The Occult Humanities Conference 2025:
Contemporary Art and Scholarship on the Esoteric Traditions
October 17-19, 2025
34 Stuyvesant St. New York, NY
Hosted by the NYU Steinhardt Department of Art and Art Professions and The Witch Wave Podcast
*PLEASE NOTE: All conference talks can only be accessed by ticket-holders. However the exhibition, vending area, and Sunday night closing reception are all free and open to the public, per the schedule below.
The sixth Occult Humanities Conference is a weekend conference to be held in New York City on October 17-19, 2025. The conference will present a wide array of voices active in the cultural landscape who are specifically addressing the occult tradition through research, scholarship and artistic practice.
The arts and humanities at present are acutely interested in subjects related to the occult tradition. The tradition represents a rich and varied visual culture that displays a complex set of relations at once culturally specific and global in their transmission. Roughly defined, the occult tradition represents a series of culturally syncretic belief systems with related and overlapping visual histories. Though there are as many ways into this material as there are cultural - and personal - perspectives, universal occult concerns often include a belief in some sort of magic; a longing to connect with an immaterial or trans-personal realm; and a striving for inner-knowledge, refinement of the self, and transformation of one's consciousness - if not one's physical circumstances.
Intensely marginalized throughout most historical periods, these traditions persist and represent an 'underground' perspective that periodically exerts a strong influence on structures of dissent, utopianism and social change. Though history is marked with several so-called "Occult Revivals," the contemporary digital age is a perfect confluence of several factors which make this moment prime for a reexamination of all of the esoteric traditions. While the information age has allowed for easier access to previously obscure writings, imagery, and social contexts, it alternately elicits a deep desire for sensorial experiences and meaning-making once one steps away from the screen.
The presenters at the OHC represent a rich and expanding community of international artists and academics from multiple disciplines across the humanities who share an exuberance and excitement for how the occult traditions interface with their fields of study as well as the culture at large. The small scale of this conference (approximately 100 attendees) will give ticket holders an intimate look at the presenters and their views.
The OHC is co-organized by Jesse Bransford and Pam Grossman
KEYS OF THE KERUVIM
From the cathedrals of Europe to the temples of Egypt, Naha Armády has traveled the world exploring sacred sites and documenting the secret map of ritual magic found in these holy places. In this presentation Naha will open the doors about which station the guardians of the crossquarters known as the 4 Kerubic Beasts. The keys of the Keruvim unlock Eliphas Levi’s Tetramorph, the iconography of the tarot arcana, and the zodiacal band of the firmament. Fortune’s Wheel becomes the compass of the occult and the Sphinx a threshold guardian and key to unity. From an intuitive sense to clear evidence, Naha follows the trail of the four-fold angelic choir to the sacred fifth, finding their relationship to ritual magic and the roots of Hermeticism and the Western Mysteries.
NAHA ARMÁDY is the head of faculty of 22 Teachings School of Hermetic Science and Magical Arts, where she teaches alongside her mentor of over 20 years, William Kiesel of Ouroboros Press. In addition, she has served as officiant of the Arboretum Mysticum, an occult Lodge in the Western Mystery Tradition since 2017. As both a scholar of Hermetic Qabalah and a practitioner of ceremonial magic, Naha has established an extensive curriculum and teaches students around the world.
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OCCULT POETRY & (SOMA)TIC POETRY RITUALS
In this talk, CAConrad will discuss how poets’ occult and paranormal experiences and practice in the past show us how to trust that these same forces are alive and at work today. Rumi, Hannah Weiner, Will Alexander, Hoa Nguyen, Alice Notley, and Ariana Reines are some poets whose work and practices we will investigate. CA will also discuss (Soma)tic Poetry Rituals as a practice for all writers and artists. These rituals provide a window into the creative viability of everything around us, initiating an “extreme present” where we learn how, even in crisis, we can thrive through the poems and learn to collaborate in unexpected ways with other artistic disciplines. Former US-Poet Laureate Tracy K. Smith wrote in The New York Times, “CAConrad’s poems invite the reader to become an agent in a joint act of recovery, to step outside of passivity and propriety and to become susceptible to the illogical and the mysterious.”
CACONRAD has been writing poems for over 50 years and working with (Soma)tic poetry rituals for over 20 years. Their latest book is Listen to the Golden Boomerang Return (Wave Books / UK Penguin 2024). They won the Ruth Lilly Poetry Prize, a Creative Capital grant, a Pew Fellowship, a Lambda Poetry Award, and others. The Book of Frank is now available in 9 different languages, and they coedited SUPPLICATION: Selected Poems of John Wieners (Wave Books). They also exhibit poems as sculpture with recent solo shows in London’s CHAMP LACOMBE, MOCA-Tucson, Fluent in Santander, and Batalha Centro in Porto. They teach at the Sandberg Art Institute and De Ateliers in Amsterdam. They are on Instagram at CAConrad88.
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AT THE THRESHOLD OF A COSMIC SELF: RE-SPIRITUALIZING ART AFTER THE POSTMODERN AGE
Artist Michael Carter traces a journey from early encounters with art, mysticism, and diverse spiritual traditions to a reflexive, interdisciplinary practice. Beginning with formative experiences that sparked questions about artistic motivation, Carter explores how an engagement with Theosophy, a rediscovery of spiritual Modernism, and turn towards contemporary cosmology informs his evolving work. Through projects such as pendulum paintings, subtle body portraits, and astrology-based series, he investigates art as a site of oscillation between skepticism and sincerity and offers a dynamic re-spiritualization of the ultra-contemporary. The talk culminates in a forward-looking vision of how a renewed metaphysical discourse, embracing paradox and pluralism in the cosmic, can inspire future artistic generations in this era of profound change.
MICHAEL CARTER is an artist and educator working in objects, installation, and performance. He received his MFA from Claremont Graduate University. Carter's work addresses metaphysical theories of art and the cultural roots of science, philosophy, and religion in modernity to the contemporary. His artworks and performances investigate and integrate the traditions of spiritual modernism with practices born out of critical theory. Carter's artworks has been exhibited nationally and internationally including Nicodim Gallery, Rusha & Co., JOAN, Leband Gallery at Loyola Marymount University, Hansell Gallery at the Philosophical Research Society, and Machine Project. He has given talks and lectures at institutions including the Los Angeles County Museum of Art and the Ojai Valley Theosophical Lodge.
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“TO DROP BENEATH THE FLOORS OF THE OUTER WORLD”: PASCHAL BEVERLY RANDOLPH’S OCCULT UNDERGROUNDS
This talk focuses on Paschal Beverly Randolph (1825-1875), self-described “angular and eccentric” writer, Freedmen’s Bureau teacher, occultist, and sex magician. Antiblackness thwarted Randolph at every turn in his short life, but he contended that his experiences of alienation and hyperawareness cultivated spiritual sensitivities that allowed him to access an unseen universe. Randolph wrote numerous handbooks, pamphlets, novels, memoirs, newspaper articles, and manifestos expounding his occult thought. He also sought to build clandestine communities around it, founding a series of secret societies and circulating a subterranean repertoire of pamphlets, handwritten manuscripts, formulas, and correspondence that taught the curious how to use their bodies to make contact with the spirit realms through sex, drugs, and ritual. While Randolph’s in-person and textual undergrounds seem mostly to have failed in practice, his writings offer an extraordinary theory of the underground, which envisioned it as a portal to a cosmos whose forces might be brought to transform the order of things on earth. In this talk, I highlight the political dimensions of Randolph’s esoteric theories and consider how his dreams of other worlds, above and below our own, reflect the unfulfilled promises of Emancipation.
LARA LANGER COHEN is Associate Professor of English at Swarthmore College. She is the author of Going Underground: Race, Space, and the Subterranean (Duke University Press, 2023) and The Fabrication of American Literature: Fraudulence and Antebellum Print Culture (University of Pennsylvania Press, 2012), and co-editor, with Jordan Alexander Stein, of Early African American Print Culture (University of Pennsylvania Press, 2012).
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VODOU: PERFORMANCE AND POSSIBILITY - MAGICKAL MODALITIES IN CYBERSPACE
Voodoo, Vodou and other African Traditions have been around in some form or another for thousands of years. Comparatively the history of the World Wide Web for public use only goes back to 1993. Placing an ancient religion within the confines of a new medium is certainly challenging. Back at the start of the internet, information was primarily dominated by businesses and educational organizations and what little was present specifically dealing with Vodou or Voodoo was seriously limited. One of the primary challenges of Vodou and Voodoo is that they are at their core secret traditions. Secrecy helped to protect and preserve traditions that were often misunderstood and persecuted. Access to sacred knowledge is gained through doing, through initiation, through experience. What form do these experiences take if they are carried out in a vacuum or at a distance? Does it change the inherent structure or outcome? And if the internet has changed the modalities of the traditions, can the traditions change the internet?
LILITH DORSEY M.F.A., hails from many magickal traditions. Their traditional education focused on Plant Science, Anthropology, and Film at the URI, NYU, and University of London, and their magickal training includes numerous initiations in Lucumi, Haitian Vodoun, and New Orleans Voodoo. Lilith Dorsey is also a Voodoo Priestess and has been doing magick since 1991 for patrons, filmmaker of the documentary Bodies of Water :Voodoo Identity and Tranceformation,’ and choreographer/performer for Dr. John’s “Night Tripper” Voodoo Show. They are proud to be a published Black author of Voodoo and Afro-Caribbean Paganism, Orishas, Goddesses and Voodoo Queens, Water Magic and the newly released Tarot Every Witch Way.
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OCCULT ARCHIVES: SECRETS OF POETS’ LIBRARIES
Archivist M.C. Kinniburgh has cataloged over 6,000 linear feet of literary and art archives, but she began her career by documenting poets’ libraries—particularly those belonging to poets who were invested in occult knowledge traditions and countercultural movements in postwar America. In developing creative ways to preserve these types of collections as well as analyzing their presence at research institutions broadly, Kinniburgh found herself drawn to the alchemical process of book collecting as a practical, political, and spiritual act. This talk will explore the occult libraries of Diane di Prima and Gerrit Lansing, as well as gesture towards other collections by Audre Lorde and Charles Olson, drawing from Kinniburgh’s book, Wild Intelligence: Poets’ Libraries and the Politics of Knowledge in Postwar America (University of Massachusetts Press, 2022), and her ongoing work as co-director and archives broker at Granary Books. By illuminating specific titles, as well as themes that appear in these types of book collections, Kinniburgh will share how poets’ libraries, especially those oriented towards the occult, hide or reveal their secrets to new contexts.
M.C. KINNIBURGH, PhD is an archivist, bookseller, book designer, poet, and editor. She directs Granary Books, a rare book and archives dealer and artist book publisher. She specializes in twentieth century and contemporary poetry, archives, and artists' books, with a background as a librarian (The New York Public Library) and academic (receiving her PhD from The Graduate Center, CUNY). She wrote Wild Intelligence: The Politics of Knowledge and Postwar American Poets' Libraries (University of Massachusetts Press, 2022), co-wrote and designed After Words: Visual and Experimental Poetry in Little Magazines and Small Presses 1960–2025 (Granary Books, 2025), has edited works by Gregory Corso and Mary Korte with Lost & Found: The CUNY Poetics Document Initiative, and published a bibliography and oral history of Maureen Owen's Telephone Books and magazine (with University at Buffalo's Among the Neighbors series). An active member of the Bibliographical Society of America's publications committee and the Grolier Club, she is also the publisher of TKS Books (the publisher of her series, Messy Archivist) and Subseries, small edition imprints whose works are held in special collections libraries throughout North America.
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HOW TO THINK IMPOSSIBLY: THE HISTORY AND ART OF ONTOLOGICAL SHOCK
How to Think Impossibly sets out a historical and philosophical framework for how to think impossibly across our present order of knowledge. I call this thinking impossibly the superhumanities. These intellectual-spiritual practices are guided by the altered states of consciousness, embodiment, and knowledge of their authors in broad social, artistic, intellectual, and scientific movements from Renaissance humanism, the Enlightenment, Romanticism, and German idealism, to more recent movements like surrealist art, feminist criticism, queer theory, Black critical theory, postcolonial theory, the anthropology of indigenous cultures, and the history of science in mathematics, cosmology, and physics, evolutionary biology, and information science or digital technology. This lecture duly notes these histories and then focuses in on the phrase “ontological shock” in the study of alien abduction in the 1990s, the cold-war anti-nuclear activism of the 1970s and 80s, the liberal Christian theology of the 1950s and 60s, and the deeper and more global history of religions and comparative mystical literature. I apply the category in turn to the visitor experiences and subsequent drawings of the same in the Anne and Whitley Strieber collection of the Center of the Impossible at Woodson Research Center, Rice University.
JEFFREY J. KRIPAL is the J. Newton Rayzor Chair in Philosophy and Religious Thought at Rice University, where he co-hosts the Archives of the Impossible collection and conference series, presently in its fourth instantiation with “Art and the Impossible” scheduled for the spring of 2027. He also co-directs the Center for Theory and Research at the Esalen Institute in Big Sur, California. Jeff is the author of numerous books, most recently How to Think Impossibly: About Souls, UFOs, Time, Belief, and Everything Else (Chicago, 2024). He is presently working on a three-volume study of paranormal currents in the sciences, modern esoteric literature, and the hidden history of science fiction collectively entitled The Super Story: Science (Fiction) and Some Emergent Mythologies. His full body of work can be seen at http://jeffreyjkripal.com. He thinks he may be Spider-Man.
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THE TWILIGHT LANGUAGE OF ARTHUR RUSSELL: ON MUSIC, ESOTERIC BUDDHISM, AND THE CREATIVE PROCESS
Artist, author, and media producer Matt Marble will explore some of the intuitive strategies presented in his debut book, Buddhist Bubblegum: Esotericism in the Creative Process of Arthur Russell. Marble examines the notebooks and archives of this “Downtown” NYC visionary and traces the roots of his genre-bending music to the teachings of Indo-Tibetan Buddhism. Looking at Buddhist mantra, mandala, meditation, astrology, and numerology, Marble reveals how Arthur Russell devised his own intuitive discipline by fusing his creative and spiritual aims.
MATT MARBLE explores the crossroads of metaphysics and music in American history through art making, historical journalism, and archival collection. He is best known for Buddhist Bubblegum, his book on Arthur Russell’s creative process (“groundbreaking work,” The New York Times), and for producing and hosting Secret Sound, an “obsession-worthy” podcast of metaphysical biopics on American musicians and composers. He also publishes the monthly AMP Journal, featuring original writings and occasional interviews with contemporary artists. Marble’s historical journalism, media projects, and archival collection constitute the American Museum of Paramusicology (“brilliant and humbling,” The Paris Review). His work has appeared with Mississippi Records, Dublab Radio, Warp Records, Abraxas Journal, and the Philosophical Research Society.
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HANG TIME: THE HANGED MAN & THE AESTHETICS OF SUSPENSION
How long can you stay still? How long can you stay with that which you can’t resolve? Tarot reading requires a willingness to peer the window, to look long into the frame of the card so as to critically discern the visible from the visual.
Red reading requires the emphasis of certain aesthetic modes be appropriate to ethical conditions. For in a such a reading, the querent comes to the red reader to create some kind of buffer zone around them and their vulnerable person. In the porosity of the divination, a solemn, rigid, rational solidity gives way, becoming a liquidity that manifests an opening between the self and the world. The cards create a wedge in our experiential temporality, and strategically so. A red reader can diagram the architectures of white supremacy in their lives and the lives of their clients, internally and externally, so as to suspend that anti-black logic. The red reading is a caring container for queer, marginalized bodies that holds them without suffocating or compressing their integral movements. Rather, this space becomes one that inspire acts of defiance, refusal, and charts potential space, place and times for alternative moves. Thus, to the traitors the Hanged Man turns. The Hanged Man is one that reminds you how hard it is to stomach public executions. The Tower sends all the capitalists crashing to the ground but someone is suspended in space by the Hanged One. Their fall upward is an initiation, a peaceful abandon within a durational drag. A consciousness is clarified from a corporeality bound by white rope.
In Hang Time we will survey a bit of the historic iconography of arcanum 12, discuss the body as a site of consumption, spectacle, the hangman’s noose and then some of the Black artists who strive toward suspension. These artists pursue aesthetic modes to delay, unmoor, halt the dominant gaze, the trajectories, and the technologies of surveillance, domination and captivity. We will question the automatic association of agency with motility.
CHRISTOPHER MARMOLEJO, author of Red Tarot: A Decolonial Guide to Divinatory Literacy, is a Brown, Queer & Trans writer, diviner and educator. They use divination to promote a literacy of liberation, finely weaving tarot, astrology & curanderismo with decolonial, queer epistemologies & critical, feminist pedagogies.
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JODI WILLE (details forthcoming)
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PANEL DISCUSSION - MAGIC MAKER: ARTIST AS MAGICIAN
Are art and magic the same thing? Is creative work inevitably also spiritual work? Has spirituality indeed gone from “taboo to trendy,” as Art in America recently declared, or is there a greater cultural shift at play? In this session, we’ll learn from four contemporary visual artists whose magic-making is an extension of their art practice (and vice-versa). After brief presentations from each, a panel discussion will explore such topics as the archetype of the artist as magician, the power of (witch)crafting, and the historical and spiritual lineages from which these current makers emerge.
This panel will be moderated by conference co-organizer PAM GROSSMAN.
JESSE BRANSFORD is a New York-based artist whose work is exhibited internationally. He holds degrees from the New School for Social Research (BA), Parsons School of Design (BFA) and Columbia University (MFA). A professor of art at New York University, Bransford's work has been involved with belief and the visual systems it creates since the 1990s. Work has been presented in books from Fulgur Press, “A Book of Staves (Galdrastafabók),” and most recently “The Fourth and Fifth Pyramids.” He lectures widely on his work and the topics surrounding his work. He is the co-organizer of the biennial Occult Humanities Conference. More information can be seen at www.jessebransford.com.
EDGAR FABIÁN FRÍAS is a boundary-breaking multidisciplinary artist, educator, and brujx based in Los Angeles with degrees in Psychology, Studio Art, and an MFA in Art Practice from UC Berkeley. Drawing from their Wixárika lineage and training in psychotherapy, their immersive works weave together technology, spirituality, and collective healing, challenging conventional categories. Frías explores resiliency and radical imagination through Indigenous Futurism, queer/trans cosmologies, and data justice, creating portals that operate as spells, maps, and mirrors. Their practice invites re-enchantment and conjures futures rooted in justice, care, and magic.
HILMA’S GHOST is a feminist artist collective founded by artists Sharmistha Ray and Dannielle Tegeder during the height of the pandemic in 2020. The collective acts as a collaborative model for feminist research, artistic production, experimental pedagogies, and community activations. Hilma’s Ghost has been featured in solo and group exhibitions and projects internationally at The Guggenheim, New York, NY; Museu de Arte de São Paulo (MASP), São Paulo, Brazil; The Shepherd, Detroit, MI; Marlborough Gallery, New York, NY; The Aldrich Contemporary Art Museum, Ridgefield, CT; Galería RGR, Mexico City, Mexico; Hill-Stead Museum, Farmington, CT; Secrist|Beach, Chicago, IL; The Armory Show, New York, NY; among many others. Reviews of their work have appeared in The New York Times, The Brooklyn Rail, Artnet, and Hyperallergic. In 2022, they began an itinerant art school with generative workshops fusing art and magic that have been attended by over 10K people to date. Their limited edition tarot deck, "Abstract Futures" has a popular following amongst artists and occult practitioners and is now in its third edition. In 2025, The duo launched an eponymous 600 square foot permanent glass mosaic mural based on their tarot deck, which was commissioned by MTA Arts & Design and fabricated by Miotto Mosaic Art Studios, at Grand Central Station in New York City. Dannielle Tegeder is a Professor at Lehman College at City University of New York and Sharmistha Ray is a Professor at Carnegie Mellon University.
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CONFERENCE CO-ORGANIZERS
JESSE BRANSFORD is a New York-based artist whose work is exhibited internationally. He holds degrees from the New School for Social Research (BA), Parsons School of Design (BFA) and Columbia University (MFA). A professor of art at New York University, Bransford's work has been involved with belief and the visual systems it creates since the 1990s. Work has been presented in books from Fulgur Press, “A Book of Staves (Galdrastafabók),” and most recently “The Fourth and Fifth Pyramids.” He lectures widely on his work and the topics surrounding his work. He is the co-organizer of the biennial Occult Humanities Conference. More information can be seen at www.jessebransford.com.
PAM GROSSMAN is the creator and host of internationally beloved podcast, The Witch Wave ("The Terry Gross of witches" - Vulture), the author of the critically acclaimed books, Waking the Witch: Reflections on Women, Magic, and Power (Gallery Books) and What is a Witch (Tin Can Forest Press), and the co-editor of the WITCHCRAFT volume of Taschen's Library of Esoterica series. Her new book, Magic Maker: The Enchanted Path to Creativity will be released on October 14, 2025. Her writing has appeared in such outlets as The New York Times, The Atlantic, Time, and Ms. Magazine, and she has been a featured speaker at venues including MoMA: The Museum of Modern Art, Columbia University, and IFC Center. She is cofounder of the Occult Humanities Conference at NYU, and her art exhibitions and magical projects have been featured in such publications as Artforum, Art in America, and The New Yorker. She lives in Brooklyn with her husband and their two feline familiars. You can find her at PamGrossman.com and @Phantasmaphile.
FRIDAY, OCTOBER 17
8:00-8:30pm WELCOME & INVOCATION from conference organizers Jesse Bransford & Pam Grossman
8:30-10:00pm WINE & CHEESE RECEPTION with live music
SATURDAY, OCTOBER 18
9:00-9:30am WELCOME ANNOUNCEMENTS & OPENING REMARKS by Jesse Bransford & Pam Grossman
9:30-10:30am TBD
10:30-10:45am Break
10:45am-11:45am TBD
12:00-1:30pm Lunch Break
1:30-2:30pm TBD
2:30-2:45pm Break
2:45-3:45pm TBD
3:45-4:15pm Intermission
4:15-5:15pm TBD
5:15-5:30pm Break
5:30-6:30pm TBD
6:30pm Dinner and Free Evening
SUNDAY, OCTOBER 19
10:00-11:00am TBD
11:00-11:15am Break
11:15-12:15pm TBD
12:15-2:00pm Lunch Break
2:00-3:00pm TBD
3:00-3:30pm Intermission
3:30-4:30pm TBD
4:30-4:45pm Break
4:45-5:45pm TBD
6:00-8:00pm CLOSING RECEPTION AND VIEWING OF GALLERY SHOW - Open to the Public
I HEAR STRANGE MUSIC: SELECTIONS FROM THE AMERICAN MUSEUM OF PARAMUSICOLOGY
“…in the middle of a twenty-acre cornfield, my attention was arrested by the sound of sweet, low, and plaintive music. It seemed to emanate from the airy space above me, and had a pathos like the sighing of autumnal winds… filling my juvenile mind with loving sympathies toward the unknown human world...”
“I Hear Strange Music,” Andrew Jackson Davis (The Magic Staff, 1857)
"I Hear Strange Music" presents a curated selection from the American Museum of Paramusicology (AMP), a unique physical archive dedicated to the metaphysical and paranormal threads running through American music history. AMP director Matt Marble has collected rare letters, photographs, scores, recordings, periodicals, and ephemera, highlighting both celebrated and overlooked artists in this fascinating history. From occult opera and séance pop to cosmic jazz and the Theosophical avant-garde, the AMP traces how metaphysics has provided creative and personal agency for American artists. The exhibit also explores multimedia and multicultural aspects of this history, connecting music to other art forms, social justice movements, and philosophical traditions.
Highlights include rare materials from America’s first pop band (The Hutchinson Family Singers), early séance composers and medial musicians, Vedantic opera singers, Theosophical tone-color theorists, Anthroposophical music circles at Carnegie Hall, and the first African American school of magic and mediumship. Featured artists range from astrologer/composer Dane Rudhyar and psychic country producer Chaw Mank to Duke Ellington, Vincent Lopez, Radie Britain, Alan Hovhaness and his “spiritual teacher” Hermon di Giovanno, Exuma (the Obeah Man), Merceditas Valdes, Mary Lou Williams, and others.
To complement the exhibition, the AMP has teamed up with Mississippi Records to create a limited-edition cassette of American piano music inspired by the Theosophical Society, available for purchase at the event.
*The exhibition is free and open to the public on Saturday Oct 18th from 9am-6pm and Sunday Oct 19th, from 10am-8pm
Khepri Press
Mithras Candle
Ouroboros Press
Splendor Solis Books
Twelve Month Aura - Book your aura photo session(s) directly with them at this link: Coming soon!
*The Vending Area is free and open to the public on Saturday Oct 18th from 9am-6pm and Sunday Oct 19th, from 10am-8pm
TICKETS COMING SOON
*PLEASE NOTE: All conference talks can only be accessed by ticket-holders. However the exhibition, vending area, and Sunday night closing reception are all free and open to the public, per the schedule above. The aura photos are also accessible to the general public, though your session must be booked separately here.
Email: occulthumanities [at] gmail . com
Conference location:
NYU Steinhardt Department of Art and Art Professions
Barney Building
34 Stuyvesant St, New York, NY 10003