Difference between revisions of "Acknowledgements"

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Research for this book started during a fellowship at Schloss Solitude at the Science and Business department in Stuttgart and was developed with a grant from the Flemish Government between 2017 and 2018. Other cultural and academic organisations supported the research by inviting us for workshops, exhibitions, discussions and residencies: transmediale, Berlin; Hangar, Barcelona; Medialab Prado, Madrid; Constant, Brussels; Furtherfield, London; Jan van Eyck Academie, Maastricht; Festival Gelatina, xxxx; Universidad de la República and Casa Mario, Montevideo; Fuga/CBD, Barcelona; Goldsmiths University, London; Museo Reina Sofía, Madrid; Gaieté Lyrique, Paris; Het Nieuwe Instituut, Rotterdam; a.pass, Brussels; Fem TEK, Bilbao and [the residency in bask country, workshop with Emile]. We want to thank all participants and interlocutors with whom we had long and short exchanges over the years and also the organizers, editors and curators who hosted Possible Bodies.
 
Research for this book started during a fellowship at Schloss Solitude at the Science and Business department in Stuttgart and was developed with a grant from the Flemish Government between 2017 and 2018. Other cultural and academic organisations supported the research by inviting us for workshops, exhibitions, discussions and residencies: transmediale, Berlin; Hangar, Barcelona; Medialab Prado, Madrid; Constant, Brussels; Furtherfield, London; Jan van Eyck Academie, Maastricht; Festival Gelatina, xxxx; Universidad de la República and Casa Mario, Montevideo; Fuga/CBD, Barcelona; Goldsmiths University, London; Museo Reina Sofía, Madrid; Gaieté Lyrique, Paris; Het Nieuwe Instituut, Rotterdam; a.pass, Brussels; Fem TEK, Bilbao and [the residency in bask country, workshop with Emile]. We want to thank all participants and interlocutors with whom we had long and short exchanges over the years and also the organizers, editors and curators who hosted Possible Bodies.
  
We want to acknowledge everyone who helped make this work available, accountable and legible, from on-line hosting to design, peer-review, transcription and copyediting. Thank you Geoff Cox and Joasia Krysa for your generous support as editors, Constant for supporting us with an array of digital tools, Manetta Berends for the inspiring design collaboration and your comradeship, Nerea Calvillo, Eric Snodgras, Helen V. Pritchard, Magda Tyżlik-Carver for your invaluable comments and Marc Herbst for your meticulous attention to detail.
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We want to acknowledge everyone who helped make this work available, accountable and legible, from on-line hosting to design, peer-review, transcription to copyediting. Thank you Geoff Cox and Joasia Krysa for your generous support as editors, Constant for supporting us with an array of digital tools, Manetta Berends for the inspiring design collaboration and your comradeship, Nerea Calvillo, Eric Snodgras, Helen V. Pritchard, Magda Tyżlik-Carver for your invaluable comments and Marc Herbst for your meticulous attention to detail.
  
 
We are deeply grateful for all the maintenance and care work involved in the making of first this artistic research, and into a book later. Volumetric Regimes would not have been possible without the encouraging and supportive energies coming from companions, colleagues, friends and lovers of many sorts. Thank you all, for the inspiring and groundbreaking questions that you kept asking, full of constructive critique and sharp provocations.
 
We are deeply grateful for all the maintenance and care work involved in the making of first this artistic research, and into a book later. Volumetric Regimes would not have been possible without the encouraging and supportive energies coming from companions, colleagues, friends and lovers of many sorts. Thank you all, for the inspiring and groundbreaking questions that you kept asking, full of constructive critique and sharp provocations.

Revision as of 17:05, 2 October 2021

Volumetric Regimes is the outcome of a collective process, inhabiting a thick network of para-academic solidarity between practitioners of different media, methods and tongues.

We would first of all like to thank the interlocutors that have contributed to this book with their wonderful thinking, drawing and writing, and those who have been in conversation with the project, including: Ramon Amaro, Mercé Ardèvol, Tere Badia, Laura Benítez, Gonzalo Correa, Emile xxxxxx, Daphne Dragona, Marta Echaves, Laura Fernández, Sonia Fernández-Pan, Antye Guenther, Seda Gürses, Marie Lechner, Max and Franz Lehner, Alejandra López Gabrielidis, Zoumana Meïté, Martino Morandi, Paula Pin, Dennis Pohl, Carmen Romero Bachiller and Kathryn Yusoff.

Research for this book started during a fellowship at Schloss Solitude at the Science and Business department in Stuttgart and was developed with a grant from the Flemish Government between 2017 and 2018. Other cultural and academic organisations supported the research by inviting us for workshops, exhibitions, discussions and residencies: transmediale, Berlin; Hangar, Barcelona; Medialab Prado, Madrid; Constant, Brussels; Furtherfield, London; Jan van Eyck Academie, Maastricht; Festival Gelatina, xxxx; Universidad de la República and Casa Mario, Montevideo; Fuga/CBD, Barcelona; Goldsmiths University, London; Museo Reina Sofía, Madrid; Gaieté Lyrique, Paris; Het Nieuwe Instituut, Rotterdam; a.pass, Brussels; Fem TEK, Bilbao and [the residency in bask country, workshop with Emile]. We want to thank all participants and interlocutors with whom we had long and short exchanges over the years and also the organizers, editors and curators who hosted Possible Bodies.

We want to acknowledge everyone who helped make this work available, accountable and legible, from on-line hosting to design, peer-review, transcription to copyediting. Thank you Geoff Cox and Joasia Krysa for your generous support as editors, Constant for supporting us with an array of digital tools, Manetta Berends for the inspiring design collaboration and your comradeship, Nerea Calvillo, Eric Snodgras, Helen V. Pritchard, Magda Tyżlik-Carver for your invaluable comments and Marc Herbst for your meticulous attention to detail.

We are deeply grateful for all the maintenance and care work involved in the making of first this artistic research, and into a book later. Volumetric Regimes would not have been possible without the encouraging and supportive energies coming from companions, colleagues, friends and lovers of many sorts. Thank you all, for the inspiring and groundbreaking questions that you kept asking, full of constructive critique and sharp provocations.