Three Dialogues Between Hylas and Philonous in Opposition to Sceptics and Atheists
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Beckett & Aesthetics
09/25/21 Beckett & Aesthetics | Goldsmiths, University of London Beckett & Aesthetics View Online 1. Beckett, S.: Watt. John Calder, London (1963). 2. Connor, S.: ‘Shifting Ground: Beckett and Nauman’, http://www.stevenconnor.com/beckettnauman/. 3. Tubridy, D.: ‘Beckett’s Spectral Silence: Breath and the Sublime’. 1, 102–122 (2010). 4. Lyotard, J.F., Bennington, G., Bowlby, R.: ‘After the Sublime, the State of Aesthetics’. In: The inhuman: reflections on time. Polity, Cambridge (1991). 5. Lyotard, J.-F.: The Sublime and the Avant-Garde. In: The inhuman: reflections on time. pp. 89–107. Polity, Cambridge (1991). 6. Krauss, R.: LeWitt’s Ark. October. 121, 111–113 (2007). https://doi.org/10.1162/octo.2007.121.1.111. 1/4 09/25/21 Beckett & Aesthetics | Goldsmiths, University of London 7. Simon Critchley: Who Speaks in the Work of Samuel Beckett? Yale French Studies. 114–130 (1998). 8. Kathryn Chiong: Nauman’s Beckett Walk. October. 86, 63–81 (1998). 9. Deleuze, G.: ‘He Stuttered’. In: Essays critical and clinical. pp. 107–114. Minnesota University Press, Minneapolis (1997). 10. Deleuze, G., Smith, D.W.: ‘The Greatest Irish Film (Beckett’s ‘Film’)’. In: Essays critical and clinical. pp. 23–26. Minnesota University Press, Minneapolis (1997). 11. Adorno, T.: ‘Trying to Understand Endgame’. In: Samuel Beckett. pp. 39–49. Longman, New York (1999). 12. Laws, C.: ‘Morton Feldman’s Neither: A Musical Translation of Beckett’s Text'. In: Samuel Beckett and music. pp. 57–85. Clarendon Press, Oxford (1998). 13. Cage, J.: ‘The Future of Music: Credo’. In: Audio culture: readings in modern music. pp. 25–28. -
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
Becoming-Other: Foucault, Deleuze, and the Political Nature of Thought Vernon W
Philosophy Faculty Publications Philosophy 4-2014 Becoming-Other: Foucault, Deleuze, and the Political Nature of Thought Vernon W. Cisney Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/philfac Part of the Philosophy of Mind Commons Share feedback about the accessibility of this item. Cisney, Vernon W. "Becoming-Other: Foucault, Deleuze, and the Nature of Thought." Foucault Studies 17 Special Issue: Foucault and Deleuze (April 2014). This is the publisher's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/philfac/37 This open access article is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Becoming-Other: Foucault, Deleuze, and the Political Nature of Thought Abstract In this paper I employ the notion of the ‘thought of the outside’ as developed by Michel Foucault, in order to defend the philosophy of Gilles Deleuze against the criticisms of ‘elitism,’ ‘aristocratism,’ and ‘political indifference’—famously leveled by Alain Badiou and Peter Hallward. First, I argue that their charges of a theophanic conception of Being, which ground the broader political claims, derive from a misunderstanding of Deleuze’s notion of univocity, as well as a failure to recognize the significance of the concept of multiplicity in Deleuze’s thinking. From here, I go on to discuss Deleuze’s articulation of the ‘dogmatic image of thought,’ which, insofar as it takes ‘recognition’ as its model, can only ever think what is already solidified and sedimented as true, in light of existing structures and institutions of power. -
From Opinions to Images: Essays Towards a Sociology of Affects Ulus S
FROM OPINIONS TO IMAGES: ESSAYS TOWARDS A SOCIOLOGY OF AFFECTS ULUS S. BAKER EDITED BY ARAS ÖZGÜN AND ANDREAS TRESKE A SERIES OF READERS PUBLISHED BY THE INSTITUTE OF NETWORK CULTURES ISSUE NO.: 37 FROM OPINIONS TO IMAGES: ESSAYS TOWARDS A SOCIOLOGY OF AFFECTS ULUS S. BAKER EDITED BY ARAS ÖZGÜN AND ANDREAS TRESKE FROM OPINIONS TO IMAGES 2 Theory on Demand #37 From Opinions to Images: Essays Towards a Sociology of Affects Ulus S. Baker Edited by Aras Özgün and Andreas Treske Cover design: Katja van Stiphout Design and EPUB development: Eleni Maragkou Published by the Institute of Network Cultures, Amsterdam, 2020 ISBN print-on-demand: 978-94-92302-66-3 ISBN EPUB: 978-94-92302-67-0 Contact Institute of Network Cultures Phone: +31 (0)20 595 1865 Email: [email protected] Web: http://www.networkcultures.org This publication is available through various print on demand services. EPUB and PDF edi- tions are freely downloadable from our website: http://www.networkcultures.org/publications. This publication is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivatives 4.0 International. FROM OPINIONS TO IMAGES 3 Cover illustration: Diagram of the signifier from Deleuze, Gilles and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press. 1987. 4 THEORY ON DEMAND CONTENTS PASSING THROUGH THE WRITINGS OF ULUS BAKER 5 1. A SOCIOLOGY OF AFFECTS 9 2. WHAT IS OPINION? 13 3. WHAT IS AN AFFECT? 59 4. WHAT IS AN IMAGE? 86 5. TOWARDS A NEO-VERTOVIAN SENSIBILITY OF AFFECTS 160 6. ON CINEMA AND ULUS BAKER 165 BIBLIOGRAPHY 180 BIOGRAPHIES 187 FROM OPINIONS TO IMAGES 5 We have lived at least one century within the idea of opinion which determined some of the major themes in social sciences.. -
Image and Intuition in Beckett's Film
90 Anthony Uhlmann Image and Intuition in Beckett’s Film Anthony Uhlmann Working from a detailed diary Beckett wrote of his thoughts on painting while travelling through Germany and visiting art galleries before World War II, and directed by comments made by Beckett himself, James Knowlson has convincingly displayed how Beckett used images from paintings that had had a forceful impression on him, reconfiguring them in developing his own striking images in later works (256-258).1 Might the same be claimed for Beckett’s use of philosophy? In a 1933 letter to Thomas MacGreevy, Beckett identifies an interest in philosophical images even if divorced from the systems in which they are used: “Leibniz a great cod, but full of splendid little pictures.” Beckett discusses the “image” a number of times in Disjecta (28, 90, 94, 123, 130), and Gilles Deleuze sees the use of the image as key in coming to terms with Beckett’s works.2 As is well known, Deleuze develops a reading of Henri Bergson, especially Matter and Memory, in developing his own concept of the image in the Cinema books,3 and as I will attempt to establish below, Beckett knew Bergson’s work well and drew upon it in developing his own ideas about the image and its relationship to thought. The Legacy of Bergson In Matter and Memory Bergson draws heavily upon the concept of “the image,” a term with a long history in philosophy tying it to inadequate modes of understanding.4 Yet rather than “the image” being a secondary category, linked to the inferior kinds of understanding derived from the testimony of the senses, the image, in Bergson’s system, is given a much more prominent place. -
The Ontological Plurality of Digital Voice: a Schizoanalysis of Rate My Professors and Rate My Teachers
The ontological plurality of digital voice: a schizoanalysis of Rate My Professors and Rate My Teachers This is a post-peer-review, pre-copyedit version of a paper published in Principles of transversality in globalization and education: Mayes, Eve 2018, The ontological plurality of digital voice: a schizoanalysis of Rate My Professors and Rate My Teachers. In Cole, David R and Bradley, Joff PN (ed), Principles of transversality in globalization and education, Springer, Singapore, pp.195-210. The final authenticated version is available online at: https://doi.org/10.1007/978-981-13-0583- 2_12 This is the accepted manuscript. ©2018, Springer Nature Singapore Pte Ltd. Reprinted with permission. Downloaded from DRO: http://hdl.handle.net/10536/DRO/DU:30105103 DRO Deakin Research Online, Deakin University’s Research Repository Deakin University CRICOS Provider Code: 00113B Book: Principles of Transversality in Globalization and Education The ontological plurality of digital voice: A schizoanalysis of Rate My Professors and Rate My Teachers Eve Mayes Deakin University, Geelong, Victoria, Australia Abstract Online evaluations (like Rate My Professors and Rate My Teachers) have been celebrated as forming wider publics and modes of accountability beyond the institution, and critiqued as reinforcing consumeristic pedagogical relations. This chapter takes up the websites Rate My Professors and Rate My Teachers as empirical entry points to a conceptual discussion, after Félix Guattari, of the ontological plurality of digital voice, and its associated refrains and universes of reference. I turn attention from analysis of the effects of these digitized student evaluations to the moment of their formation – for example, when a student’s finger clicks on a particular star rating. -
Joel Stern Thesis
Joel Stern N5335612 KK51 Masters of Arts (Research) Creative Industries Faculty Thesis: Tracing the influence of non-narrative film and expanded cinema sound on experimental music. Supervisor – Dr. Julian Knowles ORDER OF CONTENTS Keywords: Expanded Cinema, Film Sound, Experimental Music, Audiovisual, Synchronisation, Michael Snow, Tony Conrad, Phill Niblock, Film Performance, Field Recording, Montage, Abject Leader. Table of Contents: 1. Purpose, Scope, Significance and Evaluation of the work (pp. 1-5) 2. The Filmmaker/Composer: New forms of synchronisation in the films of Michael Snow, Tony Conrad, Phill Niblock. (pp. 6-26) 3. Abject Leader: what makes these fields Shiver? Refracted forms of synchronisation in the films performances of Abject Leader (pp. 27-33) 4. Objects, Masks, Props: Hearing, capturing, assembling, disseminating sounds shaped by the aesthetic, conceptual and material influence of experimental film. (pp. 34-38) Creative works for submission: 1. Abject Leader ‘What Makes These Fields Shiver?’ DVD. A folio of audiovisual screen works and performance documentation made in collaboration with filmmaker Sally Golding. 2. Joel Stern ‘Objects, Masks, Props’ CD. A set of eight sonic compositions made by Joel Stern. “The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made.” Signature: Date: One Purpose, Scope, Significance and Evaluation of the work. The purpose of this study This study surveys and interrogates key conceptual frameworks and artistic practises that flow through the distinct but interconnected traditions of non- narrative film and experimental music, and examines how these are articulated in my own creative sound practise. -
L'abecedaire De Gilles Deleuze, Avec Claire Parnet
1 L'Abécédaire de Gilles Deleuze, avec Claire Parnet Directed by Pierre-André Boutang (1996) Translation & Notes: Charles J. Stivale Credits (shown at the end of each tape): Conversation: Claire Parnet Direction: Pierre-André Boutang, Michel Pamart Image: Alain Thiollet Sound: Jean Maini Editing: Nedjma Scialom Sound Mix: Vianney Aubé, Rémi Stengel Images from Vincennes: Marielle Burkhalter --------------------------------------------------------------------------- Translated and edited by Charles J. Stivale --------------------------------------------------------------------------- Prelude \1 A short description of the trailer and then of the interview "set" is quite useful: the black and white trailer over which the title, then the director’s credit are shown, depicts Deleuze lecturing to a crowded, smoky seminar, his voice barely audible over the musical accompaniment. The subtitle, “Université de Vincennes, 1980,” appears briefly at the lower right, and Deleuze’s desk is packed with tape recorders. A second shot is a close-up of Deleuze chatting with the students seated closest to him. Then another shot shows students in the seminar listening intently, most of them (including a young Claire Parnet in profile) smoking cigarettes. The final shot again shows Deleuze lecturing from his desk at the front of the seminar room, gesticulating as he speaks. The final gesture shows him placing his hand over his chin in a freeze-frame, punctuating the point he has just made. As for the setting in Deleuze’s apartment during the interview, the viewer sees Deleuze seated in front of a sideboard over which hangs a mirror, and opposite him sits Parnet, smoking constantly throughout. On the dresser to the right of the mirror is his trademark hat perched on a hook. -
ED331151.Pdf
DOCUMENT RESUME ED 331 151 EA 022 894 AUTHOR Brown, Rexford G. TITLE Schools of Thought: How the Politics of Literacy Shape Thinking in the Classroom. The Jossey-Bass Educat:ion Series. REPORT NO ISBN-1-55542-314-0 PUB DATE 91 NOTE 311p. AVAILABLE FROMJossey-Bass Publishers, 350 Sansome Street, San Francisco, CA, 94104 ($24.95 plus state sales tax where applicable). PU3 TYPE Guides - Non-Classroom Use (055) -- Books (010) EDRS PRICE MFL- Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Classroom Environment; *Educational Policy; Elementary Secondary Education; Foreign Countries; *Literacy; *Politics of Education; *Program Development; Rural American Indians; Rural Education; School Restructuring; State Action; *Thinking Skills; Urban Education IDENTIFIERS *Ontario (Toronto); Pittsburgh School District PA ABSTRACT The new literacy goes beyond the requirements for a high school diploma, including capacities once demanded only of a privileged, college-bound elite. This book concerns this new, higher literacy and whether current educational restructuring efforts are likely to foster such literacy in all students. The study used informal interviewing techniques and examined classrooms for evidence of nine general climate indicators conducive to a literac of thoughtfulness. The first chapters focus on rure America, especially the Deep South, where teachers are educating children to leave their communities. The third chapter describes education on an Indian reservation, where the colonial model is waning. Chapter 4 describes the conflicts and contradictions in a troubled, but typical urban school district unintentionally engaged in undermining literacy efforts. Chapter 5 broadens the notion of "policy environment" and describes the contributions of a governor, a legislature, a state school board, and a district judge. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
Regard Et Prédation Dans Film De Samuel Beckett De La Fable À La Structure Llewellyn Brown
Document generated on 10/02/2021 3:45 a.m. Études françaises Regard et prédation dans Film de Samuel Beckett De la fable à la structure Llewellyn Brown Le regard et la proie Article abstract Volume 54, Number 2, 2018 If the problematic of the gaze is capital in Beckett’s work, it is in his only film – with its rhematic title – that it becomes the thrust of a pursuit. In discovering a URI: https://id.erudit.org/iderudit/1050587ar new medium, he resumes an earlier setup involving the representation of DOI: https://doi.org/10.7202/1050587ar “traversable space:” that of the quest. The recourse to the famous actor Buster Keaton is part of this choice that makes of the film a fable. If a “theoretical” See table of contents (Berkeley) background is exploited by Beckett, the gaze is read here as an object, as theorized by Lacan, who contends that each one is subjected to an all-seeing gaze, before being constituted as a subject. Beckett considers the camera as a penetrating and impersonal agent. In Film, we see the reality constituted by the Publisher(s) imaginary give way to the intrusion of this gaze. In the absence of an original Les Presses de l’Université de Montréal assent of the Other, the Beckettian subject remains irremediably split, a fact that allows, in this film, to make the gaze a “character” in its own right: the Eye of the camera, which pursues the character, called Object (O). The former is subjectivity ISSN devoid of visible form, the latter is visibility devoid of interiority. -
Schizo)Analysis of Value in the ‘Age of Innovation’
7 The (schizo)analysis of value in the ‘Age of Innovation’ Maria Hynes At a time when a well-branded concept is celebrated as an innovation, it is tempt- ing to consider this the ‘Age of Innovation’. We daily hear talk of innovation nations and innovation economies, and everywhere the value of innovative ideas, technologies, and practices are extolled. Amidst the hyperbolic claims made in the name of innovation, what is evident is that contemporary economies are mining ideas with the same fervour that they had previously mined the earth. New institu- tions are born – innovation hubs, networks, and virtual ecosystems – with an eye to cultivating the kind of problem-based research that universities are still learn- ing to produce. The conventional bounds set by disciplinary thinking are deemed a hindrance to the innovation paradigm. Such a paradigm recognises experimen- tation in the production of both ideas and things as value-adding at the level of process, as well as outcome. The interdisciplinary hybrid now familiarly known as ‘Art-Science’ is a case in point, with the meeting of art and science increas- ingly acclaimed as precisely the kind of cross-perspectival thinking necessary for solving complex problems ( Wilson et al., 2014 ). It is the disparate nature of art and science that is celebrated in popular formulations of such interdisciplinarity, since heterogenous knowledges are identifi ed as the source of the ‘creative leaps’ so crucial to innovation (Hacklin and Wallin, 2013). Of course, we know how readily such interdisciplinarity can be reterritorialised in line with those uncompromisable social axioms that make the opportunistic mutations of capitalism work.