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embodiment / including unknown

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Improvisation - action - time / change

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computertime - in human time versus human time

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5. de (toekomstige) beroepspraktijk van studenten? Dit laatste punt ook als toetssteen voor de voorafgaande punten

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4. samenwerkingen tussen faculteiten: AiR programma, samenwerkingsprojecten, etc.?

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3.onderzoeksprogramma’s: binnen de Lectoraten, en ook in de context van Masteronderzoek?

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2. 2. het onderwijs: binnen afdelingen, curriculum, projecten, masterclasses, gasten, etc.?

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1. Hoe spelen diversiteit/inclusie een rol binnen:

1. elke academie op het vlak van mensen: instroom studenten, studentenpopulatie, docentencorps, staf, overige werknemers?

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6. Bruno Latour's question: what do we want to see return after Covid, and what had better not return?

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5. Question of spectatorship - are there other / more inclusive forms of spectatorship?

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4. Role / possibilities of technology (VR / XR etc etc) in addressing issues of climate change and diversity?

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3. Diversity: from where do I speak and to whom do I speak?

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2. Diversity of forms of knowledge

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5. How can the arts contribute to ethical ways of knowing the nonhuman world?

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4. How do we re-invent publishing for the needs of artistic research?

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3. What can creative producing do to address systemic racism and social inequality?

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2. How can we give more space and value to alternative wisdoms and knowledges within the arts and the academy - including embodied knowledge, artistic research, indigenous wisdom and decolonial thinking?

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1.What does it mean, also in terms of the production of film, to decentralise the human?

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1. How can we create spaces to talk and listen to each other - openly, honestly, safely - across difference?

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Inclusive knowledge:

-How can we develop new heritage practices that include different types of knowledge? How can we visualise/ intervene when historical knowledge overrules other types of knowledge?

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Main question: what is the role of the heritage professional in times of crisis?

->answer: including different types of knowledge, connecting history and future, interventions in our own field.

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Crisis:

-What is the role of the heritage professional in times of crisis? ((how) is it relevant)

-What is the agency of an object when it is not present?

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Embodied knowledge:

-What role does (embodied) knowledge play in times of crisis? How can we include this knowledge or its absence in heritage processes?

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Landscape
-What role can landscape play in a more inclusive approach to climate change? In other words: if the landscape is a mirror, how do we see/unsee climate change?

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6

Would human extinction be a tragedy?

(borrowed from https://www.nytimes.com/2018/12/17/opinion/human-extinction-climate-change.html).

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5

United in death? Not everybody but everything dies.

If there is human-centered design, how would a human un-centered design look like? Following up on the problem mentioned by Bruno Latour that human puts emphasis on how much human distinguishes from nature stead of accepting they belonging to nature?

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4

Aesthetics, ritual and symbolism of death and commemorative culture as political (activist) act?

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3

How can emotional bonds between humans and non-humans be designed?

(Emotional design as an alternative to dry  facts and diagrams in relation to Climate Crisis)

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2

Does the use of aesthetics, ritual and symbolism from the domain of death, dying and mortality suggest a fundamental change in perceptions of the relation between humans and nonliving entities, a change that foregrounds emotion and empathy?

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1

How to understand a recourse to the aesthetics, ritual and symbolism from the domain of death, dying and mortality in the context of environmental ruination?