CSI of Things

• Friday 20 February, 10am-4.30pm
• Lydia and Manfred Gorvy Lecture Theatre (LT3), Battersea Campus
• The CSI of Things - 
crime scenes and suspect objects

All objects incorporate traces and signs of their insertion into spatial and historic realms. They condense aspirations and participate in dramas of use and abuse. In this symposium we have chosen to regard objects/things as 'clues'. In fictions there are 'smoking guns', 'MacGuffins' and accessories - components of scenarios and objects of desire and repulsion. 'The Crime Scene' in which our objects are located may not involve a literal crime - it may be any environment in which we seek an explanation for how things come together to create or disturb coherent fictions.

Detectives and forensic scientists (1) share with archaeologists and design historians various processes of induction and deduction to 'explain' or recover an incident or status quo; they try to make objects 'speak'.

Here, we are interested in methods of investigation that reveal an understanding of things and their complex functions. This relates to the story of detection - predicting outcomes from evidence or reconstructing a story from traces at the 'scene of the crime'. We will also explore, through theory and practice, some of the imaginative acts of interrogation and 'animation' that make these objects and scenes 'speak' and perform.

Finally ...in a belief that all objects and spaces can be made to reveal themselves... the 'Antiques Roadshow' format will be used to attempt to detect the significance of some fairly random objects - feel free to bring something...

Speakers include

• Roger Luckhurst, Professor in Modern and Contemporary Literature, with a focus on crime and gothic horror
• Simon Hollington, artist and part of Hollington & Kyprianou; 'Colonel Mustard-Lead Pipe-The Dining Room'
• Tim Edensor, author of Industrial Ruins: Space, Aesthetics and Materiality (2005); 'Wild Speculation: Things in Ruins and Ruined Things'
• Ilona Gaynor, artist, writer and flim-maker; her work takes form as complexly precise plots and schemes, Owner and Director of The Department of No; 'Aesthetics of Precision'
• Brian Dillon, writer, editor of Cabinet magazine and Reader at the RCA on MA Critical Writing in Art & Design; 'CSI of Things does Antiques Road Show'

Convened by Barry Curtis, Naomi House & Monika Parrinder

Details for the day:

• Please be punctual; starts 10am-4.30pm (lunch 1-2pm)
• The Lydia and Manfred Gorvy Lecture Theatre is in the Dyson building, Howie Street entrance and up one flight of stairs: map

Barry Curtis

readers

• alien phenomenology or what its like to be a thing - bogost
• hyperobjects timonthy morton
• quadruple object - graham harman
• spectralities reader

• Forensics is an interesting way in to the way of thinking about objects - the sheer complexities / intensities of a simple object
• think of all objects as suspicious, needs examination, has a history, detached from its own context that needs to be deconstructed
• rich narrative potentials

• the notion of "property" - what belongs to people
• properties as props, to emphasise narrative elments
• things which audit u
• objects have time, events, may be venerated for being attached to someone famous, resurrected, resignified, their provenance, what context, status, traces, where they touch history
• places ensembles, crime scenes
• obsolescence
• displaced object which shows traces of contact which implicates a person in a crime
• Read: “Morelli, Freud And Sherlock Holmes: Clues And Scientific Method” By Carlo Ginzburg - http://users.clas.ufl.edu/burt/GinzburgMorelliFreudHolmes.pdf
• Mise en scene studies - creating scenario to explain character, the objects testify to or contradict the nature of characters - objects u pick up on when watching a film
• trifles
• assume that all objects are guilty

things/ objects / artefacts: the case of the mummys curse

• "can i get the slide up... eh.. i need my things...." (ohhh the things jokes start)
• 10.15am Roger Luckhurst, Professor in Modern and Contemporary Literature, with a focus on crime and gothic horror
• spent ten years studying two objects with curses on them

• heidegger things are thought of as "being at hand" - as tools for us

• READ Bill brown thing theory critical quarterly 28, 2001 - "In Byatt's novel, the interruption of the habit of looking through windows as transparencies enables the protagonist to look at a window itself in its opacity. As they circulate through our lives, we look through objects (to see what they disclose about history, society, nature, or culture-above all, what they disclose about us), but we only catch a glimpse of things." We look through objects because there are codes by which our interpretive attention makes them meaningful, because there is a discourse of objectivity that allows us to use them as facts. A thing, in contrast, can hardly function as a window. We begin to confront the thingness of objects when they stop working for us: when the drill breaks, when the car stalls, when the windows get filthy, when their flow within the circuits of production and distribution, consumption and exhibition, has been arrested, however momentarily. The story of objects asserting themselves as things, then, is the story of a changed relation to the human subject and thus the story of how the thing really names less an object than a particular subject-object relation."
• http://www.unc.edu/~jbecks/comps/pdf/brown.pdf

"imagine things, second, as what is excessive in objects, as what exceeds their mere materialization as objects or their mere utilization as objects-their force as a sensuous presence or as a metaphysical presence, the magic by which objects become values, fetishes, idols, and totems."

"If thing theory sounds like an oxymoron, then, it may not be because things reside in some balmy elsewhere beyond theory but because they lie both at hand and somewhere outside the theoretical field, beyond a certain limit, as a recognizable yet illegible remainder or as the entifiable that is unspecifiable. Things lie beyond the grid of intelligibility the way mere things lie outside the grid of museal exhibition, outside the order of objects."

• Carnarvon + Tutankhamun

11 colonial mustard lead pipe the dining room

• Simon Hollington, artist and part of Hollington & Kyprianou; 'Colonel Mustard-Lead Pipe-The Dining Room'

wild speculation, things in ruins and ruined things

• Tim Edensor, author of Industrial Ruins: Space, Aesthetics and Materiality (2005); 'Wild Speculation: Things in Ruins and Ruined Things'

Notes

• an idea for a lecture when you speak about things and have a taster reel of images related to teh story