Feminist Queer Anticolonial Propositions for

Hacking the Anthropocene

7 April 2016
Love Letters to O ther W orlds
Dickson St Community Space, N ewtown

8 April 2016
Propositions for Hacking the Anthropocene
Law Foyer, University of Sydney




Love Letters to Other Worlds
An evening of art, engagement, and collaboration with other worlds.

Thursday 7 April 2016
6:30 9:00 pm
IWCS Dickson St Community Space
35 Dickson St, Newtown NSW 2042

All welcome! Free and family-friendly. No registration required.


In an era of uncertainty about action in the face of complex and
dispersed environmental problems, the Anthropocene asks us perhaps to
infiltrate change as much as anything. Participants at this evening of art,
conversation, exploration, and digestion will be encouraged to show their
debt to (un)charismatic others and ask the world of invisible beings
about what our common futures might hold.




Waste Matters: You are my Future (Kathy High) is a multi-media and

interactive exploration of the power of poo. It investigates our intimate relation

to the gut microbiome and asks whose poo would make you a superstar.

Kathy High (USA) is an interdisciplinary artist researching the ways we relate to
This evening will feature a unique gastronomic experience
our own bodies and the world around us. She does this by looking at cells and
brought to you by the Bioart Kitchen (Lindsay Kelley).
Bioart Kitchen: Art, Feminism, Technoscience (London: IB
microbiomes, animals and institutional biotechnology systems, including the
Tauris, 2016) will be available for purchase at a discount medical and pharmaceutical.
price.
Caution, workers below (Perdita Phillips) takes the form of a modified ouija
Lindsay Kelley (AU) locates her art and scholarship in the board, designed to communicate with the world of termites.
kitchen, where she explores how the experience of eating

Perdita Phillips (AU) is an environmental artist exploring the boundaries

changes when technologies are being eaten.
between human and nonhuman worlds.



Hack the Anthropocene!

Program at a Glance

Friday 8 April 2:00 -2:30 Moderated Discussion / The Audience Hacks Back

8:30-9:00 - Registration
2:30-2:50 break
9:00-9:15 Welcome and Acknowledgement of Country
2:50-3:20 Propositions for Hacking the Anthropocene III
9:15-10:15 OPENING KEYNOTE TALK Eve Vincent (Macquarie) & Timothy Neale (Western Sydney), Mining,
Heat and Light and Water: Resistance Through Fiction Indigeneity, Alterity: Or, Mining Indigenous Alterity?
Ellen van Neerven (Black&Write! Author of Heat & Light) Majidi Warda (University of Sydney), Spontaneous Combustions and Fire as
Moderated Discussion Hack Textuality in the Anthropo/scene: An Augury from the Chthulcene
Jennifer Hamilton (University of Sydney/NYU Sydney), Snow Day
10:15-10:45 coffee/tea Undine Sellbach & Stephen Loo (Macquarie University), The blind and deaf
highway woman
10:45-11:30: Propositions for Hacking the Anthropocene I
Helen Moore (poet), ECOZOA: A Cellular Response to the Anthropocene 3:20 -3:45 Moderated Discussion / The Audience Hacks Back
Vicki Kirby (UNSW), At home with the alien that we are?
Suzi Hayes (La Trobe University), anthropocene privilege 3:45-4:00 - break
Romand Coles (ACU), What's New in the Anthropocene? Natality as
Receptive Agency 4-6 pm CLOSING KEYNOTE TALKS:
Pony Express, The Ecosexual Mystique A Thousand Tiny Anthropocenes: Worlding Troubles from Swedish Feminist
Stephanie Springgay (University of Toronto), Volatizing Bouquet Perspectives
Professor Cecilia Asberg (Linkoping U)

11:30-12:00 - Moderated Discussion / The Audience Hacks Back Toward the Idea of a Black Anthropocene
Dr. Kathryn Yusoff (Queen Mary UK)
12:00-1:00 lunch (vegan; provided)
Moderated Discussion
1:00-2:00: Propositions for Hacking the Anthropocene II
Emily Parsons-Lord (artist), Collective Denial Ongoing / Dispersed Hacks:
Thom van Dooren and Deborah Bird Rose (UNSW), Animist Lures: Arts of Cat Jones (artist), Somatic Drifts
Witness Kay Are (Melbourne), On Touching Back
Fiona Probyn-Rapsey (University of Sydney), Howling the Anthropocene!
Regrette Etcetera (artist/activist), Stretch Marx: Oestrogenic Ecosystems,
Solastalgia, and Species-Panic in the Capitalocene
Victoria Hunt (artist/perfomer), Erasure
Lindsay Kelley (UNSW), Extreme Baking: Toward an anticolonial ingestion
of hard tack

Hack the Anthropocene! PROPOSITIONS FOR HACKING THE ANTHROPOCENE I
Liner Notes - Friday 8 April 2016
Helen Moore, ECOZOA: A Cellular Response to the Anthropocene

MORNING KEYNOTE TALK: A reading of Deep Time, Deep Tissue, from ECOZOA by Helen Moore (Permanent

Heat and Light and Water: Resistance Through Fiction Publications, 2015). Embodying evolutionary wisdom and inspired by the concept

of the Ecozoic Era, Thomas Berrys visionary alternative to the Anthropocene, this
Ellen van Neerven hack stands for collective transformation towards a sustainable planetary future.

Ellen van Neerven is a Yugambeh woman and the award-winning author of Heat Helen Moore is an award-winning ecopoet and socially engaged artist currently
and Light (UQP 2014). She works at the black&write! Indigenous writing and editing based in the UK. Her debut poetry collection, Hedge Fund, And Other Living
project at the State Library of Queensland. Margins (Shearsman Books, 2012), was described by Alasdair Paterson as being in
the great tradition of visionary politics in British poetry. Her second collection,
ECOZOA (Permanent Publications, 2015), which responds to Thomas Berrys vision
of the Ecozoic Era, where we live in harmony with the Earth as community has
already been acclaimed by John Kinsella as a milestone in the journey of
ecopoetics. FFI: www.natures-words.co.uk

Vicki Kirby, At home with the alien that we are? Suzi Hayes, anthropocene privilege

How should we respond to the confusing argument that condemns human Tracing the phenomenon of white privilege through the notion of the
exceptionalism on the one hand, diagnosing anthropocentrisms pomposity, anthropocene.
myopia and murderous self-absorption we are culpable - only then to attribute
the special role of responsible overseer, the one who can take reparative action Suzi Hayes is a PhD Candidate in the Department of Creative Arts and English at La
and redeem previous sins to human exeptionalism? Can we be satisfied with this Trobe University. Her current work explores questions of writing and agency in the
familiar tale of good versus evil, of sinners and saviours, as if the way to engage context of twenty-first century global warming.
ethical quandaries is by dividing us from them: as if all the lessons we learned
about identitiarian politics in other arenas have no application in this one?

Vicki Kirby is Professor of Sociology in the School of Social Sciences, The University
of New South Wales. She is the author of Quantum Anthropologies: Life at Large
(Duke 2011), Judith Butler: Live Theory (Continuum 2006) and Telling Flesh: the
substance of the corporeal (Routledge (1997). She is also editor of What if Culture
was Really Nature? forthcoming Edinburgh University Press. She has articles
forthcoming in Derrida Today; Parallax, PhiloSophia and in David Woods et al. eds.,
Eco-Deconstruction (Fordham UP).

Romand Coles, What's New in the Anthropocene? Natality as Receptive Agency Pony Express, The Ecosexual Mystique

The Anthropocene often denotes the new (cene) epoch in which geological Pony Express offer up a slew of ecosexual life hacks and pick-up tricks. Learn how
and biological processes are profoundly altered by humans (Anthropos). to love the environment through submission, seduction, and self-annihilation.
Brought on by often devastating practices of oblivious human mastery, the
Anthropocene conjures an end to the Cenozoic (new life) era. I suggest we read Pony Express is a collaborative body led by playwright and performance maker Ian
the Anthropocene as a call to new eco-political modes of becoming in response to Sinclair and transdisciplinary artist Loren Kronemyer. Through their pandrogynous
the catastrophe underway. What would be new about the Anthropos would be a collaborative process, Pony Express work across platforms of media art, live art,
renewal of the very idea of natality (our capacity for birthing new action) as and transdisciplinary research to create immersive alternate realities. Their work
receptive agency with nonhuman beings and macro-systems. Receptive agency is reflects themes of environment, apocalypse, and the future. They are currently
briefly sketched in three dimensions: intercorporeal vivacity, mourning, and fury. making the worlds first Ecosexual Bathhouse, a multi-chamber walk through
labyrinth that plunges participants into the world environmental eroticism, testing
Romand Coles has recently become a professor at the Institute for Social Justice at the boundaries of evolution and inhibition. Ecosexual Bathhouse is part of Next
Australian Catholic University in Sydney, after collaborating in the leadership of a Wave Festival 2016.
radical and ecological democracy action research movement at Northern Arizona
University and in the US Southwest. Before that he taught political theory at Duke
University and engaged in community organizing. He is the author of several
books, including Visionary Pragmatism: Radical and Ecological Democracy in
Neoliberal Times and Beyond Gated Politics: Reflections for the Possibility of
Democracy. At the Institute for Social Justice he is working to make environmental
justice and action research vital strands of the new doctoral program in Social and
Political Thought.


Stephanie Springgay, Volatizing Bouquet PROPOSITIONS FOR HACKING THE ANTHROPOCENE II

Traditionally, smell is thought of as primitive, innate, and natural. We frequently, Emily Parsons-Lord, Collective Denial
and easily categorize smells as good or bad, pleasing or offensive, yet
rarely consider their integral connections to the constructions of identity and The history of the air on Earth is inexorably linked to the history of life. 252.5
bodily knowledge. For instance, smells are not naturally agreeable or repulsive. million years ago, during the End Permian extinction, 93-97% of all species died
What one person may find distasteful might smell satisfying to another. When we out, those that survived evolved into the dinosaurs and mammals of the Triassic
smell something our bodies merge and intermingle with the sensation and thus we age. The period is known colloquially as The Great Dying and took place over just
become aware of our body in relation to space, place, and memory. Smells are 60 000 80 000 years. The mass extinction coincides with a dramatic spike in
perceived and coded as good or bad dependent on prior experiences we have had carbon dioxide and methane in the air, plummeting levels of oxygen below half
with smells, the ways we have been taught to understand smells, and the what it is today and transforming the necessary aerobic conditions for life on Earth
environment or context in which we sense a smell. and acidifying the oceans. The course of life on Earth had inexorably altered.

The proximinal senses are far more threatening because of their apparent How does it feel to breathe this air? How does it affect your body, your
closeness to the body and the ways that they are comprehended by being taken consciousness, your emotional state?
into the body. When smells are taken into the body for survival or pleasure, we
open up our body to that which is not us; to the other. Smells are not inherently Carbon dioxide levels in The Great Dying increased over a period of just 60 000 -80
unpleasant but when it is brought into contact with our body through the nose or 000 years. The rate of this increase is shallower than the rate of increase in carbon
the mouth, then this proximity is felt as offensive. dioxide since the Industrial Revolution. Species extinction since the 1970s suggests
that we are in the middle of another great extinction event. The Great Dying is
Stephanie Springgay is an Associate Professor in the Department of Curriculum, past, present and future. Collective Denial offers the audience the opportunity to
Teaching, and Learning at the Ontario Institute for Studies in Education, University breathe this air.
of Toronto. Her research focuses on the intersections between contemporary art
and pedagogy, with a particular interest in theories of matter, movement, and Emily Parsons-Lord is an emerging cross-disciplinary artist whose art practice is
affect. Her most recent research-creation projects are documented at informed by research and critical dialogue with materials and climate science,
www.thepedagogicalimpulse.com, www.walkinglab.org and through investigation into air, both materially, and culturally. Exploring air as both
www.artistsoupkitchen.com. a dynamic physical material, as well as an amorphous subconscious site to project
imagination, Parsons-Lord considers scale between the individual and the planet.
This area of research interrogates notions of the natural and considers deep
history and speculative futures for the environment,and the role of humans in this
relationship. Tragi-humour and futility are often used as access points into the
content of climate change, human obscurity and folly, and scale.

Thom van Dooren and Deborah Bird Rose, Animist Lures: Arts of Witness Fiona Probyn-Rapsey, Howling the Anthropocene!

Is the Anthropocene discourse becoming an encumbering, self-referential monolith Anthropogenic climate changes effects humans and nonhumans
which we now need to circumvent? Drawing on our recent work on ecological disproportionately, not least when it comes to sound bites, airwaves and a
animism, we offer two lures to draw attention away from abstracted debates and cacophony of human centred noise. Consider the dingo howl - not wild but
into encounter with the peril and grace of actual lives, and actual qualities of life: periurban. How does a dingo, once tethered to a sanctuary fence, her body
Radiant beauty and Attentive response. bearing old wounds of cigarette burns, learn to howl alongside the howling of
inmates? The howling of inmates together, started off by one, joined by others - is
Deborah Bird Rose is a professor in the Environmental Humanities group at the a sound for the anthropocene - a goodnight, a nightmare, a prisoners lament, a
University of New South Wales. Her most recent book is Wild Dog Dreaming: Love warning, an eery embrace, a speculation, an agreement to sing along, a wave at the
and Extinction. outside. What might carry this call?

Thom van Dooren is a senior lecturer in the Environmental Humanities group at the Fiona Probyn-Rapsey is an Associate Professor in the Department of Gender and
University of New South Wales. His most recent book is Flight Ways: Life and Loss at Cultural Studies at the University of Sydney, Australia. Fionas research interests
the Edge of Extinciton. connect feminist postcolonial/ critical race studies and Animal studies (also known
as human-animal studies), examining where, when and how gender, race and
species intersect. Her first book Made to Matter: White Fathers, Stolen Generations
(2013), examines how the white fathers of Indigenous children (many now part of
the Stolen Generations) reacted to and were positioned by Australian assimilation
policies. This book highlights a research interest in the reproductive and
biopolitical nature of postcolonial societies, a common thread that extends into
more recent research in animal studies, including 2 co-edited books, Animal Death
(2013) and also Animals in the Anthropocene: Critical Perspectives on Non-human
futures (2015 HARN Editorial Collective). Fiona is currently Chair of the AASA:
Australasian Animal Studies Association and Series Editor (with Melissa Boyde) of
the Animal Publics book series through Sydney University Press, She is currently
working on a project about dingoes and the cultural logic of eradication, as well as
project on Animaladies, the intersections of species, madness and gender.

Regrette Etcetera, Stretch Marx: Oestrogenic Ecosystems, Solastalgia, and Victoria Hunt, Erasure
Species-Panic in the Capitalocene
Three million for the Goddess of Death - Hinenuitepo; three million for a carved
As Anthropocene discourses drive the ascendance of a mainstream secular house lintel; three million for my pelvis; looted, sold on the black market, caught in
apocalypticism, luckily for a moribund and equally eschatological Left it appears a separation... a frozen marriage.
that capitalism is in crisis as it confronts the limits of an exhausted Earth or does
it? Ancestral house I dance the house and the house is dancing me. I dance her
history and she reveals my history. I speak. She speaks.
Stretch Marx is a chirpily chiliastic whirlwind tour of some ambivalent
Anthropocenes, tracing productive pollutions in Natures flooded with gender- Pull it down, dismantle it, record, document, store it safely REPATRIATE.
bending xenoestrogens, and following the species-panics of an imperilled
whiteness through the great shemale-ing of humanity and on into a unknown Victoria Hunt is a performance maker dedicated to creating a space of continual
land beyond Capitalism... evocation from mythic origins to the colonial present. Central to this is the role of
womens ceremonial lore, decolonizing strategies and feminist indigeneity. Her
Regrette Etcetera is a Sydney-based DJ, performer, artist, activist, whore etcetera, work draws on her Maori heritage alongside BODYWEATHER philosophy and
with a set of marketable identity descriptors that land university gigs like this. methods.

Lindsay Kelley, Extreme Baking: Toward an anticolonial ingestion of hard tack PROPOSITIONS FOR HACKING THE ANTHROPOCENE III

By tasting and writing an eating body, Extreme Baking invites radical speculative Eve Vincent & Timothy Neale, Mining, Indigeneity, Alterity: Or, Mining
reimagining of the kitchen as a vector for war, peace, and care. We will be hacking Indigenous Alterity?
our digestion with hard tack, a survival food that sustained European voyages of
conquest. White supremacist patriarchal colonial culture continues to reckon with What does the Australian mining industry want with Indigenous cultural
the bodies hard tack made. How might we taste differently? difference? What does cultural studies and anthropology want from Indigenous
Please note- this hack involves food which will contain gluten, dairy and sugar. cultural difference? This hack considers two urgent and entangled questions: the
There will be a citrus based alternative. political economy of mining and Indigenous interests in Australia, and the moral
economy of indigeneity within cultural studies and anthropology.
Working in the kitchen, Lindsay Kelley's art practice and scholarship explore how
the experience of eating changes when technologies are being eaten. Her book, Todays renewed interest in radical alterity suggests a welcome movement away
Bioart Kitchen: Art, Feminism and Technoscience, is forthcoming from IB Tauris. from the task of analysing representations of difference as potentially extractive or
Bioart Kitchen emerges from her work at the University of California Santa Cruz exploitative. Meanwhile, Indigenous interests are now touted as potentially
(Ph.D in the History of Consciousness and MFA in Digital Art and New Media). Kelley commensurate with, rather than obstructive of, extractive industry activity in
is an International Research Fellow at the Center for Fine Art Research, Birmingham remote Australia. But are the kinds of Indigenous or ontologically-alter worlds that
City University. Her current work asks, "what does nationalism taste like?" scholars seek out are extant, or are better understood as fundamentally
enmeshed, in violently unequal ways, with our world.
Acknowledgments:
UNSW Australia Art & Design, University of Alberta Canada Research--Creation and Eve Vincent is a lecturer in the Department of Anthropology, Macquarie University.
Social Justice CoLABoratory: Arts and the Anthropocene
Timothy Neale is currently a research fellow at the Institute for Culture and Society,
Western Sydney University. His primary research areas are environmental
knowledges, indigenous politics and cultural geography, and he has published work
on these topics in multiple journals and edited collections. For more see @tdneale
or www.timdneale.wordpress.com

Majidi Warda (University of Sydney), Spontaneous Combustions and Fire as Hack Jennifer Mae Hamilton (University of Sydney/NYU Sydney), Snow Day
Textuality1 in the Anthropo/scene2: An Augury from the Chthulcene3
Excuses not to go to school or work scaled for the Anthropocene.
Carbon from fossil-fuels heats up the earth, species become extinct, ice caps melt.
Humans anticipate their inevitable end. These are the mysteries of being and Jennifer Mae Hamilton is a Postdoctoral Research Associate in Gender and Cultural
dying4 that men (sic), machines and mines are learning. What happens now that Studies at the University of Sydney, funded by The Seed Box: a MISTRA-FORMAS
the low carbon moans of the ghostly hollows have found their way out from in Environmental Humanities Collaboratory. She also lectures in Ecocriticism at NYU
between a rock a hard place? This Hack is a chemiluminescent postcard from the (Sydney). Her current research project is "Weathering the City"
Underworld, an ode to Dark Matter and an omen of irrevocable change. (weatheringthecity.wordpress.com). She blogs about domesticity, plants and labour
(earlwoodfarm.com) and has an ongoing arts and curatorial practice including the
1
Kirby, V. 2011. Quantum Anthropologies: Life at Large. London & Durham: Duke University Press. work "Walking in the Rain" (Performance Space, 2011) and the event "The
2
Kathryn Yusoff's term in her paper Queer Coal: Genealogies in/ of the Blood philoSOPHIA, Volume 5, Number
2, Summer 2015, pp. 203-229
Christmas Climate Change Variety Hour" (Earlwood Farm, 2015). Her first book, This
3
Donna Haraway's term from her paper Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Contentious Storm: An Ecocritical and Performance History of King Lear is
Kin Environmental Humanities, vol. 6, 2015, pp. 159-165
4
forthcoming with Bloomsbury Academic.
Glenys Livingstone's term, inspired by the work of Joan Hallifax. More found in PaGain Cosmology: Re-
inventing Earth-based Goddess Religion. 2005. p. 56. NE: iUniverse


Majidi Warda is currently undertaking a Master of Arts (Research) in the
Department of Gender and Culture Studies at the University of Sydney. The working
title of her research is Natural Born Disasters: Wild Women, Queer Fires and Other
Irreversible Combustions.

Undine Sellbach and Stephen Loo, The Blind and Deaf Highway Woman CLOSING KEYNOTE TALKS:

Writing in the 1930s, when science studied animals in terms of mechanistic
A thousand tiny anthropocenes: Worlding troubles from Swedish
behaviours, Jakob von Uexkll proposed that all living things are subjects with
distinct perceptions, orientations and appetites. The tick, his most famous feminist environmental humanities perspectives

example, is viewed as a high point of Modernist anti-humanism, influencing Professor Cecilia sberg
Biosemiotics and Posthumanities scholarship, from Agamben on Biopolitics to
Deleuze on Affect. What is rarely considered, however, is the improvised, playful, Cecilia sberg is Professor and Chair of Gender, Nature, Culture at TEMA (Gender
pantomime dimension of Uexkll's biology. The original English translation, now Studies), Linkping University, Sweden. She works at the intersections of feminist
superseded by more neutral wording, casts the tick as a Blind and Deaf Highway cultural studies, environmental humanities, STS, and Human Animal Studies. She is
Woman, and Uexkll invites us to ventriloquizes her Umwelt, or life world, using also the founding director of The Posthumanities Hub and heads the The Seed
make shift objects, sensations and words. To consider the strange subjects and Box: An Environmental Humanities Collaboratory.
new modes of address Uexkll's biology opens up, our proposition is to enact, and
hacking into, the ticks Umwelt cycle.
Towards the Idea of a Black Anthropocene

Undine Sellbach is a philosopher, writer and artist. She lectures in the Department Dr. Kathryn Yusoff
of Media, Music and Cultural Studies, Macquarie University, Australia. Her work
explores life, gender, instinct, ethics, ethology and performance. She is currently Kathryn Yusoff is a Senior Lecturer in the School of Geography at Queen Mary
editing The Edinburgh Companion to Animal Studies (with Lynn Turner and Ron University of London. She is working on a book that addresses questions of
Broglio) and writing a book on the Entomological Imagination (with Stephen Loo). Geologic Life within the Anthropocene, which draws insights from contemporary
She is author of the childrens book The Floating Islands (2006). Her creative work is feminist philosophy, critical human geography and the earth sciences.
documented at: undinefrancescasellbach.blogspot.com

Stephen Loo is Professor of Architecture and Director of CxI (Creative Exchange
Institute) and ACIPA (Academy of Creative Industries and Performing Arts) at the
University of Tasmania, Australia. His recent publications include Deleuze and
Architecture with Hlne Frichot; essays on the relationship between insects,
instincts and ethics in Angelaki and Parallax and a forthcoming monograph with
Undine Sellbach; and an edited volume on Poetic Biopolitics with Peg Rawes and
Tim Matthews, which is under publication.

Ongoing / Dispersed Hacks: Kay Are, On Touching Back

Cat Jones, Somatic Drifts

Somatic Drifts is a one-to-one, live, immersive artwork and accumulative
installation within which the artist enables participants to experience the bodies of
other entities through touch and illusion. These shamanic mediations what realm
does the human exist within? How far can we drift? What can this drift enable us to
change?

The live experience accumulates a bank of recorded bodies and the internal
narratives that inhabit them as they travel beyond their own boundaries to
communicate with each other across culture, geography, time and consciousness.

Cat Jones is an interdisciplinary artist, writer, curator. Her work investigates
concepts that include climate futures, human and species empathy, sexual and
gender politics through the subversion of social constructs, science, history,
language, and the senses. Her artworks are realised in diverse forms and currently
include live art, one to one performance, visual-tactile illusion, audio-visual
installation, site-specific experience and olfactory art. In 2012 she was awarded a
Creative Australia Fellowship for research including the science of plant signaling
and the history of female botanists; in 2014 an ANAT Synapse residency to work
with leading Australian neuroscientists in body illusions and chronic pain; and in I write poetry and prose. My approach to writing and reading is materialist,
2015 a residency with The Institute of Art and Olfaction in Los Angeles. feminist and posthumanist. A good part of my practice involves coming to
www.catjones.net understand what this might mean. I am an early career parent and academic. I
was raised in the Blue Mountains, live in Melbourne, work at Melbourne
Acknowledgements: teaching Creative Writing and Hispanic Cultural Studies sessionally. So
This project has been supported by the Australian government through the sessionally. Please be in touch at karomez@gmail.com
Australia Council for the arts, its arts funding and advisory body; Australian
Network for Art and Technology, Creative Practice Lab, School of Arts and Media,
UNSW; Bundanon Trust AIR; Adhocracy, Vitalstatistix; Waverley Artist Studio AIR;
SymbioticA; and residencies with Sansom Institute, Body and Mind, UniSA; and
School of Medicine and Pharmacology, UWA.

Thank you
Wunderkind Mark Mitchell, Gordy Rymer, Vicki Sowry, Su Goldfish, Prof Stephan
Schug, Prof Lorimer Moseley, the Body in Mind research team, students of the
Nuragili Winter School, Rene Christen, Antonietta Morgillo, Kate Brown, Cate Hull,
Min Wong, Hayley Stone and many others.



Thank you

Ben Bolton
Michelle St Anne
Oscar Monaghan

Perdy Phillips
Kathy High
Lindsay Kelley
Mark Mitchell (Creative Practice Lab, UNSW)
Maria White
Jennifer Mae Hamilton
Peter Adams
Kim Ligers
Krusa Neimligers
Something for Jess (lunch catering)
















Photo Credit: Perdita Phillips, Red Water Line.

This event was made possible by funding and support provided by the Sydney Environment
Institute, with additional assistance from the School of Philosophical and Historical Inquiry
of the University of Sydney. It is being presented in cooperation with THE SEED BOX: A
MISTRA-FORMAS Environmental Humanities Collaboratory (theseedbox.liu.se).