Addressing the intricate socio-techno-environmental dimension of noesis within the current climate of social and urban challenges necessitates a transdisciplinary approach. In pursuit of this objective, NWM incorporates contributions that delve into sense-making processes involved in the individuation of humans, technologies, and their affective environments. These contributions offer diverse perspectives that critically examine the production of sense and its heterogeneous potentials for transindividuation. Key questions include: What transductive relations emerge in the entanglements between technology, affects, and the production of our (offloaded) memories and desires? How do these relations shape the sensible apprehension of our lives and the lives of our milieus? In what ways can they be expressed beyond the conventional, Western, ocularcentric, and annotational fixations of generic sciences? What new senses are required to navigate the complexity of the present? And, collectively and technologically, how do we sense the effects of our actions? Drawing inspiration from Gregory Bateson, how can we cultivate a different sensory perspective to foster a transformative mode of thinking?

NWM provides a platform for thinkers who boldly traverse disciplinary boundaries, encompassing a diverse range of fields. These include, but are not limited to, affect and affordance theories, architecture, art and cultural studies, philosophy and philosophy of technology, (digital) media studies, feminist theories, film theory, social sciences, and literature.

Conflict, when dislodged from its conventional understanding as a process and system of war and destruction exclusively, may be apprehended as an experimental method for analysis and synthesis, as a potent resource for pedagogy, for disruptive design and for the production of theory. In this sense, conflict produces more than the eradication of (the possibility of) life and its supporting structures: conflict produces transitional spaces at different scales, of differentiated material ecologies and site-specific meanings in relation to their global position. Conflicts are both locations and explanations of often ‘seductive’ images of destruction offered by popular (and other) media: ruined architectures, dead (or barely alive) bodies, forced migratory movements, impermanent infrastructures and settlements, as well as the tracing and construction of borders, real-estate driven post-war reconstruction processes, etc.

The emphasis on the mediatic aspect in the concept of conflict, may be seen as a way of triggering trans- and interdisciplinary discussions, conversations and encounters that serve as a negotiation between conditions of violence and new — or alternative — possibilities for everyday life. Artistic mediations could be as effective as violence in resolving conflicts, but operate through other means and through other channels, thus truly producing new power relations and alternative ways of political struggle. This exposing of conflict and violence through the artistic work is an activist act, but more importantly an artistic and technological mediation. The agency of the artistic work in terms of conflict, then, is situated in the capacity of visualising the conflict, creating awareness of its consequences, its side-effects, its collateral damage. And the creating of awareness and the becoming of fertile ground for protest and the creation of alternative realities.

At a three-day conference held at the TU Delft on November 6-8, 2019 researchers, scholars, activists, practitioners and artists presented individual papers that addressed the relationships between spatiality, mediation and conflict from a variety of perspectives. In addition to academic paper contributions, the conference welcomed other proposals in different formats and media: audio-visual material (film, video, photography), digital or physical archives, experimental design proposals, installations, performances, etc.

The thematic core of the conference explored new — or innovative — theoretical and methodological approaches and insights on: (1) Spaces of conflict as transitional spaces of material interactions between violence and everyday life; and (2) Spaces of memory as transformative space of violence).

Discusses the newly emerging discourses between architecture and bio-medicine Critical and Clinical Cartographies rethinks medical and design pedagogies in the context of both the Affective and Digital Turns that are occurring under the umbrella of New Materialism. This collection is framed through Deleuze’s symptomalogical approach which creates the ideal terrain for architecture and medical technologies of care to meet with robotics, alongside the newly emerging ‘materialist landscape’. A number of questions emerge, which are addressed across the collection. • What is the impact of the Digital Turn on the contemporary medical and architectural education and/or practice? • How does the Posthuman Turn influence the possible convergence of medical and architectural education and/or practice? • How has the biopolitical concept of care mutated under the proliferation of digital technology? • How could medical research contribute to architectural design and how could design, in turn, contribute to the improvement of health care?

First, let us briefly take you through a glossary to situate this neo-materialist project, starting with the three Cs. The first two – critical and clinical – are directly appropriated from Gilles Deleuze’s Essays Critical and Clinical. Already in 1988 Deleuze revealed his long-standing plan to write a series of studies on writers as great symptomatologists under the overarching label ‘Critique et Clinique’. The collection of essays was published five years later. In his English translation from 1997, Daniel W. Smith offered a rare commentary on this aspect of Deleuze’s thought. It was only in 2010 that the journal Deleuze Studies devoted an issue to the topic of Deleuze and the Symptom, edited by Aidan Tynan, with the subtitle On the Practice and Paradox of Health. Please note the two new additions to our glossary, namely, the symptom and health. There is a certain divergence in Deleuze’s conception of the clinical, Tynan explains. If in the symptomatological register the symptom is diagnostic and relates to the creation of new clinical entities, in the schizoanalytical mode it is therapeutic with an injunction to produce. Schizoanalytical practice is attuned to desiring-production and as such repudiates the philosophical and psychoanalytic tie to a hidden meaning to interpret. In other words, health already implies practice, insofar as signs imply ways of living, forms of life. [...]