List of Confirmed Keynotes and Artist talk
More to be announced soon

Doug Bailey

Doug Bailey (PhD, Cambridge, 1991) is a visual archaeologist at San Francisco State University in California. Doug's early research and teaching focused on European prehistory and prehistoric art; he ran survey and excavation projects in Bulgaria and Romania and published widely on the Neolithic period (6500-3500 cal BC), architecture and settlement, and anthropomorphic figurines. His Balkan Prehistory: Incorporation, Exclusion and Identity (Routledge, 2000) and Prehistoric Figurines: Representation and Corporeality (Routledge, 2005) are now classic texts in their fields. His 2010 book and exhibition, Unearthed (Sainsbury Center, Norwich), radically attacked traditional approaches to the publication and museum presentation of prehistoric art. 
Currently, Doug is developing the new field of art/archaeology in which archaeologists, artists, and others create work that goes far beyond traditional academic boundaries (for examples see Doug’s art/archaeology output includes alternatives to traditional archaeological narrative (e.g., visually provocative chapter-montages) and his recent book Breaking the Surface: an Art/Archaeology of Prehistoric Architecture (Oxford, 2018). 
With Sara Navarro, he co-curated the exhibition Creative (un)makings: disruptions in art/archaeology at the International Museum of Contemporary Sculpture in Santo Tirso (March-September 2020); his new show Releasing the Archive opens on January 19th at Carpintarias de São Lázaro in Lisbon. At San Francisco State University, Doug teaches the history and theory of archaeology, the archaeology of prehistoric and ancient art, and visual anthropology. For more information see

Marc Leman
Marc Leman is Methusalem research professor in systematic musicology and director of IPEM, the institute for psychoacoustics and electronic music at Ghent University. He holds MA degrees in musicology and philosophy, and did his PhD on computer modeling of tonality perception. He published more than 350 articles, and several books with MIT press, Routledge, and Springer. His lab is an international meeting place for researchers working on expressive interactions with music, using embodiment and action theory as a point of departure. In 2007 he became professor of the Methusalem, renewed in 2015. In 2014 he was holder of the Franqui chair at the Université de Mons. In 2015 he became laureate of the five-yearly FWO (Flemish Fund for Scientific Research) Excellence Award Ernest-John Solvay for Language, Culture and Social Sciences.

Sasha Litvintseva & Beny Wagner

Conjuring the Perceptible Unknown is a long-term research and production project created together with Beny Wagner that is unfolding over a series of films and essays.

Our collaborative practice as filmmakers and researchers has often centered on certain nodes in histories of science to act as prisms for questions we have surrounding the threshold between the body its surroundings, knowledge regimes and power, modes of organizing and perceiving the natural world. While both science and documentary films are often thought to uncover preexisting truths, our work takes as its point of departure an understanding that both non-fiction filmmaking and scientific research coproduce the realities they observe. Following an onto-epistemological view of scientific knowledge production, experiments can only measure the realities in which they intervene. Scientific concepts exemplify this, being thought by the historian of science Georges Canguilhem to be ideas, experiments, and projections that conjured phenomena into being. For us, all moving image, fiction and nonfiction, operates on a comparable paradigm, reconfiguring the physical world into new perceptual frameworks. Beyond discussions of the interventionist nature of documentary we view all moving image production is always manifesting something yet to be seen or known. Working from within the history of science our broader aim as filmmakers is not to depict certain episodes in the history of science but rather to cross pollinate these two fundamental systems of world organization towards developing new perceptual models. Both science and moving image have, throughout history, primarily served as tools through which to measure life forms and thus make them more predictable. As we navigate an era defined by ecological crises, our aim is to subvert the quantitative functions of these two systems towards the production of films that materialize the radical openness and ecstatic uncertainty intrinsic to life. 

Constant, is currently in production and is supported by Medienboard Berlin-Brandenburg.
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