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Table of contents
Inspired by Monteverid's Madrigals , Cassol is working with gypsy multi-instrumentalist and singer Tcha Limberger to bring back to life some stories from the time of the Romani genocide. Lustralis is grounded on the inner sensitivity of variant sounds; a sphere to inhabit. Pursuit in similarities, advance in contrastes, search for the whole. Implode to fuse, then explode — modulations and colours; path into natural varnishing. During her residency, Pauline Curnier Jardin continued to write her first feature film, Sebastiano Blu, a fiction inspired by a certain masculinity and formidable anti-religious traditions that one encounters in the Mediterranean.
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Giogetto is handsome. He is the DJ. He still lives with his parents in his childhood bedroom and smells of soap, the smell of his loving mother. His powerful father is master of ceremony of the biggest party of the year, dedicated to San Sebastiano, patron saint of the village. Completion of a translation project, first translation into French of a selection of plays by American playwright and poet Sonia Sanchez.
Her voice is a compelling one, and quite challenging for a translator. Much time has been spent editing, rewriting, mouthing and polishing up the texts of those seven plays. To give ear, to lend voice. In addition to that initial project I brought with me another on-going translation, which I was delighted to resume in Camargo: it is a novel by Australian writer Gail Jones, who was here as a fellow in , and who did, at the time, encourage me to apply for a Camargo fellowship!
When I first arrived at Camargo, I have felt compelled to return to that novel, Sixty Lights: it seemed just perfect and obvious to do so, in the beautiful light of Cassis, and considering the fact that all those years ago, Gail Jones has been staying here before this same sea, in this same light, writing an extraordinary novel that I later translated: Sorry. My translation of her equally marvelous novel, Sixty Lights, started 15 years ago, will be published late or early by Le Nouvel Attila.
Moreover he continued the work he started at the marine laboratory of Wimereux on the color of water and bioluminescence. Among the new projects, he undertook research about submarine geomorphology and its impact on the environment. The work is composed of nine chapters, including a foreword by the ethnographer and friend of A. In particular, at Camargo, Jeanne worked on the translation of chapters six through nine, and have now begun the detailed work of revising, correcting, and polishing the draft.
She will also soon begin writing a scholarly introduction to the work. This will be about twenty-five manuscript pages in length. Some of the content and ideas for this introduction were generated as part of Garane presentation to the other Camargo Fellows during her residency. These include having located a collection of photographs in the public domain that depict people and places included in Amkoullel and that date from , and that could possibly be included in the translated volume, and the realization that A.
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She has also reflected further on A. In total, Jeanne translated about pages, which equals about half of the entire manuscript draft of about pages. With this preliminary work completed, she will now seek additional grants to help support the publication of this lengthy but important work. The Calanques National Park contains several boundaries. It encompasses frictions between entities that have to coexist: the nature and the city, but also between its very users such as hikers, inhabitants, and scientists.
He then log his observations in a residency diary. The project will therefore represent an investigation, a reflection on our connections with nature—and especially with the idyllic environment of the Calanques National Park. During the residency, Gruber has developped his new film project Inside Guillaume. The film is the third episode of the film series The Conspicuous Parts that enact a fluctuating focus on crucial choices made by individuals in cultural contexts and how they are being affected by global politics. The plot of the film revolves around a collaborative artwork of two Cypriot artists who plan to rob the homes of renowned Belgian artists.
Inside the home of the first victim, the artist Guillaume Bijl, an unexpected clash occurs… The dialectic between ethnography and art history will drive the phantasmagoric essay, Inside Guillaume. Giants, it turns out, are a consistent trope throughout the early modern period in Western Europe, both in fiction and in natural history. The discovery of giant bones across Europe only confirmed what humanist scholars and forgers had claimed, that at least some of our ancestors were giants and that we had been on a path of steady decline ever since distant antiquity.
These giants were often identified as national heroes, such as Siegfried or the Celtic king Theutobocus, and stories of ancient giants fed into national narratives that exalted the past, dovetailing neatly with humanist narratives that exalted Greek and Roman antiquity. However, giant bones very soon also caused some disquiet, particularly among naturalists. Did they really belong to giant humans?
How old were they? If they were not human bones, what were they, and how did they get to Europe? But nationalist narratives, built on three centuries of myth-making, remained. For the Camargo residency period, Carrie has focused on three areas of research: self-injury, breasts and femininity, and animation techniques. They will investigate self-injury and self-harm in religion, history, and current psychology. The research also concentrated on recent studies of self-harm unrelated to religious affiliation, and the varied responses to these similar practices.
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Self-injury is often met with hostility in the American health industry, so they are curious to find the differences in Europe and what treatment methods are applied. They will investigate the relationship between femininity and breasts to explore gender non-conforming people, and histories of going outside of the gender binary in other cultures. They also used this time to explore animation techniques and take in works at the Annecy International Animated Film Festival.
Signs in Desert: An Aesthetic Cartography of the Sahara considers how contemporary writers and filmmakers transform the reductive and dangerous ways in which the African Sahara has long been mapped. Taking off from a premise that maps are political fictions that reflect and facilitate state violence, Jill ask : what might happen if aesthetic works—films, photographs, novels—are taken seriously as cartographic acts that challenge ongoing forms of imperialism that presently dis organize our worlds?
This book is a literary extension of recent historiographic work that rightly envisions the Sahara not as empty periphery but as vital and heterogeneous center. The enduring caricature of the Sahara as a dangerous void in need of civilizing control is one with a long cartographic history. For centuries, the Sahara served as a shifting symbolic and geographical horizon of French empire, a natural barrier against which the borders of the Algerian colony specifically and the French empire more broadly were drawn and redrawn.
In 19th and 20th century cartographies, the Sahara appeared both as a blankness that beckoned with economic possibility and a threat that posed tremendous resistance to colonizing aims. This longstanding impression of emptiness and danger continues to prove useful to imperial and neoimperial interests. At h ome combines image and sound to chart an invisible territory of unknown dimension—that of the deadly afterlife of French atomic violence in the Sahara. These detonations were designed to be secret and invisible except in carefully choreographed media propaganda, and knowledge of this history has almost completely vanished from public memory despite widespread international protest at the time including 11 sessions of debate at the UN.
At h ome is an aesthetic cartography of an archival blank zone where taboos on naming the toxic trauma of French colonial violence intersect with the present nuclear secrets of both the French and Algerian nation-states.
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The Sahara has been framed as empty, invisible, menacing, and silent, and the ancient city of Timbuktu often sounds like the name of a place so remote and unreal that it is taken to be fiction. The film is an act of sonic mapping that sounds out a recessed translingual sonic, poetic, and musical archive. Rewriting the treatment for a feature length animated film about memory, creativity and perception. This film follows one woman's quest to keep creating, as she lives with a rare memory condition.
Her work consists of animated interviews with people about neurological phenomena, such as hallucinations, face blindness, synesthesia, loss of proprioception and motion blindness. These self-imposed assignments are her way of holding on to her identity, and a way of exploring, subconsciously, what is happening to her. The segments created by Rita are animated in different techniques, her effort to express different modes of perception in the best way she knows how. We see sections in paint-on-glass, sand animation, painted plastic cut-outs, paper puppets and charcoal animation.
But we also see sections animated from what we come to realize are Rita's personal photos, which help us learn more about what she is experiencing.
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As the film progresses the viewer realizes that the film itself is in fact, an artifact: Rita's current, and forever final, film, which she is adding to without ever finishing. At Camargo the treatment for this project was reconfigured and re-written, ready to be fleshed out in the script stage.