Between Deleuze and Foucault @ Purdue University, College of Liberal Arts November 30 – December 1, 2012

Conference Flyer


Between Deleuze and Foucault
Purdue University, College of Liberal Arts
November 30 – December 1, 2012

An international conference exploring the relations between the work of Gilles Deleuze (1925-1995) and Michel Foucault (1926-1984).
Plenary Speaker:
William Connolly, Johns Hopkins University

Marco Altamirano, Purdue University; Alain Beaulieu, Laurentian University; Thomas Flynn, Emory University; Colin Koopman, University of Oregon; Leonard Lawlor, Penn State University; Nicolae Morar, University of Oregon; Thomas Nail, University of Denver; Roberto Nigro,Université de Paris; Chris Penfield, Purdue University; John Protevi, Louisiana State University; Anne Sauvagnargues, Université Paris Ouest Nanterre; Janae Scholtz, Alvernia University; Daniel W. Smith, Purdue University; Dianna Taylor, John Carroll University; Kevin Thompson, DePaul University

Roundtable Discussion:
Gary Gutting, Notre Dame University
Todd May, Clemson University
Ladelle McWhorter, University of Richmond
Alan Schrift, Grinnell College
Moderated by: Alan Rosenberg, Queens College, CUNY

The conference is free and open to the public.
Location: West Faculty Lounge, Purdue Memorial Union
Organizers: Daniel W. Smith (smith132@purdue.edu), Nicolae Morar (nmorar@uoregon.edu), and Thomas Nail (thomas.nail@du.edu).

The conference is made possible through the generous support of a Global Synergy Grant for Faculty and an Enhancing Research in the Humanities and Arts Grant from the College of Liberal Arts at Purdue University.

Description of the Project

The aim of the “Between Deleuze and Foucault” project is to establish an on-going collaborative and synergistic relationship between Purdue University and the Université de Paris VIII–Vincennes à St. Denis (University of Paris 8, Vincennes-St. Denis) in order to transcribe, translate, and make available online the seminars that the French philosopher Gilles Deleuze gave on Michel Foucault’s work at the University of Paris 8 during the years 1985-1986.

Deleuze and Foucault were two of the towering figures of French intellectual life in the latter part of the twentieth-century. Foucault (1926-1984) held a chair in the History of Systems of Thought at the prestigious Collège de France, and remains one of the most-cited authors in the humanistic disciplines. Deleuze (1925-1995), who taught at the University of Paris until his retirement in 1987, authored more than twenty-five books, and was one of the most important and influential European philosophers of the post-war period. While both Foucault and Deleuze were prolific authors, it is now widely recognized that some of the most significant work of both philosophers was presented in their weekly seminar lectures, which functioned more or less as experimental laboratories in which they tried out new ideas and concepts that often find no parallel in their published texts.

In recognition of this fact, the lectures Foucault gave at the Collège de France are currently being published simultaneously in French and English in a joint venture by two well-known and well-established publishing houses, Seuil/Gallimard in France and Palgrave Macmillan in the USA. On 15 April 2012, the French government formally recognized the importance of these lectures by declaring Foucault’s archives to be a “national treasure,” which prevented the sale of the documents abroad. The appearance of Deleuze’s seminar lectures, by contrast, has taken a somewhat different path. After Deleuze’s death, his family prohibited the publication of his seminar lectures in book form (they did not want profit to be made off the lectures), but instead permitted and indeed encouraged their free dissemination on-line. While this decision was no doubt in the spirit of Deleuze’s work, it has made the archiving and distribution of the lectures a more complicated process, which is now reliant on institutional and university support for its continuation.

In 1999, the Bibliothèque Nationale (BN) in Paris established an archive of recordings of all the seminars Deleuze gave at the Université de Paris VIII between 1979 and 1987. The seminars had been recorded by various students on cassettes, which the BN converted into digital files. In 2001, a group of preeminent French scholars, initially headed by the philosopher Alain Badiou, constituted a not-for-profit organization entitled “L’Assocation Siècle Deleuzien” that was focused exclusively on the transcription and dissemination of Deleuze’s recorded seminars on the Web. The Association, under the directorship of Prof. Marielle Burkhalter, initially produced transcriptions of three shorter seminars (on Anti-Oedipus, painting, and Spinoza), and then embarked on an ambitious project of transcribing Deleuze’s four-year seminar (1981-1985) on philosophy and cinema, which is still in-process. It is at this point that the “Between Deleuze and Foucault” project joined forces with the Association in order to transcribe Deleuze’s one-year seminar on Foucault (1985-1986).

The project is supported by two generous grants from the College of Liberal Arts at Purdue University: a Global Research Synergy grant and an Enhanced Research in the Humanities grant. The principal investigators for the grant are Prof. Daniel W. Smith, of the Department of Philosophy at Purdue University, and Prof. Nicolae Morar, a recent Ph.D. from Purdue who is currently teaching in the Department of Philosophy at the University of Oregon. They have joined forces with Prof. Burkhalter as well as Prof. Anne Sauvagnargues (University of Paris, Nanterre), who is one of the foremost scholars of Deleuze’s work in France, in order to make Deleuze’s seminar lectures available on-line to a wide audience, both in French and, in the near future, in English translation. Annabelle Dufourcq, who received her Ph.D. from the Sorbonne in 2008 and is currently at the University of Oregon, is in charge of transcribing the seminar lectures, and Jonathan Beever of Purdue University will be in responsible for the web design and editing.

In addition to the seminar transcription, we will be publishing a collection of essays on the topic, entitled Between Deleuze and Foucault, which will be co-edited by Prof. Morar and Prof. Thomas Nail of the Department of Philosophy at the University of Denver. In addition, a special issue of the journal Foucault Studies, devoted to the relation between Deleuze and Foucault, will be published in 2014. Finally, in early November 2012, the College of Liberal Arts will host a two-day conference on “Between Deleuze and Foucault,” which will be together contributors to both the book project and the special journal issue to discuss the significance and implications of Deleuze’s reading of Foucault


Ryoji Ikeda - superposition - 27 - 28 March 2013 @ Barbican Theatre, London

Ryoji Ikeda - superposition

A breathtaking display of technology, music and art

27 - 28 March 2013 / 20:00
Barbican Theatre - London

Employing a spectacular combination of synchronized video screens, real-time content feeds, digital sound sculptures and – for the first time in Ikeda’s work – human performers,superposition explores the thrilling conceptual world opened up by quantum theory.

Ikeda’s immersive and viscerally exciting music plunges you into the grey space between 0 and 1, true and false, where uncertainty and probability coexist, through a powerful display of technology and art designed to take the spectator inside the indescribable structures at the very foundation of all life.

Leading Japanese electronic composer and visual artist Ryoji Ikeda returns to the Barbican after the sell-out success of his audiovisual concert datamatics [ver 2.0] as part of SPILL Festival of Performance 2011.

‘A compelling, breathtaking audiovisual experience’ ★★★★Resident Advisor on datamatics [ver 2.0] 

70min/plus one interval

Concept, direction and music Ryoji Ikeda

in collaboration with

Performers Stéphane GarinAmélie Grould
Programming, graphics and computer system Tomonaga TokuyamaNorimichi HirakawaYoshito Onishi
Optical devices Norimichi Hirakawa
Stage manager Simon MacColl 
Technical manager Tomonaga Toku

Read more on Barbican website


Vitor Joaquim & Thr3Hold: Geography @ Ljubljana (foto by Anže Kokalj)

Vitor Joaquim & Thr3Hold: Geography

Sonica pre-event
13 October 2012
Kino Siska, Ljubljana
Source: Kino Šiška Archive, Foto: Anže Kokalj

See more @ motamuseum on Flickr

Massimo Recalcati: L’epoca senza Edipo @ La Repubblica 17 novembre 2012

L’epoca senza Edipo
Il desiderio onnipotente di Deleuze e Guattari

Quest’anno ricorre il quarantennale dell’uscita di un libro che fece epoca: l’Anti-Edipo di Deleuze e Guattari che uscì a Parigi nel1972. Si tratta della più potente critica alla pratica e alla teoria della psicoanalisi mossa da “sinistra”. Oggi, come sappiamo, imperversa la critica conservatrice: contro la psicoanalisi vengono invocati la psicologia scientifica, il potere chimico dello psicofarmaco, l’autorità esclusiva della psichiatria nel trattamento del disagio mentale. Invece gli autori dell’Anti-Edipo (un filosofo già molto noto e un brillante psichiatra analizzante di Lacan con il quale ruppe bruscamente) non rimproverano affatto alla psicoanalisi di non essere sufficientemente scientifica nella sue affermazioni teoriche e nella sua pratica clinica, ma qualcosa di assai più radicale. Le rimproverano di essere al servizio del potere e dell’ordine stabilito. La loro accusa è che la psicoanalisi dopo aver scoperto il “desiderio inconscio” ha volutamente ridotto la portata rivoluzionaria di questa scoperta mettendosi al servizio del padrone. Su cosa si reggerebbe il culto psicoanalitico dell’Edipo se non sull’obbedienza cieca alla Legge repressiva e mortificante del padre?
Nonostante la violenza spietata degli Anti-Edipo gli psicoanalisti dovrebbero leggere e rileggere ancora oggi la loro opera come un grande vento di primavera. Sotto la retorica rivoluzionaria della liberazione del corpo schizo, fuori-Legge, del “corpo senza organi” come macchina desiderante, come fabbrica produttiva del godimento pulsionale, questo libro contiene una serie di rilievi alla psicoanalisi che non si possono accantonare: la critica relativa all’uso paranoico e violento dell’interpretazione (se un paziente dice X vuole dire Y), una rappresentazione dell’inconscio come teatrino familaristico, chiuso su se stesso, che perderebbe di vista il suo carattere sociale e i suoi infiniti concatenamenti collettivi, una apologia conformista e moralista del principio di realtà e dell’adattamento come fine ultimo della pratica analitica, l’uso tutto politico del denaro che seleziona i pazienti in base al loro reddito, una valorizzazione dell’Io e del suo principio di prestazione, eccetera.
Eppure questo libro va molto al di là di questo, perché ha mobilitato alla rivolta una intera generazione, quella del ’77. Quest’opera è una critica politica alla psicoanalisi che non promuove tanto una improbabile teoria alternativa a quella psicoanalitica (la schizoanalisi) ma una vera e propria teoria della rivoluzione dove “tutto è possibile”. A questa teoria si sono abbeverati con entusiasmo i giovani della mia generazione.
Foucault aveva dichiarato che il nostro secolo forse sarebbe stato deleuziano. Aveva ragione ma in un senso probabilmente molto diverso da quello che auspicava. Il deleuzismo è sfuggito dalle mani di Deleuze (come spesso accade per tutti gli “ismi”). L’Anti-Edipo ha dato involontariamente la stura ad un elogio incondizionato del carattere rivoluzionario del desiderio contro la Legge che ha finito paradossalmente per colludere con l’orgia dissipativa che ha caratterizzato i flussi – non delle macchine desideranti come si auspicavano Deleuze e Guattari – ma di denaro e di godimento che hanno alimentato la macchina impazzita del discorso del capitalista. Lacan aveva provato a segnalare ai due questo pericolo. In una intervista rilasciata a Rinascita nel maggio del 1977 a chi gli chiedeva un parere sull’Anti-Edipo rispose che «L’Edipo costituisce di per se stesso un tale problema per me che non penso che ciò che Deluze e Guattari hanno voluto intitolare l’Anti-Edipo possa avere il minimo interesse». Lacan avverte che non bisogna premere il grilletto troppo rapidamente sul padre. La contrapposizione rivoluzionaria tra le macchine desideranti e la Legge, tra la spinta impersonale e de-territorializzante della potenza del desiderio e la tendenza conservatrice alla territorializzazione 
rigida del potere e delle sue istituzioni (Chiesa, Esercito, famiglia, psicoanalisi… ) rischiava di dissolvere il senso etico della responsabilità soggettiva. Per Deleuze e Guattari la parola soggetto è infatti una parola da mettere al bando, così come Legge, castrazione, mancanza. L’Anti-Edipo compie un elogio a senso unico della forza della pulsione che lo fa scivolare fatalmente in una prospettiva di naturalizzazione vitalistica dell’umano. La liberazione dei flussi del desiderio reagisce giustamente al culto rassegnato del principio di realtà al quale sembra votarsi la psicoanalisi, senza accorgersi di generare un nuovo mostro: il mito della schizofrenia come nome della vita che rigetta ogni forma di limite. Il mito del corpo schizo come corpo anarchico, a pezzi, pieno, senza organi, costruito come una macchina pulsionale che gode ovunque, antagonista alla gerarchia dell’Edipo, si è tradotto nei flussi della macchina cinica e perversa del discorso capitalista.
Eppure l’Anti-Edipo a rileggerlo oggi è anche molto più di questo. Non è solo la celebrazione di un desiderio che non riesce a fare i conti con la Legge della castrazione. C’è una linea più sottile che attraversa questo libro e che la nostra generazione non è riuscita probabilmente a cogliere sino in fondo. È un grande tema dell’Anti-Edipo se non il tema centrale. Deleuze e Guattari lo ripropongono attraverso le parole dello psicoanalista Reich: «perché le masse hanno desiderato il fascismo?». Problema che ritroviamo intatto già in Spinoza: perchè gli uomini combattono per la loro servitù come se si trattasse della loro libertà?
In Millepiani Deleuze e Guattari, quasi dieci anni dopo l’Anti-Edipo, devono ritornare sull’opposizione tra desiderio e Legge con una precisazione che avrebbe dovuto essere presa più sul serio. Attenzioni ai micro-fascismi, ai micro-edipi che s’insediano proprio là dove pensavamo ci fosse il flusso liberatorio del desiderio. «La madre – scrivono i due – può credersi autorizzata a masturbare il figlio, il padre può diventare mamma». Un’autocritica che suona anticipatrice dei nostri tempi. Come Nietzsche avvertiva gli uomini che vivevano nell’annuncio liberatorio della morte di Dio del rischio di generare nuovi idoli (lo scientismo, il fanatismo ideologico, l’ateismo stesso, ogni specie di fondamentalismo), allo stesso modo Deleuze e Guattari avvertono che esiste un pericolo insidioso inscritto nella stessa teoria del desiderio come flusso infinito, come “linea di fuga” che oltrepassa costantemente il limite. Attenzione, sembrano dirci, che questa linea «non si converta in distruzione, abolizione pura e semplice, passione d’abolizione». Attenzione che questa “linea di fuga” che rigetta il limite non diventi una “linea di Morte”.
Painting: [Hieronymus Bosch (attr. a), Il concerto nell’uovo/Le concert dans l’œuf, XVI sec., Olio su tela, Musée de Beaux-Arts, Lille]


Ryoji Ikeda - Superposition @ Centre Pompidou, Paris, 14-16 Novembre 2012

superposition is a project about the way we understand the reality of nature on an atomic scale and is inspired by the mathematical notions of quantum mechanics. Performers will appear in his piece for the first time, performing as operator/conductor/observer/examiners. All the components on stage will be in a state of superposition; sound, visuals, physical phenomena, mathematical concepts, human behaviour and randomness - these will be constantly orchestrated and de-orchestrated simultaneously in a single performance piece.
Concept, direction and music: Ryoji Ikeda
in collaboration with
Performers: Stéphane Garin, Amélie Grould
Programming, graphics and computer system: Tomonaga Tokuyama, Norimichi Hirakawa, Yoshito Onishi
Optical devices: Norimichi Hirakawa
Stage manager: Simon MacColl
Technical manager: Tomonaga Tokuyama
Production assistant: Daisuke Sekine
Production: Ryoji Ikeda Studio (Artistic direction: Emmanuelle de Montgazon; Administration: Yuko Higaki), Quaternaire (Producer and artist management: Sarah Ford, Booking: Aïcha Boutella; Administration: Kathleen Aleton; Coordination and marketing: Joanna Rieussec), Forma (Artistic Director: David Metcalfe)
World Première on 14, 15, 16 November 2012 at the Centre Pompidou with the Festival dʼAutomne à Paris (FR)
Avant-Première on 5 August 2012 at ZKM (Karlsruhe, DE)
Commissioned by Festival d’Automne à Paris (FR) for the musical part
Created and developed at EPPGH La Villette (Paris, FR), YCAM Yamaguchi Center for Arts and media (JP) and ZKM (Karlsruhe, DE)
Coproduction : Festival dʼAutomne à Paris (FR), Les Spectacles Vivants - Centre Pompidou (Paris, FR), Barbican (London, UK), Concertgebouw Brugge (Bruges, BE), Festival de Marseille (FR), EPPGH La Villette (Paris, FR), Kyoto Experiment (JP), ZKM (Karlsruhe, DE) ...
With the support of the DICRéAM-CNC (FR)

Read more on Ikeda website

Lillevan & Vladislav Delay "Otan Osaa / Crystal" (2009)

Fennesz & Lillevan - Live from Lillevan @ Ars Electronica Festival (Linz, Austria, 2011)

AUN - the beginning and the end of all things - Edgar Honetschläger (director) and Christian Fennesz (sound design)

AUN - The beginning and the end of all things directed by Edgar Honetschlaeger, Austria/Japan 2011 Synopsis: When looking for alternative energy sources the Japanese scientist Sekai tragically dies. Twenty years later the Brazilian mathematician Euclides continues his research. The lack of an essential component won´t allow a breakthrough. Only AUN, Sekai´s son, seems to hold the key, to protect mankind from self-destruction. In the aftermath of the nuclear tragedy in Fukushima the film appears like a prophecy. AUN´s dream-like images, complemented by music from Christian Fennesz and Ryuichi Sakamoto lead into a fantastic and exciting world, full of brideness and darkness of life


MUTE ISSUE LAUNCH AND PARTY FRIDAY 16 NOVEMBER! - Viral Utopias November 16th – 7PM til 1AM @ Limehouse Town Hall, London, Uk

Viral Utopias November 16th – 7PM til 1AM @ Limehouse Town Hall, London

Panics, plagues, and politics. Countless times the death of politics, utopia and neoliberalism has been proclaimed... and just as many times the lumbering remains of our conceptual apparatuses dust themselves and trundle on again... mutating their movements in unfolding recombinatory patterns. 

Come join us to celebrate the release of several new publications exploring this overlap between the utopian and the viral, the networked and the not-worked: Virality: Contagion Theory in the Age of Networks by Tony Sampson; Contract & Contagion: From Biopolitics to Oikonomia by Angela Mitropoulos; Open Utopia by Thomas More & Stephen Duncombe; and the current issue of Mute Magazine, ‘Becoming Impersonal’ Vol.3 #3. 

DJS Agit Disco DJs http://www.metamute.org/shop/mute-books/agit-disco 

LIVE BANDS Traum - London-based chanson for lovers of neo-romantisch perverse pop http://soundcloud.com/traumatica/whatsmyjob Hungry Hearts - whisky filled gruff folk punk: http://www.myspace.com/thehungryhearts 

VENUE Limehouse Town Hall 646 Commercial Road London E14 7HA RSVP ESSENTIAL http://www.eventbrite.com/event/4688544563 

Virality: Contagion Theory in the Age of Networks - Tony Sampson http://www.upress.umn.edu/book-division/books/virality 
Contract & Contagion: From Biopolitics to Oikonomia - Angela Mitropoulos http://www.minorcompositions.info/?p=482 
Open Utopia - Thomas More & Steve Duncombe http://theopenutopia.org/ Mute, ‘Becoming Impersonal’, Vol.3 #3 http://linkme2.net/sx

Pic: Rinat Voligamsi's Light (Painting, 2012)

Read more on Mute Mag website


Debussy, Reflets dans l'eau (James Boyk, solo piano) ver. 3

Alva Noto - uni mode [2011 univrs]

Alva Noto - unitxt/univrs (Derivative Version)

RYOJI IKEDA - Superposition - Première mondiale @ Centre Pompidou, Paris, 14-16 Novembre 2012

14-16 November 2012
Ryoji Ikeda
Centre Pompidou
Festival dʼAutomne à Paris
Paris, FR
Ryoji Ikeda's new long-term art project superposition consists of a performance piece, installations, lectures, publications and other related works.
superposition looks into how we understand the reality of nature on an atomic scale. This project was inspired by the mathematical ideas and notions of quantum field that deals with this particular characteristic of nature: one cannot fully describe the behaviour of a single particle, but in terms of probabilities.
superposition [performance] is Ryoji Ikeda's new performance piece which will premiere at the Centre Pompidou in Paris as part of the Festival d’Automne à Paris.
For the first time in Ikedaʼs work, performers will appear on stage to compliment a wide range of video images and other innovative technologies. All material used on stage will be shown in a state of superposition - sound, visuals, physical phenomena, mathematical concepts, human behaviour and randomness – and will be simultaneously arranged and re-arranged in a single performance piece.
superposition [installation] is an immersive audiovisual experience that requires the spectator to engage with the installation while superposition [lectures], curated and led by Rioji Ikeda, will feature debates and discussion groups with scientists and intellectuals.
superposition questions the boundaries between music, visual arts and performing arts, while exploring in depth the intersection between art and science.
Created and developed at EPPGH La Villette (Paris, FR), YCAM Yamaguchi Center for Arts and media (JP) and ZKM (Karlsruhe, DE)
Production : Ryoji Ikeda Studio, Quaternaire and Forma


Cinematic Perspectives on Digital Culture Consorting with the Machine by Norman Taylor - Palgrave Mc Millan, Uk, October 2012

Cinematic Perspectives on Digital Culture
Consorting with the Machine

By 1920 one of the most recognised faces on the planet belonged to Charlie Chaplin, confirming the influence of a powerful new medium. Today's film fans turn to Facebook and Twitter to follow their heroes. While the ubiquitous smart phone enmeshes consumers in nets of connectivity, interactivity requires that actors are also ensnared: thirty-two cameras simultaneously scrutinizing the face of the actor enables performance to blend with game logic. However, this book denies that new technology constitutes a hiatus. Instead the author argues that interaction with smart phones and tablet computers is part of a complex, historic continuum. The moving image represents a leap forward, proving that technology extends into (and out of) the mind as well as the body. Exploring research into mobile phone use as props to subjective identity, and employing concepts from Michelle Foucault, Gilles Deleuze and actor network theory, the author employs Sunset Boulevard(1950) as a key text. Discussing the affect of mechanisms of make-believe and celebrity that extend from an early victim of emerging celebrity culture (in 1915), to the avatar-obsessed game player of digital culture, this book makes visible previously ignored relations with machinic assemblages of desire.

NORMAN TAYLOR has taught in schools, colleges and universities for over thirty years. A lecturer in literature, media, film and cultural studies, he is a co-founder of Bristol Silents film society. He has authored film programmes for Bristol University, UWE and the Open College Network, and published articles in journals including Screen.

Read more on Palgrave