Lachlan Fleetwood is historian of science, empire, geography and the environment. He completed a PhD at Cambridge and subsequently held fellowships at University College Dublin and Yale. He comes to LMU as a Marie Skłodowska-Curie fellow. His work focuses on the uneven imposition of ostensibly global environmental categories by empires in the long nineteenth century. His research also investigates how geographical features like mountains and deserts can serve as scales for new global histories of science, empire and labour. His first book, Science on the Roof of the World: Empire and the Remaking of the Himalaya, was published by Cambridge University Press in 2022.
At global dis:connect, Lachlan is completing a project titled Imperial science and the habitability of Central Asia and Mesopotamia, 1815-1914: a history of the societal consequences of changing limits. This history of environmental sciences examines ideas of habitability, uninhabitability and climatic determinism in relation to empire, and it traces their postcolonial legacies in the age of climate crisis.Continue Reading
Franziska Windolf is a visual artist currently exploring the performative potential of patchwork. She deconstructs the patchwork into ‘patch’ and ‘work’, understanding these terms as fragments and action in public or gallery spaces. For her, the artwork is a catalyst, a method of investigation, a means of connecting to people and a way to explore exile and commemoration. By contesting prevalent relationships and hierarchies, and by reassembling research findings, Franziska conceives the artwork as inconsistent, absurd and yet within reach.While at global dis:connect, Franziska is working with diverse portable sculptures, whose forms emerge through encounters in public spaces. She creates an imaginary space of remembrance and reflection in which fragmented memories of exiled artists in the city as well as history of Munich find a poetic presence. Continue Reading
Workshop at the Käte Hamburger Research Centre Dis:connectivity in Processes of Globalisation (global dis:connect), Ludwig-Maximilians-Universität Munich
13–15 June 2023
Organisers: Burcu Dogramaci (Käte Hamburger Research Centre, LMU Munich), Winfried Gerling (European Media Studies – University of Applied Sciences Potsdam/University Potsdam and Brandenburg Centre for Media Studies (ZeM), Potsdam), Jens Jäger (University of Cologne) and Birgit Mersmann (University of Duisburg-Essen)
Processes of migration and flight after 2015 and their depiction, perception and distribution through photography form the initial point of the workshop and subsequent publication Nomadic Camera. The research project seeks to investigate the technical, medial and aesthetic relationship of photography and contemporary migration, historical exile and flight as the pivotal discursive setting in which specific forms of mobility extending from the mid-nineteenth century to today have been negotiated.
The concept adapts the term ‘nomadic’ — a transitory form of existence — beyond static concepts of being and national boundaries (Demos 2017). ‘Nomadic’ refers to a form of mobility that establishes continuities and discontinuities with other terms, such as ‘travel’, ‘displacement’ and ‘exile’ (Kaplan 1996). At the same time, displacements are intrinsically related to experiences of connectivities and disconnectivities, including place-making and belonging, ruptures between life and work in the past and present, experiences of loss and challenges of beginnings.
Viewing photography as a formative part of this history of mobility and migration, we will examine the interconnection between the concepts of ‘nomadic’ and ‘camera’. From its introduction in the early-nineteenth century and throughout numerous technical developments and innovations, photography has been a mobile medium closely tied to equipment, social conditions and cultural framings. Setting out from this hypothesis, the workshop and publication “Nomadic Camera” will centre around the following questions: how are dislocations interconnected with the technical evolutions of the mobile medium of photography? In which way do camera technologies presuppose and affect the visual formulation of exile, migration and flight experiences? What modifications in aesthetics and style, methods and practices of photography do temporary mobility, geographical relocation and resettlement imply?
The workshop organisers seek contributions that analyse the interrelation of photography and displacement from a variety of interdisciplinary perspectives and diverse methodologies, theoretical approaches and thematical framings. The workshop and the resulting publication will be arranged into four main sections:
Section A: Techniques, technologies
Section B: Body, agents, performativity
Section C: Media narrations, narratives
Section D: Circulation, archive, memory.
We invite also artistic visual essays in addition to scholarly contributions.
The Käte Hamburger Research Centre will cover hotel and return travel costs within Europe or, for those coming from other continents, a significant portion of return flights (details determined after acceptance) for those invited to present. The workshop will be in English. Presentations should be 30 minutes in length. Remote participation will be possible, as the workshop will be held in hybrid form.
Expanded, elaborated contributions based on selected talks from the workshop will be published in an edited volume. Final drafts must be submitted by 15 November 2023. Applicants should note the turn-around time between the workshop and the final submission date.
Proposals of up to 300 words should indicate the preferred section. Please send them along with a half-page CV to Burcu Dogramaci (email@example.com), Winfried Gerling (firstname.lastname@example.org), Jens Jäger (email@example.com), Birgit Mersmann (firstname.lastname@example.org) by 15 November 2022.Continue Reading
Her project aims to explore the tension between the decline of in-person communication and the simultaneous expansion of digital communication using contemporary dance as an example. It aims to show how established artistic working methods, forms of communication and collaboration, and performance formats have changed since the Covid pandemic. It asks how this has transformed the perception and the understanding of dance.
Siddharth Pandey is a writer, photographer and curator from the Shimla Himalayas holding a PhD in English and Materiality Studies Cambridge University. He has held fellowships in global history and art history at LMU, Yale, and the Paul Mellon Centre, and he has received the Charles Wallace India Trust Award. Pandey's research interests span a variety of fields, such as fantasy and children’s literature, nature writing, craft theory, folk culture, cinema studies and pop culture. His first book, Fossil, explored the Himalayas through a geo-mythological-poetic lens and is a finalist for the Banff Film and Mountain Literature Festival. His photographic-curatorial work has appeared in the Victoria and Albert Museum and the Oriental Museum in Durham, among other institutions.
My project, ‘This fissured land’: ecological aesthetics, dwelling perspective and modernity's entanglements in the Western Himalayas, interprets global dis:connections in the Himachal Himalayas of North India. Taking the Western Himalayan landscape and its various cultural practitioners as my sources, I develop an interdisciplinary perspective on how this terrain as a land of belonging and natural-cultural rootedness. Drawing upon those sources, I hope to enrichthe conversation on living and being among different people and ideas. I also study how this sense of belonging —traditionally associated with a sensitive ecological attunement and aesthetic fulfillment — is threatened by modernity's multifaceted pressures. Interweaving the concept of ‘dwelling perspective’ with a host of methodologies, I seek a fresh, creative exposition of connections and disconnections in the mountainous realm, one that resonates with other such spaces as well.Continue Reading