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Amsterdam School for Cultural Analysis University of Amsterdam Amsterdam School for Cultural Analysis University of Amsterdam Bushuis, KloveniersburgwalASCA 48, room F101C, 1012 CX Amsterdam, The Netherlands, [email protected], Nieuwsbrief 192 September 2016 Dissertation Defence: Matthé Scholten ...................... 1 DISSERTATION DEFENCE: JOS VAN HELVOORT Dissertation Defence: Jos van Helvoort ...................... 1 Assessment of information literacy skills in higher ASCA Biennale Seminar: Cinema Olanda - Projecting education. Supervisors: Frank Huysmans, Saskia Brand- The Netherlands .......................................................... 1 Gruwel and Ellen Sjoer. 15 September, 14:00 hrs. Agnietenkapel. Philosophy and Public Affairs colloquium .................. 3 The construct 'information literacy' refers to the skills ASCA Trans-Asia cultural studies reading group ..... 4 to solve information problems by the use of Self-Optimization: A Duty to Oneself? ...................... 4 information from the internet or a more or less digital Getting Past Schmitt? Political Realism and the library. Those skills are regarded as an essential Autonomy of Politics .................................................. 4 competence for students in higher education. But how ASCA Skills Seminar: Conferences, Publishing, Job can you measure students' information literacy skills? Market ......................................................................... 5 And which assessment instrument is also suitable for ASCA Cities Seminar: Urban World-Making ............ 5 the stimulation of those skills? Reasoning through Art. .............................................. 5 In his PhD thesis Jos van Helvoort reports research that makes it plausible that a scoring rubric is The Occupation of the Senses ..................................... 6 preferred if one looks for an instrument that can Palestinorama! ............................................................ 6 evaluate as well as stimulate students' information Sexing the City ........................................................... 8 literacy skills. Based on literature research, Farewell to the Beautiful Soul ..................................... 8 conversations with colleague teachers and Dramaturgies of Cultural Translation ....................... 9 observations of student behaviour, was developed a Resonances of the Work of Judith Butler ..................... 9 scoring rubric for performance assessment of ACLA 2017 - Utrecht University ............................. 10 information literacy. This assessment instrument was VENI support track ................................................... 10 subsequently tested and evaluated in various empirical studies. DISSERTATION DEFENCE: MATTHÉ SCHOLTEN Reminders of Duty: A Kantian Theory of Blame. ASCA BIENNALE SEMINAR: CINEMA OLANDA - Supervisors: Josef Früchtl and Marcus Willaschek. 9 PROJECTING THE NETHERLANDS September, 12:00 hrs. Agnietenkapel. Hosted by Esther Peeren and Patricia Pisters, in close This dissertation develops a Kantian quality of will collaboration with Wendelien van Oldenborgh and Lucy account of moral blameworthiness. Part I reconstructs Cotter. the so-called Reinhold/Sidgwick Objection. According • 15 September 2016: 10.00 - 13.00 to this objection, anyone who accepts the Kantian • 15 November 2016: 14.00 - 17.00 conception of autonomy is forced to draw the absurd • 13 December 2016: 16.00 - 19.00 conclusion that no one is ever morally blameworthy • 7 February 2017: 14.00 - 17.00 for anything. Part II focuses on the problem of free • 11 April 2017: 14.00 - 17.00 will. Here I argue that the standard Kantian attempts The ASCA seminar will take a series of films by Dutch to reconcile this sort of freedom with determinism rely contemporary artist Wendelien van Oldenborgh (1962) on implausible and ad hoc metaphysical assumptions as its departure point. Van Oldenborgh’s work is and should therefore be rejected. This rejection is acclaimed for its use of the cinematic format as a supported by a critical reflection on the Principle of methodology for production, with live (public) film Alternate Possibilities and the principle Ought Implies shoots generating the collective co-production of Can. Part III develops a Kantian quality of will account scripts. Known for ground-breaking works set in of excuses and exemptions. This account explains why colonial architecture and engaging with its attendant physical constraint, unintentional bodily movement, discourses, such as Maurits Script (2006), her recent ignorance and coercion often provide an excuse and work engages with Modernist architecture that paved why patients suffering from psychosis are often the way for the social, economic and political realities exempted from moral responsibility. If the proposed of globalism. In her latest film, From Left to Night (2015) account is correct, the Reinhold/Sidgwick Objection three sites embodying1960s idealist architecture in does not take hold. London form points of intersection of events, subjects 2 and recent histories related to the London riots, music Contemporary Islamic Studies in the Faculty of and feminism. Oriental Studies at Oxford University. The ‘Cinema Olanda’ is the title of the project by collaboration resulted in a script that exposes the Wendelien van Oldenborgh and curator Lucy Cotter mechanisms used to silence certain voices in current (Ireland, 1973) that will form the Dutch entry for the society. The students act as a chorus in a playful 57th edition of the Venice Biennale, taking place in interchange with Ramadan's ideas and thoughts, 2017. Taking the Dutch national pavilion, designed by which explore issues such as diversity, fear, conflict, Gerrit Rietveld in 1953, as a Modernist projection of and his own interrupted engagements in the city of the Netherlands, their exhibition will make space for Rotterdam. The script was formed ad hoc, during the lesser-known episodes in Dutch postcolonial history shoot, and was guided by the cast's own real-life and explore how they resonate with current transitions experiences and forms of expression. in the Netherlands’ cultural and political landscape. NB. Lucy Cotter will be present during this session The exhibition and live events in Venice will be Texts: accompanied by a multidisciplinary symposium • Eric C.H. Bruyn, “A Mini-Tragedy: Supposing I love entitled Cinema Olanda: Projecting the Netherlands, you. And you also love me, 2011”, Amateur, Berlin: which will take place at various locations in the Sternberg Press, 2016, 233-244. Netherlands in October 2017 in partnership with • Rosalind Krauss, “…And Then Turn Away” (1997), Amsterdam School for Cultural Analysis (ASCA). This repub. James Coleman, ed. George Baker, October seminar series is the first manifestation of this Files 5, MIT Press, 2003, 157-185. collaboration. • “The Third Meaning: Research Notes on Some Programme: Eisenstein Stills” by Roland Barthes, Image, Music, Seminar 1: 15 Sept. 10.00–13.00 hrs, OMHP A 2.01 Text, London: Fontana Press, 1977, 52-68. FILM: Wendelien van Oldenborgh - Maurits Script Seminar 3: 13 Dec. 16.00 – 19.00 hrs., BG2 room 0.08 2006. Duration: 67 minutes FILM: Wendelien van Oldenborgh, La Javanaise, 2012, Film based on a script compiled of excerpts from documentation version, duration: 25 minutes different sources relating to Johan Maurits van La Javanaise centres on the circularity of relations Nassaus period as governor of the North East of Brazil between a Dutch textile company, former colonies in (1637 – 1644), for which he has often been credited as the East Indies, the display of colonial history, and being an early modernist ruler. Maurits Script focuses current African markets within a contemporary, on the paradoxes and inner conflicts produced within globalized world. It uses the example of the textile firm the art of governing, the institutions of the period, and Vlisco, which developed a particular fabric known as personal relations at a moment when many different Dutch Wax or Wax Hollandaise based on the groups found themselves living together with clashing traditional Javanese resist-dye method batik. Under interests. It was staged and filmed as a live event in the recent pressure of imitation from Chinese producers, Golden Room of the Mauritshuis, The Hague (built by Vlisco now brands itself as the ‘True Original’ Dutch Maurits during his period of government in Brazil), Wax and has relaunched as a fashion label creating where a group of participants, each of whom have images in the Netherlands, with international African differing relations to the contents of the script, will top models presenting the products to an African perform it and discuss its contents in relation to the clientele. La Javanaise features fashion model Sonja present day. Wanda, artist, writer, and former model Charl NB. Wendelien van Oldenborgh will be present during Landvreugd, and the writer and theorist David this session. Dibosa. Through unrehearsed dialogue and Texts: performance staged in the setting of the former • Wendelien van Oldenborgh, Film Script, Maurits Colonial Institute in Amsterdam, the work addresses Script (2006) the inextricable link between imagination and • Avery F. Gordon, “Hawthorn Archive: Subjugated authenticity and between colonialism and Knowledge/Brazil/Morronage/MAURITS SCRIPT globalization. (2006)”, Amateur, Berlin: Sternberg Press, 2016, 131- In this session also references to the film by Daniele 159. Huillet, Jean-Marie Straub, Class Relations • Suely Rolnik, “Anthropofagic Subjectivity”, Arte [Klassenverhaeltenis]
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