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CRMEP Lecture Series | Catherine Malabou | Spinoza and Symbolic Necessity

1st Dec. 2016

Catherine Malabou, Spinoza and Symbolic Necessity

In Expressionism in Philosophy: Spinoza, Gilles Deleuze contrasts philosophy and revelation. Expressionism is the privileged modality of immanence and intelligibility, opposed to ‘knowledge by signs’ that characterizes the domain of revelation and is supposedly meant to foster faith in ignorant people. The ontological dimension of revelation – its necessity – is dismissed by Deleuze’s reading. Emmanuel Lévinas, following an apparently inverted logic, reproaches Spinoza for having subjected revelation to an overly rigid ontological necessity, thus missing its ‘signifying’ value.

Do we find too many or too few signs in Spinoza? By focusing on Spinoza’s method of interpretationI challenge these approaches, showing how the issue of the symbolic inscribes itself in Spinoza’s project, and offering my own account of the symbolic.

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CRMEP | Nietzsche, Psychoanalysis and Feminism

Time: 9.30am – 8.00pm
Venue: Room 0002, John Galsworthy building, Penrhyn Road campus, Penrhyn Road, Kingston upon Thames, Surrey KT1 2EE
Price: £0 – 50
Speaker(s): Luce Irigaray, Sigridur Thorgeirsdottir and Christine Battersby

The aim of this conference is to bring together scholars working on Nietzsche, psychoanalysis, and feminism. Nietzsche writes that he is ‘the first psychologist of the eternal feminine’ and that psychology is ‘now again the path to the fundamental problems’. He also writes about the love relationships and the gender roles of women and men, stating that ‘it is man who creates for himself the image of woman, and woman forms herself according to this image’. It is not surprising then that Nietzsche’s thinking has influenced and inspired both psychoanalytic and feminist thinkers.

Nietzsche makes a considerable effort in The Gay Science to convince the reader that erotic love, as the expression of an instinct or drive, is not a ‘good’ to be esteemed, but is rather an egoistic need that gains surplus value. He suggests that the drives that underlie love are tyrannical and possessive and it is only through their cultural articulations that love comes to be viewed with a sense of splendour or beauty. Nietzsche also suggests that the differences between the genders are a product of instinctual forces that cause men and women to love distinctively and, as such, we cannot expect egalitarian reciprocity in love relationships.

Nietzsche’s writings reveal a thinker who is reflecting on the differences and inequalities between the genders without explicitly suggesting any solutions. As such, we may ask whether Nietzsche can approach the problem of sex/gender with the same critical distance that he suggests is necessary for a re-evaluation of values. Is the man/woman distinction ‘a faith in opposite values’ that he is unable to overcome?

This conference seeks to think about the contributions and limits of Nietzsche’s writings on sex/gender, self-overcoming, and love and then move beyond him. By exploring the connections between Nietzsche, psychoanalysis, and feminism we will return to feminist problems in the philosophical and psychoanalytic canons and ask how they remain important today.

Please click here to view the programme (subject to change).

Booking is essential to attend this event.

 

http://bit.ly/2g2jBvI 

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CALL FOR PAPERS | THE SPACE BETWEEN: PSYCHE, BODY, SKIN, ENVIRONMENT 

Friday 3rd February 2017, Royal College of Art, London, UK

Keynote Speaker: Dr. Fataneh Farahani, Associate Professor, Department of Ethnology and Gender Studies, Stockholm University, Sweden

Deadline for Abstracts: Friday 15th December 2016

The Space Between: Psyche, Body, Skin, Environment is an inter-disciplinary one-day symposium bringing together key thinkers from a range of disciplines to consider ideas around clothing, cloth and protection in contemporary society; in particular those associated with psyche, dress and the environment. Clothing and dress are often interpreted as forms of literal, metaphorical or psychic protection; from a suit of armour, to a hockey player’s padding, a heavy wool coat, to a businessperson’s suit.

The symposium seeks to ask what does clothing as protection mean in the context of contemporary society. As well as physical protection from environmental risk how does it protect one from the social mores or precepts of society? Why are some cultures and societal groups more concerned with this than others? Are contemporary forms of exposure and nakedness or nudity now also viewed as forms of pre-emptive protection? Do we now need more or less protection? And who (or what) do we need protecting from?

Proposals for 15 minute paper presentations are sought on the three key themes of the symposium as follows:

Protection: Between Dress and Shelter. This section explores the ways in which dress has been used as protection from the elements or the gaze of others. Taking a global perspective, it examines cultural differences in the definition of dress as protection.

Psyche: Between Perception and Display. This section explores the experiential or psychoanalytic implications of dress as protection versus dress as display.

Intersection: Between Body and Skin. Taking the garments we wear closest to the skin as its focal point, this section invites artists and academics who make undergarments to share their perspective.

Abstract proposals of 350 words together with a 150 word biography should be sent for review to: [email protected] by Friday 15th December 2016

This symposium is a collaboration between Fashion Research Network and Dr Azadeh Fatehrad with support from the Royal College of Art.

Further general questions can be sent to: [email protected]

[Foreign Affairs] presents three brand new European theatre translations live on stage.

This evening of new translation extracts, to be performed at Above The Arts – Arts Theatre on 9 and 10 December 2016, is the culmination of [Foreign Affairs] Translates! a six month workshop programme to help develop theatre in translation.

Three female translators working from Swedish, Hungarian and Croatian were chosen to participate in the inaugural programme launched in July 2016. Working with a team of language and theatre translation experts alongside [Foreign Affairs] team of producers, directors and actors, translators Sian Mackie, Jozefina Komporaly and Valentina Marconi will bring the renowned and award-winning words of August Strindberg, András Visky and Ivana Šojat’s to an English speaking audience.

A post-show panel with the project’s creative team, including literary translators Paul Russell Garrett, William Gregory and Roland Glasser, will shed light on this unique translation process.

http://www.foreignaffairs.org.uk/foreign-affairs-translates-2016-showcase/

 

TICKETS – £12/£10

WHEN – 9 & 10 December

WHERE – Above the Arts

Great Newport Street
WC2H 7JB

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International Design Organisations: Histories, Legacies, Values

A conference to examine the histories, legacies and values of international design organisations in a post-industrial, post-organisational world.
 
University of Brighton, Internationalising Design History Research Cluster
Victor J. Papanek Foundation, University of Applied Arts Vienna

Date: 9-10 November 2017
Location: University of Brighton
http://arts.brighton.ac.uk/research/design-art-history/idh/internationalising-design-history-events/international-design-organisations-histories,-legacies,-values

Deadline for abstracts: 30 January 2017

Organisers:
Prof. Jeremy Aynsley, Tania Messell and Dora Souza Dias, Internationalising Design History Research Cluster, University of Brighton.
Dr Leah Armstrong and Prof. Alison J Clarke, Victor J. Papanek Foundation, University of Applied Arts Vienna.

From industrialisation to post-industrialisation, international design organisations have shaped the socio-political, geographical and disciplinary history of design as a force for change in the world. However, the histories, legacies and values of these organisations have largely escaped academic scrutiny. This conference invites scholars from the humanities and social sciences to open out multiple perspectives on international design organisations in shaping agendas, identities and values within design and beyond. It aims to locate these histories in relation to the contemporary post-industrial and post-organisational society in which the design profession currently operates.

Ranging in scale and scope, international design organisations have taken changing forms over time. These range from membership-based organisations such as the International Council of Societies of Industrial Design (ICSID) and the International Council of Graphic Design Associations (ICOGRADA) (now Ico-D) originally formed in the mid twentieth century to represent the professions of design, to other specialist organisations and networks including the National Association of Clothing Designers (NACD) ( now IACDE), formed to promote the design industries to government and business on an international level. This conference seeks to explore the particular dynamics of these membership-based organisations and networks for the design professions. It will interrogate the internationalising agendas of these organisations and critically contextualize their impacts and legacies for contemporary design. The organisers invite authors to identify and explore the changing shape, form and function of international design organisations as an entry point into wider debates about the agency of design within geographical, political, cultural, social and economic contexts?

The following questions inform the background from which this call for papers has emerged:

How can we understand the changing function of the design organisation in relation to social, economic or political transition?
How has the agency of design driven political, economic and cultural goals internationally?
How have design organisations been shaped by colonial and post-colonial agendas?
How have design organisations engaged (or failed to engage) with the changing politics of postcolonial economies?
What are the systems of exclusion within which design organisations have operated and how have these been fixed and organised, spatially and temporally?
How do design organisations exist in the contemporary context of ‘dis-organised’ labour and de-professionalisation?
What is the relationship between material objects and the immaterial formation of bureaucracies?
What insights can the aesthetics and material culture of design organisations lend to understanding their agendas, values and visions?
What is the tension between the individual and the organisation in explaining the history, legacy and value of international design organisations?
What do design organisations share with other forms of international organisations, such as expert networks (INGOs and professional organisations) and international agencies (such as UNESCO)?

Emergent work in the fields of sociology, anthropology, design history and theory, design studies, cultural history, social history, gender studies, business history and social and cultural theory provide a rich context in which to pursue these questions. The organisers invite authors from these and related fields to respond to the following themes (and other suggested topics):

·       International development, including concepts of progress, modernity and growth;

·       The shaping of ideas about design, industrial production and post-colonial economies in the wake of the ‘global turn’.

·       The relationship between international design organisations and national government policies, from the creative industries, design for disability, the environment and sustainability, to open policy making and design thinking;

·       De-professionalisation in design in the invention of new forms of expertise and identities;

·       Issues of public engagement in the performance of design organisations for national and international audiences;

·       The relationship between design organisations, commercial interests and business.

The above aspects of international design organisations are intended to pose a wide variety of perspectives and are by no means exclusive. The organisers also particularly welcome abstracts that might identify previously overlooked organisations or issues.

Papers should be international in scope but are to be given in English. Please send a title, 250- word abstract and 150-word author biography to [email protected] before 30 January 2017.

Please email [email protected] if you have any further questions.
 
Conference Organisers
Prof. Jeremy Aynsley, Tania Messell and Dora Souza Dias, Internationalising Design History Research Cluster, University of Brighton.
Dr Leah Armstrong and Prof. Alison J Clarke, Victor J. Papanek Foundation, University of Applied Arts Vienna.

This conference is supported by the University of Brighton Internationalising Design History Research Cluster and the Victor J. Papanek Foundation, University of Applied Arts Vienna.

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Call for Papers | Island Textiles and Clothing: A thematic section of Island Studies Journal

‘Island Textiles and Clothing’: A thematic section of Island Studies Journal, Vol. 13(1), May 2018

Many of the best-known textile traditions of the UK and Ireland are associated with islands, e.g. Aran knitting, Harris tweed, Shetland lace, and Fair Isle knitting. Emphasis is often placed on the relationship between the textile product and its place of origin, through which island identity and related national identities are co-constructed. Such textile traditions are also frequently linked to a mythologised historical narrative of textile production as part of a subsistence economy which is embedded within the contemporary presentation of textile products as design classics and souvenirs.

The association of islands with distinctive textile and clothing (such as fur or tree bark clothing) traditions is, indeed, a global phenomenon. By soliciting articles from island studies scholars around the world, this thematic section of Island Studies Journal addresses such questions as:

· How do the island origins of certain textiles and distinctive clothing relate to their role in national, regional, or local identity?
· How do island-based textile and clothing producers use their location to leverage symbolic capital in global markets?
· How are island textile and clothing traditions incorporated into the creative industries on a national or regional scale?
· What is the relationship between textile and clothing design and other creative industries on islands?
· How do island textile and clothing businesses intersect with other sectors, e.g. agriculture, hunting, and tourism?
· Island textiles and clothing are sometimes positioned as ‘craft’ items in contrast to the global textile and clothing industry, with its increasingly recognised exploitative and unsustainable aspects. What are the limitations of this dichotomy? How is the globalised textile industry present on or influenced by islands? How do island textile traditions relate to contemporary ethical and environmental concerns?
· How is knowledge about island landscapes, culture, and history created and disseminated through textile and clothing processes and objects?
· How do island textiles and clothing travel? What meanings are gained, lost, or reinterpreted as they circulate, whether physically as design inspiration or through digital images?
· Does ‘island-ness’ encourage the crystallisation of a ‘stylistic canon’ (Cohen 1993; Markwick 2001) in material culture? How is this determined by material conditions and consumer expectations?
· How do utilitarian textiles (e.g. fishing nets, ropes, knots) figure in conceptions of island-ness?

Island Studies Journal (http://www.islandstudies.ca/journal) invites paper submissions on the theme of ‘Island Textiles and Clothing’. Selected peer-reviewed papers will be published as a special section in Island Studies Journal in May 2018. Island Studies Journal is a web-based, freely downloadable, open access, peer reviewed, electronic journal that publishes papers advancing and critiquing the study of issues affecting or involving islands.

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Radical Publishing: The Mute Archive

Magazine Print Archivehttp://metamute.org/archive

18-27 Nov 2016, 2-8pm – exhibition: live archiving, DIY book scanning,
collaborative bibliographies, reading room and workshop

Opening 18 Nov, 7pm, with talk by Simon Worthington co-founder of Mute
on the mechanics of publishing, Mute’s history and strategies for
growing radical publishing.

Location and RSVP. Anagram Books, Lausitzer Str.35, 10999 Berlin.
Facebook RSVP https://www.facebook.com/events/187497858364325/

Workshop, Friday 25, 2-6pm – ‘Publishing from the Archive –
Collaborative Bibliographies’ RSVP
https://www.facebook.com/events/1224601290948696/

Contact/ questions [email protected] @mutemagazine #mutearchive

As of September 2016 Mute made its magazine print archive available for
sale for the first time as a complete set of print issues. Along with
this archive release, work on exploring and further digitising the
archive is taking place. The residency at Anagram Books will be an
opportunity to make a record of Mute’s publishing practice, it’s —
phases, mechanics and rationale. Two themes in the mass of the
magazine’s published works have been chosen to see how they have
progressed over time in Mute’s publishing — ‘experimental writing’ and
‘financial crisis’. These themes will be explored in the making of an
online/offline catalogue and collaborative bibliography of Mute articles
over the period of the residency.

At its inception, in 1994, Mute was influenced by the context of
existing radical publishing of the time — zine/mailart, punk and art
magazines — such as: pre-Internet alternative media of zine directories
like Factsheet Five (US), UK punk magazine Vague, Mediamatic from the
Netherlands and the Canadian FILE magazine from the art group General
Idea. Mute has published for twenty two years, beginning in reaction to
the start of the Web, which gave a new impetus and media landscape for
Mute, different than that of our predecessors.

Initially Mute’s focus was on culture, politics and art, with the
emergence of the digital revolution. As the neoliberal doctrines of
globalisation and financialisation rolled out over this twenty-year-plus
period Mute has challenged the developing orthodoxies of neoliberalism;
the creative economy, precarity, surveillance & info-war and the
reliance on fin-tech & global financial capital, to name a few.

The residency is an opportunity to look back through Mute’s archive of
over six thousand articles to reflect on how its publishing work was
done with an eye on how Mute and others can continue the work of radical
publishing.

The catalogue of Mute’s coverage of ‘experimental writing’ and
‘financial crisis’ articles can be found online as a Zotero
collaborative bibliography, which is open to submission and comment.
See: (work in progress) https://mute-publishing.github.io/archive and
https://www.zotero.org/groups/mute

Workshop: Publishing from the Archive – Collaborative Bibliographies

Friday 25.11.16, 2-6pm, Anagram, RSVP
https://www.facebook.com/events/1224601290948696/

Learn how to do publication remixing with Zotero and take part in
discussions about extra-institutional knowledge creation. No prior
experience needed, bring a laptop if possible, but not essential.

The workshop will look at the practical steps of combining DIY archiving
and collaborative bibliographies for the purpose of supporting and
connecting radical publishers.
Mute is making a collaborative bibliography on ‘experimental writing’
and ‘financial crisis’ over the period of the residency and we’ll
explore the results of this experiment in the workshop. See:
https://mute-publishing.github.io/archive

The idea is that ‘collaborative bibliographies’ is a way to step outside
of normal publication production architectures, such as – idea,
publisher, publication. Instead content packages and remixes are made,
irrespective of their publication source, either pinpointed in its topic
or open-ended.

Brief practical instruction will be available on smartphone DIY book
scanning, IIIF, GitHub large-file storage, GitHub, gh-pages and
Zotero-to-Web collaborative bibliography creation. Follow-up
instructions will be available here
https://github.com/Mute-Publishing/archive/blob/gh-pages/getting-started-guide.md

The objective is to pass over the ‘tech-stack’ outlined above, focus
practically on ‘collaborative bibliographies’ and making things out of
Zotero. Through discussion in the workshop we can shape ideas about
interesting options for what steps the project should take next and how
to refine the ‘publishing from archives’ workflows that are being
prototyped and tested out.

*Note:*

Anagram Books is a new distribution company based between London and
Berlin. Set up in London by Adeline Mannarini in 2012.

The Mute magazine print archive is available for sale as an original,
limited edition set of all fifty-one issues of the print versions of the
magazine, covering twenty years of publishing from 1994 to 2014. See
http://metamute.org/archive

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Critical Investigations of Digital Culture | University of Manchester

Critical Investigations of Digital Culture

A seminar series organized by the Digital Work and Living Research Group of the University of Manchester.

This series of seminars explores life, work, leisure, play in digital society. The focus is not limited to technological artefacts or devices that are digital, or to situations dominated by such objects. Rather, we will focus on contexts that have been reconfigured or re-worked as a result of the wider cultural transformation the digital represents. ‘Digital’ here is not just a kind of technology but a way of doing things, a patterning of experience with consequences for meaning-making across a wide range of activities and practices.

Upcoming Programme:

  • 11/11 2016 – 2pm-4pm Eduardo de la Fuente, James Cook University, North Queensland, Australia on ‘ The Social Life of Digital and Non-digital Surfaces?’, University Place, 4.214
  • 16/11/16 – Chris Bissell, Open University on ‘Digital Radio’, University Place, 4.214
  • 8/12/16 – Andreas Gregersen, University of Copenhagen on ‘Digital game ontologies’, University Place 3.2015
  • 8/2/17 – Mustafa Ali, Open University on ‘De-colonial computing’, University Place, 4.210.

Anyone with an interest in digital culture/digital sociology is welcome to attend and participate. Please contact the organisers if you’d like more information about the series or the activities of the Digital Being and Work Research Group at the University of Manchester:

Anita Greenhill ([email protected])

Graeme Kirkpatrick ([email protected])

Staff Fund Award 2016/17 – Round 1 Awardees

Round 1 (October 2016)

Edwina Fitzpatrick – £181.00
Delivering ‘A Mediated Forest’ Paper at The College Art Association’s annual conference in New York

Jennet Thomas – £1,012.85
The Unspeakable Freedom Device at Future Orbits, India.

Nicholas Pickwoad – £4,788.00
Ligatus 10th Anniversary Conference

Rosa Nogues – £900.00
Temporality as Materiality in Shirley Clarke’s Video Space Troupe

Shibboleth Shechter and Marsha Bradfield – £3,000.00
The Millbank Atlas

Sigune Hamann – £1,300.00
E-makimono and panoramic film-strips

Sheena Calvert – £551.18
Presenting a paper at the 7th Illustration Research Conference: ‘Shaping the View’: Understanding Landscape Through Illustration.

Eileen Hogan – £2,585.00
About Face

Chair’s Action (>£1,000) 2016-17

Cyril Shing – £772.57
DeL (Designs on eLearning) Conference 2016

Andrew Chesher – £218.90
Iterations of Phenomenology: from Minimalism to Joëlle Tuerlinckx

Michael Asbury – £841.72
AICA international conference

Bernd Behr – £614.48
The Paranoiac-Critical Method of Reflectance Transformation Imaging (Conference Paper)

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British Council Residency Programme at FLORA

The British Council will support two British artists for the academic year 2017,  from February to December 2017.

Artists born in Northern Ireland, Wales, Scotland or England are invited to participate, as well as artists who have been residents of any of the UK regions for at least 10 years and identify as British.

The application to the residency is open from October 3 to November 10, 2016.

The name of the selected artist will be published on November 30, 2016.

The residency will start in February 2017 and last until December 2017.

Many of the talks, seminars and studio visits will be done in Spanish, so a working knowledge of the language is preferable.

The selected artist must get the appropriate visa to stay in Colombia for one year and a health insurance as well. British Council and FLORA will provide a letter confirming his or her acceptance to the programme.

The residency programme INCLUDES:

  • A studio with utilities included from February to December 2017.
  • Participation in the Escuela FLORA independent study programme.
  • A monthly allowance for housing, transportation and per diems of $ 1.400.000 COP for (10) ten months.

The residency program DOES NOT include:

  • Airline tickets to Bogotá and back to the UK
  • Honorarium
  • Production budget

Follow the link for more info: http://arteflora.org/british-council-residency-programme-at-flora/