Category: conference

On 18 November I was ill. I recovered in time to travel to Helsinki for a symposium two days later, but winter storms shut down the airport, delayed flights and lost luggage, including mine. The symposium director Dr Timothy Smith (image 2 below, to the left) had to step in to act as my wardrobe assistant. Like many neurodivergent academics, Tim works across an astonishing range of knowledges, including political science, fine art, public policy and pedagogy. But I’m quite certain that sourcing for clothes to fit 155cm grumpy people isn’t part of their typical repertoire.  

Image 2: A symposium with person standing to the left holding a microphone; another in the middle, seated, in front of a projection with book cover and QR codes and next to a screen showing live captioning; more people in the foreground on different forms of seating and being

Image 3: Fidget toys placed on top of a paper file that reads ‘UNIARTS HELSINKI’, with a name tag with a lime green strap and name ‘KAI’. 

Tim’s Neurodiversity in the Arts Symposium, which took two years of advocacy and planning, and draws on several more of research across neurodiversity and art education, took place at the University of the Arts Helsinki, modelling best practices for inclusivity, not just for neurodivergent folx. Universities, watch and learn. Yes it can be done. So, what does a symposium led by love look like in action? Let’s spell out a few ways how:   

• Programming not to neo-liberalist but ‘crip time’ (Kafer 2013), enabling us to process our thoughts, with 30 minute breaks between sessions, and a 2-hour lunch break;
• Employment of live professional CART (Communication Access Real-Time Translation) captioning – not the still racist AI captioning that does not grasp ‘non-standard’ accents (image 2, to the right);
• Where divergent modes of being – including horizontally, in motion etc, not just seated or erect – are affirmed (image 2, foreground);
• Inclusion of fidget toys in the goody bag (image 3);
• Provision of quiet spaces – no, we’re not talking about a broom cupboard or first aid room doubling, but a (care-)fully decked out sensory rooms for group or solo use, with low lighting, different soft furnishings as well as more sensory objects for people to shut off, calm down and/or regroup (image 4);
• Detailed maps, diagrams and instructions for ‘walking or wheeling’ to venues; including for a dinner, at a five-star hotel, which was a delicious vegan spread – and entirely free of charge;    
• Priced at less than one-third the fee of a usual conference at €100 – and that’s for ‘participants receiving full institutional financial support’; otherwise, ‘please select the €0 fee option’;
• Elevating and celebrating diverse body-minds-worlds whose research, creative and professional practice gather, collide and transcend disciplines, fields of knowledge, cultures, geopolitical borders, and specialisms and in the lineup. This includes shy*play, a pedagogical platform, collective, and art practice comprising teacher-researchers from Netherlands-Spain Antje Nestel and Aion Arribas, who invite us to ‘do neurodiversity’ (images 5a-5b); Estonian-UK PhD candidate Iris Sirendi discussing their Curating for Change curatorial fellowship at the Museum of Liverpool and urging – no, daring – the arts and cultural sector to step up and ‘crip the museum’ (image 6); US-Canadian-Polish feminist researcher and author of several books including Asexual Erotics Professor Ela Przybylo disclosing their new identity/positionality of being autistic, and inviting responses Towards a Neuroqueer Conference Manifesto/a/x.

Image 4: Sensory room, with low blue-green lighting, soft furnishings and soft toys

Image 5a: shy*play’s Antje Nestel and Aion Arribas, both holding microphones and reading from papers strewn on a long table

Image 5b: people ‘doing neurodiversity’ in different ways, including by displaying their creations on a wall that acts as a shared canvas

Image 6: Estonian-UK PhD candidate Iris Sirendi at a long desk speaking to a projection with a slide with the heading ‘What’s Next?’ and a logo that reads ‘The Neurodiverse Museum’

The above are just a few of the highlights from the in-person session on 22 November 2024, which complements an online symposium with a different programme a week prior on 15 November 2024 for those who prefer the digital interface, both of which are recorded with transcripts which all participants can freely access. 

I’m not singing the praises of the Neurodiversity in the Arts Symposium because I was the keynote speaker.

I’m saying the above as I’ve been a keynote as well as participant in more than 100 conferences – and I’m still allergic to them, not least as someone who is hyperactive and literally cannot sit still. I’m also saying this as someone who’s curated several, including one on running as an arts and humanities discourse that a 2014 Guardian article said ‘other conferences could take a leaf out of’, for its 8-minute sprint formats and multi-modal approaches including film screening, meditation sessions and run-chats.

But Tim’s conference was way better. The symposium is prioritising not just neurodivergent and queer – neuroqueer (Walker 2021) – perspectives. Following the positionality of multiply-minoritised researchers in higher education Angel L. Miles, Akemi Nishida and Anjali J. Forber-Pratt at the University of Illinois at Chicago and Vanderbilt University as expressed in their powerful open letter to White disability studies and ableist institutions of higher education (2017), the symposium focuses on research that counter ‘white supremacy and racism; colonialism and xenophobia; ageism; sexism and misogyny; cisnormativity and transphobia; and heteronormativity and heterosexism’.

And I’m sure that Tim, like me, wants other conferences to come, to even better ours. 

So, take our baton. Run with it.

Why neurodiversity? Why now?

‘Neurodiversity’ – broadly the coexistence of different ways of processing information, learning and being – has exploded as a buzzword in the past few years. If you didn’t know that 15-20% (Doyle 2020) of humans are autistic, with dyslexia, Tourettes, ADHD and other forms of neurodevelopmental processes, you will have run into the extensive media coverage, or seen your Gen-Z students or kids declaring their ‘neuro-spiciness’ on Tik Tok.

It is well-established that neurocognitive variants like dyslexia, ADHD and autism are over-represented in the arts and culture (above 30%, eg RCA 2001; Bacon and Bennett (2013); Universal Music (2020)). This is unsurprising, given how neurodiversity, innovation and change-making are powerfully entangled, being essential for human’s evolution, inventiveness, creativity and more. Networks, academic publications, research centres, educational research centres and conferences by/with/for neurodivergent creative researchers have been emerging in the last years too.

This year alone, I was external examiner for two creative PhDs by/for/with neurodivergence, and helped deliver one PhD candidate to the finish line and whom, since 28 November, can now add ‘Dr’ to their name, likely to the chagrin of those who think that only clinicians are ‘real’ doctors and experts. Collectively, these efforts are countering medicalised and deficit approaches to cognitive difference. By 2050, 1.94 billion of the 9.4 billion population will be neurodivergent – making neurodivergence far from a ‘niche’ phenomena or area of research, but one with substantive critical mass.

Those with social capital wear their difference as proud badges of honour. So far so ‘authentic’. 

But surprise, surprise – for the multiply-minoritised, their difference continues to be demonised, pathologised, infantilised, and/or policed. This includes teachers and researchers who draw on their neurodivergence in their teaching and research. That’s also why many aren’t out – or have/want access to diagnosis (which themselves have long waiting lists, are costly and more), etc, and often aren’t reflected in the official figures and studies. It’s also only recently been understood in leadership studies that when a white heterosexual cis-man expresses his ‘true self’, it’s just not acceptable, or even laudable. For those who are not straight, not white, not of the right class, or the right skin tone etc – authenticity comes at a high cost – including literally so. Being dyslexic, I struggle with normative approaches to reading and writing – but reading and writing are literally bread and butter for an academic! Disclosing that you cannot read or write would be tantamount to career-suicide, especially if you are on a fixed-term contract – if you have been able to survive the ableist, racist and sexist HE system at all, that is.    

Harvard, World Economic Forum, NESTA and other global bodies have been selling neurodivergence as the ‘next talent opportunity in the workplace’, ‘competitive advantage’ and a ‘neuroleadership’ antidote to in tackling wicked challenges for the Fourth Industrial Revolution — but without neurodivergent voices in this discussion, isn’t this objectifying and othering?

Then, there’s a certain cartoon-tycoon who has been dominating the headlines. When not firing their critics from their factories and firms, or firing rockets to colonise the moon and Mars, this person is firing spats on social media — before buying up the site to make it their temple for ‘unmoderated toxicity’. After firing pot-shots at child-free cat ladies, they’re asking ‘high-IQ revolutionaries’ to work for no pay for an incumbent government. The latter call is interesting because this person had announced that they are ‘with Aspergers’, using the outdated terminology still instrumentalised by certain ‘high-functioning’ autistic people, to denote that they are a genius — ie a high-IQ revolutionary themselves!    

Why neurodiversity, love and HE art and design?

As an autistic child-free cat lady, it’s my duty to ask other neurodivergent artists, academics, activists and allies within Higher Education (HE) to do more and do better, to call out on dangerous neurodivergent figures and approaches, and to counter that with love. If Machiavellian misfits and messiahs weaponise their neurodivergence, so must neurodivergent movers and shakers dis-arm them.  

Caption: Love-led guidelines for to make spaces more inclusive, in diagram form with 8 blocks of texts. From Tan, Kai Syng. Neurodiversity In/& Creative Research Network shared, LIVE, CO-CREATED Community Guidelines since 2022

For several years, I’ve researched into and discussed the need to dismantle harmful narratives of neurodiversity. Through an art-psychiatry project, founding of a global 435-member network for neurodivergent innovators, I’ve urged for a decolonial  — ie shift of focus away from knowledge and practices in the West and global north — and intersectional — ie consideration of a how multiple, complex contexts interact and intersect  — approach. We’ve come up with love-led guidelines for activities (image 7). I’m editing a publication with a major academic publisher, which is possibly the first book with openly neurodivergent academics ranging from early career researchers to established, newly-‘out’ professors, to discuss our research through the prisms of neurodivergence and creativity (c2027). Along the way, we are introducing and foregrounding neurodivergent approaches to knowledge, creative research and writing with play, lived experience and more, thus challenging the dominant, normative habits demanded by the academic publishing industrial complex that emphasise the linear, causal, and ‘neutral’.   

On this SRHE platform, I’ve previously discussed a neurodivergence-inspired pedagogical approach to transform HE culture, illustrating how this isn’t just an armchair exercise or a theoretical pontification from the ivory tower, with examples I have led, such as a four-day festival for Black History Month 2020 in Manchester. To mark Valentines’ day this year, I discussed the need to build love into HE curricula – standing on the shoulders of great artists, activists and teachers before us, like bell hooks, Paulo Friere and James Baldwin.

My keynote at the Neurodiversity in the Arts Symposium was entitled ‘Neuro-Futurism and Reimagining Leadership’.  My performance-lecture was based on my book of the same title, subtitled ‘An A-Z Towards Collective Liberation’. Grasping how systemic oppressions are interconnected and how liberatory approaches to education must be joined up is vital in this discussion. I postulate a new intellectual agenda and action plan for ‘leadership’ as discourse and practice anchored in visual arts and arts education. Re-claiming the subject from business or arts management, and away from a trait/talent hinged on individualism, hierarchy, genes or luck, the book – and my performance – entangles critical leadership studies with socially-engaged art and relational aesthetics, embedding neuro-queering, futurity, and Chinese Daoist cosmology for the first time, to introduce ‘neuro-futurism’ as a beyond-colonial, (co-)creative change-making framework.

The participants of the symposium grasped this, responding by describing the performance-lecture as ‘phenomenal’. Brazilian artist-researcher Fran Trento, a postdoctoral researcher at the Department of Geosciences and Geography at the University of Helsinki, even took live notes and pictures to add to their mobile participatory art installation, and wheeled it around, further spreading love in HE – literally (Image 8). If it hadn’t been snowing so heavily, Fran would have wheeled their installation outside, beyond the ivory tower, to make visible what the abstract yet very simple four-letter word – love – can look like.  

Image 8: Dr Fran Trento standing next to their mobile installation that comprises a jacket onto which participants can make marks onto, scrolls of film, and a pail with cameras and other creative and critical tools to dismantle harmful narratives and approaches

Image 9: A signboard ‘Neurodiversity in the Arts Symposium’ covered in snow, in a street raging with a snow-storm with cars passing by in front of a building across the road

And love is critical if we want to dis-arm and dismantle violent master (sic) narratives and approaches of neurodivergence. If neurodivergence is a superpower — a trope I have also critiqued as, while useful, it can be reductive/fetishistic, and capitalised by the ‘high-functioning’ to self-select into an elitist club that excludes others — then there are also villains and Machiavellian messiahs who abuse their (super)power. The irony is — and yes, autistic people can grasp irony — is that these self-proclaimed ‘anti-establishment’ ‘outsiders’ are often the very personification and product of the system,as poster boys of capitalism and more. Remember the call for ‘weirdos and misfits’ outside the Oxbridge set to join Number 10 – by figures whose pedigrees were archetypal of the ruling class — private education, Oxford degree, political strategist to a prime minister similarly outfitted?

Now that’s weird!

Braving storms ahead

My luggage got lost – again – on my way back to the UK, but academic and arts and cultural workers must lose neither our focus or hope. As hatred becomes even more mainstreamed and normalised, minoritised body-minds and approaches will remain hardest hit. There will be storms ahead (image 9). We – and that includes you – must step forward and step up. As US author Octavia E Butler (1947–2006) warns, unless we build ‘different leadership’ by ‘people with more courage and vision’, we’ll ‘all go down the toilet’. That’s why the Black science-fiction bestseller, who was also dyslexic, wrote story after story that reimagined different, better realities. 

To not go down the toilet, we must disarm those who weaponise their neurodivergence. Here are some of the things that neurodivergent academics, artists, activists and allies can do:  

• Shift your curricula to elevate and celebrate efforts that are truly leader-ful, joy-ful and equitable, and directed towards collective liberation. I’ve named several in this article. No excuses.  
• Stop the hierarchy of normality – within neurodiversity groups in and beyond HE too – that props up antics that are white supremacist, patriarchal, misogynist, racist, transphobic, homophobic, xenophobic, colonialist, capitalist, ableist and extractive. Stop fuelling the misfits and messiahs with ill-intentions. 
• Instead, invest in and donate your time, energy and skills to support love-led efforts. If you have a voice/ platform and can afford to, mobilise it to push back against the violence. People in senior management paygrades, make use of your position/proximity to the top of the food-chain to action positive change beyond lip service or generic policy statements about the civic duty of HE, and bring to life its promises about equity, social justice and inclusion.

On that latter note, I’m seeking to curate a 3-day international summit in 2026 that re-imagines HE art and design as a change-making and future-making force through neuroqueer, social justice and leadership prisms. This welcomes anyone with a stake in the arts and culture, higher education, social change and inclusive futures, to get together to explore the coexistence of different ways to (un-)learning and being in the world, to share best practices about inclusion, and to collectivise and co-create action plans for more inclusive futures within and beyond the art school and HE. Through quickfire provocations, transdisciplinary speed-dating, reverse-mentoring, co-creation of toolkits, skateboarding tours, running-discourses and other embodied forms of engagement, we will not just learn about ways to make ‘reasonable’ adjustments for neuro-divergent students and staff, but to learn about their innovative approaches, and thus reimagine ways to understand and do ‘leadership’, so as to make positive changes, within and beyond art and design and HE. This shift in paradigm to position art and design higher education is aligned with – and can amplify – other ongoing efforts in the sector, such as the Creative Education Manifesto. Get in touch if you’re keen to help do the work.

All that said, clearly, neither Tim’s symposium or my proposed summit are the only or last word in this matter. You, too, can lead with love, if you don’t already. Prioritise an intersectional approach to neuroqueer the curricula, towards dis-arming stories and approaches that are white supremacist, racist, colonialist, xenophobic, ageist, sexist, misogynistic, classcist, transphobic and heteronormative.

CREDITS: Photographs by Kai. Photograph of Kai by neurodivergent artist-curator-activist-PhD-candidate Aidan Moseby

Kai Syng Tan is an artist, academic, author, and agitator who adores cats and alliteration. Their book Neuro-Futurism and Re-Imagining Leadership: An A-Z Towards Collective Liberation re-imagines leadership as a co-creative, neuro-queered practice centring anti-oppression and futurity: it was published in Summer 2024. See here to join the book tour. Sign up here to participate in the CHEAD Leadership Programme taster entitled What’s love got to do with leadership? led by Kai as a new CHEAD Trustee, which will feature a response by Pascal Matthias, Associate Vice President EDI and Social Justice, University of Southampton and Co-Founder at FACE (Fashion Academics Creating Equality). Kai is Associate Professor in Arts and Cultural Leadership, University of Southampton, UK. All views here are their own.

Author: SRHE News Blog

An international learned society, concerned with supporting research and researchers into Higher Education