Theater, Performance und Tanz in Hamburg - Kampnagel

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Internationales Sommerfestival 2022
Future of Code Politics II:

Technologies of Radical Care – Konferenz Teil 2

 
  • © Clarote
digital / Theory / Wheelchair users
  • In English or Spanish spoken language with translation into English & German spoken language & live captions in German, English, Oromo, Luganda & Mixe.

    The conference is free of charge but with registration via webshop.

  • Sun, 21.08.2022 11:00 [also Online]
    Kampnagel – P1 Tickets

A conference on the relationship between new technologies and radical care.

The care crisis has been much discussed in the pandemic. It is in line with many other social crises and a natural system on the verge of collapse. "Care" has become the buzzword for many socio-political discussions. At the same time, the state of emergency of the health and social welfare systems, of nature and social coexistence, is often met with hope in new technological possibilities. Such technologies are regularly developed with the aim of making people, the environment and society more efficient. Software systems are then used to optimize processes and thereby control society, nature and people. A system of power and dependencies is thereby codified and disguised in software code. But what if we decided to think of our present and future centering the care for people and the environment rather than focusing on technical control and efficiency?

Over three days, THE FUTURE OF CODE POLITICS II - TECHNOLOGIES OF RADICAL CARE invites scholars, activists and artists from around the world to discuss these questions. They will present queerfeminist, decolonial, anti-racist and anti-ableist perspectives on current technologies of care - and suggest how they might look different in the future.

The programme was made in collaboration with J. Khadijah Abdurahman (We Be Imagining), Gracen Brilmyer (Disability Archives Lab), Lucía Egaña (Musea MAMI), Joana Varon (Coding Rights), Lorena Jaume-Palasí (The Ethical Tech Society) and Lena Kollender. It will be moderated by journalist and author of “Radikale Zärtlichkeit” (Radical Tenderness), Şeyda Kurt.

Download the digital program book with the complete 3-day program HERE.


PROGRAM Sunday, 21.08.

11:00 - 12:00
Keynote: Against capitalism. Technologies of radical care

with Yásnaya Elena Aguilar Gil
curation: Lena Kollender, Lorena Jaume-Palasí

A conversation with author Yásnaya Elena Aguilar Gil on how our thinking shapes the technologies we create.
Public narratives about technologies have generally a very specific idea in mind: machines of steel running complex software, so called artificial intelligence, or digital technologies integrated in our cars, cell phones, medical machines and fridges. Technologies that solve problems by optimizing processes. Technologies that are created for the sake of economic development and growth.
In this understanding of technology, nature becomes a problem that needs optimization – and people mere users. Nature becomes a disposable good that is collapsing in pandemics, resource scarcity, floods and deforestation. Peoples are organized and managed through the uncaring efficiency logics of software.
In this session Yásnaya Aguilar will invite us to broaden our understanding of technology and talk about ways of thinking and making technology beyond capitalism. Yásnaya will introduce us to her concept of Tequiology. Tequiology stems from tequio, a word of Nahuatl origin. It is a social technology and a mode of organization informed by the history of technologies with which first peoples resist oppression, care for the community and protect nature.

In Spanish spoken language with translation into English spoken language & live captions in English and German.

13:00 - 14:30
Panel: Lost in translation II: Decolonizing our imaginaries about Techs

with Denise Alves-Rodrigues, Lu Ain-Zaila, Gabriela Damián, Yela Quim, Kupalua, Génesis Victoria and Eli Wewentxu
Moderation & curation: Lucía Egaña and Joana Varon.

This session will recover, rewrite and recognize a diversity of cosmovisions around technology. Therefore it plays with the possibility of thinking about other temporalities, outside of linear progressive time to access ancestral knowledge and imagine decolonial speculative futures. In search of tech imaginaries that run apart from the vision of futures entailed by Silicon Valley and Hollywood, Lu Ain-Zaila, Denise Alves-Rodrigues and Gabriela Damián were invited to contribute stories that bring to the corefront concepts of afrofuturism, non-mechanical and non-heteronormative machines and decolonial science fiction. Those stories will be interpreted live by musicians and performers Yela Quim, Kupalua, Génesis Victoria and Eli Wewentxu.

15:30 - 17:00
Panel: Abolishing the Child Welfare System (and its Algorithms!)

with Victoria Copeland, Benjamin Lundberg Torres Sánchez & Dorothy Roberts
Moderation & curation: J. Khadijah Abdurahman

How has the adoption of predictive risk modeling tools augmented the surveillance and separation of families in the US child welfare system? What is the connection between the public sector adoption of automated decision systems and the rapid expansion of so-called “prevention services” which function similarly to parole or probation? Why is the abolition of the child welfare system necessary and how is it possible? Legendary scholar or race, medicine and the child welfare system, Dorothy Roberts and abolitionist social worker, Victoria Copeland will discuss these questions alongside the co-curator of this event, J. Khadijah Abdurahman. Part of what this conversation will address is how child welfare is not simply another site of predictive policing requiring policy to mitigate harm, but a central part of the carceral continuum that offers us an opportunity to evolve our methods in approaching critiques of technology and imagining intergenerational repair.

18:00 - 19:00
Performance: You You You
by NEVE ZiqueBeast (Neve Mazique-Bianco)
Cutarion: Gracen Brilmyer

How does technology embody our romantic desires? How do we love one another from afar? What are we touching when we’re not touching each other? Could we learn to make our digital experiences sensuous, tactile? Of course we can. Romance is not just for lovers anymore. Not when we must live each day on earth like it’s our last. Time is too precious not to take it, the dangers to life are too close not to savor the risk that is loving while alive. Framed through a disability justice framework and resististing heterosexual technological assumptions, this performance is saturated with disabled desires to express care—spanning distance, time, bodies, species, mediums, and relationships. Combining sound, movement, storytelling, and dynamic intimate recordings, YOU YOU YOU is a new terpsichorean prayer at the altar of access intimacy as the goddess of love. With unflinching romance and visceral joy, this work challenges the idea that any bodymind could ever be a burden or a plague, and shows how digital technologies are sensual tools for relationality, solidarity, connection, and cyborgian romance. Small methods of access and care and big distances of love and interdependence produce queer disabled (and Black, Indigenous, trans, sex worker, survivor) kinship like no other. We call this medicine. It saves our world.

With audio description in German and short tactile tour (meeting at 17:45 in front of P1).


BIOGRAPHIES

Benjamin Lundberg Torres Sánchez (they/them/elle in Spanish, pronounced ay-yay) uses their art & facilitation to transform individual witness into collective action. As a queer, transnational adoptee, their work resists ways the state hijacks individual & collective bodies to fulfill performances of power across imaginary borders & boundaries.
Lundberg Torres Sánchez’s work has been shown in the U.S. at the Queens Museum, Museum of the Moving Image, The Mills Gallery at Boston Center for the Arts, RISD Museum, and the Knockdown Center to name a few. Their work has been presented internationally in Montreal, Mexico City, Santiago de Querétaro, São Paulo, Lima, and La Paz. They are the founder of the performance and exhibition series, Se Aculilló?, and the co-founder of You Are Holding This: an abolitionist zine for and by adopted and fostered people. Lundberg Torres Sánchez was the Rhode Island State Council on the Arts 2017 and 2018 Merit Fellow in New Genres and Film & Video respectively.

Denise Alves-Rodrigues is a self-taught technologist, visual artist and amateur astronomer, residing in São Paulo-SP. She started her arts studies in Ribeirão Preto - SP, and got her bachelor's degree in Visual Arts at Centro Universitário Belas Artes de São Paulo. She invents devices (electronic or not) and instruments for creating other educational methodologies. She is interested in the generation, collection and distortion of data and materials, researching the frictions between technique and representation. She has been awarded with residences in Brazil and Latin America such as JACA-BH, Spa das Artes, Cloud-RJ and Itaú Experience Program. Collective exhibitions: FARSA (SESC Pompeia - São Paulo / Brazil), Iminência de Tragédia (Funarte - São Paulo / Brazil), Linda Cortile (Galeria Zielinsky - Barcelona / Spain), Topologies of the Future @ Present (Athens / Greece), Art en Órbita (Centro de Arte Contemporáneo - Quito / Ecuador), Poéticas de Laboratório.sobre prácticas artísticas de código abierto (CAS Center of the Arts of Seville - Spain), VIII Biennial of La Paz (Bolivia). Individual Exhibitions: Vocation to Ruin: proof of study (Darling Pearls / Uk), Há uma Esfinge entre Nós (Sé Galeria - Brasil) and O Vazio é Todo Meu (CCSP - Brasil). Residences: KIOSKO - Bolivia, Residencia de la Tierra - Colombia and Ybytu - Brazil.

Dorothy Roberts is an acclaimed scholar of race, gender and the law at the University of Pennsylvania as its 14th Penn Integrates Knowledge Professor. She is also founding director of the Penn Program on Race, Science & Society in the Center for Africana Studies. Her path breaking work in law and public policy focuses on urgent social justice issues in policing, family regulation, science, medicine, and bioethics. Her major books include Fatal Invention: How Science, Politics, and Big Business Re-create Race in the Twenty-first Century (New Press, 2011); Shattered Bonds: The Color of Child Welfare (Basic Books, 2002), and Killing the Black Body: Race, Reproduction, and the Meaning of Liberty (Pantheon, 1997). She is the author of more than 100 scholarly articles and book chapters, as well as a co-editor of six books on such topics as constitutional law and women and the law.

Gabriela Damián is a writer of narrative and essay, a professor of journalism, film and literature at CENTRO university and (according to her bio) the imaginary granddaughter of Ursula K. Le Guin. She is part of the international writing programme Under the Volcano. She is co-founder of the art and science collective Cúmulo de Tesla, a collective that wishes to strengthen the relationships between art, science, and science fiction, as well as the Encuentro de Escritoras y Cuidados and MexiCona: imaginación y futuro. She was the winner of the last edition of the James Tiptree, Jr. award for Dreaming in the Garden. Gabriela Damián has published short stories in several anthologies in Spanish. You can find her work in English in Three Messages and a Warning, an anthology of contemporary Mexican stories of the fantastic (Small Beer Press, 2010) and in A Larger Reality. Speculative Fiction from the Bicultural margins, an anthology of 14 stories, presented in both Spanish and English.

Lu Ain-Zaila is an educator and Afrofuturist author of “Duologia Brasil 2408 - (In)Verdades e(R)Evolução” (2016-2017), “Sankofia” (2018) and “Ìségún” (2019) as well as numerous short stories in anthologies and research papers related to education and literature. She focuses on the importance of imagining and realizing afrofutures and positive futures on the peripheries and margins. She has published tales based in the context of the Brazilian law 10.639/03 - a law that was considered an actual landmark in the adoption of public policies and affirmative actions for recognizing the ethnic and racial diversity in Brazilian education - as well as black narratives focused on philosophical, cultural, historical, mythological and humanistic black values.

NEVE (Neve Kamilah Mazique-Bianco) (they/(s)he) is a multigender, multiracial, multiply Disabled, multidimensional, multidisciplinary terpsichorean artist of the stage, street, field, stream, and screen. They are an Indigenous African who grew up in Lenni Lenape country and is now living in Duwamish and Coast Salish lands and traveling wherever they have access and an invitation. (S)He is a 2020 Pina Bausch Fellow, a 2022 Arc Artist Fellow, and now a 2022 Disability Futures Fellow! NEVE loves life, the delights and pains of embodiment and love, the sparkle-ache and promise of growth, the higher power inside all of us, the earth's lullabies and war cries, drinking color, and kissing/thinking/dreaming/learning/winning with their local and international queer family (especially their cat child Caravaggio). NEVE believes in God(exxes), Collective Access and Liberation, Transformative Justice, Land Back, Right of Return, Reparations, Anarchism (in relationships and governance), the Loch Ness Monster, the Multiverse, the concept that all living beings are people, and 
You. They are currently a contributing writer for the South Seattle Emerald and collaborate with their confidante in arms, fellow Seattle multidisciplinary artist Saira Barbaric as themselves, and as Mouthwater. Visit them online at nevebebad.com, and on social medias at @nevethoh.

Victoria Copeland is a doctoral candidate in the Department of Social Welfare and organizer/partner with the Cops Off Campus Coalition, UC Survivors + Allies, Let’s Get Free LA Coalition, Stop LAPD Spying Coalition, and Defund MPD Coalition. Her research within and outside of the academy is rooted in Black feminist abolitionist epistemology and focuses on the use of multi-system data infrastructures, predictive analytics, and surveillance in decision-making processes. Her dissertation work, Dismantling the Carceral Ecosystem: Investigating the Role of “Child Protection” and Family Policing in Los Angeles was conducted in partnership with the Stop LAPD Spying Coalition and Downtown Women’s Action Coalition to better understand the role and impact of the “child welfare” system, its use of predictive analytics and artificial intelligence, and to chart different pathways towards an abolitionist future.

Yásnaya Elena Aguilar Gil (Ayutla Mixe, 1981) is a member of COLMIX, a collective of young Mixe people who carry out research and dissemination activities on Mixe language, history and culture. She studied Hispanic Language and Literature and studied a Master's degree in Linguistics at the UNAM. She has collaborated in various projects on the dissemination of linguistic diversity, the development of grammatical content for educational materials in indigenous languages, and projects for the documentation of and attention to languages at risk of disappearing. She has been involved in the development of written material in Mixe and in the creation of Mixe-speaking readers and other indigenous languages. She has been involved in activism for the defense of the linguistic rights of speakers of indigenous languages, in the use of indigenous languages in the virtual world and in literary translation. 2021 together with the actor Gael García Bernal, she starred in a documentary series streamed at Netflix called “El tema” (The Issue). The documentary series portrays Mexico's climate crisis through the stories and experiences of environmental activists, human rights defenders, indigenous communities and civil society organizations.


CO-CURATION J. Khadijah Abdurahman, Gracen Brilmyer, Lucia Egaña, Joana Varon

CONCEPT & CURATION Lorena Jaume-Palasí, Lena Kollender

PRODUCTION LEAD (Lea Connert, Dana Tucker, Carolina Brinkmann).

FUNDED BY the Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media within the framework of NEUSTART KULTUR

IN COOPERATION with the Nemetschek Foundation & the Hans Böckler Foundation

WITH THE SUPPORT OF Wikimedia Deutschland - Gesellschaft zur Förderung Freien Wissens e. V. and the Goethe Institute.


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