000			02105nam a2200157Ia 4500
008			220919s9999 xx 000 0 und d
020			_a9783956795381
245		0	_aVisual cultures as time travel _cAuthor: Henriette Gunkel; Ayesha Hameed
260			_aBerlin, London _bSternberg Press, Goldsmiths, University of London _c2021
300			_a87 p _c20cm
520			_aVisual Cultures as Time Travel makes a case for cultural, aesthetic, and historical research that is oriented toward the future, not the past, actively constructing new categories of assembly that don't yet exist. Ayesha Hameed considers the relationship between climate change and plantation economies, proposing a watery plantationocene that revolves around two islands: a former plantation in St. George's Parish in Barbados, and the port city of Port of Spain in Trinidad. It visits a marine research institute on a third island, Seili in Finland, to consider how notions of temporality and adaptation are produced in the climate emergency we face. Henriette Gunkel introduces the idea of time travel through notions of dizziness, freefall, and of being in vertigo as set out in Octavia Butler's novel Kindred and Kitso Lynn Lelliott's multimedia installation South Atlantic Hauntings, exploring what counts as technology, how it operates in relation to time, including deep space time, and how it interacts with the different types of bodies—human, machine, planetary, spectral, ancestral—that inhabit the terrestrial and extraterrestrial worlds. In conversation, Hameed and Gunkel propose a notion of time travel marked by possibility and loss—in the aftermath of transatlantic slavery and in the moment of mass illegalized migration, of blackness and time, of wildfires and floods, of lost and co-opted futures, of deep geological time, and of falling. Copublished with Goldsmiths, University of London
546			_aEnglish
942			_cBK
953			_8N81-390 _aSAFL _bSAFL _cBC13SH2 _eMM2022 Reading Room _oN81-390 80.541 c1 _p503 _yBK
954			_8N81-390 _aSAFL _bSAFL _cBC13SH2 _eMM2022 Reading Room _oN81-390 80.541 c1 _p504 _yBK
999			_c1295 _d1295