Podcasts about jean luc nancy

This piece begins with a single recording: a forest soundscape captured by Louis Sarno in what is now the Central African Republic and the Republic of Congo, with birds, shifting air, and the distant rumble of a storm. The tape is not just a neutral document. It shows how sound can be taken, stored and studied. It is both a memory of a living environment and a product of the colonial era that collected and classified other people's worlds.Bernard Stiegler writes about tertiary retention, the way human experience is stored in technical objects such as recordings. These objects extend our ability to remember and listen, but they also change and sometimes remove what they hold. Stiegler calls such technology a pharmakon, something that can be both harmful and helpful. The recording is a trace of a forest displaced, but it is also a way that forest continues to be heard.This composition works with that tension. It does not sample the sounds or remake them as material for a new track. Instead it tries to “stay with” the recording, to listen beside it rather than take from it again. Stiegler speaks of care, the need to handle inherited technologies in a way that can open new and more ethical futures. This piece tries to practice that kind of care.Within this frame, the composition builds a new “forest” of sound, a network of layered micro and macro gestures that mirror the density and dispersion of the original recording. Close-mic techniques capture the vibrations of small objects, surfaces and resonant materials so that their textures mimic biotic activity such as insects, air, leaves and distant thunder. These sounds are woven with broader spatial gestures, creating an environment that moves between intimacy and expanse, between the barely perceptible and the encompassing. The resulting texture is not a reproduction of the forest but an echo of its living complexity, reimagined through the act of listening.The work draws on the Wandelweiser tradition's radical sparseness and on Discreet Archive's sensibility for fragility, quiet and slowness. Silence here is not empty; it holds space for the forest, real and imagined, to be heard without being consumed or overwritten. The piece does not try to reconstruct the forest or bring it back. It lets the recording remain what Stiegler calls a default of origin, something already outside its first context but still alive in new ways.The work also follows Jean-Luc Nancy's idea of listening as exposure, being open to something that comes from elsewhere and cannot be fully understood or controlled. It accepts that the original place and time cannot be restored and that the act of recording was shaped by unequal power. Yet it asks whether we can still listen in a way that acknowledges that history without turning it into an aesthetic resource. The piece tries to hold that fragile space, one of care, hesitation and attention, where another kind of future listening might become possible.Forest sounds with bird calls and distant thunder reimagined by Jacob Calland.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Violeta Gil nos presenta Andábamos maravillados (Ed. Arrebato), poemario que nos invita a reconsiderar algunas ideas sobre la amistad y el amor romántico y que, en contra de lo que pudiera parecer por su dicción íntima, también se puede leer como una propuesta política.Además, Ignacio Elguero nos recomienda el nuevo número de la revista Litoral, que versa precisamente sobre el beso, y también Didion y Babitz (Ed. Random House), una doble biografía en la que Lili Anolik indaga en la complejísima relación que mantuvieron las escritoras estadounidenses Joan Didion y Eve Babitz.Luego, Javier Lostalé abre su ventanita poética de par en par a Arcén (Ed. Renacimiento), volumen que reúne dieciséis libros del madrileño Pedro López Lara, autor bastante desconocido que rehusó publicar hasta hace pocos años. En Peligro en La estación nuestro colaborador Sergio C. Fanjul nos habla de El día que apagaron la luz (Ed. Anagrama), novela de no ficción en la que la joven escritora y cineasta argentina Camila Fabbri se remonta a un trágico acontecimiento que marcó su adolescencia: el incendio en una sala de conciertos que acabó con la vida de muchos jóvenes.Terminamos el programa filosofando con Mariano Peyrou, que hoy nos invita a repensar nuestra concepción de lo poético a propósito de Resistencia de la poesía, ensayo del francés Jean-Luc Nancy publicado -no podía ser de otra manera- por la editorial Libros de la Resistencia.Escuchar audio

Joseph Turner is a PhD student in the English Department at the University of Wisconsin-Madison, specializing in the dialogue between continental and Japanese philosophical traditions. His dissertation explores the development of a political ontology that bridges Nishitani Keiji's concept of emptiness with Jean-Luc Nancy's shared ontology of "being-with."He holds an MA in Literary Studies from the University of Nebraska-Lincoln and has published on Jean Baudrillard's work. Joseph has presented at numerous academic conferences on philosophers, including Baudrillard, Giorgio Agamben, Nishitani Keiji, and Jean-Luc Nancy. His research contributes to cross-cultural philosophical dialogue and offers new perspectives on political ontology that transcend frameworks of predetermined political antagonisms. Based in Madison, Wisconsin, Joseph works at the intersection of Eastern and Western philosophical traditions, bringing attention to underexplored thinkers and fostering promising theoretical frameworks.He also works with Incite Seminars, where he is currently co-teaching a seminar on cybernetics with his friend and colleague Matthew Stanley and will be organizing a class on an introduction to political ontologies soon after.---Become part of the Hermitix community:Hermitix Twitter - ⁠⁠ / hermitixpodcast⁠⁠ Hermitix Discord - ⁠⁠ / discord Support Hermitix:Hermitix Subscription - ⁠⁠https://hermitix.net/subscribe/⁠⁠ Patreon - ⁠⁠ www.patreon.com/hermitix⁠⁠ Donations: - ⁠⁠https://www.paypal.me/hermitixpod⁠⁠Hermitix Merchandise - ⁠⁠http://teespring.com/stores/hermitix-2⁠⁠Bitcoin Donation Address: 3LAGEKBXEuE2pgc4oubExGTWtrKPuXDDLKEthereum Donation Address: 0xfd2bbe86d6070004b9Cbf682aB2F25170046A996

Enrico Redaelli"L'etica del ritmo"Freud, Lévi-Strauss, DeleuzeOrthotes Editricewww.orthotes.comUn passo indietro e due avanti. È questo il movimento compiuto dalla psicoanalisi di Freud, dall'antropologia di Lévi-Strauss e dalla filosofia di Deleuze. Tre discipline con oggetti di studio diversi ma tra loro inestricabili: l'uomo, la società, il mondo. Tre pratiche in cui il sapere è soltanto l'occasione di un esercizio, lo slancio per compiere un moto ritmico. In tutti e tre i casi non c'è niente da sapere, c'è solo da fare. Un passo indietro per intercettare la potenza, due avanti per rimetterla in gioco. È in questo movimento danzante che prende forma un certo modo di frequentare e praticare la psicoanalisi, l'antropologia, la filosofia. Un modo pragmatico, non dogmatico, del tutto immanente. Un'etica del ritmo.Enrico Redaelli insegna Etica e filosofia della persona all'Università di Verona. Tra le sue pubblicazioni, Il nodo dei nodi (Pisa 2008), L'incanto del dispositivo (Pisa 2011) e Judith Butler (Milano 2023). Ha curato i volumi Jean-Luc Nancy e la psicoanalisi (Roma 2025), La lezione di Pasolini (Milano-Udine 2020) e, con F. Vandoni e P. Pitasi, il libro Legge, desiderio, capitalismo. L'anti-Edipo tra Lacan e Deleuze (Milano 2014). È docente di Trasformazione dei legami sociali presso IRPA e membro del centro di ricerca “Tiresia – Filosofia e psicoanalisi” dell'Università di Verona. È coordinatore editoriale della rivista Nóema e membro della redazione delle riviste Phi/Psy – Filosofia e psicoanalisi, Frontiere della psicoanalisi, Philm – Rivista di filosofia e cinema.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Federico Ferrari"Ritratti"Luca Sossella Editorewww.lucasossellaeditore.itPer eseguire un buon ritratto occorre che il modello stia fermo, possibilmente immobile. Se il soggetto si muove, se è irrequieto o si rifiuta di stare in posa, di assumere una posa, allora il ritratto si rivela impossibile.Chi legge troverà nelle pagine che seguono, dunque, dei ritratti sui generis, perché le autrici e gli autori che ne dovrebbero essere al centro sono tra i più irrequieti che il secolo scorso abbia prodotto. Sfuggenti come pochi altri, permettono a malapena di tracciare uno schizzo, una figura mossa, talvolta, al limite dell'irriconoscibile. Questi ritratti sono, in fondo, un modo per liberare questi grandi autori dalla propria identità o, forse in un eccesso di fiducia, per liberarli da ogni identità, dall'ingombro che ogni identità porta con sé. E poiché, come noto, ogni dipintore dipinge se stesso, è anche un modo di liberare chi scrive dalla propria identità.Ritratti di Ingeborg Bachmann, Thomas Bernhard, Harold Bloom, Adone Brandalise, Cristina Campo, Guido Ceronetti, Ioan Petru Culianu, David Graeber, Ivan Illich, Pierre Klossowski, Anna Maria Ortese, Tom Seidmann-Freud, Ferdinando Tartaglia.Federico Ferrari, docente di Filosofia dell'arte all'Accademia di Belle Arti di Brera, è stato visiting professor in diverse università europee e ha scritto una decina di libri, tradotti nelle principali lingue del mondo.Per LSe ha pubblicato Lo spazio critico (2004), Il re è nudo (2011), Il silenzio dell'arte (2021), L'anarca (2023) e, con Jean-Luc Nancy, Iconografia dell'autore (2006) e Estasi (2022).Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Co-hosts Ian Sabroe and Dieter Declercq talk with Ben andJohn about Queer Medical Humanities. Key themes include:queer inclusivity in hospitals and hospital design, knowledge in healthcare and, issues of healthcare delivery, queer methodologies for healthcare futures andpoliticisation of health and queer healthcare.Dr Benjamin Dalton is Lecturer in French Studies in theSchool of Global Affairs at Lancaster University. He works at the intersections of French Studies and the Medical Humanities, exploring how contemporary Frenchand Francophone literature, film and philosophy dialogue with biomedical science and different healthcare contexts. His current work maps contemporary philosophical approaches to the hospital, and he has published on newconceptions for clinical environments emerging in the works of Catherine Malabou, Jean-Luc Nancy, Paul B. Preciado, and Anne Dufourmantelle. He has a particular interest in LGBTQIA+ inclusivity in healthcare and hospital design,and is currently working on a project about queering the hospital. Dr John Gilmore (he/they) is a Registered General Nurse,Assistant Professor and Head of General Nursing at University College Dublin, where his work focuses on intersections of health and social justice. John isalso a Fulbright scholar and has held visiting positions at University of California San Francisco, Columbia University and University of Huddersfield.

Joseph Turner is a PhD student in the English Department at the University of Wisconsin-Madison, specializing in the dialogue between continental and Japanese philosophical traditions. His dissertation explores the development of a political ontology that bridges Nishitani Keiji's concept of emptiness with Jean-Luc Nancy's shared ontology of "being-with."He holds an MA in Literary Studies from the University of Nebraska-Lincoln and has published on Jean Baudrillard's work. Joseph has presented at numerous academic conferences on philosophers, including Baudrillard, Giorgio Agamben, Nishitani Keiji, and Jean-Luc Nancy. His research contributes to cross-cultural philosophical dialogue and offers new perspectives on political ontology that transcend frameworks of predetermined political antagonisms. Based in Madison, Wisconsin, Joseph works at the intersection of Eastern and Western philosophical traditions, bringing attention to underexplored thinkers and fostering promising theoretical frameworks.He also works with Incite Seminars, where he is currently co-teaching a seminar on cybernetics with his friend and colleague Matthew Stanley and will be organizing a class on an introduction to political ontologies soon after.---Become part of the Hermitix community:Hermitix Twitter - ⁠⁠ / hermitixpodcast⁠⁠ Hermitix Discord - ⁠⁠ / discord Support Hermitix:Hermitix Subscription - ⁠⁠https://hermitix.net/subscribe/⁠⁠ Patreon - ⁠⁠ www.patreon.com/hermitix⁠⁠ Donations: - ⁠⁠https://www.paypal.me/hermitixpod⁠⁠Hermitix Merchandise - ⁠⁠http://teespring.com/stores/hermitix-2⁠⁠Bitcoin Donation Address: 3LAGEKBXEuE2pgc4oubExGTWtrKPuXDDLKEthereum Donation Address: 0xfd2bbe86d6070004b9Cbf682aB2F25170046A996

Transmisión en vivo desde Instagram @tallerdefilo 24 de agosto de 2021

Michel Onfray "L'autre collaboration. Les origines françaises de l'islamo-gauchisme" (Plon)Au lendemain de la tragédie du 7 octobre, Michel Onfray s'est demandé pourquoi des millions de citoyens français avaient salué un grand jour pour le peuple palestinien. Son livre gravite autour de la question suivante : quel rôle ont joué les philosophes du XXe siècle dans la construction de cette effrayante passion triste qu'est le consentement au sadisme des bourreaux contre des victimes innocentes.Preuves à l'appui, Michel Onfray revient aux sources intellectuelles de l'antisémitisme de la gauche radicale avec Marx, Alain, Sartre, Beauvoir, Deleuze, Foucault, Derrida, Genet, Jean-Luc Nancy, Roger Garaudy, Lacoue-Labarthe, Alain Badiou…Musique: Gérard Manset « Quand on perd un ami »Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Federico Ferrari"L'insieme vuoto"Per una pragmatica dell'immagineJohan & Levi Editorewwwjohanandlevi.comChe cos'è un'immagine? Perché le immagini hanno assunto un'importanza così grande nelle nostre vite? Cosa significa avere uno sguardo? Federico Ferrari riflette sulla società delle immagini e sul rapporto ritmico tra immagine e parola, ritmo che forgia il nostro orizzonte, concentrandosi sull'uso delle immagini e sul mondo che esse creano, sulla disseminazione dello sguardo nell'impossibilità di una sola visione del mondo, di una sola misura.L'immagine contemporanea infatti impone oggi una nuova definizione del guardare, che parta dalla singolarità di ogni visione ma sia anche capace di abbracciarne la pluralità. Ed essendo le visioni possibili, per definizione, infinite, ciò che davvero conta è ciò che sottende ed è quindi comune a tutte. Detto con i termini della teoria degli insiemi, è un insieme vuoto che si presenta come un nulla ma che è anche qualcosa: lo sguardo, ciò che ci precede e che resta aperto al di là di ogni visione possibile, di ogni immagine data. L'insieme vuoto dello sguardo è la potenza del vedere.Federico Ferrari, insegna Filosofia dell'arte all'Accademia di Belle Arti di Brera a Milano, dove nel 2009 ha creato il biennio specialistico in Visual Cultures e Pratiche Curatoriali e nel 2025 il Centro di Ricerca di Storia e Toeria dell'arte. Nel 2020 ha fondato, assieme ad Andrea Cortellessa e Riccardo Venturi, la rivista online Antinomie. Tra i suoi ultimi libri, L'anarca (2014), Oscillazioni (2016), Il silenzio dell'arte (2021) e, con Jean-Luc Nancy, Estasi (2022).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Federico Ferrari"L'antinomia critica"Luca Sossella Editorewww.lucasossellaeditore.itRisposte chiare e distinte non ce ne sono, perché in queste pagine ciò che si affronta non è tanto un discorso quanto un percorso sul metodo. Un cammino tortuoso e impervio lungo quella via nel linguaggio fatta di continui tornanti, strade senza uscita, sensi unici, sentieri che non portano in nessun luogo.A fronte di una presa di posizione netta e impegnativa, Federico Ferrari intraprende un viaggio fra parola e immagine, mistica e religione, letteratura, arte e filosofia, in un dialogo che coinvolge voci anche lontane; voci che, intrecciandosi lungo la via dell'antinomia critica, lasciano intuire quale sia, effettivamente, il prezzo dei nostri pensieri. L'anarchismo metodologico ha in sé, non la possibilità, ma la certezza di scontrarsi con il proprio fallimento. Questa certezza, la certezza di non poter mai giungere a una conclusione, è, in definitiva, ciò che lo rende inutile per costruire sistemi e, per questo, insostituibile per pensare. Federico Ferrari, docente di Filosofia dell'arte all'Accademia di Belle Arti di Brera, è stato visiting professor in diverse università europee e ha scritto una decina di libri, tradotti nelle principali lingue del mondo.Per Luca Sossella Editore, ha pubblicato Lo spazio critico (2004), Il re è nudo (2011), Il silenzio dell'arte (2021), L'anarca (2023) e, con Jean-Luc Nancy, Iconografia dell'autore (2006) e Estasi (2022).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

This week on Below the Radar, we are joined by Travis Holloway: a poet, translator, Assistant Professor of Philosophy at SUNY Farmingdale, and author of the book How to Live at the End of the World: Theory, Art, and Politics for the Anthropocene (Stanford University Press, 2022). Am and Travis discuss noticing patterns in contemporary art making during the climate crisis. Travis also shares about translating the work of philosopher Jean-Luc Nancy, the importance of friendship with all living beings, and the process of publishing a book. Full episode details: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/233-travis-holloway.html Read the transcript: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/transcripts/233-travis-holloway.html Donate to Below the Radar: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/donate.html Resources: How to Live at the End of the World: Theory, Art, and Politics for the Anthropocene: https://www.sup.org/books/title/?id=34552 Read more of Travis's work: https://pratt.academia.edu/TravisHolloway Bio: Travis Holloway grew up queer and working class in a rural factory town affected by free trade and globalization. His most recent book is How to Live at the End of the World: Theory, Art, and Politics for the Anthropocene (Stanford, 2022). Holloway is Assistant Professor of Philosophy at SUNY Farmingdale and a poet and former Goldwater Fellow in Creative Writing at NYU. He has an M.F.A., Ph.D., and is Assistant Professor of Philosophy at SUNY Farmingdale, a translator, and a poet and former Goldwater Fellow in Creative Writing at NYU. His primary interests are in contemporary continental philosophy, aesthetics, social and political philosophy, queer theory, and the environmental humanities. His work on these topics has been published in Italy, Turkey, the UK, Columbia, Canada, the Czech Republic, and the U.S. His most recent publications include "Weather" (The Philosopher, 2022), "Philosophy at the End of the World: For a Counterhistory of Human Beings in the Anthropocene" (The Philosopher, 2020), "A Strategy for a Democratic Future" (Tropos, 2019), “Neoliberalism and the Future of Democracy" (Philosophy Today, 2018), and “How to Perform a Democracy” (Epoché, 2017). He is co-translator of three books and several articles by Jean-Luc Nancy, and co-author of several public-facing articles and the book Occupying Wall Street: The Inside Story of an Action that Changed America (OR Books, 2011). He is currently working on two additional monographs: How to Perform a Democracy; and How to Assemble with All the Living. Holloway has received fellowships from the Fulbright Commission, the DAAD, the Andrew Mellon foundation, and the Max Kade Institute for research and advanced study in Germany, France, and Italy. Cite this episode: Chicago Style Johal, Am. “How to Live at the End of the World — with Travis Holloway.” Below the Radar, SFU's Vancity Office of Community Engagement. Podcast audio, January 30, 2024. https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/233-travis-holloway.html.

As the Radical Thoughts Podcast is no longer active, I am making these old bonus episodes from Patreon publicly available so that listeners don't have to pay for an inactive podcast. - Patrick In this special crossover episode, Patrick talks with C Derick Varn of Varn Vlog about the legacy of Jean-Luc Nancy. While both bemoan the more frivolous stylings of French theory, the discussion appreciates the serious questions that Nancy raised about the nature of community and the assumptions that underpin the concept.This episode was released as a crossover episode also available to Varn Vlog Patreon supporters. Varn Vlog Patreon: https://www.patreon.com/varnvlog/ Internet Encyclopedia of Philosophy page for Nancy: https://iep.utm.edu/nancy/  Verso Interview: https://www.versobooks.com/blogs/5150-jean-luc-nancy-communism-means-conceiving-being-in-common

Paola Goretti"Alfabetiere emotivo"Cinquesensi Editorewww.cinquesensi.itUna ricca antologia letteraria che raccoglie alcuni tra i brani più evocativi della narrativa e della poetica di ogni tempo, Alfabetiere Emotivo, recuperando l'illustre tradizione degli Alfabetieri del primo e secondo Novecento, offre scoperte di inusitata bellezza che suggeriscono al lettore il senso di un'emozione profonda, sia essa legata all'amore umano che a quello divino. Una raccolta originale e preziosa che potrà fungere da privatissimo breviario, accompagnando momenti di raccoglimento e meditazione.Dalla visionarietà di Borges alla sognante dimensione del Piccolo Principe, dai lampeggiamenti di Jean-Luc Nancy al gioioso misticismo di Tagore, dall'aulica voluttà di d'Annunzio all'erranza di Jabès; e poi Cristina Campo, Mariangela Gualteri, Livia Chandra Candiani, Alba Donati, Clarice Lispector. E ancora, l'iniziatica sapienza del Buddha e la paradisiaca letizia di San Francesco, la delicatezza dell'ukiyo-e, le contemplazioni delle mistiche e la mistica delle pietre preziose. L'anima delle piante e quella degli animali, i germogli che sbocciano, i fiori nel campo, gli uccelli nel cielo. Il canto e l'incanto dell'impermanenza, il canto e l‘incanto dell'eternità.Paola Goretti, cinquecentista di formazione, storica dell'arte e del costume, voce narrante, poetessa (Scheiwiller 1994, Premio Montale), imparolatrice. Si è dedicata per vent'anni ai sistemi del vestiario di alta epoca, poi confluiti in innumerevoli scritti (Skira, Allemandi, Il Cigno, Rizzoli, Mazzotta, Bulzoni, Il Poligrafo, FMR) e in Monumenta. I Costumi di Scena della Fondazione Cerratelli, fotografie di Aurelio Amendola (Pacini), premiato dal Club Unesco di Firenze (2010). Ha collaborato con prestigiose istituzioni culturali nazionali e internazionali per progetti interdisciplinari, tenuto la cattedra di Scenari (1998-2005) presso l'Università dell'Immagine di Milano ideata sui cinque sensi da Fabrizio Ferri, lavorato alla Fondazione Ermitage (2009-2010) per alcune ricognizioni sul patrimonio italiano a San Pietroburgo, insegnato in ogni dove. Si occupa di estetica della luce e della natura, di tradizione classica e integrazione sensoriale. Responsabile scientifico del Museo Crocetti di Roma (2013-2016) e dell'attuale percorso espositivo, ha curato mostre minuscole e monumentali. Tra queste, Aurelio Amendola. Un'antologia (Pistoia 2021; Bari 2022), nelle Edizioni Treccani. Dal 2013 collabora con Il Vittoriale degli Italiani, dove ha realizzato D'Annunzio e l'arte del profumo. Odorarius Mirabilis (2018), scenografia del Maestro Pier Luigi Pizzi. Nel 2022 ha pubblicato “È l'immortale rosa”. D'Annunzio e il fiore dell'ebbrezza (Silvana) e La rosa di Bologna. Una storia profumata (Minerva). Tra parole come rose, rose come parole.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Gareth Hughes is in the second year of his PhD in Comparative Literature and Culture at Royal Holloway. His thesis explores spatial transformations in contemporary French and multilingual poetry. In this episode of the ‘Narratives of Nation' series, Gareth talks about the multilingual poems of Michèle Métail, the power of poetry to loosen the bind between nationality and language, and how entering into poetic spaces can help us to reimagine the world. -------------- References: Gratton, Peter and Morin, Marie-Eve (eds.), Jean-Luc Nancy and Plural Thinking : Expositions of World, Ontology, Politics, and Sense (Albany: SUNY Press, 2012). Li, Xiaofan Amy, ‘A Post-Orientalist Turn: Pascal Quignard, Michèle Métail, and China', The Western Reinvention of Chinese Literature, 1910–2010 (Leiden: Brill, 2022). Les Linguistes atterré(e)s, Le Français va très bien, merci (Paris : Gallimard, 2023). Métail, Michèle, Le Cours du Danube en 2888 kilomètres/vers… l'infini (Dijon : Les presses du réel, 2018). Les Horizons du sol : panorama (Marseille : CipM / Spectres familiers, 1999). Le Vol des oies sauvages (Saint-Benoit-du-Sault : Tarabuste, 2011). Nancy, Jean-Luc, The Creation of the World or Globalization, trans. François Raffoul and David Pettigrew (Albany: SUNY Press, 2007). Parish, Nina & Wagstaff, Emma, ‘Michèle Métail : traduire la contrainte', Michèle Métail : la poésie en trois dimensions, ed. Anne-Christine Royère (Dijon : Les Presses du réel, 2019). -------------- Image: “The Map of the Armillary Sphere” by Su Hui, from Michèle Métail's Le vol des oies sauvages : poèmes chinois à lecture retournée (Tarabuste Éditions, 2011). Credit: Hopscotch Translation, accessed via https://hopscotchtranslation.com/2021/10/18/janet-lee-marcella-durand/ [24 August 2023] --------------- Technecast is a podcast series showcasing research from across the arts and humanities. It is produced by Edwin Gilson, Felix Clutson, Isabel Sykes, Morag Thomas and Olivia Aarons. Fancy turning your research into a podcast episode? We'd be happy to hear from you at technecaster@gmail.com.

“El arte ha podido y todavía puede hundirse”. Son palabras del filósofo francés Jean-Luc Nancy, en el libro Señales sensibles. En este capítulo hacemos una revisión crítica del panorama del arte actual junto al autor, donde plantea, entre otras cosas, que el exceso de técnica es nocivo para la producción artística y para la producción sensible.

Welcome to More Christ. We seek to bring some of the world's most interesting and insightful guests to discuss life's central and abiding questions. In this ninety fourth episode in a series of discussions, I'm joined by Dr Christopher Watkin. Chris is a Senior Lecturer in French Studies at Monash University, Melbourne, Australia. At its broadest, his research seeks to make sense of how people make sense of the world, and how they interact with ideas and positions different from their own. In his first book Phenomenology or Deconstruction? (2009) he explored the complex relationship between two major philosophical tendencies in the thought of Maurice Merleau-Ponty, Paul Ricoeur and Jean-Luc Nancy. Difficult Atheism (2011) then examined how three contemporary thinkers—Alain Badiou, Jean-Luc Nancy and Quentin Meillassoux—make sense of the world without the gods of metaphysics, poetry and religion, and how their three positions critique and refine each other. In French Philosophy Today: New Figures of the Human in Badiou, Meillassoux, Malabou, Serres and Latour he shifted the focus from God to a humanity, arguing that very different contemporary thinkers each rely on a ‘host' to make sense of the human, whether it be a capacity, substance or narrative. His later book, Michel Serres: Figures of Thought continues his investigation into different ways of making sense of the world by presenting the first systematic treatment in English of a key twentieth and twenty-first century philosopher whose genuinely cross-disciplinary work finds complex ‘North-West passages' between the sciences, humanities and arts. His latest book, Biblical Critical Theory, is the focus of our discussion and builds upon his previous endeavours in fascinating ways. Please see: https://christopherwatkin.com/ https://www.amazon.co.uk/Christopher-... https://twitter.com/DrChrisWatkin

Photographer and curator, Anne Immelé and Michael have a fascinating coversation about curating shows that take into account both sight and sound. We also talk about Anne's new book, Les Jardins De Riesthal or Riesthal Gardens, a series of poetic portraits of family and landscape within a community garden that Anne tended to with her family for a period of 15 years. http://www.anneimmele.fr https://charcoalbookclub.com/collections/recent-books/products/les-jardins-de-riesthal Bonus Content: https://youtu.be/hppeViU9kaM This episode is sponsored by the Charcoal Book Club https://charcoalbookclub.com Charcoal Book Club is the monthly subscription service for photobook enthusiasts. Working with the most respected names in contemporary photography, Charcoal selects and delivers essential photobooks to a worldwide community of collectors. Each month, members receive a signed, first-edition monograph and an exclusive print to add to their collections. Anne Immelé, Ph.D, has worked as an exhibition curator, building on theoretical, committed research, since her Master's degree in Visual Arts at the Université Laval in Quebec, Canada (1997). She analyses the spatial installation of photography and the medium of the exhibition itself. Her curatorial research stems from a Doctorate of Arts thesis, entitled "Constellations Photographiques" submitted in 2007 at the University of Strasbourg and published by Médiapop Éditions in 2015. Anne Immelé lives and works in Mulhouse. Her photographs question our relationship to the territory in its multiple dimensions: geographical, human, social but also memorial and poetic. She is the author of several books, including WIR with the philosopher Jean-Luc Nancy published by Filigrane, ou Oublie Oublie, published by Médiapop in 2021. Her photographic work is regularly exhibited. Professor at HEAR, Haute Ecole des Arts du Rhin, she co-founded in 2013 the BPM – Biennale de la photographie de Mulhouse, of which she is the artistic director and curator of certain exhibitions. Support Real Photo Show with Michael Chovan-Dalton by contributing to their tip jar: https://tips.pinecast.com/jar/real-photo-show

Der 1955 in Hamburg geborene Musiker und DJ wurde in der zweiten Hälfte der 1980er-Jahre auch als Schriftsteller bekannt. Neben seiner Band FSK, die er seit 40 Jahren mit seiner Ehefrau Michaela Melián und anderen Freunden hat, wurde er mit seinem Buch Tomboy (Suhrkmap) berühmt. In dem 1998 bei Suhrkamp erschienenen Buch hat er seine frühe Judith Butler Lektüre verschriftlicht. Kein Wunder, dass einer seiner Lieblingstexte „Gender Trouble“ von der Philosophin Judith Butler ist. Es ist 1991 auf deutsch unter dem Titel „Das Unbehagen der Geschlechter“ bei Suhrkamp erschienen. Und Mascha Jacobs hat ein paar Jahre später ihre Magisterarbeit über das gleiche Buch geschrieben. Das zweite von Thomas Meinecke mitgebracht Buch ist „Forschungsbericht“ von Hubert Fichte (Fischer 1989), ein Band von Fichtes „Geschichte der Empfindlichkeit“. Seine Interessen und Themen seiner Texte sind sehr breit gestreut: von der Mystik, zu Mae West, über Camp zu Anaïs Nin zu Drag Queens und Lookalikes. Genug Gesprächsstoff also für die beiden Ex-Kolleg*innen beim Zündfunk des Bayerischen Rundfunk. Sie sprechen über experimentelles Schreiben, öffentliches Sprechen, Wiederholungen, den magischen Charakter der Sprache, Bündnisse, nicht-männliches Schreiben, fanatisches Lesen, unsere Popsozialisationen, Hingabe, die Lust und Qualen des Nichtverstehens, Theorietraining mit Jean-Luc Nancy und seine Schule der Zärtlichkeit, Mediävistik. Über nicht geschlossene, nicht-männliche postmoderne Autorensubjekte und Schreibweisen in der Vormoderne, Dominoeffekt und Kettenreaktionen, campe und marginalisierte Leseweisen. Das Lesen zwischen den Zeilen, Pastiche, Parodie, Mitschriften, Palimpseste, Pop, Begehren, Vogueing, Realness, Fag Stags, Nicht-Authentisches, unakademische, hochelaborierte Szenarien und Exotismus. Es geht in einem wilden Ritt um Überschreibungen, ethnopoetologische Mitschriften, das Abtasten der Wirklichkeit und des Nicht-Authentischen und Drag Queens „als ambulante Archive von Fraulichkeit“.

Der 1955 in Hamburg geborene Musiker und DJ wurde in der zweiten Hälfte der 1980er-Jahre auch als Schriftsteller bekannt. Neben seiner Band FSK, die er seit 40 Jahren mit seiner Ehefrau Michaela Melián und anderen Freunden hat, wurde er mit seinem Buch Tomboy (Suhrkmap) berühmt. In dem 1998 bei Suhrkamp erschienenen Buch hat er seine frühe Judith Butler Lektüre verschriftlicht. Kein Wunder, dass einer seiner Lieblingstexte „Gender Trouble“ von der Philosophin Judith Butler ist. Es ist 1991 auf deutsch unter dem Titel „Das Unbehagen der Geschlechter“ bei Suhrkamp erschienen. Und Mascha Jacobs hat ein paar Jahre später ihre Magisterarbeit über das gleiche Buch geschrieben. Das zweite von Thomas Meinecke mitgebracht Buch ist „Forschungsbericht“ von Hubert Fichte (Fischer 1989), ein Band von Fichtes „Geschichte der Empfindlichkeit“. Seine Interessen und Themen seiner Texte sind sehr breit gestreut: von der Mystik, zu Mae West, über Camp zu Anaïs Nin zu Drag Queens und Lookalikes. Genug Gesprächsstoff also für die beiden Ex-Kolleg*innen beim Zündfunk des Bayerischen Rundfunk. Sie sprechen über experimentelles Schreiben, öffentliches Sprechen, Wiederholungen, den magischen Charakter der Sprache, Bündnisse, nicht-männliches Schreiben, fanatisches Lesen, unsere Popsozialisationen, Hingabe, die Lust und Qualen des Nichtverstehens, Theorietraining mit Jean-Luc Nancy und seine Schule der Zärtlichkeit, Mediävistik. Über nicht geschlossene, nicht-männliche postmoderne Autorensubjekte und Schreibweisen in der Vormoderne, Dominoeffekt und Kettenreaktionen, campe und marginalisierte Leseweisen. Das Lesen zwischen den Zeilen, Pastiche, Parodie, Mitschriften, Palimpseste, Pop, Begehren, Vogueing, Realness, Fag Stags, Nicht-Authentisches, unakademische, hochelaborierte Szenarien und Exotismus. Es geht in einem wilden Ritt um Überschreibungen, ethnopoetologische Mitschriften, das Abtasten der Wirklichkeit und des Nicht-Authentischen und Drag Queens „als ambulante Archive von Fraulichkeit“.

Fin de Fiesta Cosecha tardía: Luis Diego hace un psicoanálisis sobre el dinero y en la segunda hora habla sobre Jean Luc Nancy y filosofía. Couto habla con Gaby Lamadrid sobre vinos. Aki deambula por BA y habla sobre la adolescencia y la pandemia .

Kim speaks with Julie Beth Napolin about Resonance. Julie Beth's book The Fact of Resonance: Modernist Acoustics and Narrative Form (Fordham UP, 2020) explores resonance and sound in modern literature. In the episode she references Jean-Luc Nancy's book Listening (Fordham UP, 2007), Inayat Khan's The Mysticism of Sound and Music (Shambala Publications, 1996), the music of Toru Takemitsu, and Damo Suzuki´s “sound carriers.” In our longer conversation she talked about Naomi Waltham-Smith's new book, Shattering Biopolitics: Militant Listening and the Sound of Life (Fordham UP, 2021) Julie Beth is an Associate Professor of Digital Humanities at The New School. She also makes music under the name Meridians. You can listen on Sound Cloud! This week's image is a simulation of interference between two sound waves in two-dimensions made by Ibrahim S. Souki, used under a Creative Commons Attribution Share Alike License, from Wikimedia Commons. 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

Kim speaks with Julie Beth Napolin about Resonance. Julie Beth's book The Fact of Resonance: Modernist Acoustics and Narrative Form (Fordham UP, 2020) explores resonance and sound in modern literature. In the episode she references Jean-Luc Nancy's book Listening (Fordham UP, 2007), Inayat Khan's The Mysticism of Sound and Music (Shambala Publications, 1996), the music of Toru Takemitsu, and Damo Suzuki´s “sound carriers.” In our longer conversation she talked about Naomi Waltham-Smith's new book, Shattering Biopolitics: Militant Listening and the Sound of Life (Fordham UP, 2021) Julie Beth is an Associate Professor of Digital Humanities at The New School. She also makes music under the name Meridians. You can listen on Sound Cloud! This week's image is a simulation of interference between two sound waves in two-dimensions made by Ibrahim S. Souki, used under a Creative Commons Attribution Share Alike License, from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kim speaks with Julie Beth Napolin about Resonance. Julie Beth's book The Fact of Resonance: Modernist Acoustics and Narrative Form (Fordham UP, 2020) explores resonance and sound in modern literature. In the episode she references Jean-Luc Nancy's book Listening (Fordham UP, 2007), Inayat Khan's The Mysticism of Sound and Music (Shambala Publications, 1996), the music of Toru Takemitsu, and Damo Suzuki´s “sound carriers.” In our longer conversation she talked about Naomi Waltham-Smith's new book, Shattering Biopolitics: Militant Listening and the Sound of Life (Fordham UP, 2021) Julie Beth is an Associate Professor of Digital Humanities at The New School. She also makes music under the name Meridians. You can listen on Sound Cloud! This week's image is a simulation of interference between two sound waves in two-dimensions made by Ibrahim S. Souki, used under a Creative Commons Attribution Share Alike License, from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Kim speaks with Julie Beth Napolin about Resonance. Julie Beth's book The Fact of Resonance: Modernist Acoustics and Narrative Form (Fordham UP, 2020) explores resonance and sound in modern literature. In the episode she references Jean-Luc Nancy's book Listening (Fordham UP, 2007), Inayat Khan's The Mysticism of Sound and Music (Shambala Publications, 1996), the music of Toru Takemitsu, and Damo Suzuki´s “sound carriers.” In our longer conversation she talked about Naomi Waltham-Smith's new book, Shattering Biopolitics: Militant Listening and the Sound of Life (Fordham UP, 2021) Julie Beth is an Associate Professor of Digital Humanities at The New School. She also makes music under the name Meridians. You can listen on Sound Cloud! This week's image is a simulation of interference between two sound waves in two-dimensions made by Ibrahim S. Souki, used under a Creative Commons Attribution Share Alike License, from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Nous nous sommes entr'aperçues et il m'aura fallu ces 15 mois pour découvrir l'univers de Claire-la-bien-nommée. Son parcours riche, sa pudeur et son regard ...sur la vie, les êtres, le yoga sont de jolies inspirations. Claire enseigne et est fondatrice du centre Pranayoga à Caen. Elle nous a partagé :.

¿Es un anhelo la voz? ¿Está siempre llamando ? ¿A qué? ¿A quiénes? En esta ocasión nos convida su voz Costanza Pellici , traicionamos a la Claudia Huergo, la Herta Muller y al Jean Luc Nancy, entre otras llamaradas.@lavozhumanapodcast Nicolás Galli & Pilar Oddone

23 marzo 2022 - Francesca Romana Recchia Luciani - Francesca R. Recchia Luciani, PhD. Prof. Ordinaria di Filosofie contemporanee e saperi di genere e di Storia della filosofia dei diritti umani, è Responsabile della linea d'azione relativa alle questioni di genere, Coordinatrice del Centro Interdipartimentale di Studi sulle Culture di Genere (CISCuG-UniBA) e Coordinatrice del Consiglio d'Interclasse di Filosofia dell'Università di Bari Aldo Moro. Ha scritto saggi e monografie su Max Weber, Ludwig Wittgenstein, Peter Winch, Simone Weil, Hannah Arendt, Primo Levi, Günther Anders, numerose ricerche sulle filosofie femministe, studi di genere e teorie queer come il manuale scolastico (curato con A. Masi) su Saperi di genere. Dalla rivoluzione femminista all'emergere di nuove soggettività (2017), oltre che sull'ermeneutica del totalitarismo e della Shoah. Dirige la collana del Melangolo Xenos. Filosofia, fenomenologia e storia dell'alterità e co-dirige “Postfilosofie. Rivista di pratiche filosofiche e di scienze umane”. Dirige per conto del DISUM-UniBA, il Festival delle Donne e dei Saperi di Genere, ambito di ricerca, approfondimento e disseminazione dei temi legati alle soggettività femminili e alle trasformazioni delle identità sessuali e di genere, giunto, con cadenza annuale, alla IX edizione (2020). Dopo aver curato la raccolta di saggi di Jean-Luc Nancy intitolata Del sesso (2016), ha co-tradotto, introdotto e curato il libro del filosofo strasburghese Sessistenza (2019), oltre a saggi e interventi sulla violenza di genere. Coordina lo Short Master dell'Università di Bari su “Teoria e didattica dei diritti delle differenze”, la cui III ed. si è svolta nell'A.A. 2018-19, e il Corso per le competenze trasversali “Valorizzare le differenze. Pratiche e politiche di Diversity Management” (A.A. 2020/21). Altro suo ambito prevalente di ricerca da vari anni è l'ermeneutica della Shoah che coltiva sia organizzando ogni anno il Corso di Storia e Didattica della Shoah presso l'Università di Bari, giunto già alla VIII edizione, sia attraverso varie pubblicazioni: ha tradotto e curato il libro di Joža Karas, La musica a Terezín 1941-1945 (2011); nel 2007 ha curato, con F. Fistetti, il volume collettaneo H. Arendt. Filosofia e totalitarismo; nel 2013, con L. Patruno, la raccolta di saggi Opporsi al negazionismo. Un dibattito necessario tra filosofi, giuristi e storici; nel 2014 e in nuova edizione nel 2015 ha pubblicato La Shoah spiegata ai ragazzi; nel 2016 ha curato con C. Vercelli il volume collettaneo Pop Shoah. Immaginari del genocidio ebraico. Le sue ultime pubblicazioni sono: Simone Weil, Filosofia della resistenza. Antigone, Elettra, Filottete (2020), da lei curato e introdotto, e il libro Il racconto della Shoah per il XXI secolo. Testi, testimonianze, film (2020).

durée : 01:01:00 - Les Nuits de France Culture - ar Adrien Landivier - Avec en archives, les voix de Paul Sares et du Professeur Didier (enseignant au CNAM), Bernard Charron (chef opérateur du son à France Culture), Claude Ollier (écrivain), Christian Zanesi (compositeur), Pierre Schaeffer (compositeur, chercheur théoricien, ingénieur du son, auteur du "Traité des objets musicaux", 1966 et "Musique de notre temps", 1976), Christian Poché (ethnomusicologue), Michel Redolfi (compositeur), Jean Thevenot et Paul Caron (producteurs de radio), Yann Paranthoën (producteur et réalisateur de documentaires radiohoniques, ingénieur du son), Jean-Luc Nancy (philosophe), Catherine Dolto (pédopsychiatre), Michel Chion (compositeur, enseignant, chercheur, spécialiste du son), Alfred Tomatis et Jacques Chancel, François Bayle (compositeur, directeur du groupe de recherches musicales (GRM) de 1966 à 1997) et Frédéric Durieux (compositeur) - Réalisation Anne Franchini

What you'll learn in this episode: How we can examine almost any political topic through the lens of jewelry  Why it's important that jewelry be embraced by academia, and how every jewelry enthusiast can help make that happen (even if they're not in academia themselves) Why a piece of jewelry isn't finished when it leaves the hands of its maker How Matt works with collaborators for their column, “Settings and Findings,” in Lost in Jewelry Magazine How jewelry has tied people together throughout time and space About Matt Lambert Matt Lambert is a non-binary, trans, multidisciplinary collaborator and co-conspirator working towards equity, inclusion, and reparation. They are a founder and facilitator of The Fulcrum Project and currently are a PhD student between Konstfack and University of Gothenburg in Sweden. They hold a MA in Critical Craft Studies from Warren Wilson College and an MFA in Metalsmithing from Cranbrook Academy of Art.  Lambert currently is based in Stockholm Sweden and was born in Detroit MI, US where they still maintain a studio. They have exhibited work nationally and internationally including at: Turner Contemporary, Margate, Uk, ArkDes, and Sven-Harrys Konstmuseum, Stockholm, Sweden, Museo de la Ciudad, Valencia , Spain and Walker Art Center, Minneapolis, MN, US. Lambert represented the U.S in Triple Parade at HOW Museum, Shanghai, China, represented the best of craft in Norway during Salon del Mobile, Milan, Italy and was the invited feature at the Benaki Museum, Athens, Greece during Athens Jewelry Week. Lambert has actively contributed writing to Art Jewelry Forum, Garland, Metalsmith Magazine, Klimt02, Norwegian Craft and the Athens Jewelry Week catalogues and maintains a running column titled “Settings and Findings” in Lost in Jewelry Magazine. Additional Resources: Matt's Website Matt's Instagram Transcript:  Matt Lambert doesn't just want us to wear jewelry—they want us to question it. As a maker, writer, and Ph.D. student, Matt spends much of their time thinking about why we wear jewelry, who makes it, and what happens to jewelry as it's passed from person to person. They joined the Jewelry Journey Podcast to talk about the inspirations behind their work, why jewelry carries layers of meaning, and why wearing jewelry (or not wearing it) is always a political act. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is Matt Lambert, who is joining us from Stockholm. Matt is a maker, writer and performer currently pursuing a Ph.D.    Matt's jewelry journey has taken them from country to country. What sticks in my mind is one of my first encounters with them on an Art Jewelry Forum trip. I saw them in a hotel lobby in Sweden wearing one of their iconic creations, a laser-cut leather neckpiece I flipped over. We'll hear all about their amazing jewelry journey today. Matt, thanks so much for being here.   Matt: Thanks so much for having me, Sharon. It's a pleasure.   Sharon: Your jewelry journey has taken you all over the world. I'm always amazed when I hear how you hop from country to country. So, tell us about it. How did you get into it?   Matt: Originally I was trained as a psychologist.   Sharon: Wow!   Matt: It's kind of strange, but it makes perfect sense for what I do now in human sexuality and gender. I was researching body politics and what it means to be a person and be represented through media or in other cultures. I started off in that community, and I took a metalsmithing course on a whim. There was a woman in one of my classes who was taking it as her art elective. I thought we were going to be making something completely different by forging silver. I was like, “Wait, what? You can do that?” I really fell into it.   I was a researcher for the APA doing government research—   Sharon: APA being the American Psychological—   Matt: The American Psychological Association. After community college, I went on to Wayne State and studied under F.M. Larson for metalsmithing. At the very end, Lauren Kalman joined. She is tenured and was well-known at Wayne State University in Detroit.    The work I was doing was very rigorous. I worked in a rape and trauma research lab with no windows in a basement, and I wasn't finding a way to talk about people and bodies and those things in the ways I had hoped. It was fulfilling me, but not in every aspect of my life.  So, I kept pouring myself into this strange thing of contemporary jewelry.    I never thought I would go to grad school. I wound up going to Cranbrook Academy of Art, which is just 40 minutes down the road from Wayne State. Even then, I thought I was going to go across the country for art school. I fell in love with the program at Cranbrook. Iris Eichenberg, who teaches there, told me, “You have to fail really bad in order to learn what's good and what's good for your practice.” It was so liberating that I could apply all the research I learned and used and still use it today, but to put it and manifest it in jewelry. That opened Pandora's box.    Sharon: How did you decide to go from studying psychology and being at Wayne State to go to such a renowned art school that you don't know? It's for art jewelers, basically.   Matt: Yeah, it's renowned. I think it shares the number one space for metalsmithing and jewelry, and it's renowned also for hollowware and gate making. It has a long history of Americana metalsmithing. With Iris being there for contemporary jewelry, it sounds a little bit pretentious.    The relationship I was in wanted me to stay local. It was like, “You should apply.” I really thought through everything weird and wonderful that I wanted to be doing, and I was like, “If I'm going to stay, then you have to take this all on.” Iris was like, “O.K., let's do it.” Even if didn't work out, it was like, “I can just go back to psychology if this doesn't work.”   Cranbrook has an international reputation which also meant traveling a lot. In between semesters, I was the assistant for Christoph Zellweger, who's based out of Zurich, Switzerland. I don't know if they're still there now, but at the time, I was their assistant in Switzerland during my years there. My partner was Monica Gaspar, so I got a theorist who I also got to work with. Then I kind of traveled everywhere. Before I started at Cranbrook, the first time I was in Europe, we had to go to KORU7, which is the jewelry triennial in Finland. They also do seminars. So, for me, it became a very global, European to North American perspective.   Sharon: I'm always amazed at your country hopping. Was this something you were considered a natural at? Were you finger painting at age five and your parents were saying, “Oh, they're going to be an artist”?   Matt: I do have a background in wildlife illustration. I was homeschooled until sixth grade, but I was put in a lot of enrichment programs, so I did have ceramics; I had languages; I had all sorts of courses and electives. Growing up I trained in something called monart, which is not taught in public school; it's only for private training. It's a way of drawing where you draw from negative space, which I think contributes to my work, as I think through negative space. I was doing a lot of wildlife illustrations. I have quite a few childhood publications, like realistic waterfowl and birds of prey. I dabbled a little bit with Sidney Shelby. The Shelby has an art program for auto illustration, too.   So, there is some of that. I thought I was going to go into drawing and painting before I went into psychology, but I had an evaluation at community college when I started and they kind of broke my dreams. They said I was terrible and said, “You shouldn't be an artist.” I would always say, “If you're told you shouldn't be an artist, you probably should be.” So, I went into psychology as a shelter to do that.    I'm a big advocate for trade schools and community colleges as places to find yourself. I fell in love with metalsmithing there, and I knew I would never leave it. My mother's cousin was actually a former a Tiffany's jeweler, so there is a little bit in the family. She was a cheerleader for me. She was like, “You're doing what? Oh, have you found a hammer and silver? Great.” She trained under Phil Fike, who was at Wayne State University when she was there. It's always interesting what she thinks I do because I'm not a very technical, proper silversmith like she was. When I finally went to school and said I was going to do this officially, she gave me her studio.   Sharon: Wow! You have two master's degrees and now you're working on a Ph.D. Can you tell us about that? One is critical art, or critical—   Matt: Yeah, critical craft theory. I graduated Cranbrook in 2014 from metalsmithing and jewelry, and I had electives in sculpture and textile. At the same time, I should say, I had also apprenticed as a leatherworker doing car interiors, like 1920s period Rolls-Royces, so I had a leather background I was able to bring to Cranbrook. A lot of my work was varied, but there was a lot of leather involved. After that, I had a partial apprenticeship in semi-antique rug restoration. There's a lot of training in leather-working material.   So, I graduated, and I met Sophia. We had met a few times, and then she ended up being the evaluator/respondent for our graduation show. So, she saw my work as I wished it to be, and she offered me a solo show. She said, “An agent is coming to see the gallery. Come help out. Come see this world,” which is how we met.   Sharon: And her gallery is in Sweden, right?   Matt: Her gallery is in Stockholm, yes, in Sweden. I had a show, and that was amazing. There's a government program called IASPIS, which is an invite-only program that the Swedish government runs. It's the international arts organization. I was invited there because they were looking for—they added applied arts, and I was the first jeweler and metalsmith to be there. That's a three-month program where you're invited to live and work, and that gives you great networking opportunities not only with Sweden, but also with Scandinavia at large for museums and shows. I was the first foreigner at Tobias Alm, who was a Swedish jeweler and the first Swedish artist in jewelry to be there. That just upped and changed my life. I got into museum shows and met people and had a career for about four or five years and loved it; it was amazing and I wanted more.    I love theory. I am a theory addict, so I was like, “A Ph.D. is the next logical thing.” I was applying and making finals, but jewelry is a hard sell, if you will, in academia. Warren Wilson College is in North Carolina in the States. There is a think tank out of the Center for Craft, which is located in Asheville, North Carolina, and they deal with all kinds of craft. They're a great epicenter and source of knowledge for American craft discourses. Out of this came this development of this program. They partnered with Warren Wilson College to create a master's, which is a two-year program at Warren Wilson College, which is just 20 minutes away from Ashville.    It's low residency, so there's two weeks per term you'd be in person and the rest you could live anywhere, which was perfect for me because I was traveling so much. So, you do two weeks on campus in the summer and live in the dorm, and then you do two weeks—when I did it, at least, it was with the Center for Craft. We had a classroom there. Namita Wiggers is the founding director, and we got to work with amazing theorists: Linda Sandino, Ben Lignel, who's a former editor for Art Jewelry Forum, Glenn Adamson, the craft theorist, Jenni Sorkin, who lives in California teaching, Judith Lieman—this is an amazing powerhouse. There's Kevin Murray from Australia, who runs the World Crafts Organization. I was a bit part in it. He also edits Garland, which is an Australia-based publication for craft. It was an amazing pulling together of craft theory. At this time, I also thought I was dyslexic, so I was trying to find a new way to write being neurodivergent. Writing has now become—   Sharon: You do a lot of it. When I was looking last night, I could see you've done a lot of writing. My question is, why did you not stop and say, “O.K., I'm going to make things I like”? What was it that attracted you to theory? Maybe it's too deep for me.    Matt: I think we've positioned the Ph.D. to be the next step always, but I don't think academia is for everybody. A master's even, I always questioned, do we as makers always need to be in academia? For me, though, my drive is that I think jewelry is in one of the best theoretical positions to talk about a lot of very difficult contemporary issues. Craft in general, but I think jewelry because it's so tied to the body. It's so blurry because it's design; it's fashion; it's craft; it's art; it's a consumable good; it can be worn. It challenges how we exhibit it. If you need to wear it to experience it, how does a museum show it?    For me, it's this little terror or antagonizer that I think theoretically, from my background, is a great place to stay with, and I think that it's been neglected in certain spaces. It's the only field to not be in the Whitney Biennial. It ties perfectly with certain forms of feminism and queerness, which is the theoretical basis I come to it from, to talk about these things. It can't be always defined, and that's what I love about jewelry. People find it surprising when I'm like, “I love talking about commercial jewelry or production jewelry,” because if that's what turns your gears, what you love to wear or buy or make, I want to know why. I want to see jewelry expand and envelope all of this, so that we can be at the Whitney Biennial. We also could be everywhere else.   Sharon: Can't you do that without the Ph.D.? I'm not trying to knock it. I'm just playing devil's advocate.   Matt: Yeah, I think someone else can do that as well. For me, though, I truly love theory. I love the academics. For me, that is an actual passion. It's what drives me. It's not necessarily the physical making; it's the theory behind why. I'm actually questioning my practice. Should I be making physical objects now, or should I just be celebrating people that make physical objects? My making practice is almost entirely collaborative now, working with other jewelers or performers or choreographers or educators and using jewelry as a way of introducing or as producing an output.    How does jewelry fit into research? I think research output is an interesting thing for me. I can go on about this all day. So, for me, I want to make an academic foothold for jewelry. I want to do that work. I see that as my facet. I don't think everybody needs to go and do that. I want to see everybody find the thing they love as much as I love academia and theory. I want to push on so we can expand the field together.   Sharon: I think that's great. It's great to hear, because it's a strong voice giving credibility to the field, as opposed to, “Oh, you must be interested in big diamonds if you're talking about jewelry.” You're talking about it on a much deeper level. It's hard to explain to people why you like jewelry or jewelry history, so it's good to hear.    Last night—I say last night because I was refreshing my memory—I was looking at one of your articles about the “we” in jewelry. Can you tell us about that?   Matt: Absolutely. I write for multiple publications: Metalsmith Magazine, which is in the U.S. and is part of SNAG, the Society for North American Goldsmiths; Norwegian Craft; Art Jewelry Forum. I run a column called Settings and Findings out of Lost in Jewelry Magazine, which is based in Rome. I also write for Athens Jewelry Week catalogues, which has gotten me into writing a series for Klimt, which is a platform for makers, collectors, wearers, and appreciators based out of Barcelona. They invited me to write a five-part series after they had republished an essay I wrote for Athens Jewelry Week. Those people gave me an amazing platform to write, and then Klimt was like, “What do you want to do?” and I was like, “Five essays about what we do with jewelry.”    One of them is the “we” article. That came from being in lockdown and the theorist Jean-Luc Nancy, who wrote about something called “singular plural.” It's just saying that we don't ever do anything alone, and I think jewelry is a beautiful illustration of that. I moved during the pandemic to do the Ph.D., and I found myself wearing jewelry to do my laundry because I got to do it with a friend. It's so sappy in way, but it's true. It's a way to carry someone else with you, and jewelry is not an act done alone. I mean, we're trained as jewelers. We're trained by someone, so we carry that knowledge with us. We are transmitters as makers, but then we have collectors and wearers and museums and other things, and they need to be worn. It needs to be seen in some fashion or valued or held.    My personal stance is that jewelry, once it leaves my hands as a maker, isn't done. I'm interested as a researcher, as a Ph.D., in how we talk about that space in between. If you wear one of my pieces, and someone listening wears one of my pieces, and that same piece is in a museum, how we understand that is completely different. Jewelry creates this amazing space to complexify, and that's when you talk about bodies and equity and race, sex, gender, size, age. All the important things that are in the political ethos can be discussed through jewelry, and that's the “we” of jewelry.    We have this controversy about the death of the author and authorship doesn't matter, but speaking through craft, we are never alone. To me, it's like I make through the people I've learned through. I am a transmitter to the people that I teach and to me, that's what craft is. Also, craft is a way of looking at the world, at systems, and who we learn from and how we learn. I think jewelry is one of the most obvious “we's.”   Sharon: This is a question that maybe there's no answer to, but is jewelry separate from craft? There's always the question of what craft is. Is craft art? Is it jewelry?    Matt: That depends on whom you ask. I personally do not believe in the art versus craft debate. I am not in that pool. I believe craft is a way of looking at anything in the world. I think craft is learned through material specificity. I usually enjoy metalsmithing. It's through copper or silver, but it's really spending time with something singular to explore its possibility. It's a way of learning how things start, how things are produced, how labor works, where there are bodies and processes, so you can pick up anything in the world and look at anything and see people and humanity. Even through digital technology, someone has to write a program. It gives you a skillset to look at the world, and that's how I approach craft.    You're going to find so many different definitions, but coming from that perspective, that is what I believe, and that's why I think craft is so valuable. To answer if jewelry is craft, yes and no. You can talk about jewelry through craft, but you could talk about jewelry through fashion. You can talk about jewelry through product design. Again, I think that's why jewelry is beautiful and problematic, because it can be so many things at the same time.    Sharon: I'm intrigued by the fact that you're interested in all kinds of jewelry, whether it's art jewelry or contemporary jewelry. When you're in the mall and you see Zales and look in the window, would you say it all falls under that, with everything you're talking about? Does it transmit the same thing?   Matt: Through a craft lens, you can look at any of that. You can go to Zales and the labor is wiped out. You're no longer going to your local jewelry shop. The person is making your custom ring, but when you look at that ring, you have an ability to go, “Someone had to facet the stone and cut it, a lapidary. Someone had to make the bands. Someone had to mine the stone. Someone had to find this material.” It allows you to unpack where objects are coming from and potentially where they're going.    You can understand studio practices because you're relating more directly to a maker, who has more knowledge of where their materials come from, rather than the sales associate at the Zales counter. It's a simpler model, but it is the same thing to me. The way I look at it, that is craft's value to my practice. I'm very careful to say it's my practice because there are so many definitions, but that's what I think is sustainable in this training. You can be trained as a jeweler and not make jewelry, but it's still valuable in your life because you can apply it to anything.   Sharon: I was also intrigued by the title of an article you wrote, “Who Needs Jewelry, Anyway?” So, who does need jewelry?   Matt: Yeah, that's one that kicked it up to the next level. There are moments in my career where I can feel the level upward, like I enter a space that's different. That was an essay that was written for Athens Jewelry Week. That was the first essay I wrote before I had the feature at the Benaki Museum. At Athens Jewelry Week, those women worked their tails off to make that event happen.    I wrote that when I was at the tail end of my second master's, and I was frustrated. I think we see that students are frustrated and people are questioning, especially during Covid, especially during Black Lives Matter, especially during the fight for indigenous rights, do we need jewelry? What does this mean? It's a commodity. It can be frivolous. It's a bauble. It can be decorative. Like, what are we doing? I think that is something we should always question, and the answer for that can be expressed in many ways. It can be expressed from what you make, but also what you do with what you make. How do you live the rest of your life?    There isn't a one-lane answer for that, but that's what that essay was about. We don't need jewelry, but we really do. The first half of the essay is saying what the problem is, but the problem is also where the solutions sit. It's all about how you want to approach it. That is what that essay was saying. You can consume this and wear it; it is what it is, and that's fine. You can participate in systems and learn and discover and know who you are wearing and support them. Wearing jewelry is a political act no matter what jewelry you're wearing. Where you consume is a political act. Political neutrality is still a political statement. That article specifically was for art jewelry, and it was saying, hey, when you participate, when you buy, when you wear, when you make, it means something. You're bringing people with you; what people are you choosing to bring? It was stirring the pot, and it was very intentional to do that.   Sharon: I couldn't answer the question about who needs jewelry. You're asking me, but certainly I can think of people who say, “I don't need it,” who have no interest or wouldn't see the continuum behind a ring or a piece of jewelry.    This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. 

In this episode, we spoke with Alessandra Pomarico about creating collaborative art for social change, both before and during the pandemic. The show begins by talking about friendship and different collectives in Italy and New York, before moving on to new ways of thinking which combine resistance and existence (re-existence). Centring re-existence in Latin American ideas and the Zapatista movement, Alessandra puts forward a new way of learning through collective living and collaborative art spaces. Resources: Free Home University: https://www.fhu.art/ Ecoversities Alliance: https://ecoversities.org/ Learning With Covid: https://ecoversities.org/how-to-hospice-the-current-system-learning-with-covid/ 16 Beaver: https://16beavergroup.org/ Society of the Friends of the Virus: https://16beavergroup.org/mondays/2020/03/22/society-of-the-friends-of-the-virus-volume-1/ Firefly Frequencies: https://fireflyfrequencies.org/ Giorgio Agamben, Jean-Luc Nancy, & Roberto Esposito exchange letters: https://www.lacan.com/symptom/philosophy-the-coronavirus/ Chto Delat: https://chtodelat.org/ People of Flour, Salt, and Water: https://www.fhu.art/people-offlour-salt-and-water-session Institute of Radical Imagination: https://instituteofradicalimagination.org/ When the Roots Start Moving. First Movement: To Navigate Backward: Resonating with Zapatismo: https://instituteofradicalimagination.org/2021/09/07/to-navigate-backward-resonating-with-zapatismo-book/ To Be Determined artist residency video: https://www.sfu.ca/content/sfu/vancity-office-community-engagement/library/2016/to-be-determined.html Bio: Alessandra Pomarico is a founder of Free Home University. Originally from Italy and with a PhD in Sociology, Alessandra has been curating international and multidisciplinary artists' residency programs in Italy and Europe. Her practice is based on facilitating collaborative, context-based art projects, with a focus on social change. She previously taught History and Italian Literature in high schools in disadvantaged areas.

Audio del encuentro de Filosofía a la gorra en JJ Circuito Cultural, CABA, 24 de octubre de 2021 Sonido y edición: Agustín Dell'Acqua

In this episode Claudia continues the focus on methodology as it relates to animals and sound. This time Mickey Vallee joins The Animal Turn to talk about the concept of bioacoustics and how using bioacoustics methods alters the ways researchers relate to their research subjects – who are often animals. They discuss some of the theory and ideas circulating bioacoustics generally and Mickey's experiences more specifically.  Date Recorded: 26 October 2021 Mickey Vallee is an associate professor of interdisciplinary studies at Athabasca University in Alberta, where he also holds the Canada Research Chair in Community, Identity and Digital Media. His work focuses on developing interdisciplinary sonic methodologies to develop new insights on human/animal relations. He has been working on a theory of critical bioacoustics, which grows out of his empirical research with bioacoustics researchers across Canada and the United States. Against a mechanistic ideology of bioacoustics sciences, critical bioacoustics, by contrast, builds a new ethical system that is less focused on the atomistic constitution of the organism than it is on the primacy of relations in sonic communication. Read more about Mickey here or connect with him on Twitter (@mickeyvallee).  Featured: Keynote Lecture by Prof Rosi Braidotti  at the Posthumanism and Society Conference; Wikipedia page about Little Nipper; A Thousand Plateaus: Capitalism and Schizophrenia by Gilles Delueze and Flex; What would animals say if we asked the right questions by Vinciane Despret; Listening by Jean-Luc Nancy and Charlotte Mandell; Indri Lemur by Mark H. Barsamian and Amy E. Dunham; Giant Lemurs are the First Mammals beside us found to use Rhythm by Jack Tamisiea The Animal Turn is part of the  iROAR, an Animals Podcasting Network and can also be found on A.P.P.L.E, Twitter, and Instagram Thank you to Animals in Philosophy, Politics, Law and Ethics (A.P.P.L.E) for sponsoring this podcast; the Sonic Arts Studio and the Sonic Arts of Place Laboratory (SAPLab) for sponsoring this season; Gordon Clarke (Instagram: @_con_sol_) for the bed music, Jeremy John (Website) for the logo, and Hannah Hunter for the Animal Highlight

Entretien radiophonique avec Jean Luc Nancy en trois parties. Partie I : Le commun, le communisme, la communauté. Le fascisme, la communion. Entretien : Emmanuel Moreira, Amandine André Réalisation : Emmanuel Moreira https://laviemanifeste.com/archives/5791

Entretien radiophonique avec Jean Luc Nancy en trois parties. Partie III : Le politique, la politique, la religion civile. Entretien : Emmanuel Moreira, Amandine André Réalisation : Emmanuel Moreira laviemanifeste.com/archives/5791

Entretien radiophonique avec Jean Luc Nancy en trois parties. Partie II : Le récit, le mythe, la correspondance Entretien : Emmanuel Moreira, Amandine André Réalisation : Emmanuel Moreira laviemanifeste.com/archives/5791

Avec Tiphaine Samoyault, Michel Deguy, Guillaume Métayer, Claude Mouchard, Martin Rueff & Luc Champagneur Depuis 1977, la revue Po&sie ne cesse de traduire et de réfléchir sur la traduction « impossible-possible » de la poésie. Elle a saisi l'occasion de la publication des livres de Tiphaine Samoyault (Traduction et violence, Le Seuil, 2020) et de Guillaume Métayer (A comme Babel, traduction, poétique, éd. la rumeur libre, 2020) pour revenir sur les tâches des traductrices et des traducteurs. Elle a donc consacré trois numéros à cette grande affaire : Traduire/Celan et Et, en traduisant, traduire. Des textes théoriques (Antoine Berman, Michel Deguy, Marc de Launay, Robert Kahn, Jean-Pierre Lefebvre, Jean-Luc Nancy) ; un dialogue avec Tiphaine Samoyault, mais aussi un grand nombre de traductions inédites (un immense dossier turc, mais aussi Lermontov) ou de retraductions (Arioste, Eliot, Goethe, Milton entre autres) composent ce bouquet dense. À lire – Les trois derniers numéros de la revue Po&sie aux éditions Belin : Traduire/Celan (2020, n°4) et Et en traduisant, traduire (2021, n°1 et 2).

http://polaroid41.com/regarder/ Lundi 6 Septembre 2021, 10h49. Quand on me demande si j'ai passé de bonnes vacances, je réponds oui. Cette année, oui. On a découvert le Finistère, on a pris le temps de se poser, j'ai regardé mes filles grandir. Voilà, à peu près ma réponse à chaque fois. Elle est sincère. Depuis le mois de mars 2020, j'ai la sensation d'avoir été mis à l'épreuve. J'ai réalisé entre autres choses qu'on pouvait me retirer le droit de faire mon métier. Alors maintenant que je peux à nouveau monter sur scène, je le fais de manière plus tranquille et j'en savoure tous les instants. Quelque chose a lâché en moi peut-être. Je crois bien que j'ai déposé ce qui me restait d'angoisse sur une plage du Finistère. Elle est partie avec la houle. J'ai regardé. J'ai regardé l'océan. Je me suis senti bien petit, mais faisant partie du tableau malgré tout. J'ai regardé mes filles donc. Les étés se suivent mais ne se ressemblent pas. Chaque été est unique. Au cas où je l'oublie, ma deuxième fille a eu la bonne idée de naître au mois d'Août, histoire de me rappeler que le temps passe. Du coup on se souvient de chacun de ses anniversaires puisqu'on les fête sur le lieu de vacances. Cette année c'était donc les « neuf-ans-Finistère ». C'était très chouette. On est allé au restaurant comme tous les ans, privilège de l'anniversaire en vacances, et le chef-cuisinier est venu lui chanter à l'oreille « Tanti auguri a te », bon anniversaire en italien. Tranquillement, simplement. Je ne me souvenais même pas avoir mentionné l'anniversaire d'Anouk. J'ai vu les yeux de ma fille briller. Elle a trouvé ça incroyable d'être célébrée discrètement, et en Italien. Moi aussi. Je n'ai même pas de photo du moment, je l'ai simplement regardée. Comme j'ai regardé ses deux sœurs sur la plage, la petite pour qui le maillot de bain c'était encore trop et qui finissait bien souvent nue dans les vagues, la grande enroulée autour du pied du parasol parce que le soleil ça va bien comme ça, et puis on y voit rien pour lire. J'ai regardé l'imposant percheron prénommé Alex qui venait nous saluer tous les matins au portillon, j'ai regardé l'océan, mes congénères, les arbres… J'ai pris le temps de regarder, ça m'a plu, ça sera donc désormais la règle. J'en profite pour l'écrire ici, je reviendrais la lire si besoin. Et puis les vacances se sont terminées, ça aussi c'est la règle. Alors on a réintégré nos pénates. Je me suis remis à mon bureau le lendemain même et j'ai pris le temps de lire Le Monde. Lire Le Monde (au sens propre comme au figuré) est mon petit plaisir de tous les jours. Nous étions le 23 Août 2021, un philosophe venait de mourir, Jean-Luc Nancy. Ça me chagrine toujours un peu que les philosophes meurent. Bizarrement, ça me le fait moins avec les dictateurs. Son nom me disait quelque chose, je l'avais probablement déjà entendu dans une émission de philosophie à la radio, mais à part ça, pas grand-chose. Alors j'ai lu l'article, et j'ai pris un peu de temps pour rencontrer le monsieur. On le présentait comme un penseur de la communauté, et philosophe du sensible. Tout ce que j'aime. Je l'ai trouvé à la fois très accessible et très érudit, preuve s'il en fallait que les deux qualités sont conciliables. Je suis notamment tombé sur une vidéo d'un entretien avec le philosophe traitant du regard. ... Polaroid intégral (photo, texte et audio) disponible sur : http://polaroid41.com/regarder/

"Tombe de sommeil" de Jean-Luc Nancy Avec Hélène Lacoste, Jean-Christophe Marq & Jean-Luc Nancy « Pas - dit le dormeur comme le mort, je ne suis pas là. Pas là, pas maintenant, pas ici, pas ainsi. « Je » devient inintelligible, c'est une sorte de grognement ou de soupir qui s'échappe des lèvres à peine décloses. » Le sommeil déchire en nous la clarté, la raison, la distinction. Il révèle ce qui est et demeure déchiré, comme la mort. Pourtant rien d'invisible n'est à sauver, simplement le murmure d'une sensation, le contact repris et soudain permis, les voix qui se livrent et s'abandonnent, s'écoutent. Mise en voix : Hélène Lacoste - mise en espace : Oria Steenkiste. Musique : Jean-Christophe Marq, violoncelle. À lire - Jean-Luc Nancy, "Tombe de sommeil", Galilée, 2007.

Jorge Fontevecchia en entrevista con el filósofo francés

Jorge Fontevecchia en entrevista con el filósofo francés

In Only Among Women: Philosophies of Community in the Russian and Soviet Imagination, 1860–1940 (Northwestern University Press, 2019), Anne Eakin Moss examines idealized relationships between women in Russian literature and culture from the age of the classic Russian novel to socialist realism and Stalinist film. Her book reveals how the idea of a community of women—a social sphere ostensibly free from the taint of money, sex, or self-interest—originates in the classic Russian novel, fuels mystical notions of unity in turn-of-the-century modernism, and finally assumes a place of privilege in Stalinist culture, especially cinema. Rethinking the significance and surprising continuities of gender in Russian and Soviet culture, Eakin Moss relates this tradition to Western philosophies of community developed by thinkers from Jean-Jacques Rousseau to Jean-Luc Nancy. She shows that in the 1860s friendship among women came to figure as an organic national collectivity in works such as Tolstoy's War and Peace and a model for revolutionary organization in Chernyshevsky's What Is To Be Done?. Only Among Women also traces how women's community came to be connected with new religious and philosophical notions of a unity transcending the individual at the fin-de-siècle. Finally, in Stalinist propaganda of the 1930s, the notion of women's community inherited from the Russian novel reemerged in the image of harmonious female workers serving as a patriarchal model for loyal Communist citizenship. Anne Eakin Moss is an assistant professor in the Department of Comparative Thought and Literature at Johns Hopkins University. Colleen McQuillen is an associate professor in the Department of Slavic Languages and Literatures at the University of Southern California.Follow her on Twitter @russianprof Learn more about your ad choices. Visit megaphone.fm/adchoices

Reflecting on glitchy voices, and what it means to respond to vocal authority; a vocal exercise from Prof. Stan Brown (Northwestern); and brief reading from "Listening" by Jean-Luc Nancy. CUE TIMES (start of each section): 1:14 [scholarly reflection] // 9:12 [exercise] // 18:32 [theory] | https://masiasare.com/podcast

La pelle è esposizione del corpo al mondo, nostro primo legame con esso. Qual è il paradosso del corpo esposto dalla pelle?

Può essere veritiera, la bugia? La verità è sia agente attivo della filosofia che sua linea di fuga, in relazione alla menzogna, al segreto e all'invenzione stessa della verità.

Può essere veritiera, la bugia? La verità è sia agente attivo della filosofia che sua linea di fuga, in relazione alla menzogna, al segreto e all'invenzione stessa della verità.

In this episode of TCM, Preston Price and Matt Baker speak with Christopher Rodkey, United Church of Christ pastor and religious educator, professor, and author. He is pastor of St. Paul's United Church of Christ in Dallastown, Pennsylvania, and teaches at Penn State York, York College of Pennsylvania, and Lexington Theological Seminary. You can check out his author page on Amazon here. The Global Center for Advanced Studies is hosting a 3 part live and interactive Seminar on Deleuze: Dismantling Reactive Institutions with Deleuze: Theory and Practice, that will be led by Keith Faulkner. If you enroll by Sunday March 11th and mention "thecatacombicmachine" you can receive a 20% discount on the seminar. For details email . Sign up here. Additional details here. Intro In the popular 1984 film The Neverending Story, the protagonist, a young boy of around twelve years old named Bastian is chased by a group of bullies and manages to escape his pursuers by quickly ducking into a bookstore. Inside, he discovers an oversized leather-bound book, into the cover of which is set a large occultish-looking medallion composed of twin interlocking serpents. Bastian seizes this book and later hides himself in an attic where he begins to read aloud. We are transported to a fantastic world, named somewhat unimaginatively “Fantasia” wherein we encounter a slew of creatures: gnomes, dragons, giant tortoises, characters who are made of rock, and so on; all of whom we soon discover are threatened by an amorphous and terrifying force called the “Nothing”. The Nothing is an abstract concept represented on-screen as a thrashing storm that engulfs entire sections of Fantasia in a black wave of despair that drains life of joy and hope before rendering it meaningless by wiping clear the entire horizon, leaving nothing in its wake. Although this threatening force might be most accurately described as the the possibility of non-existence - and indeed, one New York Times reviewer wrote that the film sounded to him like “The Pre-Teenager's Guide to Existentialism,” - one may still hear echoes of Nietzsche's well-known parable in which the madman leaps into the marketplace pronouncing the death of God, asking “who gave us the sponge to wipe away the entire horizon? Are we not straying as through an infinite nothing?” The seriousness of the threat notwithstanding, we should perhaps not worry too long given the title of the film. The story never ends, and in fact, its success spawned a series of painfully unfortunate sequels. And so it is with Christianity. As the film progresses, Atreyu, Bastian's co-protagonist approaches the Southern Oracle, colossal twin sphinxes, beyond which he must pass in order to complete his quest. It is perhaps of some interest to note the Sphinx is typically depicted in legend as a guardian figure placed before a threshold or passage. Often found in pairs, they communicate to the uninitiated that beyond lies knowledge forbidden to all but those few deemed worthy, and that those who would dare transgress this limit, do so under the threat of death. And so, in Atreyu's footsteps we approach the Oracle with a mixture of wonder and terror. With each terrifying step these monstrous figures appear to grow larger before us, their wings stretching out to overtake the sky. With intensity we scan their solemnly closed eyes, for any indication they might open and destroy us with their deathly gaze. Were we to allow our imaginations at this point to wander freely, we might imagine these titanic twin figures as Alpha and Omega, first and final cause, standing in both eternal accord and opposition. Is not their very polarity that which secures the intelligibility of the world? So conceived, these guardians stand as bookends in the never-ending story of Christianity and the West. The passage they guard is thus a book, one that even now opens before us, its opening made possible by its own foreclosure. In a burst of panic, we see the slit of the sphinxes eyes slowly open, and a great light streaming forth from these eyes. For but a brief moment we consider turning to flee, but it is already too late. We find ourselves transfixed, bound by this aporia even as we seek safe passage beyond its limit. Between the intersecting gaze of these beasts, we are now forced to answer their riddle: how does a line become a circle? The answer is in the book. Here is the convergence of identity, difference, and dialectic, the sign of the phoenix, the passage of Gods eternally crucified and resurrected where the death of God appears as merely the descending crest of an oscillating wave-function of the Logos. Hence the closure of the book is at once the possibility of its opening such that the line of history bends ever inward into an infinitely spiraling circuit.   Suggesting that the heart of the Western tradition is indeed a Christian heart, Clayton Crockett in his book on political theology quotes Jean-Luc Nancy who writes, “The only thing that can be actual is an atheism that contemplates the reality of its Christian origins”. He then points our attention even further toward this dilemma with the provocative question: “can Christianity be deconstructed, or is it deconstruction itself, and as such - undeconstructable?” Mary Daly provides language that, although employed in a different context, seems nonetheless appropriate here. “The wheel of “renewal”, she writes, “turns full circle. Those caught in its spokes, broken and “restored,” re-turn to embrace the very cause of their breakdown.” For those outside the walls of the Church, the language of Christianity may, as Christopher Rodkey suggests, amount to nothing, and for them this nothingness might rightly be considered a form of non-existence. We recall that in the film, it is the image of the storm that stands in for the Nothing. More malevolent than any mere Nothingness however, the more insidious threat, as Nietzsche knew, is the maelstrom of signs, images, and representations which when taken altogether in the spirit of resentment, brings about Christianity's own ultimate devaluation.   Growing weary of such navel-gazing, one may be tempted to intervene here, asking ‘and what of the other'? It may certainly be true as Charles Winquist writes, that “epistemic undecidability does not prevent or even inhibit ethical decidability,” but we may still be left reeling from the aforementioned problematic. Indeed, “Are we not plunging continually? Backward, sideward, forward, in all directions? Is there still any up or down? Are we not straying, as through an infinite nothing?” With these questions in mind, should we not simply declare along with Levinas, ethics as first philosophy? Perhaps, yes. Although we may at the same time hear another voice come echoing down from the mountain. “Unhappy do I call all those who have only one choice: either to become evil beasts, or evil beast-tamers. Amongst such would I not build my tabernacle,” so declares Zarathustra. But let us leave it there. In the ongoing quest for a “religion without religion”, we may discover as well a “politics beyond politics” such that the two crystallize into altogether new formations freed from the allure of reactive forces, where our “yes” may finally escape the gravitation of “no”. Perhaps the alighting of this yes-beyond-no must arrive finally in the language of madmen speaking with tongues of fire.

Jean-Luc Nancy, uno tra i più rilevanti pensatori della relazione con l'altro, presenta un originale ripensamento della belligeranza del pensiero e delle armi della critica di fronte al suo svuotamento contemporaneo.

Jean-Luc Nancy, uno tra i più rilevanti pensatori della relazione con l'altro, presenterà un originale ripensamento della belligeranza del pensiero e delle armi della critica di fronte al suo svuotamento contemporaneo.

Jean-Luc Nancy, uno tra i più rilevanti pensatori della relazione con l'altro, presenterà un originale ripensamento della belligeranza del pensiero e delle armi della critica di fronte al suo svuotamento contemporaneo. Jean-Luc Nancy Le armi della critica festivalfilosofia 2016 | agonismo Sabato 17 Settembre 2016 Carpi