autonomous laboratory for the exploration of progressive heuristics



Fucking the binary workshop


In March artist Shayna Schapp will give a 3 day workshop ‘Fucking the Binary’. Together we will explore non-binary embodiment through queer pornography.

You can follow this workshop for 2 ECTS or join the complete ALEPH program for 6 ECTS. Subscribe by sending an e-mail to Hope to see you there.


Form follows color


18 November  architect Sjors de Graaf will give a lecture on the form and color ‘artscience’ by Wassily Kandinsky. What do form and color do, and what can an architect learn from painting?

This will be followed by a workshop hosted by Sjors de Graaf and Renske Maria van Dam where we start to analyze images on their capacity to affect and/or affection.



The Impredicative City: or What Can a Boston Square Do?


In his photographic series ‘Selected people’, the American photographer Pelle Cass displays a remarkable space-time axis reversal, the striking simplicity of which exemplifies the schizoanalysis of the city (Guattari 2013). The prefix ‘schizo’ is used to designate resistance to the paranoiac fixation on a single (and supreme) source of all signification (Deleuze & Guattari 2003: 194). The subject-matter of his experiments takes us to a square in Boston, USA. Yet, in terms of our investigation, the choice is purely contingent. Our ambition is to map the becoming of a specific place by way of non-correlationist hetero-poietic mattering, irremovable impredicative (auto-catalytic) looping and non-local causing (Turvey 2004: 57–70). In simple terms, it is the movement that determines the space, not the other way around.’’

A lecture by Marc Boumeester and Andrej Radman (click image to see presentation)!

How affect helps to redefine the body and how wearable bio-technology puts it into practice.


A lecture by Agnieszka Anna Wołodźko PhD Candidate Centre for Arts in Society Faculty of Humanities, Leiden University (click image to see lecture).

What is ALEPH?



The Detached Gaze

On the Representation of Space by Elodie Hiryczuk and Sjoerd van Oevelen


Since the ‘discovery’ of perspective in the early 15th century our understanding of space is guided by optical laws. This visual knowledge we’ve inherited and we’re imbued with still determines how we – in the West – perceive and represent space: as homogeneous, unified and absolute. The extensive use of photographic images nowadays constantly re-affirm the very same optical laws. Our world is conveniently ordered by this visual system but is it possible to know how the world looks like in reality, to modify our gaze, as it were, and lift the veil of its own predefined visual habits? And if so, can representations which use alternative ways of depicting space help us to see things differently? How does this in turn act upon our experience and understanding of the world around us? Continue reading “The Detached Gaze”

The Face within the Digital Milieu

The Face within the Digital Milieu by Katharina D. Martin

In A Thousand Plateaus, Gilles Deleuze and Félix Guattari have introduced the notion of the “abstract machine of faciality,” which produces the code of the face. They conceive of the system of the white wall and the black hole as an inescapable code. Deleuze and Guattari clearly state, the face is an interface for a dispositive – and hence a net of political strategies. 1
The visibility of the face is a daily fact and normality. To hide, camouflage, or mask it in public space is a social exception and regulated by law. In the process of face recognition, photos will be searched in cascades, to count and match black and white pixels, in order then to confirm an area which shows a human face. The artist Adam Harvey 2 invented a form of expressive interference through face makeup and hairstyling as a way to deceive the software.

Continue reading “The Face within the Digital Milieu”

Affective Ways of Bioart

When Aesthetics melts with Ethics -by Agnieszka Wolbodo

One of the main reason why today in view of many crises there is such a need and urgency to talk about affect is that is starts form the lack of hierarchical distinction between bodies: human and non-human. This does not mean, however, that there is no differentiation between bodies but only that the notion of agency can belong to any kind of body, sentient/insentient, organic/inorganic, human/nonhuman. Thinking in terms of affect allows us thus to go beyond the anthropocentric privilege of human as the only carrier of agency and meaning.
This turn to affect analyses not only influences studies on bodies and non-human notion of agency but it also leads us to necessity for redefinition of the specificity of art. Grounded in Deleuze and Guattari’s studies, art becomes a total emancipation from representation and narration, finding its way as preservation and creation of sensations, of affects and percepts:
“Affects are precisely these nonhuman becomings of man, just as percepts-including the town – are nonhuman landscapes of nature … We are not in the world, we become with the world.”1

Continue reading “Affective Ways of Bioart”

What does it mean to have an idea

Intuition vs intellect by Sjoerd van Tuinen
According to his most famous sonnet, Michelangelo held that “the best artist has no concept [concetto] which some single marble does not potentially enclose within its mass, but only the hand which obeys the intellect [intelletto] can accomplish it.” This is usually interpreted in hylomorphic terms as saying that the content lies waiting within the marble for its form to be hewn out. Of course, the authority of mannerist texts on art has led to precisely such an interpretation, which is idealist insofar as it would be the task of the intellect to recognize the form of this content and of the obeying hand merely to free it from the surrounding mass. It was precisely in these Aristotelian terms that Benedetto Varchi, a pupil of Michelangelo’s, described the task of the sculptor as an inducing of “form” into “matter,” as a drawing forth of “real” from “potential” existence. But when he complimented his master, “Signor Buonarroti, you have the brain of a Jove,” Michelangelo responded “but Vulcan’s hammer is required to make something come out of it.” 1

Continue reading “What does it mean to have an idea”

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