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The Manifestations exhibition was curated by Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
This video features footage of FSF team member Dr River the Boston at the Manifestations exhibition
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The Manifestations exhibition was curated by Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
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The Manifestations exhibition was curated by Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
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Work created by artist Jamila Prowse during an artist residency, for
'Full Stack Feminism in Digital Humanities', a project funded by the AHRC
and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities
Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
Photgraphs documenting the installation at the Attenborough Centre for the Creatve Arts (ACCA) of work by Kinnari Saraiya entitled Kinnari World (English title)
These images are supplied courtesy of Sussex University
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Work created by artist Jamila Prowse during an artist residency, for
'Full Stack Feminism in Digital Humanities', a project funded by the AHRC
and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities
Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
This document contains two texts, an artist statement and a bio both written by the artist and used extant in the exhibition
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Work created by artist Jamila Prowse during an artist residency, for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
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Work by Kinnari Saraiya selected for the Manifestations exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
Photgraphs documenting the installation at the Attenborough Centre for the Creatve Arts (ACCA) of work by Kinnari Saraiya entitled Kinnari World (English title)
These images are supplied courtesy of Sussex University
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Work by Kinnari Saraiya selected for the Manifestations exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
This document contains two texts, an artist statement and a bio both written by the artist and used extant in the exhibition
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Work by Kinnari Saraiya selected for the Manifestations exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
Kinnari and their male counterparts, Kinnara are half-bird, half-human beings of Buddhist and Hindu mythology, believed to live in the mythical realm of the Himavanta forest (Himalayas), which is inaccessible to humans.
In the heart of this world, Kinnaris take centre stage as celestial musicians and dancers. Their delicate folk-dance movements have the power to sway the very fabric of reality, causing ripples that can halt or tremble the human realm. She, a dancer of the mythical realm, and I, a dancer of the human realm, harmonise through motion capture. The movements of our bodies in rhythm with each other, unifies the sacred order of the world. The Kinnari’s presence is marked by the sound of bells adorning her feet. Each step she takes, each movement she makes, resonates through the veil between the worlds. The non-human world emerges into the human world, and with it, a symphony of unrealized thoughts and songs permeates the space. The emerging cosmology of this world evolves into a language that hovers between fiction and reality, in the threshold/liminal space.
The are screen caps from the original film
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Work by RA Walden selected for the Manifestations exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
Photgraphs documenting the installation at the Attenborough Centre for the Creatve Arts (ACCA) of work by RA Walden entitled Notes from the Underlands
These images are supplied courtesy of Sussex University
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Work by RA Walden selected for the Manifestations exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
This folder contains three texts accompanying the exhibition - an artists' statement and a bio that were written by the artist and used extant.
The third text that accomapnied the 'zine and requested donations was written by Laurence Hill. the exhibition curator
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Work by RA Walden selected for the Manifestations exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
This is the 'zine that accomapnied RA Walden's video. It takes the form of a aminifesto and was risoprinted in an edition exclusively for the Manifestations exhibition
The 'zine was acquired by the University of Sussex library for its collection.
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Work by RA Walden selected for the Manifestations exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
Notes From The Underlands is a performative text from the depths of queer disability culture. It is both a future-orientated vision of a sick, disabled and care-giving Utopia, and an urgent call to action in the now. The text is performed through video, audio, large-scale print and subtitles; challenging the notion that the body must be physically present (and abled) in order to perform.
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Work by T Braun and Marie Hinson (Hex.exe) selected for the Manifestations exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
Photgraphs documenting the installation at the Attenborough Centre for the Creatve Arts (ACCA) of work by T Braun & Marie Hinson entitled Aggregate/Multitude
These images are supplied courtesy of Sussex University
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Work by T Braun and Marie Hinson (Hex.exe) selected for the Manifestations exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
This folder contains four texts accompanying the exhibition - an artists' statement and a bio for each of the artists that were written by themselves and used extant.
The fourth text that accomapnied the 'zine and requested donation was written by Laurence Hill. the exhibition curator
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Work by T Braun and Marie Hinson (Hex.exe) selected for the Manifestations exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
This 'zine was created by the artists in support of the film and was offered alonside it. Exhibition visitors were encouraged to make a donation to GLITS (Gays & Lesbians Living In A Transgender Society) a charity chosen by the artists in return for taking the 'zine.
The 'zine was acquired by the University of Sussex library for its collection.
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Work by T Braun and Marie Hinson (Hex.exe) selected for the Manifestations exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
A series of screen grabs from the film Aggregate/Multitude Aggregate / which explores queer (dis)orientation and glitched embodiment through virtual reality, sound, writing and performance, seeking to open portals into multiplicity and collectivity. Colourful, undulating landscapes unfurl from procedurally shattered spheres, AI-generated organs, saturated glass textures, loops of poetry and surreal bits of architecture. By activating these sites with performance, collaborators T Braun and hexe.exe invite participants into the glitchy mediation of virtual technology as a way to examine their participation in reality itself. The textures of the virtual that slip from glitchy to perilous to euphoric offer richly affective gaps in our language for body and space that reveal the roiling flux of agency, individuality and collectivity.
A video of a performnce of Radiohead's Fake Plastic Trees by T Braun's drag persona Egregious Philbin
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Work by Lauren Kelly selected for the Manifestations exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
Photgraphs documenting the installation at the Attenborough Centre for the Creatve Arts (ACCA) of work by Lauren Kelly entitled The Slut was Ere
These images are supplied courtesy of Sussex University
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Work by Lauren Kelly selected for the Manifestations
exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’
(grant numbers AH/W001667/1 and IRC/W001667/1).
This document contains two texts that were used as interpretation in the Manifestations exhibition. The artist bio and artist statement were both written by Lauren Kelly and were used extant.
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Work by Lauren Kelly selected for the Manifestations
exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’
(grant numbers AH/W001667/1 and IRC/W001667/1).
In Lauren’s performance-based film The Slut Was Ere, she explores the idea of the “slut” as the “witch” in society, the conceptualisation of a radical entity who transgresses social norms.
A mixture of live performance and performance to camera, a ritual is presented that conforms to feminist theories.
Filmed in Dublin and Bohernabreena reservoir, the film conveys the experiences of becoming a woman and the lack of sex education among young people. To tackle this, Lauren carried out a healing ritual including water and dirt. As Lauren quotes, “Let our inner sluts rise in peace.”
The screen work was supported by an installation featuring objects from the film.
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Work by Yarli Allison and Leitzia Miro selected for the Manifestations
exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’
(grant numbers AH/W001667/1 and IRC/W001667/1).
Photgraphs documenting the installation at the Attenborough Centre for the Creatve Arts (ACCA) of work by Yarli Allison and Letizia Miro entitled This is not for Clients
These images are supplied courtesy of Sussex University
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Work by Yarli Allison and Leitzia Miro selected for the Manifestations exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
This document contains three texts that were used as interpretation in the Manifestations exhibition. They are an artist statement on the work and a bio by Yarli Allison and a bio by Letizia Miro. All documents were presented as written
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Work by Yarli Allison and Letitzia Miro selected for the Manifestations exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
In this work Yarli Allison collaborates with Letizia Miro, a Spanish poet and sex worker who migrated to London many years ago. The moving-image work explores the story of Letizia as an ‘ideal’ character for the clients’ imagination in a dual-screen setting. The image of ‘the ideal’ is initially an aesthetically/ mentally pleasing product as well as a coping mechanism. The work aims to reveal the less visible material reality behind the curtain of ‘the ideal’, by combining Letizia’s creative writing, voice performance, Littio X’s sound art, and Yarli’s digital modelling as a semi-fictional documentary.
The screen work was supported by an installation of sculptural objects, fabrics and drawings
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Work by artist Whiskey Chow and selected for the Manifestations exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
Photgraphs documenting the installation at the Attenborough Centre for the Creatve Arts (ACCA) of work by Whiskey Chow entitled You Must Everywhere Wander
These images are supplied courtesy of Sussex University
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Work by artist Whiskey Chow and selected for the Manifestations exhibition by curator Laurence Hill for 'Full Stack Feminism in Digital Humanities', a project funded by the AHRC and the IRC, part of their ‘UK-Ireland Collaboration in the Digital Humanities Research Grants Call’ (grant numbers AH/W001667/1 and IRC/W001667/1).
This document contains two texts that were used as interpretation in the Manifestations exhibition. The artist bio and artist statement were both written by Whiskey Chow and were used extant.
