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MemberJuuso Tervo

Juuso Tervo is currently working as a University Lecturer and the Director of University-Wide Art Studies (UWAS) at Aalto University School of Arts, Design and Architecture. His research and writing combine historical, philosophical, and political inquiries in art and education, drawing from fields such as literary theory, poetics, theology, philosophy of education, and philosophy of history.

MemberPaula Sofia Hohti


Dressing the Early Modern: New Approaches in Fashion and Culture History, Research Seminar, Department of Art, Aalto University, 4.5.2018
The Art of Artisan Fashions: Moroni’s Tailor and changing culture of clothing in sixteenth century Italy, Warburg Institute, London, 14.-15.6.2018

I am a historian of material culture, fashion, and everyday life, and an assistant professor of the History of Art and Culture at Aalto University, School of Arts, Design and Architecture, Helsinki. Since I gained by my PhD at the University of Sussex in 2006, supervised by Evelyn Welch, I have held positions at Helsinki Collegium for Advanced Studies, the European University in Florence, Bard Graduate Centre in New York and Center for Textile Research in Copenhagen. I have been a principal investigator in two international projects, The Material Renaissance: Costs and Consumption in Italy 1350-1600 and Fashioning the Early Modern: Creativity and Innovation in Europe, 1500-1800. In 2016, I received a 2m euro ERC grant to study early modern popular fashions and historical and digital reconstruction as a methodology for dress historians.

MemberUrszula Pawlicka-Deger

I am a postdoctoral researcher in the Department of Media at Aalto University, Finland. I am also part of the Research Data Management team at Aalto where I support data management in the School School of Arts, Design, and Architecture. My postdoctoral research is devoted to infrastructural transformations in the humanities with a focus on the epistemology of a laboratory. This study lies at the intersection of digital humanities and infrastructure studies. I was a Fulbright scholar in the Creative Media and Digital Culture at Washington State University Vancouver, US (2014-2015) and a visiting researcher in the Department of English at Stony Brook University, US (2015-2016). During my postdoc, I was awarded the Willard McCarty Fellowship at the Department of Digital Humanities at King’s College London, UK (2019), where I was also a keynote speaker for the event “Humanities Laboratories: Critical Infrastructures and Knowledge Experiments” organized in conjunction with the Critical Infrastructure Studies Initiative. In addition, I was awarded the Vanguard Fellowship at the Institute of Advanced Studies at the University of Birmingham, UK (2019), where I organized together with Dr Julia P. Myatt the “Rebuilding Laboratories” workshop to initiate the interdisciplinary discussion on labs from the perspective of digital humanities, science and technology studies, and natural science. Currently, I am co-editing a special issue of “Digital Humanities Quarterly” on the topic of situated research practices in digital humanities. Besides, I am a member of Global Outlook::Digital Humanities (GO::DH) Translation Board and the Europeana Network Association.

MemberOlivia Lucas

…217; Unexpected Beginnings and Rotated Riffs in Meshuggah’s obZen.” Music Theory Online, 24.3.

2015 “Kentucky: Sound, Environment History – Black Metal and Appalachian Coal Culture.” In Modern Heavy Metal: Markets, Practices and Cultures. Edited by Toni-Matti Karjalainen and Kimi Kärki. Helsinki: Aalto University and Turku: International Institute for Popular Culture. (Available as an e-Book at http://iipcblog.wordpress.com/publications/)

2014 “MAXIMUM VOLUME YIELDS MAXIMUM RESULTS.” In Journal of Sonic Studies. No. 7, May 2014. http://www.researchcatalogue.net/view/84314/87805

2013 “A Finnish Medle…

I am a music theorist and musicologist interested in the analysis — broadly conceived — of extreme metal music. Issues that arise in analyzing this music, such as extreme loudness, rhythmic complexity and the literal and cultural resonances of screamed vocals, require critical examination of the tools of musical and cultural analysis, and facilitates reflection on how musical analysis deals with those issues across other repertoires. This kind of analytical work depends on engagement with multiple modalities of listening, and insists on the lived listening experience as a gateway to understanding sound.

MemberValeria Graziano

I am Research Associate at the Centre for Postdigital Cultures, Coventry University. I am a member of the Postoffice research group and of the Network for Institutional Analysis (UK).   My research looks at the organization of cultural practices that foster the refusal of work and the possibility of political pleasure. My approach is informed by autonomist Marxism, institutional analysis, materialist transfeminism, and critical organization theory.   I hold an MA in Visual Cultures (Goldsmiths) supported by an AHRC studentship and a PhD in Critical Organisation and Performance Studies (Queen Mary University), supported by a Creative Industries bursary. I have been a Postdoctoral Fellow at the Art and Design Research Institute, Middlesex University and a Visiting Fellow at the Digital Cultures Research Lab, Leuphana University and the John Hope Franklin Research Center, Duke University.   Teaching is an important part of my practice and recently I have been contributing as a visiting lecturer to the MA in Gender Studies and Politics, University of Roma Tre (2018); École De Recherche Graphique, Brussels (2018) MA Curating, Managing and Mediating Art, Aalto University (2013 and 2016); and HEAD Geneva (2016).   As a practitioner, I was invited to develop projects for the Estonian Contemporary Art Museum; Kampnagel; Impulse Theatre Festival; Wyspa Institute; Intermediae; In-Presentable; Steirischer Herbst, Manifesta 7 and Vanabbemuseum, among others. I have given talks across a number of cultural organisations, including Institute for Network Cultures, Moderna Museet, and documenta 14; and I carried out commissioned research for Arts Collaborative Network, Serpentine Gallery and Bristol Visual Arts Consortium.   Currently, I am the convenor of the international project Pirate Care, fostering a transnational network of activists, researchers and practitioners against the criminalization of solidarity and for a common care infrastructure. The first conference was hosted by the CPC at Coventry University on 19th and 20th June 2019 (http://www.piratecare.net ) and I’m now working, together with Marcell Mars and Tomislav Medak, on the second iteration of the project in Rijeka, Croazia, commissioned for Drugo More’s programme Dopolavoro (http://drugo-more.hr/en/dopolavoro-2/) for Rijeka European Capital of Culture 2020.   From 2018 to 2019 I have been working with WeMake (Milan) on a research investigating the relationship between open technologies and healthcare, supported by the EU Horizon 2020 scheme ‘DSI4EU – Supporting the Scale and Growth of Digital Social Innovation in Europe.’   Together with Dr Kim Trogal (UCA), from 2017 to the present I have been working on the trope of ‘repair and maintenance‘ across different collective practices, inspired by feminist and degrowth pedagogies. ‘The Politics of Collective Repair. Examining object-relations in a Postwork Society,’ appeared in Cultural Studies in March 2017. In 2018-2019, we worked on ‘Repair Shop: emerging sites for postcapitalist practices’ – A UCA-funded comparative research project to map the intersectional practices and political impacts of newly emerging “repair shops” across Europe.  We also co-edited Repair Matters, special issue of ephemera – theory & politics in organization (May 2019).   From 2016 to 2018 I initiated Public Programming, a research collaboration with Dr Janna Graham and Dr Susan Kelly (Goldsmiths), supported by Nottingham Contemporary, Goldsmiths and Middlesex University. Our research looked at on the emergent phenomenon of public lectures and other pedagogical or academic-like events within the expanded sphere of museums, biennales and festivals. Three study days have taken place as part of this project: Public Programming? Pedagogies in a Missing Europe, Middlesex University, 30 June 2016. Public Programming, Social Movements and Solidarity, Nottingham Contemporary, 21 July 2017; From Critical Studies to Public Programming: Public Knowledge at the Post-Democratic Impasse Goldsmiths, 18th May 2018. Some of my thoughts on the subject will appear in a chapter of Organising Counter-Publics. Critical Management in Curating, eds. Matthias Beitl, Beatrice Jaschke and Nora Sternfeld (forthcoming November 2019). A further publication with Janna Graham and Susan Kelly is in the preparation.