Podcasts about deleuzian

What connects Adonis resident Grace Sands, the free party explosion of summer '91, Deleuzian dancefloor philosophy, and the annual Gloucestershire cheese-rolling competition?It's this episode of No Tags, obviously, but the connecting tissue goes much deeper, we promise. The last third of the show contains our recent conversation with Grace Sands – house DJ, free party originator, icon of London's queer underground – live in Sheffield on 9th May. In a compact Q&A before a screening of Free Party: A Folk History hosted by No Tags and local heroes Gut Level, she set out some of the early ideals of a scene which changed the course of British dance music.We talk about our own reactions to the film, a superb documentary charting the UK's free party movement in the late ‘80s and early ‘90s, featuring members of UK soundsystems like Spiral Tribe, Bedlam and Grace's alma mater DiY.Before all that, for the first hour of the show we respond to some excellent listener feedback on recent pod topics, including who exactly goes to see Keinemusik and what makes the perfect night out. Inspired by one Taganista in particular, Chal expands her recent theory of rave with an important third axis from wiggy theorist Gilles Deleuze. Show us another podcast whose listeners write in about Plato and Love Island!As ever, if you want to support what we're doing on No Tags, please do drop us a like and follow on Apple Podcasts, Spotify and Substack. You can also subscribe to our paid tier, which costs £5 per month. Planning, recording, editing and transcribing these regular podcasts is a pleasure but it's also a lot of work, and your support truly does make a difference. Get full access to No Tags at notagspodcast.substack.com/subscribe

A rhizomatic discussion. Craig tells us his history with philosophy, and his journey through the work of Jung, Hillman, Deleuze and others. We then discuss Anti-Oedipus and some of the core concepts, such as the Deleuzian reinterpretation of desire and the unconscious, and the body without organs. Then, as a tribute to the late, great David Lynch, we attempt a Deleuzian intepretation of Eraserhead, which of course is impossible, because both Deleuze and Lynch would agree that the interpretation of signs and symbols as a theater of the unconscious is always a misinterpretation; or, as Lynch puts it, the talking is all up there on the screen.Visit Acid Horizon: https://www.acidhorizonpodcast.com/Lepht Hand Podcast on Spotify: https://open.spotify.com/show/1E9kBe72ce15ZcqaPT8uBOCraig's Philosopher's Tarot Deck: https://www.penguinrandomhouseretail.com/book/?isbn=9781914420917

Y'all ready to get DELEUZIAN? Victoria Brooks' Silicon God is a goopy, rhizomatic book about time mistresses from the future and a bunch of stuff that we definitely can't talk about here. Music by Phrenelith: https://phrenelith.bandcamp.com/album/ashen-womb

We're back from our summer break and getting straight back to business to examine what was going on in the Downtown party scene during the fabled year of 1977. We return to a favourite of the show - Nicky Siano - to hear how the Gallery wound down, check in on what's happening back at the Loft, and unearth the very first iteration of the Paradise Garage. Also featured in this episode: a bit more Studio 54 wash-up, the decline of the New York Record Pool, Deleuzian sobriety and more on Jem's breakdancing. Produced and edited by Matt Huxley. Books:Jonathan Mahler - Ladies and Gentlemen the Bronx is Burnin Tracklist:Salsoul Orchestra ft. Loleatta Holloway - Runaway Teddy Pendergrass - The More I Get, The More I Want Grace Jones - I Need a Man Sylvester - Over and Over C.J. & Co. - We Got Our Own Thing Evelyn "Champagne" King - Shame

What if the way we interact with art is like a parasite inside of it's host? We talk to A.V Marraccini about her genre-hopping, dare we say Deleuzian work of critical theory/autofiction/memoir/manifesto We The Parasites. Music by Thou

My friend Quinn and I discuss whether Deleuze is an accurate interpreter of Nietzsche. What are the faults of Deleuze's interpretation, and what are its merits? We discuss the eternal return, the anti-Hegelian attitude of Deleuze, ressentiment and bad conscience, and the Deleuzian understanding of will to power. More broadly, we discuss what it is that makes an interpretation correct, and how there are different mindsets behind the left and right interpretations of Nietzsche.

I am joined by Sean Juul to discuss his rise, fall and rebirth from Liberal Arts Buddhist raw vegan chocolate micro-tycoon to harsh-pilled ayahuasca enthusiast Deleuzian desert dwelling post-foodie fitness monk.  Follow Sean's Substack: https://eternalreturnpress.substack.com/  BECOME A PATRON OF SCHIZOTOPIA!

In this second part of our exploration of Deleuze, we go straight into the Deleuzian understanding of ressentiment, and the significance of Nietzsche's distinction between ressentiment and the bad conscience. Deleuze's interpretation is predominantly psychological/physiological, and he sees the origins of ressentiment in the "inverted image" produced by reactive forces. Ressentiment therefore does not emerge from a historical power relationship, but from the disruption, degeneration or failures of the active force of memory to regulate the reactive consciousness and unconsciousness. Deleuze describes four forms of nihilism in Nietzsche: negative, reactive, passive and active, and we'll examine how they progress and relate to one another. Towards the end of the talk, we'll consider the camel, lion and child but with fresh eyes, given all that Deleuze has established. Of chief concern is how the triumph of reactive forces can be reversed, and the great becoming-reactive that characterizes human history turned into a becoming-active. This episode will not make much sense unless you've listened to the first part, in episode #79, as the concepts contained here depend on an understanding of active and reactive, sense and value, genealogy, and differential metaphysics, all of which are covered in that episode.

Hello Interactors,Our family got sucked into watching the Amazon Prime show, Clarkson's Farm. As a suburban Iowa boy who knew just enough farmers to know how hard it is, I found this show relatable. Apart from the entertaining allure of many staged reality shows, I realized it also highlights topics I investigate here on Interplace. Especially the interaction of the ‘rural' and ‘urban'…or lack thereof.Let me know in the comments if you've watched this show and what you think!I'll be taking a little break from writing in the coming weeks and will return in September.Until then, let's go!THE RURAL-URBAN DIVIDEMy son is a car guy. As such, he turned our family onto the pied piper of car guys, the British journalist turned media celebrity, Jeremy Clarkson. Clarkson is most known for his part in the shows ‘Top Gear' and ‘The Grand Tour' but has turned his attention to farming in recent years complete with his own show called "Clarkson's Farm." It's a simple yet complicated narrative that unfurls like the intricate English countryside hedgerows he commissioned for his farm in an episode we watched recently.The show chronicles Jeremy, a controversial climate change denying fossil fuel lover who expresses glee at polluting the natural environment, fulfilling a fantasy of becoming a farmer. A city boy naively embarking on a journey to become a farm boy. “How hard can this be?”, he insinuates, as his hired companion, Kaleb, a true farm boy, continually saves him from one disaster after another. Kaleb left the show earlier this year to help the Royal Agricultural University teach young people how to farm. A move that appears to be motivated by what Jeremy's farm manager called his ‘stupidest idea yet' – to raise pigs.Clarkson is comfortable with stupid ideas leading to disasters having been sued, fired, and defamed on countless occasions for making racist, misogynistic, and other statements in bad taste while joyfully wallowing in the attention, fame, and revenue that comes in the aftermath. An enigmatic media magnet with sociopathic tendencies.But I'm finding Clarkson's Farm oddly intriguing as a snapshot of the interaction of people and place. It weaves threads of common human endeavors, the natural environment, and the evolving rhythms of modern society. He, and the show's producers, intertwine personal, social, political, and environment struggles like meandering streams of the show's British rural landscape. Clarkson is a bit like the menacing disease spreading badger featured in another episode – a curious creature exploring and exploiting the winding lanes and hidden corners of a quiet countryside. Both a bane and a boon. A nuisance and a neighbor.His show also echoes intriguing themes explored among urban and rural geographers alike. They, like Clarkson, are playing with what it means to blend the rural with the urban. Jeremy's personal, social, and political journey within the pastoral tapestry of the Cotswold's north of Oxford is interwoven with the ecosystems found in the mosaic of fields, woodlands, and waterways that define its countryside. A strand of a larger tapestry that challenges, like Jeremy has, the notion of rural and urban in the growing urbanization of our planet.Planetary urbanization, as a thesis, has drawn scrutiny among some critical human geographers who call for a profound shift in the approach to understanding 'urban' and 'rural' spaces on a global scale. The origins of planetary urbanization can be traced back to Henri Lefebvre's pioneering hypothesis, first introduced in his 1970 work "The Urban Revolution" suggesting society has undergone complete urbanization. He subsequently furthered the notion that globalization has created a complete integration and interdependence of urban and non-urban spaces each with their own boundaries and borders.Jeremy's agricultural odyssey unfolds in this realm where these distinctions of ‘rural' and ‘urban' become pronounced as Jeremy's lack of comfort and knowledge of the ‘rural' is set against the younger Caleb's lack of experience and familiarity of the ‘urban'. The show attempts to script a blurring and harmonizing of the ‘urban' and the ‘rural' only to be foiled by the unrelenting rhythm of uncertainty and emergent behavior of human and non-human nature – including a global pandemic, local politics, and global and local economics.Clarkson's Farm, and the concept of planetary urbanization, is challenged by the spatial boundary urbanization has artificially created. It legitimizes Lefebvre's proposition that urbanization extends far beyond traditional urban centers, suggesting that rural spaces, as well as elements such as wilderness areas, oceans, the atmosphere, and even the planetary sub-surface, contribute to a global urban fabric. After all, anyone in the world can go to Jeremy's website to buy his food products and swag.But the show also raises questions about the specificity and boundaries of the 'urban' and underscores the need for a renewed urban theory that transcends the traditional confines of ‘us' and ‘them', ‘country' and ‘city', or ‘rural' and ‘urban'.  Scholars have raised concerns about the potential intellectual colonization and methodological biases inherent in theories of planetary urbanization. Particularly, the erasure of the 'rural' in socio-political power and in this theoretical framework has lead to 'rural' becoming a marginalized category.Indeed, Jeremy does his fair bit of this in the show where he frequently looks down his nose at Kaleb's lack of exposure to more ‘sophisticated' urban culture. Meanwhile, Kaleb is not shy about looking down his nose at Jeremy for his lack of exposure to more ‘sophisticated' rural culture. But ultimate, Jeremy – and by extension ‘urban' culture – wield the most power and influence over the world and people like Kaleb. Just as ‘urban' research and theories dominate academia, the media, and public culture.BLURRING BORDERSCritics contend planetary urbanization's exclusive focus on the urban sphere risks overshadowing the critical importance of rural spaces as nodes in global networks of resource provisioning. Post-colonial scholars highlight the dangers of perpetuating colonialist narratives by centering solely on urban processes and ignoring the rich histories and contributions of rural societies."Clarkson's Farm" and the planetary urbanization thesis, rooted in the ideas of Lefebvre, becomes like the bordered farm properties in the show, with blotches of natural occurring landscapes, networks of roads mingling with streams each flowing through the countryside. Just as theories of planetary urbanization seek to uncover the power dynamics and class struggles that shape our urban and rural landscapes while also perpetuating them, Jeremy's farming journey does the same.While planetary urbanization has led to many insights, its grounding in neo-Marxist political economy has also led to a certain reductionism. It neglects the rich interplay of life and agency found in species beyond humans in dimensions that extend beyond the surface of the earth into the atmosphere and below the ground. This exclusion stems from a perspective that normalizes and justifies the slow creep of urbanism that further entrenches artificial boundaries with the rural.This fusion offers yet another lens into Clarkson's farm that reveals the delicate balance between individual actions of Jeremy and other human actors, livestock and other animal actors, plants and other organism actors, the weather and other atmospheric actors, and the soil and other chemical actors. Each of which contributes and reacts to unfolding and unpredictable systemic behavior creating an intricate weave of complex adaptive systems.In our acceptance of reductionist thinking, we may inadvertently be overlooking the holistic potential of planetary thinking. Planetary thinking extends beyond human interactions on the Earth's surface, embracing verticality and encompassing not only terrestrial but also atmospheric and subterranean connections.The ideology more aligned with this perspective comes from the French philosopher's Deleuze and Latour. Their ideas offer a contrasting perspective that challenges the boundaries between human and non-human, urban and rural. Just as Lefebvre's thesis emphasizes the societal shift toward complete urbanization, the Deleuzian and Latourian lens blurs these distinctions entirely arguing everything is constantly changing and evolving and everything is connected, with no clear boundaries between humans and non-humans. In the interplay between these ideologies, we find a dance—a dance that mirrors the shifting, and often awkward, patterns of human-world interaction observed in "Clarkson's Farm."Geography and sociology researchers Nigel Clark and Bronislaw Szerszynski at Lancaster University introduce the term 'planetary multiplicity' to describe a planet capable of self-transformation influenced by the interactions of these blurred external forces. They argue that in the wake of unyielding forest fires, rising seas, the changing composition of soil, water, and atmosphere, and even altered adaptation of species, that the planet is being forced to transform itself in multiple ways – and in ways we human's may not be accustomed to or able to control. This reminds me of Jeremy, a man of wealth, privilege, and control, forced to deal with an unyielding multitude of natural and human-made external forces in ways he may not be accustomed to…or able to control.For me, “Clarkson's Farm" has transformed from a mere show about a controversial but entertaining car journalist into a thought-provoking journey — a proxy for some of the academic insights describing real-world complexities I find myself drawn to. It's a well filmed and produced journey that invites us to the beautiful but complex British countryside – invariably traversing beyond Jeremy's crooked farm rows and groomed hedges, to venture into realms that echo the timeless wonders of rural life.As we meander through the countryside of nosey neighbor narratives, local politics, and the drama of farm life – all in the comfort of a Land Rover or Lamborghini tractor – I'm reminded, in multiple interdependent ways, that despite the intricate pretense of a choreographed TV show, we exist individually as but a small part of a larger vibrant ecosystem that is ever-evolving, ever-surprising, and ever-enchanting. But collectively, especially as urban masses, we are no doubt a large part of an ever-increasing, ever-consuming, and ever-uncertain outsized geological and atmospheric force.Meanwhile, mainstream society, like Clarkson, remain fixed in reductionist thinking that continues to empower a few in the name of exploitation and marginalization of many. Kaleb left the show to be a dad and help teach young farmers while Jeremy attempts to continue to leverage his money, power, and influence in his fantasy of jumping over the imagined border of an urban elite to an everyday farmer. But maybe by exposing the world to rural life, Jeremy inadvertently demonstrated just how interconnected we all are with the world. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io

Pre-Order Anti-Oculus (10.10.23): https://repeaterbooks.com/product/anti-oculus-a-philosophy-of-escape/What is the connection between the work of Carl Jung and Gilles Deleuze? Looking at the work of Grant Maxwell in his book "Integration and Difference: Constructing A Mythical Dialectic' we explore the impact of Jung's work on Deleuze and how Deleuzian thought allows us to reconsider Jung. Also featured in the discussion are Sigmund Freud, James Hillman, Isabelle Stegners, Felix Guattari, and more.Quique Autrey of Psyche Podcast: quiqueautrey.comKeanu Clark: @nonmarkov_fieldSupport the podcast:Pre-Order Anti-Oculus (10.10.23): https://repeaterbooks.com/product/anti-oculus-a-philosophy-of-escape/Linktree: https://linktr.ee/acidhorizonAcid Horizon on Patreon: https://www.patreon.com/acidhorizonpodcastZer0 Books and Repeater Media Patreon: https://www.patreon.com/zer0repeaterMerch: http://www.crit-drip.comOrder 'The Philosopher's Tarot': https://repeaterbooks.com/product/the-philosophers-tarot/Subscribe to us on Apple Podcasts: https://tinyurl.com/169wvvhiHappy Hour at Hippel's (Adam's blog): https://happyhourathippels.wordpress.com​Revolting Bodies (Will's Blog): https://revoltingbodies.com​Split Infinities (Craig's Substack): https://splitinfinities.substack.com/​Music: https://sereptie.bandcamp.com/ and https://thecominginsurrection.bandcamp.com/Support the show

Witchcraft and Adolescence in American Popular Culture: Teen Witches (University of Wales Press, 2022) by Miranda Corcoran is a study in teenage witches in twentieth-century American popular culture. The teenage witch emerged in American fiction in the late twentieth century, quickly becoming a cultural touchstone. Witchcraft and Adolescence in American Popular Culture reveals how novels, films, television, and comics about witchy women register shifting attitudes toward adolescent femininity. Drawing on Deleuzian, Foucauldian, and new materialist theories, Miranda Corcoran charts a new feminist history from 1940s bobbysoxer to today, untangling strands of embodiments, agency, and violence. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Witchcraft and Adolescence in American Popular Culture: Teen Witches (University of Wales Press, 2022) by Miranda Corcoran is a study in teenage witches in twentieth-century American popular culture. The teenage witch emerged in American fiction in the late twentieth century, quickly becoming a cultural touchstone. Witchcraft and Adolescence in American Popular Culture reveals how novels, films, television, and comics about witchy women register shifting attitudes toward adolescent femininity. Drawing on Deleuzian, Foucauldian, and new materialist theories, Miranda Corcoran charts a new feminist history from 1940s bobbysoxer to today, untangling strands of embodiments, agency, and violence. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Witchcraft and Adolescence in American Popular Culture: Teen Witches (University of Wales Press, 2022) by Miranda Corcoran is a study in teenage witches in twentieth-century American popular culture. The teenage witch emerged in American fiction in the late twentieth century, quickly becoming a cultural touchstone. Witchcraft and Adolescence in American Popular Culture reveals how novels, films, television, and comics about witchy women register shifting attitudes toward adolescent femininity. Drawing on Deleuzian, Foucauldian, and new materialist theories, Miranda Corcoran charts a new feminist history from 1940s bobbysoxer to today, untangling strands of embodiments, agency, and violence. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Witchcraft and Adolescence in American Popular Culture: Teen Witches (University of Wales Press, 2022) by Miranda Corcoran is a study in teenage witches in twentieth-century American popular culture. The teenage witch emerged in American fiction in the late twentieth century, quickly becoming a cultural touchstone. Witchcraft and Adolescence in American Popular Culture reveals how novels, films, television, and comics about witchy women register shifting attitudes toward adolescent femininity. Drawing on Deleuzian, Foucauldian, and new materialist theories, Miranda Corcoran charts a new feminist history from 1940s bobbysoxer to today, untangling strands of embodiments, agency, and violence. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Witchcraft and Adolescence in American Popular Culture: Teen Witches (University of Wales Press, 2022) by Miranda Corcoran is a study in teenage witches in twentieth-century American popular culture. The teenage witch emerged in American fiction in the late twentieth century, quickly becoming a cultural touchstone. Witchcraft and Adolescence in American Popular Culture reveals how novels, films, television, and comics about witchy women register shifting attitudes toward adolescent femininity. Drawing on Deleuzian, Foucauldian, and new materialist theories, Miranda Corcoran charts a new feminist history from 1940s bobbysoxer to today, untangling strands of embodiments, agency, and violence. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices

Witchcraft and Adolescence in American Popular Culture: Teen Witches (University of Wales Press, 2022) by Miranda Corcoran is a study in teenage witches in twentieth-century American popular culture. The teenage witch emerged in American fiction in the late twentieth century, quickly becoming a cultural touchstone. Witchcraft and Adolescence in American Popular Culture reveals how novels, films, television, and comics about witchy women register shifting attitudes toward adolescent femininity. Drawing on Deleuzian, Foucauldian, and new materialist theories, Miranda Corcoran charts a new feminist history from 1940s bobbysoxer to today, untangling strands of embodiments, agency, and violence. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

Witchcraft and Adolescence in American Popular Culture: Teen Witches (University of Wales Press, 2022) by Miranda Corcoran is a study in teenage witches in twentieth-century American popular culture. The teenage witch emerged in American fiction in the late twentieth century, quickly becoming a cultural touchstone. Witchcraft and Adolescence in American Popular Culture reveals how novels, films, television, and comics about witchy women register shifting attitudes toward adolescent femininity. Drawing on Deleuzian, Foucauldian, and new materialist theories, Miranda Corcoran charts a new feminist history from 1940s bobbysoxer to today, untangling strands of embodiments, agency, and violence. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Witchcraft and Adolescence in American Popular Culture: Teen Witches (University of Wales Press, 2022) by Miranda Corcoran is a study in teenage witches in twentieth-century American popular culture. The teenage witch emerged in American fiction in the late twentieth century, quickly becoming a cultural touchstone. Witchcraft and Adolescence in American Popular Culture reveals how novels, films, television, and comics about witchy women register shifting attitudes toward adolescent femininity. Drawing on Deleuzian, Foucauldian, and new materialist theories, Miranda Corcoran charts a new feminist history from 1940s bobbysoxer to today, untangling strands of embodiments, agency, and violence. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

“There is always an atheism to be extracted from a religion,” Deleuze and Guattari write in their final collaboration, What Is Philosophy? Their claim that Christianity “secretes” atheism “more than any other religion,” however, reflects the limits of their archive. Theological projects seeking to engage Deleuze remain embedded within Christian theologies and intellectual histories; whether they embrace, resist, or negotiate with Deleuze's atheism, the atheism in question remains one extracted from Christian theology, a Christian atheism. In Sufi Deleuze, Michael Muhammad Knight offers an intervention, engaging Deleuzian questions and themes from within Islamic tradition. Even if Deleuze did not think of himself as a theologian, Knight argues, to place Deleuze in conversation with Islam is a project of comparative theology and faces the challenge of any comparative theology: It seemingly demands that complex, internally diverse traditions can speak as coherent, monolithic wholes. To start from such a place would not only defy Islam's historical multiplicity but also betray Deleuze's model of the assemblage, which requires attention to not only the organizing and stabilizing tendencies within a structure but also the points at which a structure resists organization, its internal heterogeneity, and unpredictable “lines of flight.” A Deleuzian approach to Islamic theology would first have to affirm that there is no such thing as a universal “Islamic theology” that can speak for all Muslims in all historical settings, but rather a multiplicity of power struggles between major and minor forces that contest each other over authenticity, authority, and the making of “orthodoxy.” The discussions in Sufi Deleuze: Secretions of Islamic Atheism (Fordham UP, 2023) thus highlight Islam's extraordinary range of possibilities, not only making use of canonically privileged materials such as the Qur'an and major hadith collections, but also exploring a variety of marginalized resources found throughout Islam that challenge the notion of a singular “mainstream” interpretive tradition. To say it in Deleuze's vocabulary, Islam is a rhizome. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Ontology and Ritual Theory”. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

“There is always an atheism to be extracted from a religion,” Deleuze and Guattari write in their final collaboration, What Is Philosophy? Their claim that Christianity “secretes” atheism “more than any other religion,” however, reflects the limits of their archive. Theological projects seeking to engage Deleuze remain embedded within Christian theologies and intellectual histories; whether they embrace, resist, or negotiate with Deleuze's atheism, the atheism in question remains one extracted from Christian theology, a Christian atheism. In Sufi Deleuze, Michael Muhammad Knight offers an intervention, engaging Deleuzian questions and themes from within Islamic tradition. Even if Deleuze did not think of himself as a theologian, Knight argues, to place Deleuze in conversation with Islam is a project of comparative theology and faces the challenge of any comparative theology: It seemingly demands that complex, internally diverse traditions can speak as coherent, monolithic wholes. To start from such a place would not only defy Islam's historical multiplicity but also betray Deleuze's model of the assemblage, which requires attention to not only the organizing and stabilizing tendencies within a structure but also the points at which a structure resists organization, its internal heterogeneity, and unpredictable “lines of flight.” A Deleuzian approach to Islamic theology would first have to affirm that there is no such thing as a universal “Islamic theology” that can speak for all Muslims in all historical settings, but rather a multiplicity of power struggles between major and minor forces that contest each other over authenticity, authority, and the making of “orthodoxy.” The discussions in Sufi Deleuze: Secretions of Islamic Atheism (Fordham UP, 2023) thus highlight Islam's extraordinary range of possibilities, not only making use of canonically privileged materials such as the Qur'an and major hadith collections, but also exploring a variety of marginalized resources found throughout Islam that challenge the notion of a singular “mainstream” interpretive tradition. To say it in Deleuze's vocabulary, Islam is a rhizome. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Ontology and Ritual Theory”. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/islamic-studies

“There is always an atheism to be extracted from a religion,” Deleuze and Guattari write in their final collaboration, What Is Philosophy? Their claim that Christianity “secretes” atheism “more than any other religion,” however, reflects the limits of their archive. Theological projects seeking to engage Deleuze remain embedded within Christian theologies and intellectual histories; whether they embrace, resist, or negotiate with Deleuze's atheism, the atheism in question remains one extracted from Christian theology, a Christian atheism. In Sufi Deleuze, Michael Muhammad Knight offers an intervention, engaging Deleuzian questions and themes from within Islamic tradition. Even if Deleuze did not think of himself as a theologian, Knight argues, to place Deleuze in conversation with Islam is a project of comparative theology and faces the challenge of any comparative theology: It seemingly demands that complex, internally diverse traditions can speak as coherent, monolithic wholes. To start from such a place would not only defy Islam's historical multiplicity but also betray Deleuze's model of the assemblage, which requires attention to not only the organizing and stabilizing tendencies within a structure but also the points at which a structure resists organization, its internal heterogeneity, and unpredictable “lines of flight.” A Deleuzian approach to Islamic theology would first have to affirm that there is no such thing as a universal “Islamic theology” that can speak for all Muslims in all historical settings, but rather a multiplicity of power struggles between major and minor forces that contest each other over authenticity, authority, and the making of “orthodoxy.” The discussions in Sufi Deleuze: Secretions of Islamic Atheism (Fordham UP, 2023) thus highlight Islam's extraordinary range of possibilities, not only making use of canonically privileged materials such as the Qur'an and major hadith collections, but also exploring a variety of marginalized resources found throughout Islam that challenge the notion of a singular “mainstream” interpretive tradition. To say it in Deleuze's vocabulary, Islam is a rhizome. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Ontology and Ritual Theory”. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

“There is always an atheism to be extracted from a religion,” Deleuze and Guattari write in their final collaboration, What Is Philosophy? Their claim that Christianity “secretes” atheism “more than any other religion,” however, reflects the limits of their archive. Theological projects seeking to engage Deleuze remain embedded within Christian theologies and intellectual histories; whether they embrace, resist, or negotiate with Deleuze's atheism, the atheism in question remains one extracted from Christian theology, a Christian atheism. In Sufi Deleuze, Michael Muhammad Knight offers an intervention, engaging Deleuzian questions and themes from within Islamic tradition. Even if Deleuze did not think of himself as a theologian, Knight argues, to place Deleuze in conversation with Islam is a project of comparative theology and faces the challenge of any comparative theology: It seemingly demands that complex, internally diverse traditions can speak as coherent, monolithic wholes. To start from such a place would not only defy Islam's historical multiplicity but also betray Deleuze's model of the assemblage, which requires attention to not only the organizing and stabilizing tendencies within a structure but also the points at which a structure resists organization, its internal heterogeneity, and unpredictable “lines of flight.” A Deleuzian approach to Islamic theology would first have to affirm that there is no such thing as a universal “Islamic theology” that can speak for all Muslims in all historical settings, but rather a multiplicity of power struggles between major and minor forces that contest each other over authenticity, authority, and the making of “orthodoxy.” The discussions in Sufi Deleuze: Secretions of Islamic Atheism (Fordham UP, 2023) thus highlight Islam's extraordinary range of possibilities, not only making use of canonically privileged materials such as the Qur'an and major hadith collections, but also exploring a variety of marginalized resources found throughout Islam that challenge the notion of a singular “mainstream” interpretive tradition. To say it in Deleuze's vocabulary, Islam is a rhizome. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Ontology and Ritual Theory”. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

“There is always an atheism to be extracted from a religion,” Deleuze and Guattari write in their final collaboration, What Is Philosophy? Their claim that Christianity “secretes” atheism “more than any other religion,” however, reflects the limits of their archive. Theological projects seeking to engage Deleuze remain embedded within Christian theologies and intellectual histories; whether they embrace, resist, or negotiate with Deleuze's atheism, the atheism in question remains one extracted from Christian theology, a Christian atheism. In Sufi Deleuze, Michael Muhammad Knight offers an intervention, engaging Deleuzian questions and themes from within Islamic tradition. Even if Deleuze did not think of himself as a theologian, Knight argues, to place Deleuze in conversation with Islam is a project of comparative theology and faces the challenge of any comparative theology: It seemingly demands that complex, internally diverse traditions can speak as coherent, monolithic wholes. To start from such a place would not only defy Islam's historical multiplicity but also betray Deleuze's model of the assemblage, which requires attention to not only the organizing and stabilizing tendencies within a structure but also the points at which a structure resists organization, its internal heterogeneity, and unpredictable “lines of flight.” A Deleuzian approach to Islamic theology would first have to affirm that there is no such thing as a universal “Islamic theology” that can speak for all Muslims in all historical settings, but rather a multiplicity of power struggles between major and minor forces that contest each other over authenticity, authority, and the making of “orthodoxy.” The discussions in Sufi Deleuze: Secretions of Islamic Atheism (Fordham UP, 2023) thus highlight Islam's extraordinary range of possibilities, not only making use of canonically privileged materials such as the Qur'an and major hadith collections, but also exploring a variety of marginalized resources found throughout Islam that challenge the notion of a singular “mainstream” interpretive tradition. To say it in Deleuze's vocabulary, Islam is a rhizome. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Ontology and Ritual Theory”. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

“There is always an atheism to be extracted from a religion,” Deleuze and Guattari write in their final collaboration, What Is Philosophy? Their claim that Christianity “secretes” atheism “more than any other religion,” however, reflects the limits of their archive. Theological projects seeking to engage Deleuze remain embedded within Christian theologies and intellectual histories; whether they embrace, resist, or negotiate with Deleuze's atheism, the atheism in question remains one extracted from Christian theology, a Christian atheism. In Sufi Deleuze, Michael Muhammad Knight offers an intervention, engaging Deleuzian questions and themes from within Islamic tradition. Even if Deleuze did not think of himself as a theologian, Knight argues, to place Deleuze in conversation with Islam is a project of comparative theology and faces the challenge of any comparative theology: It seemingly demands that complex, internally diverse traditions can speak as coherent, monolithic wholes. To start from such a place would not only defy Islam's historical multiplicity but also betray Deleuze's model of the assemblage, which requires attention to not only the organizing and stabilizing tendencies within a structure but also the points at which a structure resists organization, its internal heterogeneity, and unpredictable “lines of flight.” A Deleuzian approach to Islamic theology would first have to affirm that there is no such thing as a universal “Islamic theology” that can speak for all Muslims in all historical settings, but rather a multiplicity of power struggles between major and minor forces that contest each other over authenticity, authority, and the making of “orthodoxy.” The discussions in Sufi Deleuze: Secretions of Islamic Atheism (Fordham UP, 2023) thus highlight Islam's extraordinary range of possibilities, not only making use of canonically privileged materials such as the Qur'an and major hadith collections, but also exploring a variety of marginalized resources found throughout Islam that challenge the notion of a singular “mainstream” interpretive tradition. To say it in Deleuze's vocabulary, Islam is a rhizome. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Ontology and Ritual Theory”. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/secularism

We are joined by Catherine Liu to discuss how French Theory grew to such prominence in American culture and academia, and how it has shaped not only the left but many aspects of our everyday life, from how we conceive of power, sex, the figure of the intellectual to the literary canon. French Theory was not merely a fad, it has had deep and long-lasting effects on our culture.  After discussing this history, we discuss Deleuzian theory and socialism, whether the libertine & counterculture left can forge solidarity with the working class and more. For a reflection on this conversation, check out my write-up.  Support us at Patreon https://www.patreon.com/torsiongroups 

Pills is graced by the presence of the eminent Deleuze scholar, editor, and translator, Daniel W. Smith. Dan explains how he came to Deleuzian philosophy, why it's important, and previews the exciting Deleuze Seminars project, which is almost finished translating 20 years of Deleuze's lectures into English.    The Deleuze Seminars project can be explored here: https://deleuze.cla.purdue.edu/   Si vous pouvez comprendre le français, il y en a plus a la Bibliotheque Nationale de France   https://gallica.bnf.fr/html///und/enregistrements-sonores/gilles-deleuze-cours-donnes-luniversite-paris-8-vincennes-saint-denis-1979-0?mode=desktop This interview was too good to keep to ourselves, but if you want to see more, including more exclusive Deleuze videos, you can support us at https://www.patreon.com/plasticpills

At the Other Life x Urbit meetup in Austin, a group of 8 people rocked up wearing black trenchcoats. Endproject is an art and music collective based in Houston. I didn't know a thing about any of them until this podcast, and we quickly went deep into their defection from institutions, faith, the logic of culture, Deleuzian immanence, Urbit, and how authentic counterculture always wins.✦ Endproject website✦ Endproject's group on Urbit: ~rocdel-napsec/endproject✦ Vincent on Twitter✦ Vincent on Urbit: ~tacnul-docrux✦ Maria on Instagram✦ Maria on Urbit: ~doltud-topsyp✦ Justin on Twitter✦ Justin on Urbit: ~dirtec-hassunOther Life✦ Subscribe to the coolest newsletter in the world OtherLife.co✦ Get a free Urbit planet at imperceptible.computer✦ We're building a new country at imperceptible.countryIndieThinkers.org✦ If you're working on independent intellectual work, join the next cohort of IndieThinkers.org

We explore the post consumer transitioning by utilising the Deleuzian concepts of the dark precursor and the larval self to frame this change.

Episode preview, for full 2+ hours please condider going

In the season finale of Deleuzecast, we talk through the appendix of Deleuze's Logic of Sense: "The Simulacrum and Ancient Philosophy." 0:00-14:00 difference and identity atomism clinamen 14:00-23:00 color and perception color as object or as relation species differences limits of perspectivism 23:00-30:00 eternal return of the same Deleuzian repetition 30:00-45:00 evolution error and mutation / the Deleuzian complication to this logic of error and development sexual reproduction / diversity the conjunctive “nature” of nature the orchid and the wasp differential pedagogy 45:00-1:00:00 reversal of platonism absolute difference and absolute sameness back to the eternal return the molar and molecular theology as a tendency or form of thinking 1:00:00-end the issue of “fragmented” ontologies and certain theories of difference advocating difference over identity, or fragmentation over unity, or the molecular over the molar the posthuman subject the nietzschean version of posthumanism the overman how the prescriptive, or policy-writing, dulls theory the need to have deliverables in scholarship / theory application

In the 1980s, Laruelle's radical thought experiment led him to a thought of the Absolute as primary and to envisage the Absolute as subject. He analyses the failure of symbolisation to capture the real, both in the failure of structuralist signification and in the failure of Deleuzian « sense ». Subjects discussed: the Absolute turn, the Subject, bio-materialism and democratic relativism, Badiou and Zizek, Laruelle in the 1980s as vanishing mediator, repeating the 80s today.

Frida Beckman is a Professor of Comparative literature in the Department of Culture and Aesthetics at Stockholm University. In this episode we discuss her biography of Gilles Deleuze. Frida's biography can be purchased here. Become part of the Hermitix community: Hermitix Twitter Hermitix Discord Support Hermitix: Subscribe Hermitix Patreon Hermitix Merchandise One off Donations at Ko-Fi Hermitix Twitter Bitcoin Donation Address: 3LAGEKBXEuE2pgc4oubExGTWtrKPuXDDLK Ethereum Donation Address: 0xfd2bbe86d6070004b9Cbf682aB2F25170046A996

Frida Beckman is a Professor of Comparative literature in the Department of Culture and Aesthetics at Stockholm University. In this episode we discuss her biography of Gilles Deleuze. Frida's biography can be purchased here. Become part of the Hermitix community: Hermitix Twitter Hermitix Discord Support Hermitix: Subscribe Hermitix Patreon Hermitix Merchandise One off Donations at Ko-Fi Hermitix Twitter Bitcoin Donation Address: 3LAGEKBXEuE2pgc4oubExGTWtrKPuXDDLK Ethereum Donation Address: 0xfd2bbe86d6070004b9Cbf682aB2F25170046A996

David Burke is a writer and critic. In this conversation, we explore: heavy metal as a critical response to late capitalism and industrial society; the idea of the original metalheads as dark hippies, and what metalheads have evolved into; shamanism, esotericism and occultism; lyrical explorations of death, mortality and hedonism; black metal, terrorism, fascism and the aesthetics of death and occult iconography that often inform these movements; whether metal has a coherent political or theoretical project within it; heavy metal fashion and its roots in 60s, working class and gay culture; the self-mythologisation of metal as a reaction to postmodernity and the loss of cultural meaning; the sacred and the profane; a comparison between heavy metal and hip hop and their connections to class; the fluidity of performers and audiences within underground genres; metal concerts as postmodern shamanic circles; the Deleuzian notion of intensity as difference, and how this is reflected in metal; how heavy metal as an aesthetic of late industrialism and machinery is transposed into digital and the internet age; and how "heaviness" has become culturally canonized, and overflows into other genres and objects. Support Technosocial at: https://www.patreon.com/technosocial Find David's writings here https://soton.academia.edu/DavidBurke https://astralnoizeuk.com/

David Burke is a writer and critic. In this conversation, we explore: heavy metal as a critical response to late capitalism and industrial society; the idea of the original metalheads as dark hippies, and what metalheads have evolved into; shamanism, esotericism and occultism; lyrical explorations of death, mortality and hedonism; black metal, terrorism, fascism and the aesthetics of death and occult iconography that often inform these movements; whether metal has a coherent political or theoretical project within it; heavy metal fashion and its roots in 60s, working class and gay culture; the self-mythologisation of metal as a reaction to postmodernity and the loss of cultural meaning; the sacred and the profane; a comparison between heavy metal and hip hop and their connections to class; the fluidity of performers and audiences within underground genres; metal concerts as postmodern shamanic circles; the Deleuzian notion of intensity as difference, and how this is reflected in metal; how heavy metal as an aesthetic of late industrialism and machinery is transposed into digital and the internet age; and how "heaviness" has become culturally canonized, and overflows into other genres and objects. Find David's writings herehttps://soton.academia.edu/DavidBurkehttps://astralnoizeuk.com/

While OK battles the land owning class, Lucia is here to read you a selection from Byung-Chul Han’s “Topology of Violence”, a text that describes how biopolitics of the neoliberal hellscape brought us all to become achievement subjects. There’s some reference to the concept of Deleuzian accelerationism, where it’s totally wrong, where its inevitable, and … Continue reading "READING – Topology of Violence"

While OK battles the land owning class, Lucia is here to read you a selection from Byung-Chul Han’s “Topology of Violence”, a text that describes how biopolitics of the neoliberal hellscape brought us all to become achievement subjects. There’s some reference to the concept of Deleuzian accelerationism, where it’s totally wrong, where its inevitable, and … Continue reading "READING – Topology of Violence"

Justin Murphy is a political scientist, political theorist, and author of the new book, "Based Deleuze". We talk about the life of Gilles Deleuze, what it means that he is based, the Deleuzian concept of Lines of Flight, Disciplinary vs. Control societies, Libertarian Communism, and Diogenes defacing the currency. You can find Justin's writings at: https://theotherlifenow.com/ On Youtube: https://www.youtube.com/channel/UCfrlXVXz-pT9AmmDELhpyOw On Twitter: @jmrphy Other Life podcast: https://jmrphy.libsyn.com/

Patreon: https://www.patreon.com/theoryandphilosophyIn this episode, I turn my focus of posthumanism and Braidotti's seminal text, "The Posthuman." Braidotti's brand of posthumanism is a Deleuzian one, seeing the potential of becoming and deterritorialization to oppose the oppressive logic of commodification and identity in late capitalism.

New Books at the Heyman Center: a podcast featuring audio from events at Columbia University, and interviews with the speakers and authors. Almost fifty years ago, Jean-Louis Comolli and Jean Narboni published the manifesto “Cinema/Ideology/Criticism,” helping to set the agenda for a generation of film theory that used cinema as a means of critiquing capitalist ideology. In recent decades, film studies has moved away from politicized theory, abandoning the productive ways in which theory understands the relationship between cinema, politics, and art. In Cinema/Politics/Philosophy, Nico Baumbach revisits the much-maligned tradition of seventies film theory to reconsider: What does it mean to call cinema political? In this concise and provocative book, Baumbach argues that we need a new philosophical approach that sees cinema as both a mode of thought and a form of politics. Through close readings of the writings on cinema by the contemporary continental philosophers Jacques Rancière, Alain Badiou, and Giorgio Agamben, he asks us to rethink both the legacy of ideology critique and Deleuzian film-philosophy. He explores how cinema can condition philosophy through its own means, challenging received ideas about what is seeable, sayable, and doable. Cinema/Politics/Philosophy offers fundamental new ways to think about cinema as thought, art, and politics.

What kind of time do we endure on our daily commutes? What kind of space do we occupy? What new sorts of urbanites do we thereby become? In Transit Life: How Commuting Is Transforming Our Cities (MIT Press, 2018), geographer David Bissell contends that to commute is to enter a highly eventful domain, an atmosphere in which new “capsular collectives” form and reform, opening onto new political and ethical possibilities for being in public. With Sydney, Australia, as its setting, Transit Life develops a non-representational geography on the move, attentive to the blockages and flows that give infrastructural life its contours. Dwelling on embodiment, temporality, sound and other senses, and a broadly Deleuzian vision of micropolitics, Bissell makes the case that the commute should be understood as anything but an empty interval of time, passively submitted to and upheld only through the force of habit. Rather, he contends, out of its repetition emerges a richly differentiated palette of urban encounters, subjectivities, and agencies. If urban life is increasingly spent in transit, Bissell suggests, geographers' interventions should begin with an interest in its rhythms. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What kind of time do we endure on our daily commutes? What kind of space do we occupy? What new sorts of urbanites do we thereby become? In Transit Life: How Commuting Is Transforming Our Cities (MIT Press, 2018), geographer David Bissell contends that to commute is to enter a highly eventful domain, an atmosphere in which new “capsular collectives” form and reform, opening onto new political and ethical possibilities for being in public. With Sydney, Australia, as its setting, Transit Life develops a non-representational geography on the move, attentive to the blockages and flows that give infrastructural life its contours. Dwelling on embodiment, temporality, sound and other senses, and a broadly Deleuzian vision of micropolitics, Bissell makes the case that the commute should be understood as anything but an empty interval of time, passively submitted to and upheld only through the force of habit. Rather, he contends, out of its repetition emerges a richly differentiated palette of urban encounters, subjectivities, and agencies. If urban life is increasingly spent in transit, Bissell suggests, geographers’ interventions should begin with an interest in its rhythms. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What kind of time do we endure on our daily commutes? What kind of space do we occupy? What new sorts of urbanites do we thereby become? In Transit Life: How Commuting Is Transforming Our Cities (MIT Press, 2018), geographer David Bissell contends that to commute is to enter a highly eventful domain, an atmosphere in which new “capsular collectives” form and reform, opening onto new political and ethical possibilities for being in public. With Sydney, Australia, as its setting, Transit Life develops a non-representational geography on the move, attentive to the blockages and flows that give infrastructural life its contours. Dwelling on embodiment, temporality, sound and other senses, and a broadly Deleuzian vision of micropolitics, Bissell makes the case that the commute should be understood as anything but an empty interval of time, passively submitted to and upheld only through the force of habit. Rather, he contends, out of its repetition emerges a richly differentiated palette of urban encounters, subjectivities, and agencies. If urban life is increasingly spent in transit, Bissell suggests, geographers’ interventions should begin with an interest in its rhythms. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What kind of time do we endure on our daily commutes? What kind of space do we occupy? What new sorts of urbanites do we thereby become? In Transit Life: How Commuting Is Transforming Our Cities (MIT Press, 2018), geographer David Bissell contends that to commute is to enter a highly eventful domain, an atmosphere in which new “capsular collectives” form and reform, opening onto new political and ethical possibilities for being in public. With Sydney, Australia, as its setting, Transit Life develops a non-representational geography on the move, attentive to the blockages and flows that give infrastructural life its contours. Dwelling on embodiment, temporality, sound and other senses, and a broadly Deleuzian vision of micropolitics, Bissell makes the case that the commute should be understood as anything but an empty interval of time, passively submitted to and upheld only through the force of habit. Rather, he contends, out of its repetition emerges a richly differentiated palette of urban encounters, subjectivities, and agencies. If urban life is increasingly spent in transit, Bissell suggests, geographers’ interventions should begin with an interest in its rhythms. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What kind of time do we endure on our daily commutes? What kind of space do we occupy? What new sorts of urbanites do we thereby become? In Transit Life: How Commuting Is Transforming Our Cities (MIT Press, 2018), geographer David Bissell contends that to commute is to enter a highly eventful domain, an atmosphere in which new “capsular collectives” form and reform, opening onto new political and ethical possibilities for being in public. With Sydney, Australia, as its setting, Transit Life develops a non-representational geography on the move, attentive to the blockages and flows that give infrastructural life its contours. Dwelling on embodiment, temporality, sound and other senses, and a broadly Deleuzian vision of micropolitics, Bissell makes the case that the commute should be understood as anything but an empty interval of time, passively submitted to and upheld only through the force of habit. Rather, he contends, out of its repetition emerges a richly differentiated palette of urban encounters, subjectivities, and agencies. If urban life is increasingly spent in transit, Bissell suggests, geographers’ interventions should begin with an interest in its rhythms. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What kind of time do we endure on our daily commutes? What kind of space do we occupy? What new sorts of urbanites do we thereby become? In Transit Life: How Commuting Is Transforming Our Cities (MIT Press, 2018), geographer David Bissell contends that to commute is to enter a highly eventful domain, an atmosphere in which new “capsular collectives” form and reform, opening onto new political and ethical possibilities for being in public. With Sydney, Australia, as its setting, Transit Life develops a non-representational geography on the move, attentive to the blockages and flows that give infrastructural life its contours. Dwelling on embodiment, temporality, sound and other senses, and a broadly Deleuzian vision of micropolitics, Bissell makes the case that the commute should be understood as anything but an empty interval of time, passively submitted to and upheld only through the force of habit. Rather, he contends, out of its repetition emerges a richly differentiated palette of urban encounters, subjectivities, and agencies. If urban life is increasingly spent in transit, Bissell suggests, geographers’ interventions should begin with an interest in its rhythms. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What kind of time do we endure on our daily commutes? What kind of space do we occupy? What new sorts of urbanites do we thereby become? In Transit Life: How Commuting Is Transforming Our Cities (MIT Press, 2018), geographer David Bissell contends that to commute is to enter a highly eventful domain, an atmosphere in which new “capsular collectives” form and reform, opening onto new political and ethical possibilities for being in public. With Sydney, Australia, as its setting, Transit Life develops a non-representational geography on the move, attentive to the blockages and flows that give infrastructural life its contours. Dwelling on embodiment, temporality, sound and other senses, and a broadly Deleuzian vision of micropolitics, Bissell makes the case that the commute should be understood as anything but an empty interval of time, passively submitted to and upheld only through the force of habit. Rather, he contends, out of its repetition emerges a richly differentiated palette of urban encounters, subjectivities, and agencies. If urban life is increasingly spent in transit, Bissell suggests, geographers’ interventions should begin with an interest in its rhythms. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What kind of time do we endure on our daily commutes? What kind of space do we occupy? What new sorts of urbanites do we thereby become? In Transit Life: How Commuting Is Transforming Our Cities (MIT Press, 2018), geographer David Bissell contends that to commute is to enter a highly eventful domain, an atmosphere in which new “capsular collectives” form and reform, opening onto new political and ethical possibilities for being in public. With Sydney, Australia, as its setting, Transit Life develops a non-representational geography on the move, attentive to the blockages and flows that give infrastructural life its contours. Dwelling on embodiment, temporality, sound and other senses, and a broadly Deleuzian vision of micropolitics, Bissell makes the case that the commute should be understood as anything but an empty interval of time, passively submitted to and upheld only through the force of habit. Rather, he contends, out of its repetition emerges a richly differentiated palette of urban encounters, subjectivities, and agencies. If urban life is increasingly spent in transit, Bissell suggests, geographers’ interventions should begin with an interest in its rhythms. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Cultural ecologies and the evolution of consciousness; Deleuze and DeLanda's geographical flows and Teilhardian super-organisms; political fragmentation in the Left and the Right and the push beyond cultural romanticism. --- Send in a voice message: https://anchor.fm/mutations/message

This is the second session of J. Beverley’s Masterclass organised by the Centre for Iberian and Latin American Visual Studies (CILAVS) during Birkbeck’s Arts Week, May 2017. John Beverley is Distinguished Professor of Hispanic Languages and Literatures at the University of Pittsburgh. That the conjunction of postcolonial struggle and structuralism in the 1960s produces a kind of earthquake in academic knowledge and institutions, particularly in the domain of what the French call the human sciences. The shock effect of that earthquake may be named for sake of convenience "theory," and the disciplinary outcome of theory “studies" (cultural, postcolonial, queer, women's, Africana, Atlantic, global, global Pacific, etc.). The core issue is the relation of culture and politics, or to use Raymond Williams' term "cultural materialism". As the revolutionary vanguardist political formations of the 1960s, epitomized by the armed struggle in Latin America, collapse or are defeated, theory and studies nourish and in turn are nourished by new forms of politics, based on the principle of multicultural hegemonic articulation. One compelling form of this possibility are the new governments of the so-called Pink Tide in that emerged in Latin America in the first decade of the new century, which incorporated into their strategy elements of both poststructuralist and postcolonial thinking. However, the tremors of the earthquake of "theory" have subsided. The politics of theory are resisted from both the right--in the form of a kind of "left neo-conservatism"-- and the left--in the form of deconstructive or libertarian ultraleftism. New theories of cultural agency emerge, often with a Deleuzian inspiration or provenance. (e.g. Hardt and Negri on the "multitude," "affect" theory. "posthegemony") and new, less overtly political forms of "studies" (media, visual culture, digital humanities, neo-philology etc., etc.). In this second session, we will look at two of the major products of the politics of theory in the academy. In the 1980s and 1990s, Cultural Studies and Subaltern Studies (a subset of postcolonial studies). We will see that both involve a critique of academic knowledge from the position of "excluded," and the basis for a new kind of politics of the left, based in the social movements. However, both in turn are re-institutionalized in the academy, in a kind of paradoxically syntonic coincidence with neoliberal globalization (especially the case in cultural studies). For more information - bbk.ac.uk/cilavs/audio-visual-resources

This is the third session of J. Beverley’s Masterclass organised by the Centre for Iberian and Latin American Visual Studies (CILAVS) during Birkbeck’s Arts Week, May 2017. John Beverley is Distinguished Professor of Hispanic Languages and Literatures at the University of Pittsburgh. That the conjunction of postcolonial struggle and structuralism in the 1960s produces a kind of earthquake in academic knowledge and institutions, particularly in the domain of what the French call the human sciences. The shock effect of that earthquake may be named for sake of convenience "theory," and the disciplinary outcome of theory “studies" (cultural, postcolonial, queer, women's, Africana, Atlantic, global, global Pacific, etc.). The core issue is the relation of culture and politics, or to use Raymond Williams' term "cultural materialism". As the revolutionary vanguardist political formations of the 1960s, epitomized by the armed struggle in Latin America, collapse or are defeated, theory and studies nourish and in turn are nourished by new forms of politics, based on the principle of multicultural hegemonic articulation. One compelling form of this possibility are the new governments of the so-called Pink Tide in that emerged in Latin America in the first decade of the new century, which incorporated into their strategy elements of both poststructuralist and postcolonial thinking. However, the tremors of the earthquake of "theory" have subsided. The politics of theory are resisted from both the right--in the form of a kind of "left neo-conservatism"-- and the left--in the form of deconstructive or libertarian ultraleftism. New theories of cultural agency emerge, often with a Deleuzian inspiration or provenance. (e.g. Hardt and Negri on the "multitude," "affect" theory. "posthegemony") and new, less overtly political forms of "studies" (media, visual culture, digital humanities, neo-philology etc., etc.). This third session will examine finally, the waning of the politics of theory in the new century: and the major forms of its critique of (deconstruction, neo-conservatism, Deleuzian and anarchist ultraleftism ), from both the right of the left ("left conservativism") and the left of the left, if that distinction holds meaning. That will bring us to the edge of the present, where the "theory,” along with Marxism and psychoanalysis, has lost practically all purchase. At a moment when the neoliberal consensus that emerged in the 1990s is in a state of crisis (or, some would say, reorganization), what are the new possibilities for a politics of theory? We'll look at some contemporary arguments for egalitarianism and utopianism. For more information - bbk.ac.uk/cilavs/audio-visual-resources/

This is the first session of J. Beverley’s Masterclass organised by the Centre for Iberian and Latin American Visual Studies (CILAVS) during Birkbeck’s Arts Week, May 2017. John Beverley is Distinguished Professor of Hispanic Languages and Literatures at the University of Pittsburgh. That the conjunction of postcolonial struggle and structuralism in the 1960s produces a kind of earthquake in academic knowledge and institutions, particularly in the domain of what the French call the human sciences. The shock effect of that earthquake may be named for sake of convenience "theory," and the disciplinary outcome of theory “studies" (cultural, postcolonial, queer, women's, Africana, Atlantic, global, global Pacific, etc.). The core issue is the relation of culture and politics, or to use Raymond Williams' term "cultural materialism". As the revolutionary vanguardist political formations of the 1960s, epitomized by the armed struggle in Latin America, collapse or are defeated, theory and studies nourish and in turn are nourished by new forms of politics, based on the principle of multicultural hegemonic articulation. One compelling form of this possibility are the new governments of the so-called Pink Tide in that emerged in Latin America in the first decade of the new century, which incorporated into their strategy elements of both poststructuralist and postcolonial thinking. However, the tremors of the earthquake of "theory" have subsided. The politics of theory are resisted from both the right--in the form of a kind of "left neo-conservatism"-- and the left--in the form of deconstructive or libertarian ultraleftism. New theories of cultural agency emerge, often with a Deleuzian inspiration or provenance. (e.g. Hardt and Negri on the "multitude," "affect" theory. "posthegemony") and new, less overtly political forms of "studies" (media, visual culture, digital humanities, neo-philology etc., etc.). This first session will focus on the conjuncture that produces of the "earthquake"--the coincidence of postcolonial military and political struggle and the advent of Structuralist theory of the sign. We will spend a moment recalling in particular the radical character of Saussure's theory of the linguistic sign and its consequences for thought and political practice. For more information - bbk.ac.uk/cilavs/audio-visual-resources

Sharrona Pearl‘s new book is an absolute pleasure to read. Face/On: Face Transplants and the Ethics of the Other (The University of Chicago Press, 2017) looks closely at facial allotransplantations (FAT), commonly known as face transplants, in order to offer a careful and fascinating study of the stakes for changing the face, and the changing stakes for the face. Troubling the indexical relationship between the face and character and reminding us that “[t]he self has always been a set of choices,” Pearl explores face transplantation as it relates to cosmetic surgery and whole-organ transplants, the cinema of the 1960s, television shows, and more. She carefully and sensitively takes us into the debates among surgeons, bioethicists, and journalists that circled the first partial face transplant of Isabelle Dinoire in 2005, and offers a way toward a philosophical approach that brings together Levinas with the kind of (Deleuzian) subjectivity that allows for individuality through constant change and understands the self to be constantly in a process of becoming. The final chapter of the book also situates the analysis within larger contexts of online subjectivities and work with facial and bodily manipulation by artists and performers. It’s sparklingly written and well worth a read! Learn more about your ad choices. Visit megaphone.fm/adchoices

Sharrona Pearl‘s new book is an absolute pleasure to read. Face/On: Face Transplants and the Ethics of the Other (The University of Chicago Press, 2017) looks closely at facial allotransplantations (FAT), commonly known as face transplants, in order to offer a careful and fascinating study of the stakes for changing the face, and the changing stakes for the face. Troubling the indexical relationship between the face and character and reminding us that “[t]he self has always been a set of choices,” Pearl explores face transplantation as it relates to cosmetic surgery and whole-organ transplants, the cinema of the 1960s, television shows, and more. She carefully and sensitively takes us into the debates among surgeons, bioethicists, and journalists that circled the first partial face transplant of Isabelle Dinoire in 2005, and offers a way toward a philosophical approach that brings together Levinas with the kind of (Deleuzian) subjectivity that allows for individuality through constant change and understands the self to be constantly in a process of becoming. The final chapter of the book also situates the analysis within larger contexts of online subjectivities and work with facial and bodily manipulation by artists and performers. It’s sparklingly written and well worth a read! Learn more about your ad choices. Visit megaphone.fm/adchoices

Sharrona Pearl‘s new book is an absolute pleasure to read. Face/On: Face Transplants and the Ethics of the Other (The University of Chicago Press, 2017) looks closely at facial allotransplantations (FAT), commonly known as face transplants, in order to offer a careful and fascinating study of the stakes for changing the face, and the changing stakes for the face. Troubling the indexical relationship between the face and character and reminding us that “[t]he self has always been a set of choices,” Pearl explores face transplantation as it relates to cosmetic surgery and whole-organ transplants, the cinema of the 1960s, television shows, and more. She carefully and sensitively takes us into the debates among surgeons, bioethicists, and journalists that circled the first partial face transplant of Isabelle Dinoire in 2005, and offers a way toward a philosophical approach that brings together Levinas with the kind of (Deleuzian) subjectivity that allows for individuality through constant change and understands the self to be constantly in a process of becoming. The final chapter of the book also situates the analysis within larger contexts of online subjectivities and work with facial and bodily manipulation by artists and performers. It’s sparklingly written and well worth a read! Learn more about your ad choices. Visit megaphone.fm/adchoices

Sharrona Pearl‘s new book is an absolute pleasure to read. Face/On: Face Transplants and the Ethics of the Other (The University of Chicago Press, 2017) looks closely at facial allotransplantations (FAT), commonly known as face transplants, in order to offer a careful and fascinating study of the stakes for changing the face, and the changing stakes for the face. Troubling the indexical relationship between the face and character and reminding us that “[t]he self has always been a set of choices,” Pearl explores face transplantation as it relates to cosmetic surgery and whole-organ transplants, the cinema of the 1960s, television shows, and more. She carefully and sensitively takes us into the debates among surgeons, bioethicists, and journalists that circled the first partial face transplant of Isabelle Dinoire in 2005, and offers a way toward a philosophical approach that brings together Levinas with the kind of (Deleuzian) subjectivity that allows for individuality through constant change and understands the self to be constantly in a process of becoming. The final chapter of the book also situates the analysis within larger contexts of online subjectivities and work with facial and bodily manipulation by artists and performers. It’s sparklingly written and well worth a read! Learn more about your ad choices. Visit megaphone.fm/adchoices

Sharrona Pearl‘s new book is an absolute pleasure to read. Face/On: Face Transplants and the Ethics of the Other (The University of Chicago Press, 2017) looks closely at facial allotransplantations (FAT), commonly known as face transplants, in order to offer a careful and fascinating study of the stakes for changing the face, and the changing stakes for the face. Troubling the indexical relationship between the face and character and reminding us that “[t]he self has always been a set of choices,” Pearl explores face transplantation as it relates to cosmetic surgery and whole-organ transplants, the cinema of the 1960s, television shows, and more. She carefully and sensitively takes us into the debates among surgeons, bioethicists, and journalists that circled the first partial face transplant of Isabelle Dinoire in 2005, and offers a way toward a philosophical approach that brings together Levinas with the kind of (Deleuzian) subjectivity that allows for individuality through constant change and understands the self to be constantly in a process of becoming. The final chapter of the book also situates the analysis within larger contexts of online subjectivities and work with facial and bodily manipulation by artists and performers. It's sparklingly written and well worth a read! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

Zizeks latest book is Organs Without Bodies: On Deleuze and Consequences. Turning the Deleuzian terminology around he analyzes these organs without bodies in the work of Hitchcock and in films such as Fight Club, identifying a Deleuze closer to the … Continue reading →

Bob Christie is a Vancouver filmmaker, activist, and scholar exploring the intersections of documentary cinema, entertainment and social justice. His 2009 feature Beyond Gay: The Politics of Pride won several festival awards and was broadcast on cable television throughout North America, in Europe and South America. With fifteen years experience in the film and television industry, Bob has also directed and produced a feature documentary about his family that received funding from the National Film Board of Canada, as well as short films, music videos, television commercials and Internet content. In 2014 he completed an MA in Comparative Media Arts at Simon Fraser University with research that focuses on queer documentary cinema and social justice activism. Abstract of MA Research While touring to film festivals with my documentary Beyond Gay: The Politics of Pride, I noticed a new attitude in queer cinema. Instead of exploring isolation, difference and separation from mainstream culture, queer cinema of the new millennium places LGBT* people within larger society, often as a vital and valuable part of the broader social fabric. There is also a confidence, optimism, and often an outright joyfulness in recent queer cinema. My research investigates the development of these two trends – the homosocial and joy – in conjunction with theories of affect, queer documentaries, and social justice activism. It follows contemporary scholars, including Nick Davis and Laura Marks, who have expanded on Deleuzian image theories. I argue that LGBT* documentaries of the new millennium expresses reterritorialized queerness that is affecting people individually and collectively, forming social memories and new understandings of gender and sexuality. As well, these processes are accelerating and expanding faster than ever before, due to the affordability of production and distribution made possible by new media technology. Two other central films of the study are United in Anger: A History of Act Up and the hilarious New Zealand favorite Topp Twins: Untouchable Girls.   Pride organizer examines the role and relevance of Gay Pride events around the world – from the extremes of protest to the heights of celebration.   Winner – Best Film – Indianapolis LGBT Film Festival: Indianapolis IN, USA Winner – Best Documentary (Jury Prize): Image + Nation, Montreal QC, Canada Winner – Best Documentary: Q Cinema Fort Worth TX, USA Winner – Best Documentary: Fairy Tales, Calgary AB, Canada Winner – Best Documentary (Jury & Audience Awards) Three Dollar Bill: Seattle WA, USA Winner – Best Documentary, Out on Film: Atlanta GA, USA Winner – Best Documentary, Reel Pride, Winnipeg MB, Canada Winner – Best Documentary, Inside Out Ottawa Gatineau, Ottawa ON Winner – Best Documentary, Miami LGBT Film Festival, Miami FL, USA Canadian Gala – Victoria Film Festival: Victoria BC, Canada Opening Gala – Boston LGBT Film Festival: Boston MA, USA Official Selection – Cleveland International Film Festival: Cleveland OH, USA Official Selection – Frameline 34: San Francisco CA, USA Official Selection – This Human World: Vienna Austria *Screened at over sixty film festivals and Pride events around the world.* *Showtime USA* *Super Channel Canada* “A riveting and enlightening documentary on the politics and relevance of the global gay pride movement.” –Michael D. Reid, Times Colonist From the elegant symbolism of the empty flatbed concluding Sao Paulo’s mammoth pride parade, to Moscow Pride organizer Nikolai Alekseev’s Byzantine ingenuity and dogged determination, Beyond Gay: The Politics of Pride is a moving portrait of international LGBT (Lesbian, Gay, Bi, and Transsexual) struggles for human rights. Vancouver Pride Parade President, Ken Coolen explains the vast differences between marches and parades, and the importance of confronting the “authorities in your own communities,” as he visits countries where attempting to stage pride festivities invites extreme reactions. Director Bob Christie teams up with Aerlyn Weissman (Forbidden Love) in this panoramic meditation on the relationship between Gay Pride and mainstream society. A refreshing and clearly Western perspective on LGBT rights at home and abroad, it features generous footage of local Pride events, and tense yet poignant interviews around the world with an international roster of LGBT human rights heroes. Beyond Gay reflects an emerging trend in which those listless and stagnant Pride celebrations return to their fiercely flamboyant roots – by expressing an international solidarity with oppressed LGBT people everywhere. As Tomasz Baczkowski, President of Warsaw Equality Parade eloquently states, “if it’s a movement, a pride movement… then we should move something.” “An amazing film that needs to be seen by anyone in any community who wants to be moved and have their world view expanded.  This is a terrific gift to our collective human rights history.” – Stuart Milk, activist and nephew of the late Harvey Milk. ----------------------------------------------------------------------------- Let's Talk About Sex with Damon Jacobs

Rosi BRAIDOTTI, Distinguished University Professor, Université d'Utrecht Mots-clés : Braidotti, McCormack, empirisme, cartographie, pouvoir, multiples, difference, prolétariat, capitalisme, nécropolitique

Rosi BRAIDOTTI, Distinguished University Professor, Université d'Utrecht Mots-clés : Braidotti, McCormack, empirisme, cartographie, pouvoir, multiples, difference, prolétariat, capitalisme, nécropolitique

Rosi BRAIDOTTI, Distinguished University Professor, Université d'Utrecht Mots-clés : politic of location, Deleuze, Braidotti, Grosz, philosophie, Guattari, ontologie, humanism, post-humain, Bergson, concept, cartographie, vital matérialisme, monisme, information, technologie, moléculaire, molaire, capitalisme, éthique, système

Rosi BRAIDOTTI, Distinguished University Professor, Université d'Utrecht Mots-clés : politic of location, Deleuze, Braidotti, Grosz, philosophie, Guattari, ontologie, humanism, post-humain, Bergson, concept, cartographie, vital matérialisme, monisme, information, technologie, moléculaire, molaire, capitalisme, éthique, système

When we watch film various visual elements direct our understanding of the narrative and its meaning. The subjective position of each viewer informs their reading of images in a multitude of ways. From this perspective, religion can be imaged in film and may be found by viewers but its interpretation will depend upon the relationships between media and audience. In Imaging Religion in Film: The Politics of Nostalgia (Palgrave Macmillan, 2011), M. Gail Hamner, Professor of Religion at Syracuse University, offers a dynamic theoretically informed methodology to examine the ethico-political dimensions of religion and film. She offers a semiotics of religion that relies on her reading of Charles Peirce and Gilles Deleuze, who aid us in thinking about how viewers react to and transform cinematic images. Through three case studies, including Akira Kurosawa’s Dersu Uzala (1972); Abbas Kiarostami’s Taste of Cherry (1997); and the Coen brothers’ The Man Who Wasn’t There (2001), she explores how religion is imaged in social and discursive fields through notions of nostalgia and transcendence. In our conversation we discuss postmodern aesthetics, the pedagogy of self, philosophical gelling through mechanical reproduction, the political economy of film, Deleuzian relations of gaze, situation, and reflection, the space between humanity and animality, confessional ways out of alienation, and ideas about how to watch a film. Learn more about your ad choices. Visit megaphone.fm/adchoices

When we watch film various visual elements direct our understanding of the narrative and its meaning. The subjective position of each viewer informs their reading of images in a multitude of ways. From this perspective, religion can be imaged in film and may be found by viewers but its interpretation will depend upon the relationships between media and audience. In Imaging Religion in Film: The Politics of Nostalgia (Palgrave Macmillan, 2011), M. Gail Hamner, Professor of Religion at Syracuse University, offers a dynamic theoretically informed methodology to examine the ethico-political dimensions of religion and film. She offers a semiotics of religion that relies on her reading of Charles Peirce and Gilles Deleuze, who aid us in thinking about how viewers react to and transform cinematic images. Through three case studies, including Akira Kurosawa’s Dersu Uzala (1972); Abbas Kiarostami’s Taste of Cherry (1997); and the Coen brothers’ The Man Who Wasn’t There (2001), she explores how religion is imaged in social and discursive fields through notions of nostalgia and transcendence. In our conversation we discuss postmodern aesthetics, the pedagogy of self, philosophical gelling through mechanical reproduction, the political economy of film, Deleuzian relations of gaze, situation, and reflection, the space between humanity and animality, confessional ways out of alienation, and ideas about how to watch a film. Learn more about your ad choices. Visit megaphone.fm/adchoices

When we watch film various visual elements direct our understanding of the narrative and its meaning. The subjective position of each viewer informs their reading of images in a multitude of ways. From this perspective, religion can be imaged in film and may be found by viewers but its interpretation will depend upon the relationships between media and audience. In Imaging Religion in Film: The Politics of Nostalgia (Palgrave Macmillan, 2011), M. Gail Hamner, Professor of Religion at Syracuse University, offers a dynamic theoretically informed methodology to examine the ethico-political dimensions of religion and film. She offers a semiotics of religion that relies on her reading of Charles Peirce and Gilles Deleuze, who aid us in thinking about how viewers react to and transform cinematic images. Through three case studies, including Akira Kurosawa’s Dersu Uzala (1972); Abbas Kiarostami’s Taste of Cherry (1997); and the Coen brothers’ The Man Who Wasn’t There (2001), she explores how religion is imaged in social and discursive fields through notions of nostalgia and transcendence. In our conversation we discuss postmodern aesthetics, the pedagogy of self, philosophical gelling through mechanical reproduction, the political economy of film, Deleuzian relations of gaze, situation, and reflection, the space between humanity and animality, confessional ways out of alienation, and ideas about how to watch a film. Learn more about your ad choices. Visit megaphone.fm/adchoices

Molecular Aesthetics | Symposium Symposium at ZKM | Center for Art and Media, July 15 -17, 2011 in cooperation with DFG-Center for Functional Nanostructures (CFN) Karlsruhe Institute for Technology (KIT). Deleuze and Guattari's concept of the 'molecular' is not, as Eugene Thacker has recently remarked, necessarily about 'molecules' in a conventional scientific sense. Rather the concept is at the heart of a Deleuzian challenge to hierarchies of matter/form and molar/molecular. In A Thousand Plateaus the 'molecular' is synonymous with concepts of becoming, deterritorialisation and multiplicity. In practice, this means that Deleuze and Guattari challenge the genetic determinism that is often associated with molecular biology. When drawing on the work of Jacob and Monod, for example, they conceptualise the relationship between nucleic acids and proteins in terms of 'expression' and 'content'. The existence of what Deleuze and Guattari call a 'pure line of expression' (DNA) gives living organisms a high degree of deterritorialisation. This 'molecular' vision is developed most fully in Deleuze's work on aesthetics, and in particular his work on music, literature and film. In all of this work Deleuze adopts a radically materialist perspective. As far as music is concerned, he suggests that it might be possible to move away from thinking in terms of a musical 'matter' on which 'form' is imposed (this would in turn imply a hierarchy of matter, life, and spirit). In short, the coupling of 'matter-form' might be replaced by 'matter-force'. In this way, certain kinds of music would be able to render audible forces that would otherwise be non-audible. Similarly, as far as literature is concerned, Deleuze's molecular perspective highlights the ways in which writing is capable of rendering impersonal affects, percepts and singularities. In the case of film, Deleuze's reading of Bergson's materialism leads him to propose a radical immanence of the image in matter. /// Der Begriff des „Molekularen“ bei Gilles Deleuze und Pierre-Félix Guattari bezieht sich, wie Eugene Thacker jüngst angemerkt hat, nicht unbedingt auf „Moleküle“ im wissenschaftlichen Sinn. Vielmehr ist er die Spitze, die Deleuze gegen die Hierarchien von Materie/Form und Molar/Molekular wendet. „Molekular“ steht in Tausend Plateaus gleichbedeutend mit Werden, Deterritorialisierung, Multiplizität. Die beiden Autoren formulieren daraus eine Kampfansage an den genetischen Determinismus, der beharrlich mit der Molekularbiologie in Zusammenhang gebracht wird. In ihrer Behandlung des Werks von François Jacob und Jacques Monod interpretierten sie die Beziehung zwischen Nukleinsäuren und Proteinen unter dem Aspekt von „Ausdruck“ und „Inhalt“. Die Existenz dessen, was Deleuze und Guattari als „reine Linie des Ausdrucks“ (DNS) bezeichnen, verleiht dem lebenden Organismus einen hohen Grad an Deterritorialisierung. Am stärksten ausgeprägt ist der „molekulare“ Blick in Deleuzes Schriften zur Ästhetik, insbesondere in jenen zu Musik, Literatur und Film, in denen er eine radikal materialistische Position bezieht. In Bezug auf die Musik spekuliert er, dass es möglich sein müsse, von der Vorstellung einer musikalischen „Materie“, die in eine „Form“ gezwungen wird (und ihrerseits eine Hierarchie von Materie, Leben und Geist voraussetzt), abzugehen und die Dualität Materie-Form durch Materie-Kraft zu ersetzen. Bestimmte Arten der Musik könnten damit unhörbare Kräfte hörbar machen. In der Literatur erhellt der molekulare Blick, wie unpersönliche Affekte, Empfindungen und Singularitäten sich in Worte fassen lassen. Und in seiner Filmtheorie postuliert Deleuze ausgehend vom Materialismus Bergsons eine radikale Immanenz des Bilds in der Materie.