The New Centre for Research & Practice

We are offering one full and one partial Scholarship for our upcoming Workshop "The Void Writes," taught by Angelos Evangelidis and starting on June 14.

This Workshop examines how writing is engendered by the void, and writing as the site where the void unfolds even if unfolding is its only doing. Drawing on literature and philosophy, it asks what happens when form is not assumed to impose upon nothingness but to arise from, and through, it. The Workshop moves from a close reading of Primo Levi's If This Is a Man and the concept of the crushed narrative, through Ovid's Metamorphoses, where chaos becomes the driving force of transformation, to Kafka's "The Burrow" and Bernhard's Correction, which together raise the possibility of creation through correction—a generative force that remains destructive.

DEADLINE: June 11 at 23:59 ET.
To apply, send a 250-word letter to [email protected] explaining your background and your need for financial relief. The New Centre Members will be given priority for the full Scholarship.

To learn more about this Workshop and enroll, please visit the link in our Bio.

IMAGE: Graham Gillmore, Untitled (Glossary 2002), 2002

Our Certificate Student Sabine Wedege has published an essay titled "The Shoggoth in the Chthulucene: Using Magic to Understand Modern Technology" on IDOART.dk.

The text moves between theory, internet folklore, occult symbolism, meme aesthetics, and technology criticism, investigating how modern technology appears esoteric and ritualistic. Drawing on references ranging from Donna Haraway and H.P. Lovecraft to deep-fried memes, cybermagick, and medieval imaginaries, it examines AI, capitalism, and contemporary digital culture through the lens of occult techno-mythology, data extraction, and the politics of magical interfaces.

Wedege is a researcher and artist whose practice has been shaped by her time at The New Centre. The essay reflects on how occult frameworks and digital folklore offer critical tools for reading the hidden power structures of contemporary technology.

To read the full essay, please visit the link in our stories or bio.

IMAGE: Sabine Wedege, The Shoggoth in the Chthulucene, 2026

Today on &&& Triple Ampersand, our Hyper Annotations 5.0 Team publishes their final report from the 61st Venice Biennale.

Over the course of the opening days, the &&& Team moved through the Giardini and the Arsenale, spoke with curators, artists, and workers, and wrote from inside the situation. The result is a pavilion-by-pavilion reading that treats the Biennale as a concentrated infrastructure where the relationship between art and politics becomes unusually visible: the Austrian pavilion’s clogged pipes, the Luxembourg pavilion’s f***l protagonist, the Cameroon pavilion’s communal mourning for Koyo Kouoh, the Danish pavilion’s reproductive gaze economy, and the Russian pavilion’s folk-drone as plausible deniability become parts of a single system.

At the center of the report is the question that Kouoh’s posthumously realized curatorial proposition „In Minor Keys“ left open: whether the withdrawal from didactic direction is emancipation, abdication, or simply a redistribution of responsibility onto everyone else. The Hyper Annotations 5.0 team does not resolve this question, but they follow it through what they saw, heard, and waited in line for.

To read the full report, please visit the link in our stories or bio.

IMAGE: Bogna Burska, Daniel Kotowski, Liquid Tongues, 2026

Our Roundtable, “Art & Theory Industrial Complex: Capital, Institutions, Language and the Production of Value,” by Jack Segbars , will start on June 11, 2026.

This Roundtable begins from a critical stance toward the tightening co-dependence between art and theory within the institutional and economic structures of contemporary cultural production. Rather than affirming this relationship as an inevitable or progressive development, it interrogates the mechanisms through which theory and art have become mutually instrumentalized within shared circuits of validation, value, and visibility. The Roundtable reframes their interaction as a material and political problem: how are artistic and theoretical practices shaped, limited, and co-authored by the forces of governance, policy, and institutional mediation that transform creative labor into exchangeable forms of knowledge and capital?

Across two sessions, participants explore how the art–theory nexus can be rethought as a site of tension rather than collaboration, identifying strategies for resisting or reconfiguring the conditions that capture creative and philosophical production within the industrial complex of contemporary art. Drawing on texts by Marina Vishmidt, Peter Osborne, Andrea Fraser, Robert Brandom, Reza Negarestani, Josefine Wikström, and Horkheimer and Adorno, the Roundtable exposes how disciplinary divisions reproduce themselves within capitalism’s cultural logic, even when presented as critique.

Session 1: Theoretical Frameworks and the Art–Theory Relation
Session 2: Resisting Capture: Reflections and New Modes of Production

To learn more about this Roundtable or enroll, please visit the link in our bio.

IMAGE: Jean-François Marmion, Gilles Deleuze at home in Paris, 1988

As part of our Spring/Summer 2026 Season, we present our Workshop "Technological History of Fiction," taught by Pavel Arsenev , starting July 17, 2026.

What is the relationship between fiction and science — not as opposed domains, but as entangled practices that have historically shared instruments, methods, and epistemic ambitions? This Workshop traces a radical genealogy of literary technique, moving from Russian Formalism's early attempt at a "scientific" study of literature to the broader and longer history it sought to suppress: the ways in which fiction has borrowed not just metaphors from science and technology, but protocols, laboratory logics, and perceptual apparatuses. Against the disciplinary enclosures that formalism both diagnosed and reproduced, the Workshop proposes that literature — whether realist or modernist — was never autonomous, but always embedded in the scientific and technical infrastructures of its time.

From Balzac's inheritance of natural history to the psychophysiological origins of the avant-garde, from the experimental novel as laboratory protocol to the Soviet industrialization of writing, the Workshop maps how fiction became a tool for constructing possible worlds, testing epistemic limits, and exposing the aesthetic fictions science itself cannot escape.

Session 1: (Media) Archaeology of Communication and the Epistemology of Fiction
Session 2: Experiment and Fiction. Parallelism of Contemporary Science and Art
Session 3: Psychophysiological Aesthetics and the Origins of Formalism
Session 4: The Mechanization of Grammar and Psychoengineering in Fiction

To learn more about this Workshop, please visit the link in our bio.

Image: Hortensia Mi Kafchin, Religions on the Ge****ls

Our Certificate Student Clarice Pelotas Rios Arraes , alongside Shajara NéeHilan Bensusan and Paulo Roberto Ferreira Vaz, announces a Call for Papers for a thematic issue of Revista Das Questões on Guillaume Dustan: Ba****ck, Po*******hy, Serosorting, and Text-Terrorism.

Revista Das Questões welcomes articles, essays, interviews, translations, and other formats engaging with Dustan's work and legacy across literature, theory, and q***r activism. Contributions are accepted in English, Portuguese, Spanish, and French.

Deadline to submit: October 13, 2026.

To learn more, please follow the link in our bio

Image: Sofia Celeste ()