On my knees, in an art gallery in a bohemian district of Lima, with my head inside a large rock, I thought: “How did I get here?”
I was being shown around an exhibition by an artist whom I wanted to interview. I had the impression at the time, and still do, that this preliminary meeting was a sort of test. I was being judged on how open I was to the artist’s ideas, how I would talk about their work and what the benefits to them would be.
Placing my head in the rock was an extension of this test; it was about my willingness to embrace certain elements of spirituality and of the artist’s vision (which I had quite possibly shown some scepticism towards). However, it was also a demonstration to me that the methods for introducing myself, gaining a person’s trust and setting up an interview in the UK, simply did not apply in Lima. Continue reading →
From online facsimiles of manuscripts to social media profiles, PhD students from across King’s College London explore how they work with, analyse and are shaped by the digital. Thank you to Colleen Curran, palaeographer and historian; Anna Khlusova from Cultural and Creative Industries; and Rachael Kent, whose PhD spans the Digital Humanities and CCI as a member of the Ego-Media project.
The Still Point Journal‘s blog editor, James Fisher, also joined the panel to discuss all things ‘real’ vs ‘virtual’.
We chat about the way the digital environment shapes us as individual scholars, challenges academic traditions and offers new opportunities for ‘Open Access’ in humanities scholarship.
Dr Caroline Edwards is a Lecturer in Modern & Contemporary Literature at Birkbeck, University of London. Her research and teaching specialisms are in 21st century literature and critical theory, science fiction and post-apocalyptic narratives, Marxist aesthetics, and utopianism. She is currently completing her first monograph, Fictions of the Not Yet: Time in the 21st Century British Novel, and has recently co-edited two collections on contemporary writers – Maggie Gee: Critical Essays (Gylphi, 2015) and China Miéville: Critical Essays (Gylphi 2015).
Poetry of Place took place on 17th May at Enitharmon Press in Bloomsbury. The event brought three poets into conversation about how place and poetry intersects in their work. Fran and I had met for the first time in March, after answering a call put out by the London Arts and Humanities Partnership for two PhD students to run a poetry event. We had a couple of months to get to know each other, plan, meet the poets, and figure out how to bring our own research interests into dialogue, and with the poetry. A real challenge, not least because we’re from very different disciplines – or so we thought!
Right! I’m studying for a PhD based in the English department at KCL, situated between Old English and Performance studies. My research looks at Sutton Hoo, a seventh century medieval burial ground, and Old English poetry. I’m interested in how poetry and place come together at this site to (re)create history. I’m very much picking up on medievalists Gillian Overing and Marijane Osborn’s ‘conviction – or fiction – of the past as being located through or as place’ (Overing and Osborn, 1989).
Whilst I’m at UCL working across the fields of Architectural History & Theory, and Music, looking at the work of the architect and composer Iannis Xenakis. Continue reading →
Hi Emily! Here’s the document for the interview. See you on here! I’m just getting a cup of tea, in case you arrive on here and I seem to be gone!
Hello sorry I am late. Internet was down.
You have your tea. Should we start?
At art school, Emily Lazerwitz was told that she was “’too smart to be a still-life painter’”. Her cursor flickers for perhaps 30 seconds, and I wait for her to tell me more. I imagine she grins, or perhaps grimaces, at the memory. “So to spite him I first made several oil paintings, but then decided maybe it was time to try something new,” the ‘something new’ being making work with text.
She continues, typing quickly, speedily correcting spelling, apparently preferring to delete a whole word or two using the backspace key than move the cursor to any errors using the mouse. It seemed fitting to carry out our interview via a live Google doc, with the majority of the journal and our collaboration being carried out via Dropbox and Gmail – but I realise that, as with the design process, we will miss each other’s gestures throughout this interview. So, I try to read her cursor, the movement of her words across the page, as you read a face or pointed finger. Continue reading →