The Intellectual

This is a conversation with speculative fiction writer and  sustainability researcher Andrew Dana Hudson. His stories have appeared  in Slate Future Tense, Lightspeed Magazine, Vice Terraform, MIT  Technology Review, Grist, Little Blue Marble, The New Accelerator,  StarShipSofa and more, as well as various books and anthologies. His  fiction has been nominated for the Pushcart Prize and longlisted for the  BSFA. In 2016 his story “Sunshine State” won the first Everything  Change Climate Fiction Contest, and in 2017 he was runner up in the  Kaleidoscope Writing The Future Contest. His 2015 essay “On the  Political Dimensions of Solarpunk” has helped define and grow the  “solarpunk” subgenre. He is a member of the cursed 2020 class of the  Clarion Workshop.

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The art is by artist and illustrator CosmosKitty (I added the text). Check out their work here: cosmoskitty.com

One of the Caribbean islands that Christopher Columbus stopped at during his 1492-voyage was an alligator-shaped island that sits at the mouth of the Gulf of Mexico in between the Yucatán and Florida peninsulas. This is, of course, is the island of Cuba.

What do we know about early Cuba, the island the Spanish described as the “Key to the Indies?” What kind of relationship and exchange did early Cuba have with British North America and the early United States?

Ada Ferrer, a Professor of History at New York University and author of Cuba: An American History, joins us to investigate the early history of Cuba.

Show Notes: https://www.benfranklinsworld.com/048

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In Avant-Garde as Method: Vkhutemas and the Pedagogy of Space, 1920-1930 (Park Publishing, 2020), Anna Bokov examines the history of the Higher Art and Technical Studios (Vysshie khudozhestvenno-tekhnicheskie masterskie) in Moscow, known most commonly by its acronym Vkhutemas. Operating between 1920 and 1930, Vkhutemas was a centre for developing new pedagogical methods to support mass education in art and technology. In this richly illustrated study, Bokov traces how radical experiments in art, architecture, and design were translated into systematic body of knowledge – and how this knowledge was then applied in various projects aimed at shaping modern Soviet society. From small utensils and furniture pieces to large-scale urban designs, the Vkhutemas influence was visible everywhere, and Bokov foregrounds the school’s impact both on the formation of modernism, along with its lasting creative legacy.

Anna Bokov is an architect, urban designer, and historian specialising in the history of the avant-garde movements and design pedagogy. She is a faculty member at the Cooper Union and the City College in New York and Fellow of the Centre for Advanced Studies in Architecture at ETH Zürich.

Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans.

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On this week’s episode of the Governance Podcast, our Director Prof. Mark Pennington interviews Prof. Michael Hulme from Cambridge University. This episode is titled “Culture, Science, and the Predicament of Climate Change”, where he suggests looking at climate change challenges as predicaments for human societies to cope with.

The earliest environmental criticism took its inspiration from the Romantic poets and their immersion in the natural world. Today the “romanticising” of nature has come to be viewed with suspicion. Written by one of the leading ecocritics writing today, Kate Rigby's book Reclaiming Romanticism: Towards an Ecopoetics of Decolonisation (Bloomsbury, 2020) rediscovers the importance of the European Romantic tradition to the ways that writers and critics engage with the environment in the Anthropocene era. Exploring the work of such poets as Wordsworth, Shelley and Clare, the book discovers a rich vein of Romantic ecomaterialism and brings these canonical poets into dialogue with contemporary American and Australian poets and artists. Kate Rigby demonstrates the ways in which Romantic ecopoetics responds to postcolonial challenges and environmental peril to offer a collaborative artistic practice for an era of human-non-human cohabitation and kinship.

Eyad Houssami makes theatre and has participated in the revitalization of an ancient organic farm in southern Lebanon. He is editor of the Arabic-English book Doomed by Hope: Essays on Arab Theatre (Pluto/Dar Al Adab) and was editor-at-large of Portal 9, a bilingual literary and academic journal about urbanism. His doctoral research project at the University of Leeds and this work are supported by the UK Arts & Humanities Research Council (grant number AH/R012733/1) through the White Rose College of the Arts & Humanities. A Syrian multinational, he studied at Yale and earned a certificate in beekeeping from SOILS Permaculture Association Lebanon.

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In this episode, which continues the miniseries focused on sound, media, and visual art, Caitlin Woolsey (Assistant Director of the Research and Academic Program at the Clark Art Institute) speaks with Kaira M. Cabañas, professor of art history at the University of Florida, where she is also affiliate faculty in the Center for Latin American Studies and Center for Gender, Sexualities and Women’s Studies Research. Kaira describes how her early studies helped her think about the relations and discontinuities between cultural contexts, and reflects on  artists who practice film “otherwise.” She shares her most recent project focused on transatlantic exchanges in art and psychiatry, and critiques what is often perceived as the current “crisis” in the discipline, asking: a crisis for whom?

This week, Lucy Dallas and Alex Clark discuss roses, Orwell and rhizomatic thinking with Margaret Drabble; Kathryn Hughes is our guide through histories of self-improvement; plus, what log-rolling really means.

'Orwell's Roses' by Rebecca Solnit

'The Art of Self-Improvement' by Anna Katharina Schaffner

The Log Driver's Waltz: https://www.nfb.ca/film/log_drivers_waltz

Produced by Sophia Franklin

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In this episode Caro Fowler (Starr Director of the Research and Academic Program at the Clark Art Institute) speaks with Nancy Um, professor of art history at Binghamton University in New York State, whose research explores the Islamic world from the perspective of the coast, with a focus on material, visual, and built culture on the Arabian Peninsula and around the rims of the Red Sea and Indian Ocean. Nancy describes her experience of conducting fieldwork in Yemen, particularly as a young female scholar, and reflects on the constraints of focusing on an area marked by geopolitical instability. She recounts her decision to focus on bodies of water instead of territories, and how this approach destabilizes some of the traditional organizing principles of the discipline, but allows her to pursue global art history on a local scale. Finally, she considers digital art history as a site of access, and as part of a dynamic approach to her own work changing over time.