Seminars
February
The Singular, part I
Tuesday 05 February 2008
15:00 Auditorium, Jan van Eyck Academie
March
The Singular, part II
Tuesday 04 March 2008
15.00 h Auditorium, Jan van Eyck Academie
April
The Singular, part III
Tuesday 01 April 2008
14:00 h Auditorium, Jan van Eyck Academie
May
The Dual, part I
Tuesday 06 May 2008
14:00 h Auditorium, Jan van Eyck Academie
June
The Dual, Part II
Tuesday 03 June 2008
14:00h Auditorium, Jan van Eyck Academie
July
The Dual, Part III
Wednesday 02 July 2008
14:00 auditorium
September
The Multiple, Part I
Tuesday 09 September 2008
17h30 room 204
November
The Universal, Part I
Tuesday 04 November 2008
15:00 h Auditorium, Jan van Eyck Academie
December
Versus Laboratory 2008 final triple session: Alliez, Riha, multiple, universal
Monday 01 December 2008 - Sunday 02 November 2008
Auditorium
January
Versus Laboratory 2009 Presentation - Matter Matters
Thursday 15 January 2009
13h45 Jan van Eyck Academie
February
Negation/Consistency 1
Thursday 05 February 2009
1030h-1230h auditorium
March
Negation/Consistency 2
Wednesday 11 March 2009
1030h-1230h auditorium
April
Negation/Consistency 3
Thursday 09 April 2009
1030h-1230h auditorium
May
Matter/Knowledge 1
Thursday 21 May 2009
14h-16h RM 204
June
Imagination/Dialectic 1
Sunday 14 June 2009
14h-18h RM 204
September
Imagination/Dialectic 2
Thursday 03 September 2009
14h-15h Auditorium
October
Stasis/Rupture 1
Thursday 08 October 2009
14h Auditorium
November
Stasis/Rupure 2
Thursday 05 November 2009
14h
December
Stasis/Rupture 3
Tuesday 01 December 2009
14h
February
Historical contingency/Subjective necessity
Wednesday 03 February 2010
10h30-12h30 Auditorium
March
Sociological reflexivity/Philosophical reflexivity
Thursday 04 March 2010
14h Auditorium
Historical contingency/Subjective necessity
Wednesday 03 February 2010
10h30-12h30 Auditorium
By looking at the film “United Red Army” (2007 Japan, 2008 Germany) by Koji Wakamatsu, we wish to investigate both the underlying subjective and objective conditions of the post ’68 revolutionary movement as well as see the sort of theoretical effectivity that this film produces in the context of its release (2007-2010). Here there are three crucial dimensions that we wish to investigate. First, we wish to understand certain political dimensions in which the dimensions of the practice of self-critique as expounded by Mao was put into practice in this Japanese context. Secondly, we hope to investigate the filmic dimension by looking at how the film maker constructs his presentation. In this film of half-documentary, half-dramatic enactment, the very issue of political fable is pushed forward, not only in the Wakamstsu’s refusal of a melancholic perspective but also in his attempt to use the film itself as a mode of contemporary political critique. Thirdly, we hope to build towards a larger theme of the concept of “subjective necessity” which in many respects dominates the theme of the film. In this, the film raises the concept in a more radically concrete way that what theoretical texts have managed to do, namely, in the intertwining of a subjective perspective on what is necessary and the simultaneous conditioning of this subjectivity in the objective condition. In the film, the filmmaker, the subjects of the film and the viewer/audience of 2007-2010 are all asked to participate in a conjunction riddled with praxical questions: problems of action, situation and critique. In this, as Deleuze remarks in the letter “G” for “Gauche” in the Abecedaire, the problem is far from being one of history or the “future” of revolution, but in the problems of the momentaneous “becoming revolutionary” itself.
We have invited Chelsea Szendi Schieder, a scholar of Japanese History at Columbia University to help us draw out some of these issues. Her presentation, "The Deadlier Sex" will point to the centrality of sex and the interpretations of the feminine in the legacy of the radical left-wing movements of 1970's Japan.