NEW Call for Contributions
Examples of language-based artistic research are invited focusing on specific practices, processes, approaches, or methods.
an unfolding project
NEW Call for Contributions
Examples of language-based artistic research are invited focusing on specific practices, processes, approaches, or methods.
Between 5 – 9 December 2022, I was undertaking training in Micro-phenomenological interview training online with Claire Petitmengin.
About: Micro-phenomenology is a new scientific discipline enabling us to discover ordinary inaccessible dimensions of our lived experience and describe them accurately and reliably. The development of this "psychological microscope" opens vast fields of investigation in the educational, technological, clinical and therapeutic, as well as artistic and contemplative domains.
Objective of the training: For the purpose of a research project, the course is aimed at mastering the micro-phenomenological interview, a method enabling the researcher to collect fine-grained descriptions of the lived experience associated with a given sensorial, emotional or cognitive process, or with a specific expertise, in order to gather a corpus of accurate data that are relevant for the research objective.
More here: https://www.microphenomenology.com/
In late November, I was working in Sheffield with choreographer Katrina Brown, further developing our collaborative research project Dorsal Practices. Though we have been working together since early 2020, this was really our first in-person exploration together (with the exception of us presenting a workshop and performance reading at the Sentient Performativities symposium in June 2022). Our shared exploration together in Sheffield including a live back-to-back process of ‘dorsal conversation’, a series of movement practices exploring walking backwards, leaning, and lying down, alongside working with filmmaker Leon Lockley to make a recording of a performance reading / reading practice based on previous transcript material from earlier conversations. An extract of the recording of the reading can be encountered here.
Performative, improvised, on the fly: live coding is about how people interact with the world and each other via code. In the last few decades, live coding has emerged as a dynamic creative practice, gaining attention across cultural and technical fields—from music and the visual arts to computer science.
Live Coding: A User’s Manual is the first comprehensive introduction to the practice and a broader cultural commentary on the potential for live coding to open up deeper questions about contemporary cultural production and computational culture. This multiauthored book—by artists and musicians, software designers, and researchers—provides a practice-focused account of the origins, aspirations, and evolution of live coding, including expositions from a wide range of live coding practitioners. In a more conceptual register, the authors consider liveness, temporality, and knowledge in relation to live coding, alongside speculating on the practice’s future forms.
Read the book!
This book is published open access by MIT Press, widely available in paperback (please consider using an ethical bookseller), and for free download as epub, pdf or mobi files:
* Download as epub (recommended for e-readers)
* Download as pdf (may be easiest for laptops/desktops)
* individual chapters are also available as separate PDFs via MIT Press
For e-readers, please refer to your device’s manual for how to load them. For example on kindle, you could use the send to kindle service, and on others you might transfer via usb cable from a computer.
There is also an experimental version readable online.
This book is written by Alan Blackwell, Emma Cocker, Geoff Cox, Alex McLean and Thor Magnusson, with an expositions chapter consisting of contributions from Rangga Aji, ALGOBABEZ, Jack Armitage, Rafaele Andrade, Pietro Bapthysthe, Lina Bautista, Renick Bell, Alexandra Cardenas, Lucy Cheesman, Joana Chicau, Nick Collins, Malitzin Cortes, Mamady Diara, Claudio Donaggio, Rebecca, a Fernandes, Jason Freeman, Flor de Fuego, Sarah Groff Hennigh-Palermo, Mike Hodnick, Timo Hoogland, Miri Kaat, Abhinay Khoparzi, Shawn Lawson, Melody Loveless, Mynah Marie, Fabrice Mogini, Kofi Oduro, David Ogborn, Jonathan Reus, MicoRex, Antonio Roberts, Charlie Roberts, Jessica Rodriguez, Iris Saladino, Kate Sicchio, th4, Rodrigo Velasco, Elizabeth Wilson, and Anna Xambo.
Please refer to the acknowledgments section of the book for a (unfortunately but necessarily incomplete) list of all those who made this book possible.
There is no knowledge, only encounters
Thursday 17 November 2022
Taking the quote “There is no knowledge, only encounters” (Bibi Straatman) as a point of departure, this 'hands-on' symposium is an exploration on the attitude of not knowing. In what way can ‘not knowing’ be transformative for an artistic practice? In what ways can this kind of artistic practice bridge and contribute to new ways of seeing and acting in different layers of our society? The thematic focus and desired outcome of the symposium is the ‘performative’ in its multitude of meanings.
This event is a stepping stone in ongoing research by the independent research unit Not Knowing Core (NK Core) from Artistic Research Community in the North (ARC). NK Core is formed by Adri, Kevin, Simona and T.S.Anna. The event is organised in collaboration with professorship “Image in Context”, and supported by Kunstraad Groningen. A temporary collective, formed by Emma Cocker (UK), Ernest Truely (US/FIN), Adri Schokker (NL), Kevin Perrin (NL/FR), Simona Kicurovska (NL/MK) and T.S. Anna (NL/LV), is preparing to host and facilitate encounters that will create a field of action: one where process, not-knowing and public meet in a shared space.
The symposium will be held at Backbone050, a form college school and cultural hub where more than 100 artists, designers, musicians and other cultural and social organisations have their studio’ s and offices. The beautiful abandoned indoor swimming pool will be the center stage for our event.
Address: Travertijnstraat 12, 9743 SZ, Groningen. Tickets available here.
My interview with artist Katharina Fitz is now published in her new book When Seams Become Audible: Sculpture and Photography 2013-2022 (Beam Editions, 2022).
About the book: "This book focuses on the artist’s major installation ‘When Seams Become Audible’, which is brilliantly unpacked by Sarah Tutt’s insightful writing. The book also shows the artist's journey from photography to sculpture through related works made between 2017 and 2022. Tutt demonstrates how the artist’s work and process are inseparable and its conceptual and poetic resonants. Jennifer Higgie’s contribution connects the artist’s early photographic practice with her current engagement with sculpture, while relating it’s position within art history. Emma Cocker’s interview explores the artist’s working methods and how the artist investigates the limits of materials, how photography has informed her practice and the boundaries between the process and the finished artwork. These essays unpack the work of Katharina Fitz but perhaps more importantly, alongside a series of details, installations and artworks in transition, provide a lens by which to observe the material world. A reminder of the need for humans to remain connected to process and materiality in a world facing profound change". Introduction by Jonathan Casciani, Director Beam Editions
Read more and order a copy here.
1. "When Seams Become Audible" is a quote from Emma Cocker, The Yes of the No, (Site Gallery, 2016)
In November, I will be in Groningen, Netherlands, invited by the Not Knowing Core of ARC in the North. Together we will be exploring dimenions of 'not knowing' within artistic research and practice. About ARC in the North: ARC, the Artistic Research Community, is a dialectic umbrella organization for explorative research-creation, composed by a network of researchers and knowledge institutions in the north of the Netherlands. The network aims to stimulate artistic and explorative research practices and its impact by focusing on: How different forms of artistic research can be performed, articulated, presented and documented. How artistic research practice can offer novel ways of producing knowledge, applicable to various fields, as well as how such practices might catalyze new forms of knowing and producing knowledge in ways that sidestep traditional dichotomies existing between art (technê) and science (epistêmê). More to follow soon. https://artisticresearchinthenorth.nl/
My article 'Conversation-as-material' is now published in the Special Issue, 'Practices of Phenomenological and Artistic Research, Phenomenology & Practice, Volume 17 (2022), No.1, pp.193-223. See here.
Conversation-as-material is a language-based artistic research practice for attempting to speak from within the experience of collaborative artistic exploration, a linguistic practice attentive to the lived experience of aesthetic co-creation. The practice of conversation-as-material, which forms the basis of this article, has evolved through tentative exploration of the questions: How can the shared act of conversation bring into reflective awareness the live and lived, yet often hidden or undisclosed, experience of artistic practice and process, especially within collaboration? How can the event of conversation be developed as an artistic research practice for attempting to give tangibility, whilst also remaining in fidelity, to the pre-reflective aspects of this lived experience? Considered less as a means for talking about, conversation-as-material may be understood as a practice for inviting immanent, inter-subjective modes of verbal-linguistic sense-making emerging through different voices enmeshed in live exchange. Conversation —from con- meaning ‘with, together’ and versare, ‘to turn, bend’; or else, from conversare — ‘to turn about, to turn about with’. Conversation-as-material has emerged as a practice of collaborative writing, which unfolds through the interplay of different voices ‘turning about’ together in conversation. In this sense, the practice can be differentiated from that of interview —for in the practice of conversation-as-material there is no researcher/researched dichotomy. Within the practice, an attempt is made to develop an approach to writing that finds expression first through verbal conversation, which is then subsequently distilled, even densified, towards poetic text. Conversation-as-material involves the gradual revelation of an artistic-poetic, perhaps even phenomenological, mode of emergent writing for speaking from the experience of collaborative co-creation, where linguistic content is not already known in advance, but rather emerges in and through the lived working-with of language. The practice of conversation-as-material thus comprises a quadripartite process of conversation, transcription, distillation, and presentation, where each part involves the activation of a particular aesthetic or poetic mode of attention, perhaps even a specific phenomenological attitude or disposition.
Keywords: conversation, artistic research, phenomenological writing, collaboration, inceptual thinking.
The Special Issue of Phenomenology & Practice, Vol. 17 No. 1 (2022) on 'Practices of Phenomenological and Artistic Research', (eds.) Alex Arteaga, Emma Cocker, Juha Himanka, Erika Goble, is now published online here.
This Special Issue explores existing and possible connections between two different sets of practices: phenomenological research practice and artistic research practice. On the one hand, both sets of practices share a basic aspect: they approach their object of research as phenomena, that is, through their phenomenal presences. On the other hand, these sets of practice are configured by different forms of action developed in different media —among many others, written or oral language, drawing, video, photography, sound or body movement.
How do the commonalities between practices of artistic and phenomenological research manifest? How can phenomenological research be accomplished in artistic media and by artistic means? How can artistic research extend the scope of phenomenology as a field of research practices? In turn, how can phenomenology contribute to further develop artistic research practices?
The focus of this Special Issue goes beyond traditional views of the relationships between art and phenomenology by considering both as fields of research, or more specifically, as ways of researching through phenomena. For the purposes of this Special Issue, art was not approached as an object of research for phenomenologists and phenomenology was not treated as a theoretical reference for artists producing art works. Accordingly, we neither focused on inquiry into practices of artistic production based in or inspired by phenomenology nor on phenomenological theories of art. Instead, we focused on research practices developed through the influence, combination, and even hybridization of phenomenological and artistic approaches in order to advance the methodological development of both fields.
This Special Issue is understood as a continuation of the work initiated by Through Phenomena Themselves, one of the research cells within the Research Pavilion #3, a catalyst of emerging cooperations in the field of artistic research hosted by the University of the Arts Helsinki in the framework of the Venice Biennale, 2019 (www.researchpavilion.fi).
Including contributions from Alex Arteaga, Michael Biggs, Emma Cocker, Michael Croft, Maria Gil Ulldemolins and Kris Pint, Katja Hock, Esa Kirkkopelto, Rebecca Lloyd, Edvin Østergaard, Halla Steinunn Stefánsdóttir and Stefan Östersjö.
I will be participating in the forthcoming conference, Alliances and Commonalities, hosted by Stockholm University of the Arts (20–22 October, 2022). We - myself, Alex Arteaga and Nicole Wendel - will be activating an "ecology of aesthetic research practices" in relation to our ongoing research collaboration, thinking aesthetic thinking through aesthetic research practices. More on our project here.
Our Proposal: Through live activation of an ecology of aesthetic research practices, the aim is to provide the conditions for acquiring evidence of a specific form of thinking: aesthetic thinking. The performed aesthetic research practices are not presented as illustrative examples but rather as ongoing processes of research, as aesthetic thinking in action. To practice and to reflect aesthetic thinking through aesthetic thinking contributes to destabilize the hegemonic epistemic paradigms and, furthermore, epistemology as theoretical framework. We understand these processes as a contribution to disclose new forms of transformative understanding in order to approach the current collective crises in more skillful ways.
Conference profile area: We will be presenting within the frame of the "Art, Technology, Materiality" profile area. This profile area takes as it starting point that humans are connected to the world and to each other through material entanglements and invites an exploration of these relationships.
- Material thinking: The profile area serves as a context for questioning the nature of the materiality of artistic practice and its implications. It enables discussions on what occurs in and through artistic practice, in the interplay between making and thinking where knowledge and meaning is acquired through engaging in the world, with other beings as well as through materials and things. Here, objects are considered active and co-creating rather than discovered or revealed.
- Performativity: Materials and technological devices are interrogated in relation to this interplay between making and thinking, according to what they do, how they form significant interconnections. Ongoing research is in particular interested in how cameras and other devices activate particular kinds of networks. It explores how technical devices enable forms of conversations with both material entities, place, and other agents, and how they enable relevant forms of inquiry. Technological devices are considered as tools for engagement, imaginative tools that connects the known and the unimaginable, activate relationships between here and there, then and now.
- Unstable processes: This profile area addresses the artistic development of technological and material processes, and technological extensions or material challenges to existing artistic practices. It activates a framework of projects, experiments and discourses that explores artistic practice as a way of bringing elements into relationship with each other and that critically engages with the material and technical conditions involved.
- Ecological entanglement: This profile area invites reflection and research from a perspective on the world where the human is not always the privileged position. Considering interconnections with and between material matter enables and requires a reconsideration of how humans are connected in the world as well as of the concept of nature and the impact of technology in society.
See the full programme and register here
Live Coding: A User’s Manual (MIT, 2022) is the first comprehensive introduction to the origins, aspirations, and evolution of live coding, that I have co-authored with Alan Blackwell (Professor of Interdisciplinary Design at the University of Cambridge); Geoff Cox (Professor of Art and Computational Culture and Codirector of the Centre for the Study of the Networked Image at London South Bank University); Alex McLean (Research Fellow of the Then Try This independent research studio and instigator of the TidalCycles software and Algorave movement); and Thor Magnusson (Professor in Future Music at the University of Sussex and Research Professor at the Iceland University of the Arts).
Performative, improvised, on the fly: live coding is about how people interact with the world and each other via code. In the last few decades, live coding has emerged as a dynamic creative practice gaining attention across cultural and technical fields—from music and the visual arts through to computer science. Live Coding: A User’s Manual is the first comprehensive introduction to the practice, and a broader cultural commentary on the potential for live coding to open up deeper questions about contemporary cultural production and computational culture. This multi-authored book—by artists and musicians, software designers, and researchers—provides a practice-focused account of the origins, aspirations, and evolution of live coding, including expositions from a wide range of live coding practitioners. In a more conceptual register, the authors consider liveness, temporality, and knowledge in relation to live coding, alongside speculating on the practice’s future forms.
Live Coding: A User’s Manual will be published in November 2022. More here.
I am delighted that my postcard 'score' developed in collaboration with Open City, is appearing between contributions from Yoko Ono and Nam June Paik in this new anthology, Walking from Scores. More here.
Walking from Scores is an anthology of text and graphic scores to be used while walking, from Fluxus to the critical works of current artists, through the tradition of experimental music and performance, gathered and presented by Elena Biserna.
Walking from Scores is a hundred or so collection of non site-specific protocols, instructions and textual and graphic scores centred on walking, listening and playing sound in urban environment. It explores the relationship between art and the everyday, the dynamics of sound and listening in various environments and the (porous) frontiers between artists and audiences. It starts with two premises: an interest in walking envisaged as a relational practice and tactic enabling us to read and rewrite space; an interpretation of scores understood as open invitations and catalysers of action in the tradition of Fluxus event scores.
With scores and texts by Peter Ablinger, Milan Adamčiak, G. Douglas Barrett, Elena Biserna, Blank Noise, George Brecht, Cornelius Cardew, Stephen Chase, Giuseppe Chiari, Seth Cluett, Philip Corner, Viv Corringham, Bill Dietz, Amy Dignam, David Dunn, Haytham El-Wardany, Esther Ferrer, Simone Forti Francesco Gagliardi, Jérôme Giller, Oliver Ginger, Anna & Lawrence Halprin, David Helbich, Dick Higgins, Christopher Hobbs, Jérôme Joy, katrinem, Debbie Kent, Bengt af Klintberg, James Klopfleisch, Milan Knížák, Alison Knowles, Takehisa Kosugi, Jirí Kovanda, Anne Leilehua Lanzilotti, Bob Lens, Ligia Lewis, Alvin Lucier, Walter Marchetti, Larry Miller, iLAND/Jennifer Monson, Max Neuhaus, Alisa Oleva, Pauline Oliveros, Yoko Ono, Open City & Emma Cocker, Nam June Paik, Michael Parsons, Ben Patterson, Cesare Pietroiusti, Mathias Poisson, Anna Raimondo, Pheobe riley Law, Jez riley French, Paul Sharits, Mieko Shiomi, Mark So, Standards, Nicolas Tardy, Davide Tidoni, Ultra-red, Isolde Venrooy, Carole Weber, Manfred Werder, Franziska Windisch, Ben Vautier, La Monte Young.
In September, I am in Vienna participating in the Contingent Agencies symposium. More here.
Contingent Agencies is an artistic research project conceived as an inquiry into atmospheres― the subtle, dynamic, complex, and enveloping presences that emerge in given situations for those who inhabit them. More particularly, this project investigates the specific ways in which the agencies of single components of a situation (from light to animals, artifacts to sounds, matter to vegetation, traffic to color …) condition the emergence of these all-over and senseful presences.
In this concluding symposium, a cross-disciplinary group of researchers will address this complex subject matter as well as the specific research methodology developed in this project, based on practices of notation and reflection in diverse media. Participant researchers will be Karen Barad, Arno Boehler, Emma Cocker, Gerhard Dirmoser, Mika Elo, Tim Ingold, Sabina Holzer, Paula Kramer, Lambros Malafouris, Erin Manning, Dieter Mersch, Hans Jörg Rheinberger, and Andreas Spiegl, together with the principal investigators Nikolaus Gansterer and Alex Arteaga and the head of the Zentrum Fokus Forschung Alexander Damianisch.
Agencies and atmospheres will be inquired from a multi-perspective approach with contributions from artistic research (somatics, choreography, drawing, sound, video, photography, language-based practices) philosophy, archeology, anthropology and physics.
This symposium is conceived as an intensive research week articulated in two interconnected parts—a series of public lectures, panel discussions (both accessible onsite and online), and public showings, and an internal program comprising micro workshops and practice sessions.
This symposium is articulated in two interconnected parts – a series of public lectures, panel discussions and public showings (see program above) and an internal program of micro workshops and practice sessions. From Monday September 19 to Saturday September 24 a core group of guest researchers (Arno Boehler, Emma Cocker, Mika Elo, Sabina Holzer, Paula Kramer and Andreas Spiegl) together with the key researchers Nikolaus Gansterer and Alex Arteaga will perform different practices of notation and reflection and experiment and implement various tactics of showing and sharing. Furthermore, together with guest researchers Gerhard Dirmoser, Dieter Mersch, Hans Jörg Rheinberger the whole group will discuss the conceptual framework of the project. The results of these internal working sessions will be presented in the public assemblies.
Zentrum Fokus Forschung
1020 Vienna, Austria
Initiated by Julieanna Preston, Word Weathers is an interactive durational writing performance that considers the radical nature of now-ness as a temporal state of atmospheric contingency bound by location, observation and critical reflection on the state of a biosphere in crisis. Over the course of 24 hours, a full rotation of the earth, on 21 June 2022 – the Winter/Summer solstice – we collaborate, write, read, image, sound, respond, edit, augment and supplement a single continuous text and mark-making performance visible to all event participants. This online performance writing exchange will include others situated around the globe to participate as guests to watch and record their weather. Our collective efforts will be to become weather: to mark the moment of transition from navigational, geographical and meteorological thought and the emergence of an extended dawn around the globe.
Participating Weather Artist-Writers
Tru Paraha (Tāmaki Makaurau Auckland); Ana Iti (Ōtautahi Christchurch); Azza Zein (Melbourne); Jordan Lacey (Melbourne); Melody Woodnutt (Melbourne); Jo Pollitt (Boorloo/Perth); Moza Almatrooshi (Sharjah); Sree (Abu Dhabi); Alina Tiphagne (New Delhi); Indrajan Banerjee (New Delhi); Muay Parivudhiphongs (Bangkok); Anna Kazumi-Stahl (Buenos Aires); Felipe Cervera (Singapore); Mary Ann Josette Pernia (Mandaluyong City, Metro Manila); Ysabelle Cheung (Hong Kong); Yang Yeung (Hong Kong); Peter Goche (Ames); Klara du Plessis (Montreal); Emma Telaro (Montreal); Việt Lê (San Francisco); Iwonka Piotrowska (Bar Harbour, Maine); Lin Snelling (Toronto); Molly Samsell (Sante Fe); Sans Soleil (Lima); Janine Eisenächer (Berlin); Anthony Kroytor and Jia Qian Yu (Vienna); P. A. Skantze (Italy); Katja Hilevaara (London); Daphne Dragona (Athens); Kris Pint (Diest); Maria Gil Ulldemolins (Brussels); Emma Cocker (Sheffield); Polly Gould (Newcastle); Felicia Konrad (Mälmo); Paula Toppila (Helsinki).
See more here:
Tender Dialogues: Suspending Artistic Research Writing as Meaning-Making
Initiated by Emma Cocker and Lena Séraphin, Tender Dialogues was a 3-hour workshop which took place on 2 July 2022 activated within the frame of the 13th Society of Artistic Research Conference (Mend, Blend, Attend) held at the Bauhaus-Universität Weimar.
The proposition for the workshop was to critically assess artistic research writing as meaning-making and suggests suspension of end results in favour of collaborative thought processes. The Tender Dialogues workshop is inspired by the writings of Georges Perec and his book An Attempt at Exhausting a Place in Paris that acknowledges overlooked phenomena in a Parisian square in 1974. The aim is to further develop Perec’s writing experiment by collectively making a non-conclusive inventory of public space, rather than referencing the book. The workshop devices observational writing on civic space. It consists of conversations, readings and writings that challenge language as representation. A procedural approach disentangles writing from singular perspectives and suspends writing from meaning making by an epistemic inquiry that advances open-minded dialogue. The writing bridges the corporeal and cerebral and arrives at circumventing isolated objects and thus lacks control of semantic appearances.
In this 180min workshop, we will together test writing in public space beginning with a prompt outlining the role of a sole writer by noting singular words about phenomena in our field of vision. From there we continue to write as a group, a collective that decides on a spatial score for the writers on site, and the observational writing is tested on behalf of bodily perception and sensation. The third prompt continues to be based on bodily awareness, but the writers now move and write simultaneously in a pattern that is collectively decided on. This third writing prompt rejects naming and nouns and is inspired by quantum theory. Each of the three writing sessions is merged with readings and discussions about the experiences of writing and the diverse textual qualities buoyed by a procedural approach. The prompts demonstrate how writing has capacities for forming affinities, how writing can be a collective attempt and therefore attend to reflective collaboration.
Image: from A_Collective_”I”
In July we – Emma Cocker, Cordula Daus, Lena Séraphin - were in Weimar, Germany, introducing the activities of the Special Interest Group of Language-based Artistic Research as part of the Society of Artistic Research Conference 2022 [ Weimar, Germany, Friday 1 July 2022, 14.30 - 15.50 CET, Bauhaus-Universität, Marienstraße 13 c, 99423 Weimar]
In this first in-person meeting since 2019, we continued to explore the questions: How is language-based artistic research? How to enable connections and affinities between researchers? How to establish shared frames of reference? Since 2019, this Language-based Artistic Research Special Interest Group has evolved through various activities including Practice Sharing (2020), a gathering of over 70 online examples of language-based practices from diverse fields such as visual arts, performance, film, theatre, music, choreography and literature; and Affinities and Urgencies (2021/22), two online events that comprised sessions facilitated by different groups or individuals identifying constellations of interest and focus within this expanding field of research practice. This live and in-person session during the SAR conference continued along these lines moving towards a more distributed organisation of the Special Interest Group. We shared recent activities, introduce ‘thematic nodes’ and engaged with a wider community of artistic researchers, including a second call for ‘Practice Sharing’.
With introductions to emergent thematic nodes in proposed running order of presentation:
Daisy Hildyard | Katrin Hahner | Rosie Heinrich| Sepideh Karami
- Collective writing in public space
Initiated by Lena Séraphin with Emma Cocker | Andrea Coyotzi Borja| Cordula Daus | Vidha Saumya
- The un|common ground
Regina Dürig | Marinos Koutsomichalis | Phoenix Savage,| Anna T
- Articulating Solitudes
Steve Dutton | Adelheid Mers
- Words as Matter
Mariana Renthel | Anouk Hoogendoorn
- Writing as research as writing
Marjolijn van den Berg | Nirav Christophe | Daniela Moosmann | Ninke Overbeek
- Unspeakable Dialogues: Narratives for the Anthropocene
Rachel Armstrong | Breg Horemans | Rolf Hughes | Virginia Tassinari
See recorded presentations here