Hi, I'm Alan Dunyo Avorgbedor. I'm a Ghanaian-Jamaican-American researcher, writer, film photographer, sound artist/texturizer, and attorney (currently returning to law and seeking admission in New York and DC!). I hold a B.A. in English Literature from The Ohio State University and a J.D. from Fordham University School of Law. I briefly attended the Knowlton School of Architecture as a M.Arch candidate and am currently pursuing an Individualized PhD at Concordia University in Montreal. Recently, I was awarded and completed a Doctoral Residency at the Canadian Centre for Architecture in Montreal as part of their 2018 Doctoral Residency program. I write, film, record, and compose poetry. See below, for more about my current doctoral Research, Courses & Curricula, and personal aesthetics.
INDI, Concordia University, Montreal
Currently, my research interrogates some of the philosophical, legal, architectural, and aesthetic norms that guide and at the same time complicate the mobilities of postcolonial urban development in Ghana, West Africa. To the extent that my research explores architecture and its relationship to pragmatic, aesthetic, and social mobilities, it enables critical and philosophical readings regarding the mediation and mobility of the body in commodity driven spaces and narratives. Ultimately, I seek to develop an understanding of architecture as a kind of socio-technical complexity that at once defines and normalizes access to "architecture" but also affords interstitial movements and negotiations through the margins of informality, unauthorized derivative settlements, and culturally specific mediations of performance and tradition. Ultimately, I’m interested in the ways that these modes of social organisation — and subtle modulations from formal to informal site-specific encounters — potentially project meaningful decolonial imperatives that subvert modes of Governmentality in postcolonial spaces.
Courses & Curricula
Undergraduate Courses that I have designed and taught:
ARTH 355 Studies in Architecture: Africa. Architecture. Modernity.
This course serves as a critical introduction to the complexities and possibilities of African architectural expression and its relationship to the project of "modern architecture." I’ve designed the course in a manner that will focus student attention on a selection of West African aesthetic norms and sensibilities to develop an understanding of how conventional notions of architecture and modernity are mediated, challenged, or displaced in West African contexts. Significantly, the course embraces discourses from African architects, artists, writers, thinkers, and curators, to engage the dynamics of an African aesthetic and to provide a deeper cultural framework from which to complicate notions of Africa, Architecture, and Modernity. The course is organized around readings, class discussions, presentations and papers that will develop critical tools to analyze and address the sociocultural, political, economic, and aesthetic imaginaries that position or nuance an African relationship to architecture and modernity.
Undergraduate courses in which I've served as Teaching Assistant:
CART 255 New Media Theory
This course serves as a critical introduction to new media theory focusing on issues of interaction, inscription, representation, code, reproduction, spectacle, control, body and resistance. It is a required course for students in the Design and Computation Arts department at Concordia University in Montreal. Students develop tools to undertake a critical analysis of media and technology and their social, political, economic, and cultural ramifications. As a Teaching Assistant to my primary supervisor, Christopher Salter, I was responsible for the critical contextualization of historical and philosophical engagements with technology and their social implications. An important part of this contextualization involved a careful curation, through textual and media analysis, of the ways in which technology mediates social and artistic engagement. I personally led lectures covering a wide range of topics including Marshal McLuhan’s Understanding Media and The Medium is the Message/Massage as well as critical analyses of Michel Foucault’s Disciplinary Society and Gilles Deleuze’s Control Society within a socio-technological context.
I am a film photographer and have exhibited at Z Arts Space in Montreal. I also compose a blend of acoustic and electronic noise as DUNYO. Much of what I do in the arts space is vehicle for ephemera. Selections of my writing, film photography, and experiments in music/sound can be found on this website, if they reach the internet at all. Much of what I do, is necessarily indifferent to audience, expectation or even wide general interest. So if any of that work actually makes it out of its cozy little echo chamber, it’s always shocking to me, to say the least.
With that said, I am generally interested in the legibility of tectonic and/or compositional systems as they relate to aesthetic expression in ways that register conditions for ground, edge, and subjectivity. I am specifically interested in all sorts of structural frameworks mixed with modes of figuration that complicate the affective legislation of subject and object in an aesthetic composition. Consequently, these interests figure into my academic research in philosophical way, particularly as they converge with the constitution of subjectivity through varying affective forces or productions.
What is & | & ??
[ I ] AND or AND or litany of superpositions coronated, cascading, continuous before seamless amaranthine drone of meaning condescends to form. AND AND AND...or a dominion, reflected.
[ II ] The obdurate semiotic procession as ready phenomena, displaced or undefined, presupposing a view of the same.
[ III ] Vista from which comforts of active, engaged, spatially productive environs emerge.
[ IV ] A confidence interval, or many.
What Philosophy ??
Device retains for itself an ID. Matter overheard underwritten anywhere. A fulcrum withers. Describe your solfeggio here.
The pedestrian composed in and of rhythms and patterns, in and between voids. Some breaking, some preparing. All, rendering. Whose difficult but retrievable whole grinding about in a cellar of correspondence? Undecidable topological fellowship swung on its axis. Impleader present to harmonize the new deformation. And here, recent exotifications of a line.