It’s time: Generation and temporality in psychoanalytic feminism

In this paper I examine some key aspects of defining one’s generation: transmitting values to younger generations in a way that makes sense to them; cultivating a psychic flexibility that allows us to welcome the future and be prepared for the unexpected whilst not succumbing to the fear of social, political and economic precarity; thinking of generation as both our collective moment in time and as generative potential; reaffirming the value of communication and sharing experience; and maintaining a dialogue between psychoanalytic feminism and other strands of feminist philosophy.

Stuck in the middle with you: The role of bridging organisations in urban regeneration

The literature on the governance of social-ecological systems increasingly recognizes a key role of bridging organisations (BOs) in transition processes towards sustainability. BOs can be defined as facilitators who allow for interorganisational collaboration. Our paper provides a more nuanced understanding of specific BO activities and their contributions towards urban sustainability. Our analysis is based on applying three complementary methodological angles (drawing on geolocalised data, interviews and action research) to 20 years of urban renovation investments in the city-region of Brussels. We distinguish between multi-scale, multi-actor and multi-dimensional tensions in urban renovation programmes and link these tensions to bridging challenges for BOs. Results suggest that the corresponding three types of bridging roles form a trilemma rather than a trilogy: the BOs in study have mediated one tension by de facto exacerbating another. Lessons from action research suggest that a wider use of temporality and shared language to communicate about urban renovation projects could attenuate the bridging trilemma.

Bodily Experience and Restricted Conditions in Contemporary Art

The Doctoral research was carried out with the primary purpose of reviewing past practice designs and for identifying how body movements contributes to these designs. The context in which the body movements are understood are that of discipline enforced by culture and other physio-biological restraints. A discussion on the relationships of body experience in restricted conditions are carried out, which includes the interaction between movement and space in the application of painting, moulding, biological markers, and moving images. The discipline, socially acceptable practices and regulations present in the researcher’s personal life and culture frame the artworks and a fascinating exploration of dynamics between freedom of movement in artwork construction and restrain of behaviour has been analyzed. In the process of art production, significant points discussed were with respect to the identification, succession and repetition of habitual acts. In addition, bodily movement could be considered as a synthesis of spatiality and temporality. The key point which contains the elements of time and space remains relevant to my creative practice and theoretical research. The core interest of my practice is in understanding the settings and simple rules for bodily movement, which is inspired by the past and forms a possible creation for the future. In this research, the attempt was not to display a comprehensive understanding on how body influences the design of art but rather to explain how understanding body movements provides a trace of my works, from origin, the working process and to completion. Relevant artworks and reflection of personal experiences are discussed as needed to help the reader gain more insight on the interactions of body in art creations.