Workshop 3: Lisa Blackman, ‘Experimenting with Suggestion: Performing ‘social influence’ processes’

Lisa Blackman (Dept of Media and Communications, Goldsmiths, University of London) began her presentation stating that in it she will outline some work on experimentation and subjectivity that is the subject of her forthcoming book, ‘Im/material Bodies: Affect, Relationality and the Problem of Personality’ (Sage). In the book Blackman takes the problem of ‘social influence’, as it has been stabilized and enacted as a particular kind of object within the psychological sciences, as her topic of problematisation. The genealogical investigation developed throughout the book takes a number of scenes (the laboratory, the séance, the clinical encounter, the therapeutic relationship, live performance and the theatre) as sites for the production of different forms of subjectivity articulated through differing conceptions of suggestion or suggestibility. Lisa Blackman considers all these sites as differing practices of experimentation which stage suggestion as a particular kind of ‘thing’ or entity.

Workshop 3: Neal White, ‘Experimentality. The Experimental Site’

Neal White (Office of Experiments and Media School, Bournemouth University)  works across media, and in no particular medium at all – creating projects with the Office of Experiments that develop collaborative, social and critical spaces using art methods and art materials. His work operates along the fine line between how art thinks and the effect that art has as a social practice. Neal White has been associated with 0+1, formerly APG, Artists' Placement Group, for several years. Maintaining that art has always pushed the boundaries of the possible in terms of models of social collaboration and networking, Neal White's work looks at how these models can engage with other kinds of knowledge producing structure. The Office of Experiments is a structure for experimental cultural practices. Their work is based on the need for new forms of cultural practice, forms of contemporary artistic production that draw on critical lessons of former experimental movements, artists, thinkers and structures - and that seeks to disentangle these modes and systems of approach from the value systems that underline mass media, financial systems and contemporary art markets.

Workshop 1- Brian Wynne, ‘Experiment, memory and social learning’

Brian Wynne’s (CESAGen, Lancaster University) presentation, after the global perspective on experimentality illustrated by previous papers, was focused on the local approach in the context of sheep farmers' history of post-1986 radioactive fall out. Wynne opened his paper by referring to Rheinberger’s concept of experimental persistence, presenting the experimental practises of science as unsystematic, accidental, arbitrary and blind. He presented the system of production as that which does not immediately facilitate learning but obstructs it, mainly through the failure of memory in scientific bodies and groups.

Workshop 1 - Homo Experimentalis - Discussion

Discussion following the first panel of the workshop (Homo experimentalis) was oriented around five main themes.

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