D.U.S.T. lectures with Steve Shaviro, Dublin, 23rd-24th May

Dublin Unit for Speculative Thought presents:

Speculative Criteria: A Conversation Between Paul J. Ennis and Steven Shaviro 

Thursday 23 May 2013, 6pm-8pm, Harry Clarke Lecture Theatre, National College of Art and Design, Dublin

This conversation between Paul J. Ennis (co-founder of the Dublin Unit for Speculative Thought) and Steven Shaviro (Wayne State University, USA) will range over such topics as Whitehead’s process philosophy, panpsychism, Quentin Meillassoux’s thought, the films of Lars Von Trier, neurophilosophy, Kant’s critical aesthetics, Graham Harman and relations, correlationism, among others. This dialogue will not only provide a snapshot of Shaviro’s recent and current work but will also open up a number of important questions relating to speculative realism and continental thought more generally.

Steven Shaviro is the DeRoy Professor of English at Wayne State University. He is the author of The Cinematic Body (1993), Doom Patrols: A Theoretical Fiction About Postmodernism (1997), Connected, Or, What It Means To Live in the Network Society (2003), Without Criteria: Kant, Whitehead, Deleuze, and Aesthetics (2009), and Post-Cinematic Affect (2010). His work in progress involves studies of speculative realism, of post-continuity styles in contemporary cinema, of music videos, and of recent science fiction and horror fiction. He blogs at The Pinocchio Theory: http://www.shaviro.com/Blog

UCD Humanities Institute in association with the Dublin Unit for Speculative Thought presents:

 shaviro 1

Discognition: A lecture by Steven Shaviro

Friday, 24 May 2013, 2 – 4 pm, Ardmore House, Belfield, UCD

Cognitivist and representationalist theories of mind continually find themselves confronted with elements that they can neither subsume nor exclude, but can only regard as supplemental. I argue that these supplemental elements are in fact the primordial forms of sentience, and that they are preconditions for — without being thereby reducible to — any sort of cognition or representation whatsoever. Organisms are affective before they are cognitive, because they are systems for accumulating and dissipating energy, before they are systems for processing information. Where cognitive science and philosophy of mind have tended to assume that affect serves cognition, we should rather see cognition as a belated and occasional consequence of a more basic affectivity. There are important philosophical precedents for this line of argument. For Kant, aesthetic judgments arise from singular intuitions for which there is no adequate concept. For Whitehead, primordial “feeling” takes the form of “a ‘valuation up’ or a ‘valuation down’” that precedes, and determines, any sort of cognition or conceptualization. For Wittgenstein, while inner sensation “is not a something,” it is also “not a nothing either.” All these approaches point to a primordial form of sentience that is nonintentional, noncorrelational, and anoetic; and that is best described, in a positive sense, as autistic, affective, and aesthetic.

Steven Shaviro is the DeRoy Professor of English at Wayne State University. He is the author of The Cinematic Body (1993), Doom Patrols: A Theoretical Fiction About Postmodernism (1997), Connected, Or, What It Means To Live in the Network Society (2003), Without Criteria: Kant, Whitehead, Deleuze, and Aesthetics (2009), and Post-Cinematic Affect (2010). His work in progress involves studies of speculative realism, of post-continuity styles in contemporary cinema, of music videos, and of recent science fiction and horror fiction. He blogs at The Pinocchio Theory: http://www.shaviro.com/Blog

To register for this event please email Michael O’Rourke at tranquilised_icon@yahoo.com

For more info about DUST: http://dublindust.wordpress.com/

Shaviro pic

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Dark Nights of the Universe Book Launch

celestial dome inverted

Dark Nights of the Universe Book Launch

[NAME] Publications and Recess invite you to the book launch of Dark Nights of the Universe.  The book includes texts by Daniel Colucciello Barber, Alexander Galloway, Nicola Masciandaro, and Eugene Thacker and artwork by Aaron Metté.

May 30th, 2013
6-8 pm
Recess in Soho

In April of 2012, the authors presented a four-night theoretical exploration of mysticism in dialogue with Du noir univers, a text by François Laruelle.  The presentations took place at Recess, in conjunction with The Public School. More info here.

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Alternative Modernisms

Alternative Modernisms

Keynote Speakers

Professor Jean-Michel Rabaté (University of Pennsylvania)
Professor Griselda Pollock (Leeds University)
Professor Ástráður Eysteinsson (University of Iceland)

Cardiff University, 15-18 May 2013

REGISTRATION FOR ALTERNATIVE MODERNISMS IS NOW OPEN!

For more information and to register, please click here

This three-day, international, and interdisciplinary conference aims to draw attention to critically neglected modernist forms, movements and texts. It aims to bring together scholars from across Europe and beyond both to explore these ‘alternative’ modernisms and to consider the extent to which modernism(s) can itself be seen as (an) alternative.

For more information, please contactmodernisms@cardiff.ac.uk.

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The Green Machine (Iain Boal/Jesse Jones) May 14th, 12-3pm

The Green Machine Tour

Iain Boal 

Mapping Human Powered Mobility

As part of The Prosperity Project: Jesse Jones

DATE: 14 May

Time: 12 noon-3pm

Meet point: Fire Station Artists Studios, Buckingham Street, Dublin 1

 Bring Your Own Bicycle.  Refreshments will be provided.

The Green Machine is a bike and oral history research tour conducted by social historian Iain Boal and artist Jesse Jones as part of The Prosperity Project.  It takes its title from Iain Boal’s book The Green Machine, in which Boal explores how the bicycle came to be a green icon celebrated for its efficiency and the spare beauty of its design.  The bike’s freewheeling sociability and role as an instrument of women’s emancipation have made it a kind of “liberation technology”.  Urban planners, traffic engineers and environmentalists see it as part of the solution to congested cities and the global ecological crisis. Boal examines this paragon of sustainable mobility and the mythos of the bicycle as intrinsically a friend of the earth.  A much more complex story emerges when the bicycle is seen in planetary perspective and a deeper historical and ecological setting. The Green Machine tells this history without illusions or moralism, in the face of the gathering climate emergency.

The Green machine tour will create a point of departure for Boal’s week long residency in Dublin in which he will meet with local community groups and publics to investigate the role of the commons in relation to Ireland’s post-boom economy.  Throughout this bicycle wayfaring we will encounter real stories of how post-Celtic tiger Ireland has shifted our understanding of the city and in particular it’s docklands.  Our journey will be guided through community voices and contributions by artists such as Michelle Browne, curator and program co-ordinator for the artist in community residency at Fire Station Artist Studios: Liz Burns and Rosie Lynch the curator of Commonage,: a community based art and architecture organization, who have a temporary office as part of the Landing Place project.  Our collective journey will traverse the city as a mobile dialogue, traveling through the dockland’s history of industrial and social narratives

Boal claims, “The real history of anything is always more interesting than it’s mythifications”.  The Bicycle tour will create a dynamic and social threshold to that research and we invite you to join us in as we freewheel our green machines together one revolution at a time.

Previous iterations of Boal’s project include:

boal gm copenhagen

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MOUTH ‘Eternal Winter of Festivity,’ The Other North Symposium, CCA Derry~Londonderry

MOUTH CCA MENU SIDE 2

See HERE

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D.U.S.T presents Static Cling: A Dialogue Inspired by the Work of John Ryan

static-cling

D.U.S.T. presents Static Cling: A Dialogue Inspired by the Work of John Ryan.

                    

Schedule:

3.00: Opening remarks from moderator Fintan Neylan
3.15: Remarks from John Ryan
3.30: First Response from Michael O’ Rourke
3.45: Second Response from Sinead Hogan
4.00-5.00: Questions from the floor

Location: Studio 6, Temple Bar Gallery+Studios

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A Little Tag End of the World – ‘Mala and Blossomest Blossom’

'untitled'

Ciaran Og Arnold, (Untitled) ‘Looking Out of the Darkness,’ Source Magazine, Summer 2007, Issue 51

Mala and Blossomest Blossom

 “Below my window in Ross, when I’m working in Ross, for example, there at this season, the blossom is out in full now, there in the west early. It’s a plum tree, it looks like apple blossom but it’s white, and looking at it, instead of saying “Oh that’s nice blossom” … last week looking at it through the window when I’m writing, I see it is the whitest, frothiest, blossomest blossom that there ever could be, and I can see it. Things are both more trivial than they ever were, and more important than they ever were, and the difference between the trivial and the important doesn’t seem to matter. But the nowness of everything is absolutely wondrous, and if people could see that, you know. There’s no way of telling you; you have to experience it, but the glory of it, if you like, the comfort of it, the reassurance … not that I’m interested in reassuring people – bugger that. The fact is, if you see the present tense, boy do you see it! And boy can you celebrate it.” (Dennis Potter, CH4, 1994)

When Dennis Potter gave this interview to Melvin Bragg he casually sipped morphine directly from a bottle to mitigate the pain of the cancer that was killing him. The closeness to death had gifted Potter a great privilege; that of being able to attend to the aesthetic richness of living with the relish of a glutton and the meticulousness of an obessesive. The fullness of everything in the world, he seemed to be saying, was too much to be contained by words alone.  The experience of living life in the present tense causes language to become stuffed to bursting point. It begins to split at the seams and irruptions like “blossomest”  – a word that shouldn’t exist – spill out.
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A few years ago I found myself in Beijing enjoying the hospitality of philosophy students at the university there. They invited us to a lavish lunch on campus and, inspired by a mixture of generosity and institutionally sanctioned greed, ordered plates and plates of food until there was no room left on the table. Some of the foods were familiar; other less so such as a fungus broth served in a log (as I remember it.) Our hosts took great delight in explaining what was in each dish and how we should eat it. But amidst the flavours and textures both familiar and strange there was a taste I couldn’t place. “What’s the ingredient in this?” I asked. I struggled to be more specific. In the end the best I could come up with was a face in which I pulled my lips back over my teeth: “the one that makes my mouth go sccchhh and tchkk” I said. Our hosts thought this hilarious, “How can you not have words for these tastes?” someone asked, puzzled that something so ordinary could fail to be named. I’ve since worked out that the flavour comes from Sichuan Pepper a common and popular ingredient in China. It provokes a particular and peculiar sensation in the mouth. It’s called málà in Chinese which roughly translate as numbing and spicy.
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Quite obviously the world that I savour with my whole body is not one that can be limited to linguistic approximations of it. Wittgenstein was wrong: the limits of my language are not the limits of my world. The world is richer than the words I find in it. And I can taste as much. The numbing spiciness of blossoms will always exceed their descriptions.
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