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BEGIN:VEVENT
DTSTAMP:20260504T192751Z
DTSTART;VALUE=DATE-TIME:20230614T160000
DTEND;VALUE=DATE-TIME:20230614T173000
SUMMARY:Eat Skin Love
TZID:Europe/London
UID:20230614-8a1785d7880083fb01881fde9a752248@warwick.ac.uk
CREATED:20230515T144422Z
DESCRIPTION:his paper begins with the skin which forms on top of milk. It
 ’s a skin which\, as Julia Kristeva argues\, conjures horror as it crump
 les and folds\, wet\, against our lips. But it’s also a curiosity. It’s 
 a skin which skims and re-surfaces the liquid beneath. Tempting us to po
 ke at it. This paper is primarily concerned with three things: the skin\
 , surfacing\, and eating skin. It’s interested in the properties of skin
 \, foam for example\, and in frying and in frost. It explores practices 
 of eating and imagining thehuman skin in selected live artworks includin
 g Anna Królikiewicz’s FLESH FLAVOUR FROST (2011) and Arthur Berzinsh’s E
 schatology (2018). Ultimately\, it seeks to re-read these works – specif
 ically the moment at which skin passes the lips – as expressions of love
 \, desire\, and connection. In so doing\, I propose that such figuration
 s of eating the skin matter because they trouble the relationship betwee
 n the skin and surface\, as well as signalling our enmeshment in wider s
 ocial and cultural assemblages. In “Eating Skin” Elspeth Probyn draws th
 reads between Derrida and hooks’ thinking to ask how we might eat skin w
 ell. The metaphor\, here\, of eating the skin theorises the ways in whic
 h we have\, and might\, approach and relate to the‘other.’ This paper sh
 ifts these questions to ask how representations of eating skin might re-
 form our understandings of skin as social surface\, and how this might b
 e understood to gesture\, more broadly\, towards the stickiness of love.
  This paper seeks therefore to build on Samantha Frost’s work which offe
 rs a new theory of the human as a biocultural creature in response to qu
 estions such as: “How should we live as humans?” and “What do we owe to 
 ourselves and others?” I suggest how figurations of the skin\, and eatin
 g skin\, can be read as attendant to such questions. More specifically\,
  I ask how eating skin intervenes in questions such as: “How and what do
  we love?” and “Might we love and live differently?” In short\, I begin 
 to re-skin Frost’s theory – offering the biocultural creature a new surf
 ace – as I contemplate the ways in which artworks make legible the skin’
 s operations as a biocultural substance. Freya Verlander works at the Un
 iversity of ĚÇĐÄTV. Recent publications include an article in Performan
 ce Research which explores the role of touch in our lives with reference
  to c-tactile afferents. Her research interests are\, broadly\, in explo
 ring theinterfaces between science\, the senses\, and different modes of
  performance.
LOCATION:MS Teams
URL:
ATTACH:
CATEGORIES:TPS
LAST-MODIFIED:20230515T144422Z
ORGANIZER;CN=Megan Symonds:
END:VEVENT
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