Robert Stock
I am Associate Professor for Cultures of Knowledge at the Department of Cultural History and Theory and PI of the Cluster »Matters of Activity. Image Space Material« at Humboldt University Berlin. My research interests are the relations and cultures of knowledge of digital media and dis/abilities, the materiality of epistemic practices, Luso-African decolonization processes and postcolonial knowledge objects as well as human-animal-technology assemblages. In addition, I am interested in inclusion politics and access work in museum exhibitions.
ORCID ID: https://orcid.org/0000-0002-2256-0928
2015-2021, I coordinated the research unit "Media and Participation", where I also was associated postdoc in SP 2 „Techno-sensory processes of participation. App-practices and Dis/Ability“ at University of Konstanz.
I have a PhD in Cultural Studies and was a member of the International Graduate Centre for the Study of Culture (GCSC), University of Gießen where I analyzed postcolonial memory politics and filmic testimony in Mozambican and Portuguese documentaries (transcript 2018). Before, I studied European Ethnology, Cultural Studies of Eastern Europe and Portuguese Literature in Berlin und Lisbon.
ORCID ID: https://orcid.org/0000-0002-2256-0928
2015-2021, I coordinated the research unit "Media and Participation", where I also was associated postdoc in SP 2 „Techno-sensory processes of participation. App-practices and Dis/Ability“ at University of Konstanz.
I have a PhD in Cultural Studies and was a member of the International Graduate Centre for the Study of Culture (GCSC), University of Gießen where I analyzed postcolonial memory politics and filmic testimony in Mozambican and Portuguese documentaries (transcript 2018). Before, I studied European Ethnology, Cultural Studies of Eastern Europe and Portuguese Literature in Berlin und Lisbon.
less
Related Authors
InterestsView All (44)
Uploads
Books by Robert Stock
Thinking of participation both as promise and duty, the contributions analyse the attractions and impositions connected to the socio-technical formation of collectivities. The constraints of participation are addressed by focusing on the mutual shaping of user practices and technological environments. It is hence a relational thinking that allows specifying the manifold interconnections of technology, practices and discourses.
With contributions by Erin Manning, Claus Pias, Erich Hörl and many others.
Papers by Robert Stock
Erschienen in: „Disability Studies“ meets „History of Science“ : Körperliche Differenz und sozio-kulturelle Konstruktion von Behinderung aus der Perspektive der Medizin-, Technik- und Wissenschaftsgeschichte / Groß, Dominik; Söderfeldt, Ylva (Hrsg.). Kassel : Kassel University Press, 2017. (Studien des Aachener Kompetenzzentrums für Wissenschaftsgeschichte ; 17). S. 171-198. ISBN 978-3-7376-0230-3
Full text: http://nbn-resolving.de/urn:nbn:de:bsz:352-2-fchtc3utncff7
Thinking of participation both as promise and duty, the contributions analyse the attractions and impositions connected to the socio-technical formation of collectivities. The constraints of participation are addressed by focusing on the mutual shaping of user practices and technological environments. It is hence a relational thinking that allows specifying the manifold interconnections of technology, practices and discourses.
With contributions by Erin Manning, Claus Pias, Erich Hörl and many others.
Erschienen in: „Disability Studies“ meets „History of Science“ : Körperliche Differenz und sozio-kulturelle Konstruktion von Behinderung aus der Perspektive der Medizin-, Technik- und Wissenschaftsgeschichte / Groß, Dominik; Söderfeldt, Ylva (Hrsg.). Kassel : Kassel University Press, 2017. (Studien des Aachener Kompetenzzentrums für Wissenschaftsgeschichte ; 17). S. 171-198. ISBN 978-3-7376-0230-3
Full text: http://nbn-resolving.de/urn:nbn:de:bsz:352-2-fchtc3utncff7
mit Menschen mit Behinderungen einsetzt. Im zweiten Schritt wird die filmische Inszenierung des ‚Labors für musikalische Improvisation‘, die Praxis Fassers, als
Resonanzraum für Hören-Fühlen analysiert. Schließlich geht es darum zu reflektieren, wie der Einsatz von digitalen Surround Sound Technologien zur Formierung eines ‚hörenden‘ Zuschauers beiträgt.
The selected film productions aim at creating different perspectives on the CI and, as a consequence, produce sometimes diverging positions regarding auditory environments of human and non-human actors as well as media techniques in which "new sensory regimes" (Hansen 2001) are put into practice: SOUND AND FURY (PART I 2000, PART II 2006) narrates the story of the Artinians, a US family consisting of both hearing and deaf persons, staging a highly emotionalized conflict about the CI that leads to a consequent separation of the family into a hearing part and a deaf part. NATALIE ODER DER KLANG NACH DER STILLE (2011) documents a series of audiometric tests and everyday situations of a CI-recipient emphasizing a continuous 'tuning' between the CI-bearer, the CI and the acoustical world. HEAR AND NOW (2007) narrates the (un)successful implantation of pre-lingual deafened adults, who decide to get a CI after having lived the most part of their lives as deaf persons. The film constructs the early years of their lives as a constant process of adaption to the 'hearing world', as a 'social tuning', which involves the painstaking task of learning and developing communication techniques. Our aim is to discuss the production of different auditory ecologies in which CI-recipients and the technical device are co-constituted in a process of reciprocal tuning, a processual mode of producing subjects, auditory technology and media environment (cf. Pickering 2001).
In einem über mehrere Jahrzehnte andauernden Prozess hat sich das Cochlear Implantat (CI) als Möglichkeit zur Wiederherstellung eines bestimmten Hörens etabliert, auch wenn das von Medizinern und CI-Produzenten gelobte Implantat in der Deaf Community immer noch umstritten ist. Die Überwindung von Gehörlosigkeit durch das CI zielte anfänglich vor allem auf eine Rückgewinnung des Sprachverständnisses. Mittlerweile jedoch geht es nicht mehr nur darum, die Kommunikation mit Hörenden zu erlauben (diese muss durch diverse Formen des Trainings von den CI-TrägerInnen erst mühevoll erlernt werden). Vielmehr fokussieren neuere Produktlinien auf eine optimierte Musikwahrnehmung und die individuelle Auswahl von Accessoires. Letztere betrifft u.a. die Wahl eines bestimmten Soundprozessors, die Farbigkeit der Farbkappen und Hinterohrelemente oder die Entscheidung für wasserunempfindliche Devices. Auch die Konnektivität spielt gegenwärtig eine immer wichtigere Rolle: So werden diverse Accessoires angeboten, die das CI kabellos mit einer Reihe von digitalen Geräten wie MP3-Playern, TV, Tablets etc. verbinden können. Insofern ist das CI – in ähnlicher Weise wie auch Hörgeräte – nicht mehr nur als ‚Prothese‘ zu verstehen, sondern fügt sich als Life-Style-Produkt in den Diskurs um das Human Enhancement ein.
In einer weiteren Lesart kann das Cochlear Implantat als ein technisches Objekt begriffen werden, das die Art, wie Behinderung hergestellt wird, auf entscheidende Weise mitgestaltet. Zunächst spielt dabei die Sichtbarkeit eine Rolle: Während Hörrohre oder große Hörgeräte deutlich auf ein verringertes Hörvermögen hinwiesen, sind miniaturisierte Devices in Zeiten der Nanotechnik die Voraussetzung für das Verschwinden solcher – im sozialen Kontext oft stigmatisierender – Merkmale. Gegen eine Auffassung, die Gehörlosigkeit als Behinderung begreift, wehrt sich aber die Deaf Community schon lange, sehen sich Personen dieser sozialen Gruppe doch eher als einer linguistischen Minderheit, der Gebärdensprachgemeinschaft zugehörig. Die Gebärdensprache ist dabei alles andere als unsichtbar, setzt sie doch vor allem auf die Produktion von Bedeutung durch Bewegung in Raum und Zeit. Weiterhin kommt es durch das CI zu einer Denaturalisierung des Hörens. Das Normal-Hören gerät zu einer Variante der auditiven Wahrnehmung von vielen; es kommt zur Formierung von Gruppen der Hörenden, der Nicht-Hörenden, der hörenden CI-TrägerInnen usw.
Das Cochlear Implantat, seine technische Genese und soziale Wirkung bieten auf exemplarische Art und Weise die Möglichkeit, die Verschränkung von Technik und Mensch zu untersuchen. Dabei geht es nicht darum, die von Medizinern und Ingenieuren propagierte Erfolgsgeschichte einer medizinisch-technischen Entwicklung zu wiederholen. Vielmehr besteht das Ziel darin, das Spannungsverhältnis von technologischer Bedingung und menschlicher Erfahrung in ihrer Wechselseitigkeit zu beleuchten.
The official FRELIMO-discourse focuses mainly on the massacre of Mueda and its significance for the armed struggle and emergence of the “liberation front” (Cahen). It also emphasises and glorifies iconic figures like Eduardo Mondlane, Samora Machel or Josina Muthemba as national heroes. The Wiriyamu incident is above all a symbol for the excesses of colonial violence and the victims that the “povo moçambicano” had to suffer. To a certain extend, it points to the military situation in the early 1970s as well, when the establishment of “liberated areas” was only possible in some provinces of the country and undermines in this way the triumphalistic narrative of the independence movement.
This presentation does however not dwell into the historiographical dimension of the massacre (Dhada). The aim consists rather in analysing three different examples and demonstrate how the massacre was cinematographically negotiated and what characterised the different ways of seeing the past.
In a first case study, the film VINTE E CINCO (1976) by José Celso and Celso Lucas will be discussed. This opulent film-experiment also addresses the history of Mozambique and the history of FRELIMO and its struggle against colonial rule. Thereby it considers the massacre of Wiriyamu as well. The Brazilian filmmakers visited the crime scene during their stay in Mozambique when they undertook a short trip to the northern provinces of the country. I will argue that their perspective on the violence of 1972 is shaped by means of theatrical performances and forms of ‘silent testimony’. This way of dealing with the event is perhaps one of the reasons why FRELIMO disliked the film (Gray).
Secondly, an imaginary return to Wiriyamu will be explored that is also to be situated in the context of post-independent Mozambique. In TREATMENT FOR TRAITORS (1983) by Ike Bertels, the massacre of Wiriyamu becomes relevant. In this film about the so called “compromised” (Igreja, Cabrita), a former colonial soldier of the special units Comandos is called to the witness stand by Samora Machel and gives his testimony about the military operation conducted by armed forces and PIDE/DGS. The survivors of colonial violence do not have a word in these meetings with the compromised. And the description of the soldier involved in the killings does not tackle his guilt either, but is mainly mentioned in order to highlight the brutality of the colonial system (in contrast to the ‘pacific’ manner the FRELIMO acts resp. acted). While FRELIMO at the time stressed that the meetings with the “compromised” were intended to realize a “mental decolonization”, the analysis of the testimony by the colonial soldier in this film demonstrates the interest of the political party to identify highly qualified military cadres in order to win them for the war against RENAMO, a conflict that was aggravating ever more in the early 1980s (Seibert).
In a third example, the TV documentary REGRESSO A WIRIYAMU (SIC 1998) by Felícia Cabrita and Paulo Camacho is analysed. This production is mainly about Antonino Melo, the former commandant of the Comando unit, which conducted the operation in Wiryamu together with agents of the PIDE/DGS. Melo, as a unique case, offered himself for doing the film and meet some of the survivors at the monument for the victims of the massacre in Wiriyamu. The film realises the encounter between the perpetrator and the survivors and uses the testimony of both in order to re-construct the events of that day in 1972. My analysis will however question this achievement of the documentary: Because – while certainly carrying out a form of important memory work – the production also takes into consideration the fate of Antonino Melo as a man who grew up in Moçambique and left it with his family after 1974. In this way, the position of Melo as a perpetrator is relativized. As retornado and man obliged to do his military service by the authoritarian regime, Melo is also portrayed as a kind of victim of the war and the circumstances of that time. While the survivors of Wiriyamu are acknowledged, the TV production perpetuates a discourse of a “double victimization” (Loff) present in Portugal until today.
MUEDA. MEMÓRIA E MASSACRE (1979) discusses the popular memory of the massacre of Mueda on 16 June 1960 (Cahen). While the emphasis lies on the re-enactment of the incidents, audiovisual testimony is also employed by the film. These testimonies with survivors reveal contradictions and ambivalences, which in turn point to their situated character and emergence from specific historical socio-political circumstances. It is argued that the filmed interviews with Vanomba and others are not so much interested in how the survivors experience the situation, but rather in factual accounts. Furthermore, one can argue that these are/were “voice twice silenced” (West). Although the MUEDA is dedicated to the individual and popular memory and its re-enactment, and comes into conflict with FRELIMO because of this engagement, it is also this structure that produces a series of problems and contradictions evident in the ‘first film produced in Mozambique’.
The problem of testimony is also relevant to the recordings made during the process of the “compromised” (Igreja). While the research on the complete archival material produced by Guerra for OS COMPROMETIDOS. ACTAS DE UM PROCESSO DA DESCOLONIZAÇÃO (1982-84) is still to be made at INAC, one can take TREATMENT FOR TRAITORS (1980) by Ike Bertels as an example. Bertels used some of the material by Guerra in order to shed a light on the way Mozambique dealt with its colonial past. The film is a telling example for an audiovisual policy officially proposed by FRELIMO. Regarding the testimony made by former Comando-soldiers (African elements of special forces of the Portuguese army during the colonial war) about the Wiriyamu-massacre on 16 December 1972 (Dhada), the communication is going to focus upon the constraints and impositions the “compromised” had to face when they had to participate in the process. By taking theirs and other accounts as a point of reference for analysis, one can question whether the process or its filmic staging indeed represents a ‘catharsis of colonialism’. Rather, it seems that the show trial reveals, how the collaborators of the colonial regime had to prove their loyalty to the new authorities and therefore points to the ambivalences of decolonisation.
In a similar way, UM POVO NUNCA MORRE (1980) by Guerra can be conceived as a form of giving shape to an official policy and film production. The documentary, its representation of the state ceremony, the commentary true to party principles, symbolises the acknowledgment of conventional film form and the end of experiments like MUEDA. MEMÓRIA E MASSACRE. The cult of the dead was not dedicated to the nameless peasant labourers whose life was ended through colonial violence. Central to the official memory were the idealised figures of revolutionary cadres like Eduardo Mondlane and others. A cult of the dead and personality cult that to some extend palpably until the present, when one considers the statues of Mondlane or Machel in Maputo.
References
ANDRADE-WATKINS, C. 1995. Portuguese African Cinema: Historical and Contemporary Perspectives: 1969 to 1993. Research in African Literatures, 26, 134-150.
CAHEN, M. 1999. The Mueda case and Makonde political ethnicity. Some notes on a work in progress. Africana Studia, 29-46.
CONVENTS, G. 2011. Os moçambicanos perante o cinema e o audiovisual. Uma história política-cultural do Moçambique colonial até à República de Moçambique (1896-2010), Maputo, CP - Conteúdos e Publicações.
DHADA, M. 2013. The Wiriyamu massacre of 1972. Its context, genesis, and revelation. History in Africa, 40, 45-75.
DIAWARA, M. 1992. African cinema. Politics & culture, Bloomington, Indiana University Press.
IGREJA, V. 2010. Frelimo’s political ruling through violence and memory in postcolonial Mozambique. Journal of Southern African Studies, 36, 781-799.
WEST, H. G. 2003. Voices twice silenced. Betrayal and mourning at colonialism’s end in Mozambique. Anthropological Theory, 3, 343-365.
In DUNDO. MEMÓRIA COLONIAL (2009), Diana Andringa realizes a filmic journey to Angola in order to confront the memories of her childhood she passed in Dundo where Diamang had its headquarters. Accompanied by her daughter, Andringa uses the film to critically reflect about the colonial society with its racist structures. ACÁCIO (2008) by Marília Rocha engages in a dialogue with the anthropologist Acácio Videira and his wife Maria da Conceição. Both of them passed part of their life in Dundo, where Videira was working for the Museu do Dundo and migrated to Brazil shortly before Angola became independent. A crucial point of the film is a “ritual”, where filmmakers and protagonists join a common conversation while watching old family photographs and ethnographic footage from Angola, an imaginary journey to the past which is juxtaposed with a visit by the film in contemporary Dundo.
The analysis of both films and their comparison will discuss the different views on the colonial past in Angola the productions argue for. Taking into account the significance of critical perspectives, nostalgic feelings and anecdote telling, the communication aims to show the ambivalent character of a negotiation of the past shaped by media of memory and particular subjectivities.
Paper presented at the panel "'Império português' e independências: contributos para uma genealogia das representações coloniais nas imagens em movimento", organized by Maria do Carmo Piçarra.
significant for the Mozambican-Portuguese memory of the colonial past. Places in Maputo, as for instance the Vila Algarve, a former PIDE prison, and other sites provide a setting for remembering the violence experienced by people persecuted by the Estado Novo or afflicted with social injustice. In a similar but different way, the ruins of the Grande Hotel in Beira or rural sites around Nacala are haunted by memories of the ‘good old times’ before 1974. The paper explores how memories of colonialism and decolonization emerge in documentary films through the intersection of filmic practices, locations of memory and (audio-visual) testimony. It argues that the films create evidence through the use of eyewitnesses that give their accounts at places haunted by the past. The aim consists in shedding light on (filmic) processes that produce credible and authentic narratives about the past and gain a better understanding of films as a form of memory politics in which a discussion and negotiation of the colonial past is brought forward from particular social framew
orks situated in the very present.
Aus dieser Gegenüberstellung lassen sich folgende Fragen ableiten, die im Rahmen der Sommerakademie diskutiert werden sollen:
In welchem Verhältnis steht relationales Denken zu politischem Handeln? Welche Handlungsräume werden eröffnet, wenn Handlung, Widerstand oder Denken ökologisch, d.h. in ihrer Umweltlichkeit (und nicht subjektbezogen) gedacht werden? Anders gefragt, kann Relationalität Widerstand produzieren? Gegen wen/was richtet sich Widerstand, der sich als Teil eines Milieus artikuliert?
Inwieweit ist innerhalb eines relationalen Denkens oder der Idee wechselseitiger Empfänglichkeit, wie Butler/Athanasiou sie vorschlagen, Widerstand zu begreifen, ohne die Dynamik dieser Denkmodelle zugunsten einer erneuten Enteignungsfigur aufzuheben? Kann Widerstand in der doppelten Figur der Enteignung – d.h. zum einen als herrschaftsbegründend wie subjektkonstituierend und zum anderen als beraubend und gewaltsam entziehend – begründet werden? Ist die Eröffnung eines Re-Signifikationsprozesses an die aus der eröffnenden Differenz entstehenden Orte bzw. Situationen, von dem/der aus gesprochen, gehandelt, resignifiziert werden kann, gebunden?
Eröffnet die Retransformation der „matters of fact“ in „matters of concern“ (Stengers) und mithin die Situierung der Betroffenheit eine Möglichkeit in einem radikal relationalen Denken widerständig zu sprechen, zu handeln und den situierten Einzelfall zugleich in Relation zum Milieu zu sehen? Inwiefern aber kann ein solches Denken des Werdens oder der Potenzialität, wie Stengers dies beschreibt, in Werkzeuge für konkrete Positionierungen und politische Aktualisierung übersetzt und insofern in konkret zu beschreibenden Teilhabeprozessen (des Mit-Seins, Mit-Sinns oder Mit-Teilens, vgl. Jean-Luc Nancy) gedacht werden?
Inwieweit legen beide theoretischen Positionen vielmehr eine Problemlage offen, als dieser ein neues Modell entgegenzusetzen? Oder, was gewinnen wir von Butlers/Athansious bzw. Stengers Konzeption für ein Denken des Widerstands und der Teilhabe?
Grundlage der Diskussion im Rahmen der Sommerakademie sind folgende Texte:
- Judith Butler/Athēna Athanasiou: Die Macht der Enteigneten. Das Performative im Politischen. Zürich/Berlin: diaphanes 2014, Kapitel 1, 2, 6 und 13.
- Isabelle Stengers: The Cosmopolical Proposal. In: Bruno Latour/Peter Weibel (Hrsg.): Making Things Public. Karlsruhe: ZKM 2006, S. 994-1003.
- Isabelle Stengers: Stengers: Introductory Notes on an Ecology of Practices. In: Cultural Studies Review, 11/1 (2005), 183-196.
Interessierte TeilnehmerInnen werden gebeten, in einem 2-3-seitigen Diskussionspapier – mit Bezug auf die genannten Texte – zu den Möglichkeiten des Widerstands in relationalem Denken Stellung zu nehmen. Der Call richtet sich in erster Linie an DoktorandInnen und PostdoktorandInnen. Das Papier schicken Sie bitte mit einer kurzen biobibliographischen Notiz (ca. eine halbe Seite) bis zum 31. Mai 2017 als pdf-Datei an robert.stock[at]uni-konstanz.de.
4.-7. May 2016
Catholic University Porto
CALL FOR PAPERS
The senses, affective regimes and film
(Panel Abstract)
Robert Stock (University of Konstanz)
Against the background of a well-known hierarchy of the senses that proposes seeing as the dominant mode of perception, this panel aims to discuss feature films and documentaries tackling the specific ways they audiovisually produce the different modalities of the senses (Hagener/Elsaesser). The aim of the panel consists hence in a media-cultural analysis of films to scrutinize the manifold operations, framings and effects drawn upon in order to describe how sensory experience is conveyed filmically. Consider for example productions like The Diving Bell and the Butterfly (Julian Schnabel, 2007) or Antoine (2008, Laura Bari) which approach forms of subjective seeing and non-seeing in dis/abling settings. Or take into account the manner with which Um adeus português (1985, João Botelho) or Nel giardino dei suoni (Nicola Belluci, 2010) stage practices of listening that enable the perception of the soundscapes of African and European forests while being connected to situations of anxiety, fear but also well-being and concealment. Such ‘hearing scenes’ can be contrasted with the audiovisual fabrication of non-hearing or technologically induced hearing, for example in Hear and Now (2007, Irene T. Brodsky) that discusses the ambivalent affects and socio-cultural implications mediated by Cochlear Implants. Moreover, the panel is also interested in case studies on smelling, which is not only present in Perfume. The Story of a Murder (2007, Tom Tykwer), but also in other productions where the olfactory dimension of specific settings become relevant. Regarding the tactile sense, one could not only think of filmic sensual touch between human bodies but also between bodies and objects etc. Rather, in times of ubiquitous computing and sensory environments, nanotechnics and 3d-printing, the panel also welcomes papers that investigate films and artistic interventions inventing scenarios of tele-medial and/or prosthetically based touching or related experiences and mediated affect (e.g. Peau/Pli Splitscreen, 2012-14, Fetzner/Dornberger). Thus, the panel does not only intend to scrutinize the audiovisual production and intersection of dis/abled sensory techniques in the context of feature and documentary films or other works from the field of art. It also is interested in papers that question the political, social and cultural implications of technological or automated form(atting)s of the senses and their respective affective regimes.
Please send abstracts with 150 words and a short biographical note until 15th November 2015 to [email protected].
For any inquiries please contact also [email protected].
Information about the conference: http://aim.org.pt/encontro/index_en.php.
Aachen, Alemanha
Os abstracts (alemão ou português) com max. 150 palavras e um CV devem-se entregar até dia 31 de Maio de 2015.
A Revolução do Cravos há quarenta anos atrás não só introduziu um dos câmbios mais significativos da história contemporânea de Portugal, como marcou também o fim de um sistema colonial de 500 anos e que, nos anos 70, se havia tornado anacrónico e vinha sendo contestado por vários movimentos independendistas desde 1961. Para Angola, Cabo Verde, Guiné-Bissau, Moçambique, Timor-Leste e São Tomé e Príncipe o ano de 1974 abriu o caminho para a soberania, mas também desencadeou eventos como guerras civis, massacres, êxodos e migrações, cuja memória não é ainda consensual.
A secção centrar-se-á na análise de representações cinematográficas de acontecimentos relacionados com o fim do colonialismo nos países de língua portuguesa. Tanto o cinema de ficção e documental, como séries de televisão e filmes biográficos aproveitam o poder das imagens em movimento e práticas cinematográficas como o recurso a material de arquivo, testemunhas oculares e voice-over para veicular novas interpretações do passado susceptíveis de fazer sentido no presente. Tal é o caso particularmente de produções recentes que olham para o passado a partir de uma maior distância temporal e oferecem novas perspectivas através de referências críticas a narrativas dominantes (como Na cidade vazia, Maria João Ganga, 2004; A guerra, RTP, 2007-2013; Depois do adeus, RTP, 2013; Timor Lorosae - O massacre que o mundo não viu, Lucélia Santos, 2001; Linha vermelha, José Filipe Costa, 2011; Virgem Margarida, Licínio Azevedo, 2013). Mas também algumas produções surgidas logo após os eventos descritos trabalham no sentido de uma desmistificação da história, como Bom Povo Português de Rui Simões (1980), que sujeita a euforia do período revolucionário a uma releitura crítica.
Os trabalhos deverão estimular, a partir da perspectiva temporal, a reflexão sobre a dinâmica das múltiplas interpretações dos acontecimentos históricos da década de 1970 e as suas consequências. As análises poderão incidir sobre todos os tipos de produções cinematográficas que tenham surgido nos últimos 40 anos no mundo lusófono e enfoquem eventos em torno do processo de descolonização (democratização e PREC em Portugal, processos de independência na África, guerras civis, ocupação de Timor-Leste, imigração africana em Portugal, retornados).
Coordenadores da Secção: Robert Stock e Teresa Pinheiro
Contato: robert.stock(at)uni-konstanz.de
Mais informações em http://www.lusitanistentag2015.rwth-aachen.de/pt/congresso/
References
Blume, Stuart; Galis, Vasilis; Pineda, Andrés Valderrama (2013): Introduction. STS and Disability. In: Science, Technology, & Human Values 39 (1), S. 98–104. DOI: 10.1177/0162243913513643.
Bøhler, Kjetil Klette; Giannoumis, G. Anthony (2018): Technologies for active citizenship and the agency of objects. In: Rune Halvorsen et al. (Hg.): Active citizenship and disability in Europe. London: Routledge, S. 192–207.
Fritsch, Kelly; Hamraie, Aimi; Mills, Mara; Serlin, David (2019): Introduction to Special Section on Crip Technoscience. In: Catalyst 5 (1), S. 1–10. DOI: 10.28968/cftt.v5i1.31998.
Kastl, J. M. (2010): Einführung in die Soziologie der Behinderung. Wiesbaden: VS Verlag für Sozialwissenschaften.
Mills, Mara (2015): Technology. In: Rachel Adams, Benjamin Reiss und David Serlin (Hg.): Keywords for disability studies. New York: New York University Press, S. 176–179.
Mills, Mara; Sterne, Jonathan (2017): Afterword II. Dismediation - Three proposals, six tactics. In: Elizabeth Ellcessor und Bill Kirkpatrick (Hg.): Disability media studies. New York: New York University Press, S. 365–378.
Passoth, Jan-Hendrik; Peuker, Birgit; Schillmeier, Michael W. J. (2012): Introduction. In: Jan-Hendrik Passoth, Birgit Peuker und Michael W. J. Schillmeier (Hg.): Agency without actors?. New approaches to collective action. London [u.a.]: Routledge (Routledge advances in sociology ; 58), S. 1–10.
Roulstone, Alan (2016): Disability and Technology An Interdisciplinary and International Approach. London: Palgrave Macmillan UK.
Winance, Myriam (2016): Rethinking disability. Lessons from the past, questions for the future. Contributions and limits of the social model, the sociology of science and technology, and the ethics of care. In: ALTER - European Journal of Disability Research / Revue Européenne de Recherche sur le Handicap 10 (2), S. 99–110. DOI: 10.1016/j.alter.2016.02.005.
PANEL OVERVIEW
Making Analog: On the Prospect and Perils of a Haptic Media Studies
David Parisi (Charleston) and Jason Archer (Chicago)
The Power of Inscription: First Phase of Becoming a Techno-Cerebral Subject
Melike Sahinol (Orient-Institut Istanbul)
The Body Medial: from Fiction to Faction
Denisa Butnaru (Freiburg)
Practices of the hand: Skills, Mediation and Disability
Andreas Henze (Siegen)
Convenor: Robert Stock (Konstanz)