Intoxication 2013 Paris

We are very pleased to announce the final schedule, and the opening of registration for this year’s conference.
We are also particularly pleased to announce the two keynote speakers for the day: cultural historian and author Mike Jay and Dr Benjamin Noys from the University of Chichester. For more details about our keynote speakers, please click here.

Those wishing to attend are invited to register by contacting Eugene.brennan@ulip.lon.ac.uk.

Intoxication in Paris, June 28th 2013.
Granville Barker room, 4th floor, University of London Institute in Paris, 9-11 rue de Constantine, 7th arrondissement, Paris (Métro: Invalides).
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9h30 – 9h55 : Registration
9h55 : Opening remarks
10h05 – 11h00, Panel one: Intoxication in the Nineteenth-Century
Dr Susannah Wilson (University of Warwick), ‘Women and Drugs in late Nineteenth-Century France’.
Keynote address: Mike Jay (author and cultural historian), ‘The Green Jam of « Doctor X »: Science and Literature at the Club des Hachichins’.

11h15 – 11h30 : Coffee break

11h30 – 12h45, Panel two : Poetic Intoxications
Eugene Brennan (University of London Institute in Paris), ‘Apophatic theology and the poetics of the sacred: intoxication in the (anti-)poetry of Georges Bataille.’
Mathieu Perrot (Université Paris Ouest Nanterre La Défense), ‘Riding the lines: The images of the “chevauchements” in Henri Michaux’s poetics and drug experiments’.
Alessandro Cabiati (University of Edinburgh), ‘An ecstatic journey towards the unknown: Arthur Rimbaud, Jim Morrison and the art of intoxication’.

12h45 – 14h00 : Lunch break

14h00 – 15h30, Panel three : Dipsomaniacal novel(ist)s
Dr Joe Kennedy (University of Chichester), ‘Tipsiness and « The Reigning Stupefaction » in British Fiction of the late 1940s’.
Hemlata Giri (Université Paris III Sorbonne Nouvelle/University of Delhi), ‘A toast to solitude. The theme of alcohol in the works of Michel Houellebecq’.
Anne-Lucille Gérardot (Université de Reims Champagne-Ardennes, CRIMEL), ‘Boire Dit-Elle : Un Tour Du Monde De L’Alcool Durassien’,

15h30 – 15h45 : Coffee break

15h45 – 17h00, Panel four : Biopolitical Intoxications
Joshua Rivas (Princeton University), ‘Intoxication and toxicity in a « pharmacopornographic era » : Beatriz Preciado’s Testo Junkie’.
Christopher Collier (University of Essex) and Joanna Figiel (City University London), ‘The Recombinant Dérive – The Situationist International, biopolitics and the neoliberal dérèglement de tous les sens’.

17h00 – 18h00, Panel five : Critiques of Intoxication in Theory and Politics
Alastair Hemmens (University of London Institute in Paris), “Beau comme le tremblement des mains dans l’alcoolisme”: A Cavalier History of Drugs and Intoxication in the Situationist International.
Keynote address: Dr Benjamin Noys (University of Chichester), ‘Intoxication and Acceleration’

18h00 – 18h05 : Break

18h05 – 19h00, Panel six : Paris, Capital of Intoxication
Simone Paterman (Université Paris VIII), ‘L’abstinence créatrice. Les errances de Jack Kerouac et d’Henry Miller à Paris’.
Adam Biles (writer, author of Grey Cats, 3AM Press, 2012), ‘Night Tremors: Stories From Nocturnal Paris.’

19h00 + : Drinks (TBC)

Negativity, Communization, and the End(s) of Art (Stockhom)

INSTITUTE FOR COLLECTIVE STUDIES

Open house 17 may from 19.00

Guest: Benjamin Noys

Negativity, Communization, and the End(s) of Art

 

Weld, Norrtullsgatan 7

www.weld.se

OSA at info@weld.se (Reading list to be sent by request)

Between 14-17 May Institute for Collective Studies moves in at Weld for a kind of site-specific reflection on the subject Collectivity and the Negative. ICS examines practical strategies for how one can be active without producing added value. On Friday at 19h we invite you to an open house event along with Benjamin Noys.

Welcome!
Participants: Corina Oprea, Johanna Gustavsson, Cecilia Germain, Rasmus Nielsen och Anders Paulin.

Institute for Collective Studies
is a reply to the increased profile on instrumentalization of artistic research in both an academic and professional context.

In this context of the institutionalization and commodification of artist practice as well as knowledge, Institute for Collective Studies intends to investigate different formats of independent research structures, allowing questions and activities in a collective context.

Parallel to the growing production of artistic research and criticality, discourse and reflection do risk to become consumer products rather than implemented tools. In the hectic up-beat techno tempo of innovation ideology, programmers of art venues as well as research departments easily turn into fashionistas anxiously looking for the next discoursive Harlem Shake, scared stiff that they might not discover it until it already has become last years Gangnam Style.


Benjamin Noys is Reader in English at the University of Chichester. He is the author of Georges Bataille: A Critical Introduction (2000), The Culture of Death (2005), The Persistence of the Negative: A Critique of Contemporary Theory (2010), and editor of Communization and Its Discontents(2011).

ICS is initiated by Corina Oprea and Anders Paulin.

Weld Norrtullsgatan 7 SE -113 29 Stockholm +46 8 30 94 50 info@weld.se www.weld.se

Brute Symposium, Centre for Creative Collaboration London (3 May 2013)

TRANSMISSION

­BRUTE [Test 1] 

 

Symposium

 

Michelle Atherton and Becky Shaw

 

Peter Adey, Dales Holmes, Esther Leslie, Benjamin Noys

 

Friday 3^rd May 2013

2.00 to 6.30 p.m.

 

Centre for Creative Collaboration

16 Acton Street London Greater London WC1X 9NG

 

Test No. 1 takes the notion of BRUTE as a raw starting point, an approach to collaboration.  We will explore the problem of an intellectually ‘cold’ position’, alongside ideas of force including heat, abrasion, friction, and compression. We want to address how the time and processes of force might relate to the allegedly more timeless and dematerialised nature of thought, to consider the conditions of force as applied to materials and upon the material of society. We are interested in banging some disparate things together: ‘Waking and burning, shocking and blasting’, as Rachel Moore describes Hollis Frampton’s work Nostalgia.  We are trying to create an experience that does not demand participation nor assumes affect, but tries out the idea of a BRUTE methodology.

This event is free, but places are limited to thirty participants.

 

Deadline for booking is 29^th April.

 

To register, please email m.atherton@shu.ac.uk

PROGRAMME

 

 14.00                         Registration, with accompanying soundtrack by Dale Holmes

 

14.30                         Introduction – Michelle Atherton and Becky Shaw

 

15.00                        Peter Adey – 'Combustion':  pandemonium, air, industry, and social change, as carbon turns to air, mixing with revolutionary fervour; war, blast, and vaporisation, as bodies occupy the air, with ecstatic levitators burning.

 

15.30                        Benjamin Noys –  ‘Derailing the Train: Brutal Accelerations & Brutal Interruptions’

 

16.00                        Esther Leslie – a text drawn from her book Synthetic Worlds examining the violence of extraction, in the light of the German chemical industry’s use of coal for synthetic colour

 

16.30                         Tea/coffee

 

17.00–18.00                Plenary  

 

18.00                          Wine

 

 

Peter Adey is Reader in Human Geography at Royal Holloway, University of London. He works at the intersections of space, security, and mobility. He is author of Mobility (2009); Aerial Life: spaces, mobilities,
 affects (2010), and Air (forthcoming). He was the recipient of a Philip Leverhulme Prize in 2011.

 

Michelle Atherton is an artist interested in objectifying cultural phenomenon, often using transport systems as a starting point.  Recent works include Dreams of Flying and Missed the Boat I & II, exhibited widely in Europe.  Her research is supported by the AHRC. She is a senior lecturer in Fine Art at Sheffield Hallam University.

 

Dale Holmes is an artist and AHRC-funded PhD candidate in the Art and Design Research Centre at Sheffield Hallam University. His current research develops a material philosophy grounded on non-anthropocentric strategies for making and staging art works. His work has been exhibited internationally.

Esther Leslie is Professor in Political Aesthetics, Birkbeck, University of London.  Recent publications include Hollywood Flatlands: Animation, Critical Theory and the Avant-garde (2002), Synthetic Worlds: Nature, Art and the Chemical Industry (2005), Walter Benjamin: Critical Lives (2007).  She sits on the editorial boards of Historical Materialism, Revolutionary History, and Radical Philosophy.

 

Benjamin Noys is Reader in English at the University of Chichester. He is the author of Georges Bataille: A Critical Introduction (2000), The Culture of Death (2005), The Persistence of the Negative: A Critique of Contemporary Theory (2010), and editor of Communization and Its Discontents (2011).

 

Becky Shaw explores the relation between objects and people, and ideas of objectivity and subjectivity.  Recent works include 20 Euros, a work made for Terminal Convention at Cork Airport, and A: The Christmas Party a durational reading performed at Roehampton University, Terry O’Connor.  She is Course Leader of the B.A. Creative Art Practice course at Sheffield Hallam University.

 

This event is part of Transmission, a project convened by Dr Jaspar Joseph-Lester and Dr Sharon Kivland, with the support of the ADRC (Art and Design Research Centre), Sheffield Hallam University, and HARC (Humanities and Arts Research Centre), Royal Holloway University of London. Transmission is an arena in which ideas of art practice are discussed and tested through an annual publication, a lecture series, and related research events in Sheffield, London, Dallas, and Berlin. http://www.transmission.uk.com

 

The Centre for Creative Collaboration (C4CC) is an initiative of the University of London, working in collaboration with the Royal Central School of Speech and Drama, Goldsmiths, University of London, and Royal Holloway, University of London.  C4CC supports new types of collaboration using the principles of open innovation, hosting projects and enabling multi-disciplinary working in an attractive and flexible space.  C4CC brings together leading and innovative researchers from London’s universities and colleges, creative industry practitioners and freelancers, SMEs, and students.   http://www.creative-collaboration.net

 

 

 

 

White Ribbon Screening 15 April

Broken Performances: Time and (In)Completion (Zagreb)

I will be speaking at this event in Zagreb. Here's the programme:

Program:
21.03.2013
18.00 @ Pogon Jedinstvo Bojan Djordjev: What I have Learned about Capitalism – (never ending self) lecture performance
20.00 @ Pogon Jedinstvo BADco.: Is There Life On Stage? – performance

22. 03.2013
11.00 @ mama The research group of Maska’s Seminar for Contemporary Performing Arts: Broken Lecture
12.45 @ mama Nik Wakefield: A Genealogy of Performance Itself: Bergsonian Memory and Documentation
13.15 @ mama Tomislav Medak: Theatre and Totality
17.00 @ mama Sean Cubitt: Visible time -keynote
18.00 @ mama Marie-Luise Angerer: Too Much Time – keynote
19.30 @ mama Bojana Cvejić, Marta Popivoda and Ana Vujanović (TkH – Walking Theory, Belgrade): Public Sphere by Performance and Yugoslavia, how ideology moved our collective body – book and film presentation

23. 03.2013
11.00 @ mama Karin Harrasser: “There, everybody who stutters, is obliged to limp”. Time-Images in Heiner Göbbels, Alexander Kluge, Samuel Beckett
11.30 @ mama Goran Sergej Pristaš: The Time After (In)Completion
13.00 @ ZPC Marjana Krajač: Manual For Empty Spaces – entering the performance – performance
17.00 @ mama Benjamin Noys: The War of Time: Occupation, Resistance, Communization -keynote
18.00 @ mama Stephen Zepke: Art, Communization and the Biopolitical Event – keynote
19.00 @ Gallery Nova Franck Leibovici: Formes des vie – book presentation
20.00 @ Theatre &TD Saška Rakef: The Debt of Rakef Saška – performance

24. 03.2013
21.00 @ Cinema Tuškanac Nicolas Rey: Differently, Molussia – film screening
This symposium and its topic are a continuation of BADco.’s artistic interest to relate performance and time. More concretely, it was motivated by BADco.’s work on the development of imaging technologies and their application in performative settings, and it revolves around inquiry of images and performances of time in the technologically driven production – both in the capitalist economic production, in the work with technologies on-stage and in the work of dance as an old technology.
The symposium is a part of our participation in the project “TIMeSCAPES – Images and performance of time in late capitalism.” TIMeSCAPES is a long-term artistic research and production platform initiated by five cultural organizations: BADco. (HR), Maska (SI), Walking Theory (RS), Science Communications Research (A) and Film-protufilm (HR). It brings together four organizations, whose internationally renowned artistic and cultural practice is rooted in research, publishing and discourse, with one science-oriented organization developing methodologies of artistic research. The double objective is to research and artistically reflect the transversal issue of time that cuts across economy, society and art: structure of working time in different economic contexts, temporal experience in technologies, performative dramaturgies of time, etc.; while at the same time tackling the issue that has acute resonance in cultural and academic contexts across Europe: what should the models and institutions of artistic research be, given the constraints of time, money and mobility that artists face.

The attendant artistic program is organized in collaboration with the Multimedia Institute/MAMA, Academy of Drama Arts – University of Zagreb, POGON – Zagreb Centre for Independent Culture and Youth, Culture of Change – Student Center, What, How and for Whom/WHW, Zagreb Dance Center and Institut français de Zagreb.

Concept, organization and coordination: Goran Sergej Pristaš, Jasna Žmak & Tomislav Medak
Production: Lovro Rumiha

“Broken Performances: Time and (In)Completion” is part of TIMeSCAPES, Images and performances of time in late capitalism, a partner project of BADco. (Zagreb), Maska (Ljubljana), Science Communications Research (Vienna), Walking Theory (Belgrade), Film-protufilm (Zagreb) and Academy Of Dramatic Arts, University of Zagreb. With the support of the Culture Programme of the European Union.
The symposium and artistic programme are supported by the Ministry of Culture of the Republic of Croatia and Office for Education, Culture and Sport of the City of Zagreb.

Accelerationism in Lisbon

I'm doing two events in Lisbon, one which is based around 'The Grammar of Neoliberalism' and the second around 'Cyberpunk Phuturism' (this will also form a chapter in the new book on accelerationism.

Monday 11 March
'The Grammar of Neoliberalism: A Discussion', Unipop, @ RDA69.

Tuesday 12 March

10 am 'Cyperpunk Phuturism', 'Movement & Technical Mobilization' Conference

The Weird: Fugutive Fictions/Hybrid Genre CFP

The Weird: Fugitive Fictions/Hybrid Genre

A one day research conference in association with the Centre for Contemporary Literature, Birkbeck, exploring the weird literary tradition and the many facets of weird writing.

Keynotes: S.T. Joshi / Professor Roger Luckhurst / more TBA

Friday 8th November 2013 / Senate House, London

Until recently weird fiction, if acknowledged at all, was usually considered to be a marginal mode in the already lowly Gothic tradition - less a genre than a particular affect. In the last ten years, however, it has come to be regarded as a separate and distinct form with an increasingly important role to play in the theory of popular genre. The debate has broadened its scope to perceive and explore connections with discourses, literary traditions and cultures not previously associated with the Weird. This call for papers invites contributions that engage with weird fiction in its various aspects, including, but not limited to, the following topics and authors:

• The weird cosmic horror tradition of H.P. Lovecraft and his ‘Weird Tales’ contemporaries

• The recent New Weird advocated by China Miéville and others

• The evolution of the Weird

• The global Weird - weird fiction in translation

• Genre theory and fugitive forms

• Modernism and the Weird

• Weird Philosophy and Weird Theory

Please send 250 word abstracts for 20 minute papers, together with a brief biography, to theweirdconference@gmail.com by 1st August 2013.

Thursday 7th November 2013 (evening event): weird fiction reading (details TBC)

Follow ‘The Weird’ on Twitter: @WeirdConference

This conference is supported by the Birkbeck Centre for Contemporary Literature, Birkbeck School of Arts, and the Institute of English Studies, University of London.