nyabinghi drums? What is the message hidden between themes, rhythms, intonations, improvisations, the samples, the drum, the bass, the cuts and the pastes?

      We learn about the Know-Ledge.

      What kind of mental space or imaginary frame allowed/constrained the emergence of a futuristic post-modern culture within the Black Atlantic?

      To mediate our comprehension of the unsubtitled tracks, we'll intensively use texts by Kodo Eshun, David Toop, Peter Lamborn Wilson, S. H. Fernando Jr. and others, hoping we’ll finally kiss the sky.

      We draw an intensive rear view mirror tour in theory, music, politics, visual arts and mysticism.

      Positive – Energy – Always – Creates – Elevation. (PEACE)


      We end the session with Zoé Whitley on the “ afrofuturistic transnational geographies”, a framework of thoughts and aspirations called Afro Futurism, today, in 2017.

      Partly reading together, this session will also be a time for listening and thinking together.



      Peggy Pierrot lives in Brussels and is involved in projects linking information, media, activism, radio art and technology.

      A sociologist by training, she holds a postgraduate degree in multimedia engineering. Peggy worked as a journalist (, Le Monde diplomatique, Minorité and as editorial/technical webmaster in media and non-profit projects. She lectures on African-American and Caribbean literature and culture, science-fiction, information society or related topics. She collaborates with erg (École de Recherche Graphique, Brussels), and she is a tutor in les Ateliers des Horizons in Grenoble (France), a new multidisciplinary professional training located at the boundaries of the art(s) and societ(y)ies.




      Thursday February 16th

      from 9.30am to 1.30pm

      (as the session will be quite (con)densed, please be on time!)



      a pass / Studio 4th floor

      rue Delaunoystraat, 58-60

      1080 Brussels


    • Reading Session
    • Block 17/I
    • Book Clubs #3 & #4 Situated Knowledge Book Club Series / Sina Seifee
      29 January 2017
      posted by: Pierre Rubio
    • a.pass
    • 02 February 2017
    • 09 February 2017
    • Book Clubs #3 & #4 Situated Knowledge


      Which version of "realism" are you talking about? Recollecting truth and objectivity are activated whenever a 'point of view' is produced among other metaphors that we use in our practice and thinking in techno-scientific societies. In this group reading sessions we are going to study one of the most stubborn and pervasive phantasms in art and sciences, the figure of objectivity, with the Donna Haraway's 1988 essay 'Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective'.

      This reading focuses on politics and epistemologies of location, positioning, and situating in our power-sensitive conversations, and what does it mean to become accountable and responsible for one's own noninnocent translations.

      We begin with her essay on the 2nd of February and talk about each of our practices in particular continuing on the 9th.

      From 9.30am to 1pm both days.

    • Night Session
    • Screening
    • Block 17/I
    • YOU CALL THIS PROGRESS?! 1/4 (Revisiting SF Cinema) curated by Dehens & Kaplunova
      29 January 2017
      posted by: Pierre Rubio
    • a.pass
    • 30 January 2017



      Program for Monday 30/01/17:
      Screening begins at 20:00
      Crimes of the future
      David Cronenberg
      1970 / USA / 70 min
      Crimes of the Future details the wanderings of Tripod, sometime director of a dermatological clinic called the House of Skin, who is searching for his mentor, the mad dermatologist Antoine Rouge. Rouge has disappeared following a catastrophic plague resulting from cosmetic products, which has killed the entire population of sexually mature women. A bio-political Science Fiction informed by the anti-psychiatry movement mixed with a bit of Ballard and Burroughs and a lot of early Cronenberg imagination. It is curious in many ways - one of which being the fact that no sound was taken on location and the experimental use of foley that resulted from this.
      Per Aspera Ad Astra (Through The Thorns To The Stars)
      1st part
      Richard Viktorov
      1981 / USSR / 75 min
      Neeya is a striking-looking anthropoid found barely alive in an abandoned space craft... Brought to earth by the Russian space crew, she is nursed back to health and memory of her planet Dessa and its ecological collapse. When Neeya's benefactor Sergey joins the crew of an environmental rescue mission, she sneaks on board and convinces Sergey to change course. Once they have landed on the planet of Dessa, they begin improving the atmosphere and water while simultaneously struggling against the supporters of an evil dwarf Turan and a creepy biomass that has escaped the laboratory…
    • Workshop
    • Block 17/I
    • TELESCOPING THE INTERVIEW three day intensive
      12 January 2017
      posted by: Pierre Rubio
    • Myriam Van Imschoot
    • 07 February 2017
    • 10 February 2017


      'Telescoping the interview' follows in three days the route from interview-based art to vocal performance and bruitism. That was anyway the passage once taken by sound and performance artist Myriam Van Imschoot when she discovered within her interest in the interview several doors that led over time to appreciating speech for what it offers beyond meaning: significant aberrations, iterations, flux and rupture, modulation, and not in the least, different alterations of subjectivity away from the knowledge-centered ego to idiotic, pluriphonic and even nonhuman alternatives. It became the backbone of a body of works that persistently investigates the various agencies and colours of voicing.

      The three day workshop wants to act as an insert into Trouble on Radio Triton by interacting with the radiophonic and speculative concerns of this block.

      Rather than developing a full-on extensive practice-based workshop, this is a three day intensive that will combine artist talk, screenings, voice improvisations, score explorations, and other tele-scopic incursions into artistic practice and research.

      Have a look at the schedule below.


      Myriam Van Imschoot (1969) is a Brussels-based sound and performance artist who works in different media - with the voice as the recurrent motive -, often engaging large groups of performers/practitioners that bring their own sonic cultures, techniques and histories, on the edge of folklore and popular practice with extended uses. Her latest performance pieces, What Nature Says (2015) and HELfel (2016), evoke sensations of landscape in trouble, with the call as an emergent act of insistence and resistance. She is the founder of various initiatives, like Sarma, Voicelabs, Oral Site, and recently the sound poetic series Volume SP. In 2017 her new film Yodel Portrait Phil Minton will come out in Stuttgart, Akademie Schloss Solitude, followed by the première of the theater production IN KOOR! (with Willem Dewolf) at Campo.



      Schedule of the workshop

      Tuesday 7th from 3pm to 10pm

      Wednesday 8th from 10am to 5pm

      Friday 10th from 10am to 5pm


      Location of the workshop

      a pass / Studio 4th floor

      rue Delaunoystraat, 58-60

      1080 Brussels



    • Reading Session
    • Talk
    • Block 17/I
      06 January 2017
      posted by: Pierre Rubio
    • a.pass
    • 19 January 2017


      a.pass welcomes Sol Archer on Thursday January 19th from 9.30 to 13h00 as part of the Book Club Series.


      “SF’s specific modality of existence is a feedback oscillation that moves now from the author's and implied reader’s norm of reality to the normatively actualised novum… and now back from these novelties to the author's reality, in order to see it afresh from the new perspective gained.”

      Darko Suvin


      Science Fiction has enjoyed a massive surge in popularity over the past few years, Utopian, Dystopian, and futuristic worlds abound in the cinema, on TV, in books, and cartoons.  I want to look at what drives this surge, and how imagining difference may be a reflection on the political reduction of possibility, following 2008?

      Starting with Darko Suvin's ideas of Cognitive Estrangement, we will look at some of the mechanisms and functions of science fiction, and consider how the imagining of alternative realities operates is a critical gesture with which to view consensus reality -Suvin's “Zero World”.

      We will read into Ursula LeGuin's “Carrier Bag Theory of Fiction”, consider some classic examples of critical Sci-Fi, and talk briefly about the position of theatre within Science Fiction.


      Sol Archer is an artist, primarily working with the moving image to research the layering of narratives within location. Sol’s work has been exhibited internationally, at, among other places, the Sydney Biennial, the MuKHA Antwerp, Action Field Kodra, and the University of California. Currently he is an artistic researcher at the Jan van Eyck Academie where he is developing a film workshop, based on an improvisational game of science fiction and alternative futures.



       on Thursday January 19th from 9.30 to 13h00 !! @

    • post-graduate program project
    • research center project
    • Block 17/I
    • 2017 BLOCK I 01 January 2017
      posted by: Pierre Rubio
    • 01 January 2017
    • 31 March 2017
    • 2017 BLOCK I



      Researchers Participants in the Postgraduate Program

      Aela Royer
      Ekaterina Kaplunova
      Esta Matkovic
      Esther Rodriguez-Barbero
      Eunkyung Jeong
      Juan Duque
      Lili Mihajlovic Rampre
      Luiza Crosman
      Marialena Marouda
      Sana Ghobbeh
      Sina Seifee
      Sven Dehens
      Sébastien Hendrickx
      Zoumana Meïté

      Research End Presentations

      Agnes Schneidewind
      Anouk Llaurens
      Arianna Marcolini
      Brendan Heshka
      Christian Hansen
      Sofia Caesar
      Varinia Canto Vila

      Research Centre Researchers

      Adriana La Selva
      Adva Zakai
      Esteban Donoso
      Isabel Burr Raty
      Mala Kline
      Ricardo Santana


      ERG (Ecole de Recherche Graphique)
      PAF Performance Arts Forum


      Contributors for workshops

      Alice Chauchat
      Caroline Godart
      Christian Hansen
      Edward George
      Ekaterina Kaplunova
      Fabrizio Terranova
      Helena Dietrich
      Laurence Rassel
      Marialena Marouda
      Michiel Vandevelde
      Myriam Van Imschoot
      Peggy Pierrot
      Pierre Rubio
      Sina Seifee
      Sol Archer
      Sven Dehens
      Sébastien Hendrickx
      Wouter De Raeve

      Coordinators a.pass

      Kristien Van den Brande
      Lilia Mestre
      Pierre Rubio


      Caroline Godart
      Peggy Pierrot
      Veridiana Zurita

    • Atelier
    • Block 17/I
    • F.Y.R. Foley Your Research
      28 December 2016
      posted by: Pierre Rubio
    • Christian Hansen
    • a.pass
    • 23 January 2017
    • 06 February 2017
    • F.Y.R.

      Foley Your Research is a series of sound research ateliers throughout a.pass next block. The workshops are based both on the history of the evolution of methods used to reproduce sound effects for radio and film and a research around the question “how does/could my research sound like?”.

      Does your research have a direct auditory quality and content or would you like/need to create a fictional soundscape to give it a sound?   

      In our atelier I will introduce basic recording methods and various microphones and audio editing tools. Digital and analog use of sound effects will be a natural part of our exploration of physical objects in front of a microphone. How does an object/material producing a given sound release to the mental image you want to produce? And vice versa?

      When using microphones as extended ears it will be an important exercise to reposition ourselves as listeners and take the opportunity to tingle with space. Every recording session will offer us choices of changing time and space completely as we will work free of any visual references. In coordination with the ‘Sci-Fi terraforming mode of attention’- the ‘regard’ of the current block, we will explore tools and methods that will enable us to create critical and fictional soundscapes by layering and panning recordings into mono, stereo or surround sound fields.

    • Workshop
    • Block 17/I
    • The Tea Party in search for an elastic alien self
      27 December 2016
      posted by: Pierre Rubio
    • Helena Dietrich
    • a.pass
    • 14 March 2017
    • 15 March 2017
    • The Tea Party


      The Tea Party

      a workshop by Helena Dietrich

      14th & 15th of March 2017

      from 10.00am to 6pm both days.

      @ a.pass 4th floor





      “A detailed and exact description of an object, including representations of its spirit language in conversational form and its daily round of activities, demonstrates to it (really to the spirit) that the performer of the ikar {chant} has intimate knowledge of it and can control it. (...) The subsequent narration of actions and events, addressed to the spirit world, causes their simultaneous occurrence in the mirror image physical world.”

      Joel Sherzer, Verbal Art in San Blas: Kuna Culture Through Its Discourse


      In this workshop I propose practices to create sensitivity towards the relations we build with images and aesthetics. As a development/othering of my former project Becoming Lili I invite the group to encounter alternative forms of being-with-oneself through creating an auto-(science?)-fiction story through self-image-modifications. The practices are based on improvised physical explorations of physiognomic aspects of the body-image collected in several years of experimentation.

      We will use surfaces, materials, clothes and props as entrances into parallel realities within ourselves. The clothes and accessories will become our vessels to travel into unknown (and unconscious?) parallel forms of being. Trying to establish a perspective from outer-space, the future or a parallel universe we will revisit common aesthetics with an outside eye. This approach can be understood as a ritualistic act of re-configuration of known aesthetics revealing another relation to them. We will use clothing like a pharmakon: what pollutes us can also clean us! By triggering the optical unconscious we can transform sensuously a commoditised visual world into a psychological cleansing process from cultural inherited aesthetics. Acknowledging the ability of three-dimensional images and materials as determinations of our perception of self is already an attempt to empower ourselves at changing our/the reality. Not only in words but also in materialising this reality into visible and tangible new object-beings.


      In two days we will approach the ‘image’ from two divergent points of departure: the image’s impact from outside to inside and the creation of an image from inside to outside.

      Looking for alternative beings, bodies and genders we will draw inspiration first from an inward inspection, giving a space for inner perceptions and phantasies and then imagine how they could be actualised into material presences -as bodies. By turning the inside out, we will ‘design’ a wardrobe for a speculative body and search for an embodied aesthetic. An invitation to explore the elasticity of the image and as in a process of channeling, body and image/form will interpenetrate.

      For the first time this practice will not be experienced in one-on-one setting only but collectively in a group. At the end of the days we will all together have a ‘tea-party’ gathering our newly discovered alien-fiction-beings. Their voices will be enhanced through microphones, loop-machines, effect-paddles and speakers and recorded as a divergent radio-show. Supported by the sonic experience and other than filming or taking pictures the focus will be on the ‘invisible matter’ the modifications bring out. Which kind of voices and words will the other image-beings create?


      Helena Dietrich

      The German designer and performance artist Helena Dietrich is since four years working and living in Brussels. After her Master in European Media at the University of Portsmouth, she conducted a research project at a.pass in Brussels, a postgraduate program for performance arts and scenography. Both in her artistic and in her design approach she is interested in the analyzation of the impact of visual information on identity and therefore culture. In her artistic work she lays out the significance of the symbolism that is embedded in esthetics (and by extension our identity). Her work has been exhibited amongst others at Hebbel am Ufer Berlin, Beursschouwburg Brussels, and Cinema Galeries Brussels.


    • Workshop
    • Block 17/I
    • worlding from this world this is not wishful thinking, it is speculating utopia from what is already there
      27 December 2016
      posted by: Pierre Rubio
    • Alice Chauchat
    • a.pass
    • 27 February 2017
    • 03 March 2017
    • worlding from this world



      When inviting me to host this workshop, Pierre Rubio spoke about my piece Togethering, a group solo as a case of worlding: building a present-tense, experiential fiction from gathered (past) moments of collaboration, uprooting situated moments to turn them into speculative propositions for a common future.


      Merriam-Webster’s online dictionary defines speculate (transitive verb) as "to take to be true on the basis of insufficient evidence”. But what constitutes (in)sufficient evidence?

      (Social, political or sensational) reality jumbles together structural and punctual catastrophes, studded with gems: local endeavours, micro-events allowing glimpses of "something better”. Rather than lamenting the scarcity of agreeable situations in our present, we will wilfully engage in expanding through the force of our imagination these maybe fragile, uncertain, easily disposable snippets of communal life which are also part of the world as we know it. Taking these as sufficient evidence for the existence of a world we want to inhabit, we will turn the logic of exception into a logic of rule, and run the risk of building monstrous worlds. At least these might be differently interesting monstrosities.


      Our work will be one of observation, sifting and narration. Unravelling the consequences of chosen proofs, we will abstract principles from these concrete events in order to build systems; fleshing out structure, structuring affects and learning from each other - riffing off misunderstood proposals in order to speculate alternative worlds. Affirming the circumstantial as a law, generalising circumstances, pushing naivety to a point of boldness, our main responsibility rests in our choice of evidence.


      Language is a powerful tool, and your own practices are so many other tools which we will put to use.


      To start the days I will introduce some speculative dance practices in which imagination and collectivity reconfigure standard anatomical knowledge, and where paranormal or subterranean relationships between individuals and communal selves are embodied. The rest of the day is ours and we will fabricate worlds from the small stuff we find at the bottom of our pockets.


      Dance knowledge is always an advantage (always!) but none of what I will propose here depends on it.



      Alice Chauchat

      Alice Chauchat lives in Berlin and works as a choreographer, performer, teacher, editor and other activities related to choreography. She created performances in collaboration with a.o. Louise Trueheart, Anne Juren, Frédéric Gies, Alix Eynaudi and performed/collaborated in projects by a.o. Jennifer Lacey, Xavier le Roy, Marten Spangberg and Juan Dominguez. She has been working extensively in collaborative set-ups, developing numerous choreographic projects and platforms for knowledge production and exchange in the performing arts (, teachback vienna, praticable etc.). In 2010-2012 she was in the artistic direction for Les Laboratoires d’Aubervilliers, a centre for artistic research in the Parisian suburbs. After completing a master degree in choreography in the Amsterdam Theaterschool with a “group solo” and a publication of dance scores and poems, she is currently preparing a PhD on the practice of relational subjectivities in dance.


      Dates : February Monday 27th , Tuesday 28th and March Wednesday 1st and Friday 3rd

      Schedule : 11am-6pm everyday

      Address :,+1080+Molenbeek-Saint-Jean/@50.8530792,4.3300367,20z/data=!4m2!3m1!1s0x47c3c3f46c54e4c7:0x4e61e376c2f6b53a


    • block information
    • Block 17/I
    • TROUBLE ON RADIO TRITON- ((((((( changing (the) world (s) )))))) 10 December 2016
      posted by: Pierre Rubio
    • BLOCK 17/I
    • 09 January 2017
    • 30 April 2017
    • case of: Pierre Rubio
    • TROUBLE ON RADIO TRITON_ ((((((( changing (the) world (s) ))))))





      ((((((( changing (the) world(s) ))))))



      ‘ The struggle to survive is not really separable from the cultural life of fantasy, and the foreclosure of fantasy is one strategy for providing for the social death of persons. Fantasy is not the opposite of reality; it is what reality forecloses, and, as a result, it defines the limits of reality, constituting it as its constitutive outside. The critical promise of fantasy, when and where it exists, is to challenge the contingent limits of what will and will not be called reality. Fantasy is what allows us to imagine ourselves and others otherwise; it establishes the possible excess of the real; it points elsewhere, and when it is embodied, it brings the elsewhere home.'

      Judith Butler

      Undoing Gender, 2004



      For the coming months, a.pass will adopt a ‘Sci-Fi terraforming mode of attention’ to challenge the current assembly of artist-researchers with the task of creating some conditions to critically questioning our abilities to ‘render our world habitable again’.

      In fact, far from proposing an innocuous escapism in the false paradise of disembodied utopias, the next a.pass block is concerned with questions addressing the possible (in)capacity of art in general to produce a change and aims to understand the (im)possible contribution of art to collective empowerment by means of artistic researching.

      The hybrid dispositive of the block is designed to research, reveal, activate and share the political inventive potentialities of our artistic researches through, paradoxically,  an immersion into and practice of different types of (speculative) fiction.

      Which alternative worlds do our researches/practices contain and can immanently produce? How do we relate to the future via artistic-research? As artists, do we through our researches contribute to changes in contemporary culture? And if yes, then which cultures do our researches produce?

      Trouble on Radio Triton is a metaphoric multipolar dispositive. A discursive and practice-based ‘lure for feeling’ and thinking. An operative alibi strategically using ‘if’s’, ‘what if’s’, ‘as if’s’ to exercise critique and imagine alternatives.

      Through a permanent dialogue between practice-based research, reflection on a variety of discourses and different modes of speculation we will explore multiple but simultaneous realities induced by a proliferation of free-form  'fictionalisations' of every participants’ research in parallel with the individual development of these very researches.

      What can we discover in our research by listening to it from another space – the one of fiction? Who will talk?  What will talk? But also: how to listen? Where to listen from? What to listen for? And whom to listen with? How to get to more than one point of listening? What/Who will become deaf? What/Who will be silenced? What/Who will be heard?



      We will present our researches three times during the block, using different forms: at first a networked portrait then a master class and finally a performative artistic-research presentation.

      On Thursday mornings we will welcome several engaged practitioners in a series of reading sessions, talks and discussions curated by Pierre Rubio in collaboration with some of the artists-researchers involved in the program.  They will share with us their efforts at creating conditions for imagining otherwise.

      With e.g. : Sol Archer, Peggy Pierrot, Laurence Rassel, Fabrizio Terranova...

      We will follow three different practice-based workshops:  Alice Chauchat's Wordling from this World , Helena Dietrich's The Tea Party  and a taylor-made proposal by Myriam Van Imschoot.

      We will attend a series of conferences by Edward George, Paul Gilroy, Lizzie Borden and Donna Haraway.

      We will collectively curate the Night Sessions: a series of evenings proposing lines of flight and unexpected connections with the program.

      We will finally collaborate together at creating a true/false/real/fictional radio station: Radio Triton.



      Radio Triton is the collective experimental dispositive of the block – a pedagogical and metaphorical tool. The proposal invites the participants to imagine and produce a series of audio pieces developed out of their researches and their contributions to the block. They can be produced individually or in collaboration within the ‘machine’ Radio Triton, which nature and identity we will collectively invent.

      The Radio Triton ‘'program’ will follow two main trajectories. The first consisting of the recording of different forms of interviews between the artists researchers and the block-guests and second being the creation of fictional audio and sonic pieces through the application of various translation processes to the participants’ researches.

      These translations/speculations will be supported by a series of sound research ateliers. Starting with ”Foley your Research” with Christian Hansen -a queer interpretation of Foley art- around the question "how does/could your research sound like?" and followed by a series of  Thursday afternoon sessions curated by Pierre Rubio in collaboration with the artists-researchers. The aim of the sessions will be in finding the appropriate 'displacing questions': the futures we need to produce the audio fictions we need.

      Radio Triton will simultaneously engage in the tasks of performing, documenting, archiving and broadcasting alternative -both disturbing and reassuring- ways of becoming-with-each-other otherwise.



      The block and the radio dispositive are named in reference to Donna Haraway’s “invitation to stay with the trouble” and the anarchist and hedonistic science-fiction masterpiece novel by Samuel R. Delany ‘Trouble on Triton - an ambiguous heterotopia’ from 1976. The novel was partly written in a dialogue with Ursula K. Le Guin’s anarchist and feminist science fiction novel ‘The Dispossessed’, whose subtitle is ‘an ambiguous utopia’. As the subtitles imply, the two novels offer conflicting perspectives on utopia and imagine the concrete possibilities and consequences of anarchist and queer societies.

      Both books inviting us to see through the trouble.


      Pierre Rubio, December 2016



      “The first cultural device was probably a recipient .... Many theorisers feel that the earliest cultural inventions must have been a container to hold gathered products and some kind of sling or net carrier”. So says Elizabeth Fisher in Women's Creation (McGraw-Hill, 1975). But no, this cannot be. Where is that wonderful, big, long, hard thing, a bone, I believe, that the Ape Man first bashed somebody with in the movie and then, grunting with ecstasy at having achieved the first proper murder, flung up into the sky, and whirling there it became a space ship thrusting its way into the cosmos to fertilise it and produce at the end of the movie a lovely foetus, a boy of course, drifting around the Milky Way without (oddly enough) any womb, any matrix at all? I don't know. I don't even care. I'm not telling that story. We've heard it, we've all heard all about all the sticks spears and swords, the things to bash and poke and hit with, the long, hard things, but we have not heard about the thing to put things in, the container for the thing contained. That is a new story. That is news.”

      Ursula K. LeGuin in ’The Carrier bag Theory of Fiction’,

      In Dancing at the Edge of the World, 1986





post-master program
pre phd-program
to be discussed

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