http://pzwiki.wdka.nl/mw-fineart/api.php?action=feedcontributions&user=Petravanderkooij&feedformat=atomFine Art Wiki - User contributions [en]2024-03-28T17:14:23ZUser contributionsMediaWiki 1.38.2http://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/28-10-2019_-Event_2&diff=26171Calendars:Fine Art Calendar/Fine Art Calendar/28-10-2019 -Event 22019-10-17T12:06:52Z<p>Petravanderkooij: </p>
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<div>SEMINAR JAN VERWOERT<br />
<br />
In Large Project Space<br />
<br />
with guest tutor Lisa Robertson<br />
<br />
Time: 10.00 till 17.00</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/11-10-2019_-Event_1&diff=26111Calendars:Fine Art Calendar/Fine Art Calendar/11-10-2019 -Event 12019-10-09T13:07:52Z<p>Petravanderkooij: </p>
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<div>Y2 PROPOSAL SEMINAR 2019<br />
<br />
Friday October 11 <br />
<br />
Tutors: Liesbeth Bik, Jan Verwoert, Katarina Zdjelar, Bernd Krauss, Kate Brigss , Mike Sperlinger and Nina Wakeford <br />
<br />
10.00h Daphne Simons<br />
<br />
10.45h Petter J. Dahlstrom Persson (small project space) <br />
<br />
> 11.30h short break <br />
<br />
11.45h Jamie Kane <br />
<br />
12.30h Annabelle Binnerts<br />
<br />
> 13.15h Lunch break (MFA office) <br />
<br />
14.00h Antonia Brown (small project space)<br />
<br />
14.45h Olga Hohmann (MFA spill over office) <br />
<br />
15.30h Internal assessments</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/11-10-2019_-Event_1&diff=26075Calendars:Fine Art Calendar/Fine Art Calendar/11-10-2019 -Event 12019-10-09T09:38:47Z<p>Petravanderkooij: </p>
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<div>Y2 PROPOSAL SEMINAR 2019<br />
<br />
Friday October 11 <br />
<br />
Tutors: Liesbeth Bik, Jan Verwoert, Katarina Zdjelar, Bernd Krauss, Kate Brigss , Mike Sperlinger and Nina Wakeford <br />
<br />
10.00h Daphne Simons<br />
<br />
10.45h Petter J. Dahlstrom Persson (small project space) <br />
<br />
> 11.30h short break <br />
<br />
11.45h Jamie Kane <br />
<br />
12.30h Annabelle Binnerts<br />
<br />
> 13.15h Lunch break (MFA office) <br />
<br />
14.00h Antonia Brown (big project space)<br />
<br />
14.45h Olga Hohmann (MFA spill over office) <br />
<br />
15.30h Internal assessments</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/12-12-2019_-Event_2&diff=26058Calendars:Fine Art Calendar/Fine Art Calendar/12-12-2019 -Event 22019-10-08T12:16:30Z<p>Petravanderkooij: </p>
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<div>YR 1 PROSEMINAR RESEARCH PRACTICES<br />
<br />
10-3pm in the large project space with Florian Cramer</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/11-10-2019_-Event_3&diff=26048Calendars:Fine Art Calendar/Fine Art Calendar/11-10-2019 -Event 32019-10-07T13:02:38Z<p>Petravanderkooij: Created page with "*SMALL PROJECT SPACE PETTER DAHLSTROM PERSSON"</p>
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<div>*SMALL PROJECT SPACE PETTER DAHLSTROM PERSSON</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/11-10-2019_-Event_1&diff=26047Calendars:Fine Art Calendar/Fine Art Calendar/11-10-2019 -Event 12019-10-07T13:02:05Z<p>Petravanderkooij: </p>
<hr />
<div>Y2 PROPOSAL SEMINAR 2019<br />
<br />
Friday October 11 <br />
<br />
Tutors: Liesbeth Bik, Jan Verwoert, Katarina Zdjelar, Bernd Krauss, Kate Brigss , Mike Sperlinger and Nina Wakeford <br />
<br />
10.00h Daphne Simons<br />
<br />
10.45h Petter J. Dahlstrom Persson (small project space) <br />
<br />
> 11.30h short break <br />
<br />
11.45h Jamie Kane <br />
<br />
12.30h Annabelle Binnerts<br />
<br />
> 13.15h Lunch break (MFA office) <br />
<br />
14.00h Antiona Brown<br />
<br />
14.45h Olga Hohmann (MFA spill over office) <br />
<br />
15.30h Internal assessments</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/11-10-2019_-Event_1&diff=26045Calendars:Fine Art Calendar/Fine Art Calendar/11-10-2019 -Event 12019-10-07T12:25:02Z<p>Petravanderkooij: </p>
<hr />
<div>Y2 PROPOSAL SEMINAR 2019<br />
<br />
Friday October 11 <br />
<br />
Tutors: Liesbeth Bik, Jan Verwoert, Katarina Zdjelar, Bernd Krauss, Kate Brigss , Mike Sperlinger and Nina Wakeford <br />
<br />
10.00h Daphne Simons<br />
<br />
10.45h Petter J. Dahlstrom Persson <br />
<br />
> 11.30h short break <br />
<br />
11.45h Jamie Kane <br />
<br />
12.30h Annabelle Binnerts<br />
<br />
> 13.15h Lunch break (MFA office) <br />
<br />
14.00h Antiona Brown<br />
<br />
14.45h Olga Hohmann (MFA spill over office) <br />
<br />
15.30h Internal assessments</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/11-10-2019_-Event_1&diff=26044Calendars:Fine Art Calendar/Fine Art Calendar/11-10-2019 -Event 12019-10-07T12:24:17Z<p>Petravanderkooij: </p>
<hr />
<div>Y2 PROPOSAL SEMINAR 2019<br />
<br />
Friday October 11 <br />
<br />
Tutors: Liesbeth Bik, Jan Verwoert, Katarina Zdjelar, Bernd Krauss, Kate Brigss , Mike Sperlinger and Nina Wakeford <br />
<br />
10.00h Daphne Simons<br />
<br />
10.45h Petter J. Dahlstrom Persson <br />
<br />
> 11.30h short break <br />
<br />
11.45h Jamie Kane <br />
<br />
12.30h Annabelle Binnerts<br />
<br />
> 13.15h Lunch break (MFA office) <br />
<br />
14.00h Antiona Brown<br />
<br />
14.45h Olga Hohmann <br />
<br />
15.30h Internal assessments</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/10-10-2019_-Event_1&diff=26043Calendars:Fine Art Calendar/Fine Art Calendar/10-10-2019 -Event 12019-10-07T12:23:57Z<p>Petravanderkooij: </p>
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<div>Y2 PROPOSAL SEMINAR 2019<br />
<br />
Thursday October 10 <br />
<br />
Tutors: Liesbeth Bik, Jan Verwoert, Katarina Zdjelar, Bernd Krauss, Kate Brigss , Mike Sperlinger and Nina Wakeford <br />
<br />
students: <br />
<br />
10.00h Yanik Soland <br />
<br />
10.45h Josie Perry <br />
<br />
> 11.30h short break <br />
<br />
11.45h Lukas Messner <br />
<br />
12.30h Peter Hornland <br />
<br />
> 13.15h Lunch break ( MFA Office) <br />
<br />
14.00h Jake Caleb <br />
<br />
14.45h Christine Ayo (big project space) <br />
<br />
15.30h Lucia Bayon Mendoza <br />
<br />
16.15h Berglind Erna Tryggvadottir <br />
<br />
17.00h Internal Assessments</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/14-10-2019_-Event_2&diff=25994Calendars:Fine Art Calendar/Fine Art Calendar/14-10-2019 -Event 22019-10-02T12:00:42Z<p>Petravanderkooij: </p>
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<div>GUEST TUTOR AZAR MAHMOUDIAN<br />
<br />
*10.00<br />
*11.15<br />
*12.30<br />
*13.45 break<br />
*14.45<br />
*16.00<br />
*17.15<br />
<br />
reserve: <br />
1.<br />
2.<br />
3.</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/15-10-2019_-Event_2&diff=25988Calendars:Fine Art Calendar/Fine Art Calendar/15-10-2019 -Event 22019-10-02T12:00:06Z<p>Petravanderkooij: </p>
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<div>GUEST TUTOR AZAR MAHMOUDIAN<br />
<br />
*10.00<br />
*11.15<br />
*12.30<br />
*13.45 break<br />
*14.45<br />
*16.00<br />
*17.15<br />
<br />
reserve: <br />
1.<br />
2.<br />
3.</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/29-10-2019_-Event_2&diff=25987Calendars:Fine Art Calendar/Fine Art Calendar/29-10-2019 -Event 22019-10-02T12:00:01Z<p>Petravanderkooij: </p>
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<div>GUEST TUTOR LISA ROBERTSON<br />
<br />
BIO<br />
Lisa Robertson is a poet and art writer. Born in Toronto, raised into writing by her feminist peers in Vancouver, resident now of rural France, her most recent publications are Proverbs of a She-Dandy (Belkin Gallery, 2018) and Thresholds: A Prosody of Citizenship (Bookworks, 2019)<br />
<br />
*10.00<br />
*11.15<br />
*12.30<br />
*13.45 break<br />
*14.45<br />
*16.00<br />
*17.15<br />
<br />
reserve: <br />
1.<br />
2.<br />
3.</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/04-10-2019_-Event_1&diff=25957Calendars:Fine Art Calendar/Fine Art Calendar/04-10-2019 -Event 12019-10-01T14:06:22Z<p>Petravanderkooij: </p>
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<div>STUDIO VISITS BERND KRAUSS<br />
<br />
*10.00 Petter<br />
*11.15<br />
*12.30<br />
<br />
13.45 BREAK<br />
<br />
*14.45 Yanik<br />
*16.00 Daphne <br />
*17.15 Steven<br />
<br />
RESERVE: <br />
<br />
1.<br />
<br />
2.<br />
<br />
3.</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/09-10-2019_-Event_4&diff=25923Calendars:Fine Art Calendar/Fine Art Calendar/09-10-2019 -Event 42019-09-30T10:03:08Z<p>Petravanderkooij: </p>
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<div>BIG PROJECT SPACE CHRISTINE AYO (or small project space depending on the facilities)<br />
<br />
*FROM OCTOBER 9 TILL OCTOBER 10</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/09-10-2019_-Event_4&diff=25922Calendars:Fine Art Calendar/Fine Art Calendar/09-10-2019 -Event 42019-09-30T09:58:13Z<p>Petravanderkooij: Created page with "BIG PROJECT SPACE CHRISTINE AYO *FROM OCTOBER 9 TILL OCTOBER 10"</p>
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<div>BIG PROJECT SPACE CHRISTINE AYO<br />
<br />
*FROM OCTOBER 9 TILL OCTOBER 10</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/11-10-2019_-Event_2&diff=25921Calendars:Fine Art Calendar/Fine Art Calendar/11-10-2019 -Event 22019-09-30T09:54:38Z<p>Petravanderkooij: Created page with "BIG PROJECT SPACE FOR JOSIE & YANIK *FROM FRIDAY EVENING (AFTER ASSESSMENTS - UNTIL MONDAY MORNING)"</p>
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<div>BIG PROJECT SPACE FOR JOSIE & YANIK<br />
<br />
*FROM FRIDAY EVENING (AFTER ASSESSMENTS - UNTIL MONDAY MORNING)</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/29-10-2019_-Event_2&diff=25860Calendars:Fine Art Calendar/Fine Art Calendar/29-10-2019 -Event 22019-09-27T09:37:47Z<p>Petravanderkooij: </p>
<hr />
<div>GUEST TUTOR LISA ROBERTSON<br />
<br />
BIO<br />
Lisa Robertson is a poet and art writer. Born in Toronto, raised into writing by her feminist peers in Vancouver, resident now of rural France, her most recent publications are Proverbs of a She-Dandy (Belkin Gallery, 2018) and Thresholds: A Prosody of Citizenship (Bookworks, 2019)<br />
<br />
<br />
<br />
> 13.45 - 14:45 lunch break</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/30-10-2019_-Event_2&diff=25856Calendars:Fine Art Calendar/Fine Art Calendar/30-10-2019 -Event 22019-09-27T09:13:04Z<p>Petravanderkooij: </p>
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<div>*14.00 Signing up for new studio visits</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/30-10-2019_-Event_2&diff=25855Calendars:Fine Art Calendar/Fine Art Calendar/30-10-2019 -Event 22019-09-27T09:12:37Z<p>Petravanderkooij: </p>
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<div>Signing up for new studio visits 14.00pm</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/27-09-2019_-Event_6&diff=25847Calendars:Fine Art Calendar/Fine Art Calendar/27-09-2019 -Event 62019-09-26T12:52:20Z<p>Petravanderkooij: Blanked the page</p>
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<div></div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/27-09-2019_-Event_5&diff=25846Calendars:Fine Art Calendar/Fine Art Calendar/27-09-2019 -Event 52019-09-26T12:52:10Z<p>Petravanderkooij: Blanked the page</p>
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<div></div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/27-09-2019_-Event_5&diff=25845Calendars:Fine Art Calendar/Fine Art Calendar/27-09-2019 -Event 52019-09-26T12:51:47Z<p>Petravanderkooij: Created page with "test 1"</p>
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<div>test 1</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/27-09-2019_-Event_6&diff=25844Calendars:Fine Art Calendar/Fine Art Calendar/27-09-2019 -Event 62019-09-26T12:51:32Z<p>Petravanderkooij: Created page with "test"</p>
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<div>test</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/25-09-2019_-Event_2&diff=25832Calendars:Fine Art Calendar/Fine Art Calendar/25-09-2019 -Event 22019-09-24T13:04:02Z<p>Petravanderkooij: </p>
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<div>Open Office MFA 10.30 - 12.30<br />
*Petra only</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/29-10-2019_-Event_2&diff=25826Calendars:Fine Art Calendar/Fine Art Calendar/29-10-2019 -Event 22019-09-23T12:55:39Z<p>Petravanderkooij: </p>
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<div>GUEST TUTOR LISA ROBERTSON<br />
<br />
<br />
> 13.45 - 14:45 lunch break</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/02-10-2019_-Event_3&diff=25825Calendars:Fine Art Calendar/Fine Art Calendar/02-10-2019 -Event 32019-09-23T12:52:39Z<p>Petravanderkooij: Created page with "*14.00 Signing up for guest tutors Azar Mahmoudian & Lisa Robertson"</p>
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<div>*14.00 Signing up for guest tutors Azar Mahmoudian & Lisa Robertson</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/06-11-2019_-Event_1&diff=25788Calendars:Fine Art Calendar/Fine Art Calendar/06-11-2019 -Event 12019-09-19T08:11:12Z<p>Petravanderkooij: </p>
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<div>COURSE COUNCIL MEETING WITH NINA WAKEFORD AND KATE BRIGGS, TIME TBA<br />
<br />
*10.00 - 12.00<br />
location: big project space</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/06-11-2019_-Event_1&diff=25787Calendars:Fine Art Calendar/Fine Art Calendar/06-11-2019 -Event 12019-09-19T08:10:28Z<p>Petravanderkooij: </p>
<hr />
<div>COURSE COUNCIL MEETING WITH NINA WAKEFORD AND KATE BRIGGS, TIME TBA<br />
<br />
*10.00: big project space</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=UNRECONCILED&diff=25780UNRECONCILED2019-09-17T14:06:48Z<p>Petravanderkooij: </p>
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<div>'''UNRECONCILED''' by Jan Verwoert, 6 credits <br />
October 2019 - June 2020<br />
<br />
Critical philosophies of difference and embodiment complicate the use of both these terms. They confront structures of oppression enforced through violent discrimination, and/or insipid inclusions. Some treat you as 'other', some force you to be the 'same'. It hardly makes any difference. Both terms in the equation are born from the selfsame logic (logic of the selfsame) which indiscriminately imposes its standards of otherness and identity onto the world. Difference doesn't actually come to figure: what lived experience it may testify to, and what powers may reside in it, is denied and distorted beyond recognition by divise acts of setting one apart from the other, under the sign of sexism, racism, xeno- and homophobia… How to articulate difference in a key that breaks (with) the logic of discrimination? Unreconciled practices of embodiment don't resign themselves to filling slots on the given menu of alternatives by playing 'other' to the 'selfsame'. They tap powers that elude distinctions between this and that: an excess or collapse of signs and flesh, of artifice and life, of make-up and making do, of meanings, forces and forms of life which surpass or undercut established norms of discrimination, and expand realities. The challenge difference poses to thought is to invoke in a manner that doesn't fall for false promises of reconciliation, but sustains the tension which inheres to what is neither this nor that. <br />
<br />
The seminar will seek to unfold a series of genealogies which may render tangible how notions of difference and embodiment have been cracked open and interlaced, philosophically, artistically, existentially, and politically. The seminar is structured in three parts, each of which chooses a potentially formative moment in history as a port of entry to our inquiries.<br />
<br />
<br />
LEARNING OUTCOMES<br />
<br />
The educational aim of the course lies in exercising skills of close reading and developing the patience and persistence required for reconstructing complex bodies of thought. Thereby we seek to access an influential tradition of thought and grasp the manner in which different thinkers shape their philosophies by performing variations on premises and key motifs which they share with other thinkers, yet interpret in significantly different ways. In this sense, a goal of the seminar is to reach an understanding of philosophy as an ongoing conversation, so as to acquire the means of joining and continuing this exchange. Consider it a case of call and response: to render the call of a thought audible, we may first need to listen closely, amplify its nuances and voice its implications. Once we hear, we need to respond, and experience the resonances layered thoughts produce, by riffing on them, with precision, answering to philosophical provocations with a freedom born from antagonism as much as attunement. <br />
<br />
REQUIREMENTS FOR OBTAINING CREDITS<br />
Continuous attendance, presence of mind, lively participation, shared enjoyment of layered abstractions.<br />
<br />
<br />
READING, LISTENING AND VIEWING MATERIAL<br />
Irene Gammel: Baroness Elsa — Gender, Dada, and Everyday Modernity, a Cultural Biography, MIT Press, Cambridge Massachusetts & London England, 2003.<br />
<br />
Djuna Barnes: Nightwood. Faber and Faber, London, 2001.<br />
<br />
Djuna Barnes: The Book of Repulsive Women and other poems. Fyfield Books, Manchester 2003.<br />
<br />
Jacques Derrida: Différance. In Jacques Derrida: Margins of Philosophy, Harvester Press, Brighton, 1982, pp. 1-28.<br />
<br />
Luce Irigaray: The Sex which is Not One, Cornell University Press, Ithaca, New York, 1985.<br />
<br />
Luce Irigaray: Speculum of the Other Woman, Cornell University Press, Ithaca, New York, 1985.<br />
<br />
Gilles Deleuze: Difference and Repetition. Columbia University Press, New York, 1994.<br />
<br />
Hortense J Spillers: Mama's Baby, Papa's Maybe: an American Grammar Book. In: Diacritics, Vol. 17, No. 2, Culture and Countermemory: The American Connection (Summer 1987), pp. 64-81.<br />
<br />
Alexander G. Weheliye: Habeas Viscus — Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human; Duke University Press, Durham and London, 2014.<br />
<br />
SCHEDULE<br />
Port 1 OCTOBER - DECEMBER <br />
Blood, sweat and artifice; life, art and excessive body-text-objects; The Baroness Elsa, Djuna Barnes, Jacque Derrida. <br />
<br />
The first port of entry is marked by the life and work of two mothers of modernism, as it played itself out in New York and Paris: 'The Baroness' Elsa von Freytag Loringhoven (poet, performer, phenomenon, sculptor, dada personified) and Djuna Barnes, radical artists in their own right, friends at one point. Both put their bodies at stake, in a performance of art, poetry and literature, that exploded binaries, between gender stereotypes as much as between life and art. They set the tone for the seminar, in the sense that neither of them is a particularly conciliatory figure. Their ways of messing with the difference between existence and artifice led to oeuvres and biographies that not only challenge the canon of modern art as it's commonly taught, they remain unreconciled: Rather than ask for a rephrasing of the protocols for canonisation, their practices demand for a rupture to be held open, and thought through, on its own terms. If there is an ethos implicit to the deconstructive philosophies the seminar studies, it might lie in the need to keep the gaps open from which displacements spawn embodiments surpassing and undercutting imposed norms of difference and/as identity.<br />
<br />
As is becoming increasingly clear now, the life and work of the Baroness is inseperable from the entry of the ready-made into the discourse of modern art. Her practice of clothing herself in garments made from assorted bathroom appliances, and use of plumbing metaphors for erotic purposes, most likely laid the ground for the appearance of the infamous urinal. Her and Duchamp being lovers not only resulted in the series of photographs that saw them posing together in drag (in her clothes) for Man Ray (launching Duchamp's alias Rrose Sélavy), but also led to two sister pieces being put forward in 1917, the upturned urinal (Fountain), and a knotted pipe-trap (God), a twisted vaginal and phallic shape, the first to be authorised by him, the second by her. Quite literally though, it seems she gave the thing to him. What body did the Baroness enter into public circulation in the guise of the ready-made? Anonymous sexual organs? Unattached porcelain and metal genitals to be exchanged as gifts? Or existential signifiers of twisted relations? As little as a throw-away joke? Or as much as all a creature can give? A sur-plus, less than a body, too much of a signifying organ…<br />
<br />
Not only did The Baroness and Djuna Barnes later become involved, there is a strong resonance between the form of existential camp The Baroness advanced and the way Barnes in her pivotal novel Nightwood twists the relation between art and life, artifice and embodiment in a manner that exceeds and undercuts simple binaries. On the face of it, the novel may be read as a slash-your-wrist type queer break-up tale, in which an entire personage of Parisian Left Bank characters becomes transposed into larger-than-life versions of themselves, not least because key voices in the book speak with a tone and vocabulary taken from Milton's Paradise Lost. Not unlike Kathy Acker, Barnes amplifies intensities of life by channeling them trough ostentatious artifice. The result is an incredible displacement, in which language bursts open and defracts realities like a shattered disco-ball. A pivotal figure in the novel—who practically embodies the role of a second narrator of the story within the story, competing with the voice of Barnes' alter ego— is an Irish fake gynaecologist transvestite public drunk commentator of everyone's fate speaking in magnificently riddled anachronistical English, like a queered Joyce or sick doctor straight out of the commedia dell'arte. Semiotically, physically, and glamouristically the sick doctor disseminates difference, in that nothing he says or does is ever at one with itself, but this is precisely why, as a fractured assemblage, his discourse yields perverse wisdom.<br />
<br />
Like Barnes, Jacques Derrida embraces the ongoing displacement of semiosis through 'differing (différance)': the inherent motion of semiotic shifters, and language in so many ways becoming bodily. Here we cross over from poetry, performance, and literary forms of excessive embodiment into the field of a philosophy (at times referred to as 'deconstruction'), which, from the 1970s onwards seeks to voice difference in a key that undercuts and supersedes oppressive regimes of imposed distinctions. In many ways the keys developed by Derrida among other associated thinkers are the arms that many thinkers in the fields of queer, feminist, postcolonial, and black studies thereafter took up. <br />
<br />
<br />
Port 2 JANUARY-MARCH<br />
Embody what dwells in difference, concealed in distinctions, revealed in material experience: Luce Irigaray & Gilles Deleuze<br />
<br />
We will closely study Luce Irigaray to see how she dismantles psychoanalysis as a discourse articulating sexual difference in an oppressive patriarchal key, and how she, in a feminist key, opens pursuit of ways to testify to forms of embodied desire undercutting and superseding the false alternatives imposed by the dominant order preached by psychoanalyst Jacques Lacan. Not unlike Derrida, Irigaray localises the seat of oppression in a symbolic matrix, or semiotic structure, which, by imposing its concepts of otherness on gendered experience, distorts and occludes what potential may reside in difference. In unmaking this matrix, Irigaray seeks to gesture towards the possibility of the feminine AS difference, as "The sex which is not one".<br />
Contrary to Irigaray and Derrida, Deleuze attempts to sidestep the challenge of theorising difference/embodiment primarily through symbolic matrices. From a holistic materialist (Spinozist) point of view, he develops ideas around the concatenation and displacement of singularities along lines of flight, in terms of embodied intensities playing across assemblages and rythms of difference and repetition. <br />
<br />
Port 3 APRIL - JUNE<br />
Difference is no exception! Refusal, in the flesh, as a constant state of life under conditions of oppression. Hortense J. Spillers & Alexander G. Weheliye. <br />
<br />
The third section is centered around the work of contemporary philosopher and critic, Alexander G. Weheliye. In his book "Habeas Viscus - Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human." he launches a powerful critique against forms of philosophy which address difference in the key of the "exception", even and especially when the experience and embodiment of difference is portrayed (in more or less romanticised terms) as a form of deviance, subversion or life on the edge. He points out that, conditions of racial oppression and enslavement create cruel conditions of normality which make violence, and the need for survival persist on a level of collectivity and constancy that can hardly be grasped in a vocabulary focussed on individual performances. To this end Weheliye dismantles Giorgio Agamben's concept of 'bare life' as life in the state of exception. In dialogue with Deleuze and Hortense Spillers, he instead develops the notion of 'enfleshment' to evoke conditions of persistent embodiment of difference, to address the world-changing violence of enslavement, and pertinent forces of racism. The final third section will be an ongoing back-and-forth between Weheliye and Hortense Spillers, their texts being read side by side, so as to create the experience of how philosophy emerges as a form of layered abstraction, in the close interplay between thinkers.</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=How_to_be_%27authentic%27&diff=25779How to be 'authentic'2019-09-17T13:57:31Z<p>Petravanderkooij: Created page with "'''How to be 'authentic'''' by Nina Wakeford. 6 credits January-June 2020 The term ‘authentic’ is used either in the strong sense of being “of undisputed origin or aut..."</p>
<hr />
<div>'''How to be 'authentic'''' by Nina Wakeford. 6 credits <br />
January-June 2020<br />
<br />
The term ‘authentic’ is used either in the strong sense of being “of undisputed origin or authorship”, or in a weaker sense of being “faithful to an original” or a “reliable, accurate representation”. To say that something is authentic is to say that it is what it professes to be, or what it is reputed to be, in origin or authorship. <br />
(Stanford Encyclopedia of Philosophy, 2014, accessible at https://plato.stanford.edu/entries/authenticity/)<br />
<br />
Each material has its own individual qualities…Stone, for example, is hard and concentrated and should not be falsified to look like soft flesh…It should keep its hard tense stoniness. (Henry Moore, Unit One, 1934)<br />
<br />
The live act is most often privileged as delivering an authentic and “present” body… …paradoxically, Abramovic’s recent practice, in its desire to manifest presence, points to the very fact that the live act itself destroys presence (or makes the impossibility of its being secured evident)… [or is] an inadvertent parody of the structure of authentic expression and reception of “true” emotional resonance that modernist art discourse (brought to its apotheosis in institutions such as MoMA) so long claimed for modernist painting and sculpture. (Amelia Jones, ‘The Artist is Present’, 2011)<br />
<br />
This thematic project will engage with the ‘authentic’ as a provocation within the making of contemporary art. This theme will be discussed in terms of representation and identity, political claims for recognition/reparation, the fetishism of liveness and presence as guaranteeing authenticity, as well as asking how and why ‘truth to materials’ is still mobilised explicitly or implicitly in the making of contemporary art e.g. in materials lists. If the ‘authentic’ is always already a performance of human and non-human entities and there is now only ‘nature’, as cultural theorists claim, how does this affect the decisions in the making of work? Alternatively, can we take ‘authentic’ out of its quotation marks and wholeheartedly commit to straightforward faithfulness, for example to a person, a social group, an archive or an affective event? We will address associated concepts of sincerity, accuracy, precision and validity and ponder if and why these might seem urgent or outdated or embarrassing or ideological or downright irrelevant. <br />
<br />
The priority of this thematic will be the viewing, discussion and making of art. The format will be a series of seminar discussions plus an output based around the making of artwork to be shown in a public context. In this way the readings from the seminars will be activated through the discussion of contemporary art works and the making of new art. During the course each student will actively participate in seminars by bringing examples of artworks (their own, contemporary, historical) to the group.<br />
<br />
<br />
LEARNING OUTCOMES<br />
<br />
-To be able to evaluate readings and document exhibitions/artworks in relation to the key problematic posed by the Thematic Project<br />
-To identify and critically reflect upon the relationship between the themes of this course and the making of your own work<br />
-To research and present works of art and exhibitions, and to us these to develop your conceptual vocabularies<br />
-To evidence your research and understanding by preparing and participating in discussions<br />
-To develop positions and arguments in relation to the key problematic, through the making of artwork<br />
-To develop collaborative ways of working, particularly in the development of public outputs.<br />
<br />
REQUIREMENTS FOR OBTAINING CREDITS<br />
<br />
Students must come prepared and participate in seminar discussions, group visits and the making of new work for public engagement.<br />
<br />
All students must present work for public engagement.<br />
<br />
Absences must be negotiated in advance and make-up work/presentations will be assigned.<br />
<br />
READING, LISTENING AND VIEWING MATERIAL<br />
<br />
Indicative Readings<br />
<br />
Ferrara, Alessandro (1998) Reflective Authenticity, London: Routledge.<br />
<br />
Howe, Alyssa (2001) Queer Pilgrimage, Cultural Anthropology Vol 16, No 1 <br />
<br />
Jones, Amelia (2011) “The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence. TDR/The Drama Review. Vol 55, Issue 1. <br />
<br />
Jones, Amelia (2018) Performative Afterlife. Parallax, Vol 24, Issue 1<br />
Gopinath, Gayatri (2018) Diaspora, Indigeneity, Queer Critique: Tracey Moffatt’s Aesthetics of Dwelling in Displacement. In Willis, D (2019) Women and Migration: Responses in Art and History. Open Book Publishers<br />
<br />
Telling, Kathryn (2014) Real Feminists and Fake Feminists, in Cobb R. (Ed) The Paradox of Authenticity in a Globalized World. Palgrave Macmillan, New York<br />
<br />
SCHEDULE<br />
<br />
Meetings - monthly Jan-June 2020<br />
<br />
Exhibition viewing – student organised<br />
<br />
NOTE - It is anticipated that this seminar will include a group trip to London, either in conjunction with a seminar and/or to present the final works created.</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=UNRECONCILED&diff=25778UNRECONCILED2019-09-17T13:49:44Z<p>Petravanderkooij: </p>
<hr />
<div>'''UNRECONCILED''' by Jan Verwoert, 6 credits <br />
from fall 2019 till spring 2020<br />
<br />
Critical philosophies of difference and embodiment complicate the use of both these terms. They confront structures of oppression enforced through violent discrimination, and/or insipid inclusions. Some treat you as 'other', some force you to be the 'same'. It hardly makes any difference. Both terms in the equation are born from the selfsame logic (logic of the selfsame) which indiscriminately imposes its standards of otherness and identity onto the world. Difference doesn't actually come to figure: what lived experience it may testify to, and what powers may reside in it, is denied and distorted beyond recognition by divise acts of setting one apart from the other, under the sign of sexism, racism, xeno- and homophobia… How to articulate difference in a key that breaks (with) the logic of discrimination? Unreconciled practices of embodiment don't resign themselves to filling slots on the given menu of alternatives by playing 'other' to the 'selfsame'. They tap powers that elude distinctions between this and that: an excess or collapse of signs and flesh, of artifice and life, of make-up and making do, of meanings, forces and forms of life which surpass or undercut established norms of discrimination, and expand realities. The challenge difference poses to thought is to invoke in a manner that doesn't fall for false promises of reconciliation, but sustains the tension which inheres to what is neither this nor that. <br />
<br />
The seminar will seek to unfold a series of genealogies which may render tangible how notions of difference and embodiment have been cracked open and interlaced, philosophically, artistically, existentially, and politically. The seminar is structured in three parts, each of which chooses a potentially formative moment in history as a port of entry to our inquiries.<br />
<br />
<br />
LEARNING OUTCOMES<br />
<br />
The educational aim of the course lies in exercising skills of close reading and developing the patience and persistence required for reconstructing complex bodies of thought. Thereby we seek to access an influential tradition of thought and grasp the manner in which different thinkers shape their philosophies by performing variations on premises and key motifs which they share with other thinkers, yet interpret in significantly different ways. In this sense, a goal of the seminar is to reach an understanding of philosophy as an ongoing conversation, so as to acquire the means of joining and continuing this exchange. Consider it a case of call and response: to render the call of a thought audible, we may first need to listen closely, amplify its nuances and voice its implications. Once we hear, we need to respond, and experience the resonances layered thoughts produce, by riffing on them, with precision, answering to philosophical provocations with a freedom born from antagonism as much as attunement. <br />
<br />
REQUIREMENTS FOR OBTAINING CREDITS<br />
Continuous attendance, presence of mind, lively participation, shared enjoyment of layered abstractions.<br />
<br />
<br />
READING, LISTENING AND VIEWING MATERIAL<br />
Irene Gammel: Baroness Elsa — Gender, Dada, and Everyday Modernity, a Cultural Biography, MIT Press, Cambridge Massachusetts & London England, 2003.<br />
<br />
Djuna Barnes: Nightwood. Faber and Faber, London, 2001.<br />
<br />
Djuna Barnes: The Book of Repulsive Women and other poems. Fyfield Books, Manchester 2003.<br />
<br />
Jacques Derrida: Différance. In Jacques Derrida: Margins of Philosophy, Harvester Press, Brighton, 1982, pp. 1-28.<br />
<br />
Luce Irigaray: The Sex which is Not One, Cornell University Press, Ithaca, New York, 1985.<br />
<br />
Luce Irigaray: Speculum of the Other Woman, Cornell University Press, Ithaca, New York, 1985.<br />
<br />
Gilles Deleuze: Difference and Repetition. Columbia University Press, New York, 1994.<br />
<br />
Hortense J Spillers: Mama's Baby, Papa's Maybe: an American Grammar Book. In: Diacritics, Vol. 17, No. 2, Culture and Countermemory: The American Connection (Summer 1987), pp. 64-81.<br />
<br />
Alexander G. Weheliye: Habeas Viscus — Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human; Duke University Press, Durham and London, 2014.<br />
<br />
SCHEDULE<br />
Port 1 OCTOBER - DECEMBER <br />
Blood, sweat and artifice; life, art and excessive body-text-objects; The Baroness Elsa, Djuna Barnes, Jacque Derrida. <br />
<br />
The first port of entry is marked by the life and work of two mothers of modernism, as it played itself out in New York and Paris: 'The Baroness' Elsa von Freytag Loringhoven (poet, performer, phenomenon, sculptor, dada personified) and Djuna Barnes, radical artists in their own right, friends at one point. Both put their bodies at stake, in a performance of art, poetry and literature, that exploded binaries, between gender stereotypes as much as between life and art. They set the tone for the seminar, in the sense that neither of them is a particularly conciliatory figure. Their ways of messing with the difference between existence and artifice led to oeuvres and biographies that not only challenge the canon of modern art as it's commonly taught, they remain unreconciled: Rather than ask for a rephrasing of the protocols for canonisation, their practices demand for a rupture to be held open, and thought through, on its own terms. If there is an ethos implicit to the deconstructive philosophies the seminar studies, it might lie in the need to keep the gaps open from which displacements spawn embodiments surpassing and undercutting imposed norms of difference and/as identity.<br />
<br />
As is becoming increasingly clear now, the life and work of the Baroness is inseperable from the entry of the ready-made into the discourse of modern art. Her practice of clothing herself in garments made from assorted bathroom appliances, and use of plumbing metaphors for erotic purposes, most likely laid the ground for the appearance of the infamous urinal. Her and Duchamp being lovers not only resulted in the series of photographs that saw them posing together in drag (in her clothes) for Man Ray (launching Duchamp's alias Rrose Sélavy), but also led to two sister pieces being put forward in 1917, the upturned urinal (Fountain), and a knotted pipe-trap (God), a twisted vaginal and phallic shape, the first to be authorised by him, the second by her. Quite literally though, it seems she gave the thing to him. What body did the Baroness enter into public circulation in the guise of the ready-made? Anonymous sexual organs? Unattached porcelain and metal genitals to be exchanged as gifts? Or existential signifiers of twisted relations? As little as a throw-away joke? Or as much as all a creature can give? A sur-plus, less than a body, too much of a signifying organ…<br />
<br />
Not only did The Baroness and Djuna Barnes later become involved, there is a strong resonance between the form of existential camp The Baroness advanced and the way Barnes in her pivotal novel Nightwood twists the relation between art and life, artifice and embodiment in a manner that exceeds and undercuts simple binaries. On the face of it, the novel may be read as a slash-your-wrist type queer break-up tale, in which an entire personage of Parisian Left Bank characters becomes transposed into larger-than-life versions of themselves, not least because key voices in the book speak with a tone and vocabulary taken from Milton's Paradise Lost. Not unlike Kathy Acker, Barnes amplifies intensities of life by channeling them trough ostentatious artifice. The result is an incredible displacement, in which language bursts open and defracts realities like a shattered disco-ball. A pivotal figure in the novel—who practically embodies the role of a second narrator of the story within the story, competing with the voice of Barnes' alter ego— is an Irish fake gynaecologist transvestite public drunk commentator of everyone's fate speaking in magnificently riddled anachronistical English, like a queered Joyce or sick doctor straight out of the commedia dell'arte. Semiotically, physically, and glamouristically the sick doctor disseminates difference, in that nothing he says or does is ever at one with itself, but this is precisely why, as a fractured assemblage, his discourse yields perverse wisdom.<br />
<br />
Like Barnes, Jacques Derrida embraces the ongoing displacement of semiosis through 'differing (différance)': the inherent motion of semiotic shifters, and language in so many ways becoming bodily. Here we cross over from poetry, performance, and literary forms of excessive embodiment into the field of a philosophy (at times referred to as 'deconstruction'), which, from the 1970s onwards seeks to voice difference in a key that undercuts and supersedes oppressive regimes of imposed distinctions. In many ways the keys developed by Derrida among other associated thinkers are the arms that many thinkers in the fields of queer, feminist, postcolonial, and black studies thereafter took up. <br />
<br />
<br />
Port 2 JANUARY-MARCH<br />
Embody what dwells in difference, concealed in distinctions, revealed in material experience: Luce Irigaray & Gilles Deleuze<br />
<br />
We will closely study Luce Irigaray to see how she dismantles psychoanalysis as a discourse articulating sexual difference in an oppressive patriarchal key, and how she, in a feminist key, opens pursuit of ways to testify to forms of embodied desire undercutting and superseding the false alternatives imposed by the dominant order preached by psychoanalyst Jacques Lacan. Not unlike Derrida, Irigaray localises the seat of oppression in a symbolic matrix, or semiotic structure, which, by imposing its concepts of otherness on gendered experience, distorts and occludes what potential may reside in difference. In unmaking this matrix, Irigaray seeks to gesture towards the possibility of the feminine AS difference, as "The sex which is not one".<br />
Contrary to Irigaray and Derrida, Deleuze attempts to sidestep the challenge of theorising difference/embodiment primarily through symbolic matrices. From a holistic materialist (Spinozist) point of view, he develops ideas around the concatenation and displacement of singularities along lines of flight, in terms of embodied intensities playing across assemblages and rythms of difference and repetition. <br />
<br />
Port 3 APRIL - JUNE<br />
Difference is no exception! Refusal, in the flesh, as a constant state of life under conditions of oppression. Hortense J. Spillers & Alexander G. Weheliye. <br />
<br />
The third section is centered around the work of contemporary philosopher and critic, Alexander G. Weheliye. In his book "Habeas Viscus - Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human." he launches a powerful critique against forms of philosophy which address difference in the key of the "exception", even and especially when the experience and embodiment of difference is portrayed (in more or less romanticised terms) as a form of deviance, subversion or life on the edge. He points out that, conditions of racial oppression and enslavement create cruel conditions of normality which make violence, and the need for survival persist on a level of collectivity and constancy that can hardly be grasped in a vocabulary focussed on individual performances. To this end Weheliye dismantles Giorgio Agamben's concept of 'bare life' as life in the state of exception. In dialogue with Deleuze and Hortense Spillers, he instead develops the notion of 'enfleshment' to evoke conditions of persistent embodiment of difference, to address the world-changing violence of enslavement, and pertinent forces of racism. The final third section will be an ongoing back-and-forth between Weheliye and Hortense Spillers, their texts being read side by side, so as to create the experience of how philosophy emerges as a form of layered abstraction, in the close interplay between thinkers.</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=UNRECONCILED&diff=25777UNRECONCILED2019-09-17T13:49:31Z<p>Petravanderkooij: Created page with "UNRECONCILED by Jan Verwoert, 6 credits from fall 2019 till spring 2020 Critical philosophies of difference and embodiment complicate the use of both these terms. They conf..."</p>
<hr />
<div>UNRECONCILED by Jan Verwoert, 6 credits <br />
from fall 2019 till spring 2020<br />
<br />
Critical philosophies of difference and embodiment complicate the use of both these terms. They confront structures of oppression enforced through violent discrimination, and/or insipid inclusions. Some treat you as 'other', some force you to be the 'same'. It hardly makes any difference. Both terms in the equation are born from the selfsame logic (logic of the selfsame) which indiscriminately imposes its standards of otherness and identity onto the world. Difference doesn't actually come to figure: what lived experience it may testify to, and what powers may reside in it, is denied and distorted beyond recognition by divise acts of setting one apart from the other, under the sign of sexism, racism, xeno- and homophobia… How to articulate difference in a key that breaks (with) the logic of discrimination? Unreconciled practices of embodiment don't resign themselves to filling slots on the given menu of alternatives by playing 'other' to the 'selfsame'. They tap powers that elude distinctions between this and that: an excess or collapse of signs and flesh, of artifice and life, of make-up and making do, of meanings, forces and forms of life which surpass or undercut established norms of discrimination, and expand realities. The challenge difference poses to thought is to invoke in a manner that doesn't fall for false promises of reconciliation, but sustains the tension which inheres to what is neither this nor that. <br />
<br />
The seminar will seek to unfold a series of genealogies which may render tangible how notions of difference and embodiment have been cracked open and interlaced, philosophically, artistically, existentially, and politically. The seminar is structured in three parts, each of which chooses a potentially formative moment in history as a port of entry to our inquiries.<br />
<br />
<br />
LEARNING OUTCOMES<br />
<br />
The educational aim of the course lies in exercising skills of close reading and developing the patience and persistence required for reconstructing complex bodies of thought. Thereby we seek to access an influential tradition of thought and grasp the manner in which different thinkers shape their philosophies by performing variations on premises and key motifs which they share with other thinkers, yet interpret in significantly different ways. In this sense, a goal of the seminar is to reach an understanding of philosophy as an ongoing conversation, so as to acquire the means of joining and continuing this exchange. Consider it a case of call and response: to render the call of a thought audible, we may first need to listen closely, amplify its nuances and voice its implications. Once we hear, we need to respond, and experience the resonances layered thoughts produce, by riffing on them, with precision, answering to philosophical provocations with a freedom born from antagonism as much as attunement. <br />
<br />
REQUIREMENTS FOR OBTAINING CREDITS<br />
Continuous attendance, presence of mind, lively participation, shared enjoyment of layered abstractions.<br />
<br />
<br />
READING, LISTENING AND VIEWING MATERIAL<br />
Irene Gammel: Baroness Elsa — Gender, Dada, and Everyday Modernity, a Cultural Biography, MIT Press, Cambridge Massachusetts & London England, 2003.<br />
<br />
Djuna Barnes: Nightwood. Faber and Faber, London, 2001.<br />
<br />
Djuna Barnes: The Book of Repulsive Women and other poems. Fyfield Books, Manchester 2003.<br />
<br />
Jacques Derrida: Différance. In Jacques Derrida: Margins of Philosophy, Harvester Press, Brighton, 1982, pp. 1-28.<br />
<br />
Luce Irigaray: The Sex which is Not One, Cornell University Press, Ithaca, New York, 1985.<br />
<br />
Luce Irigaray: Speculum of the Other Woman, Cornell University Press, Ithaca, New York, 1985.<br />
<br />
Gilles Deleuze: Difference and Repetition. Columbia University Press, New York, 1994.<br />
<br />
Hortense J Spillers: Mama's Baby, Papa's Maybe: an American Grammar Book. In: Diacritics, Vol. 17, No. 2, Culture and Countermemory: The American Connection (Summer 1987), pp. 64-81.<br />
<br />
Alexander G. Weheliye: Habeas Viscus — Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human; Duke University Press, Durham and London, 2014.<br />
<br />
SCHEDULE<br />
Port 1 OCTOBER - DECEMBER <br />
Blood, sweat and artifice; life, art and excessive body-text-objects; The Baroness Elsa, Djuna Barnes, Jacque Derrida. <br />
<br />
The first port of entry is marked by the life and work of two mothers of modernism, as it played itself out in New York and Paris: 'The Baroness' Elsa von Freytag Loringhoven (poet, performer, phenomenon, sculptor, dada personified) and Djuna Barnes, radical artists in their own right, friends at one point. Both put their bodies at stake, in a performance of art, poetry and literature, that exploded binaries, between gender stereotypes as much as between life and art. They set the tone for the seminar, in the sense that neither of them is a particularly conciliatory figure. Their ways of messing with the difference between existence and artifice led to oeuvres and biographies that not only challenge the canon of modern art as it's commonly taught, they remain unreconciled: Rather than ask for a rephrasing of the protocols for canonisation, their practices demand for a rupture to be held open, and thought through, on its own terms. If there is an ethos implicit to the deconstructive philosophies the seminar studies, it might lie in the need to keep the gaps open from which displacements spawn embodiments surpassing and undercutting imposed norms of difference and/as identity.<br />
<br />
As is becoming increasingly clear now, the life and work of the Baroness is inseperable from the entry of the ready-made into the discourse of modern art. Her practice of clothing herself in garments made from assorted bathroom appliances, and use of plumbing metaphors for erotic purposes, most likely laid the ground for the appearance of the infamous urinal. Her and Duchamp being lovers not only resulted in the series of photographs that saw them posing together in drag (in her clothes) for Man Ray (launching Duchamp's alias Rrose Sélavy), but also led to two sister pieces being put forward in 1917, the upturned urinal (Fountain), and a knotted pipe-trap (God), a twisted vaginal and phallic shape, the first to be authorised by him, the second by her. Quite literally though, it seems she gave the thing to him. What body did the Baroness enter into public circulation in the guise of the ready-made? Anonymous sexual organs? Unattached porcelain and metal genitals to be exchanged as gifts? Or existential signifiers of twisted relations? As little as a throw-away joke? Or as much as all a creature can give? A sur-plus, less than a body, too much of a signifying organ…<br />
<br />
Not only did The Baroness and Djuna Barnes later become involved, there is a strong resonance between the form of existential camp The Baroness advanced and the way Barnes in her pivotal novel Nightwood twists the relation between art and life, artifice and embodiment in a manner that exceeds and undercuts simple binaries. On the face of it, the novel may be read as a slash-your-wrist type queer break-up tale, in which an entire personage of Parisian Left Bank characters becomes transposed into larger-than-life versions of themselves, not least because key voices in the book speak with a tone and vocabulary taken from Milton's Paradise Lost. Not unlike Kathy Acker, Barnes amplifies intensities of life by channeling them trough ostentatious artifice. The result is an incredible displacement, in which language bursts open and defracts realities like a shattered disco-ball. A pivotal figure in the novel—who practically embodies the role of a second narrator of the story within the story, competing with the voice of Barnes' alter ego— is an Irish fake gynaecologist transvestite public drunk commentator of everyone's fate speaking in magnificently riddled anachronistical English, like a queered Joyce or sick doctor straight out of the commedia dell'arte. Semiotically, physically, and glamouristically the sick doctor disseminates difference, in that nothing he says or does is ever at one with itself, but this is precisely why, as a fractured assemblage, his discourse yields perverse wisdom.<br />
<br />
Like Barnes, Jacques Derrida embraces the ongoing displacement of semiosis through 'differing (différance)': the inherent motion of semiotic shifters, and language in so many ways becoming bodily. Here we cross over from poetry, performance, and literary forms of excessive embodiment into the field of a philosophy (at times referred to as 'deconstruction'), which, from the 1970s onwards seeks to voice difference in a key that undercuts and supersedes oppressive regimes of imposed distinctions. In many ways the keys developed by Derrida among other associated thinkers are the arms that many thinkers in the fields of queer, feminist, postcolonial, and black studies thereafter took up. <br />
<br />
<br />
Port 2 JANUARY-MARCH<br />
Embody what dwells in difference, concealed in distinctions, revealed in material experience: Luce Irigaray & Gilles Deleuze<br />
<br />
We will closely study Luce Irigaray to see how she dismantles psychoanalysis as a discourse articulating sexual difference in an oppressive patriarchal key, and how she, in a feminist key, opens pursuit of ways to testify to forms of embodied desire undercutting and superseding the false alternatives imposed by the dominant order preached by psychoanalyst Jacques Lacan. Not unlike Derrida, Irigaray localises the seat of oppression in a symbolic matrix, or semiotic structure, which, by imposing its concepts of otherness on gendered experience, distorts and occludes what potential may reside in difference. In unmaking this matrix, Irigaray seeks to gesture towards the possibility of the feminine AS difference, as "The sex which is not one".<br />
Contrary to Irigaray and Derrida, Deleuze attempts to sidestep the challenge of theorising difference/embodiment primarily through symbolic matrices. From a holistic materialist (Spinozist) point of view, he develops ideas around the concatenation and displacement of singularities along lines of flight, in terms of embodied intensities playing across assemblages and rythms of difference and repetition. <br />
<br />
Port 3 APRIL - JUNE<br />
Difference is no exception! Refusal, in the flesh, as a constant state of life under conditions of oppression. Hortense J. Spillers & Alexander G. Weheliye. <br />
<br />
The third section is centered around the work of contemporary philosopher and critic, Alexander G. Weheliye. In his book "Habeas Viscus - Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human." he launches a powerful critique against forms of philosophy which address difference in the key of the "exception", even and especially when the experience and embodiment of difference is portrayed (in more or less romanticised terms) as a form of deviance, subversion or life on the edge. He points out that, conditions of racial oppression and enslavement create cruel conditions of normality which make violence, and the need for survival persist on a level of collectivity and constancy that can hardly be grasped in a vocabulary focussed on individual performances. To this end Weheliye dismantles Giorgio Agamben's concept of 'bare life' as life in the state of exception. In dialogue with Deleuze and Hortense Spillers, he instead develops the notion of 'enfleshment' to evoke conditions of persistent embodiment of difference, to address the world-changing violence of enslavement, and pertinent forces of racism. The final third section will be an ongoing back-and-forth between Weheliye and Hortense Spillers, their texts being read side by side, so as to create the experience of how philosophy emerges as a form of layered abstraction, in the close interplay between thinkers.</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=CA-alPPlSyBJJoajD%E2%80%93MPING&diff=25776CA-alPPlSyBJJoajD–MPING2019-09-17T13:48:06Z<p>Petravanderkooij: Created page with "'''CA - alPPlSyBJJoajD – MPING''' a thematic project/residency at Kunsthuis SYB led by Bernd Krauß, 6 credits, September 19-29, 2019 This thematic residency requires full..."</p>
<hr />
<div>'''CA - alPPlSyBJJoajD – MPING''' a thematic project/residency at Kunsthuis SYB led by Bernd Krauß, 6 credits, September 19-29, 2019<br />
<br />
This thematic residency requires full participation over the course of 10 days and the individual and collective production of work for public presentation at SYB, and documentation for PZI MFA and SYB. The residency will be followed up by a homecoming, reintegration presentation.<br />
<br />
Located between our friendly camping site competitors “It Polderdykie” to the west and “Het Koningsdiep” to the east, CA - alPPlSyBJJoajD - MPING is found at SYB, in the lovely Friesian village of Beetsterzwaag – a magnet for culture-craving seekers in the vast north of the Netherlands. During the late summer season (September 19-29) we will offer both indoor and outdoor pitches on our estate. From dramatic scenes on stage, to the cuddly atmosphere of our artist vintage corner, to spots with wide views into the typical Dutch neighborhood backyard, we guarantee you an exceptional stay, sleep, and dream experience. Pitch your tent on your preferred location. For the unequipped, a tent dorm is available. In that case, a sleeping bag and mat are still required! For those with an urge for higher categories of comfort we have rearranged the wood-paneled attic into 2 bedrooms, each equipped with Landgraaf twin beds. Here you can also find also direct access to the sanitary cell, which includes a country-rain shower and standard toilet. The core of the hospitality operation lies on the first floor, where you’ll find a well-equipped kitchen, including a six flame gas cooking arrangement that has been approved by the local star authorities (Landgoed Lauswolt = Golf & Country Club) as decent machinery. Completing the hospitality offering is a living and comfort zone with views onto the treetops of the nearby park. Free WIFI included. The bus stops directly under the kitchen window and could bring you to the nearby Friesian hub, Drachten, the recent skyrocketing development of which has only left the local trot track out of its pampering success. Heerenveen hosts a first-division football league employer (Abe Lenstra Stadion). One of the internationally known landmarks of post-urban-landscaping (known as PULC) can be found here too: the Ecocathedral and the garden both built and designed by Louis Le Roi. ([1]) Beautiful Beech woods mixed with a Scandinavian-inspired Heather zone are within walking distance. A sculpture trail might guide you through the parks of the former county estate. Berry season will be on! Afterwards you may pick an exquisite cheese at the local specialty shop. A supermarket caters most of the daily needs. The town’s pub is legendary for its particular style of billiards. And on Fridays, the fish booth stops just around the corner. For further relaxation you can help out at the local horse riding manege. (https://www.manegeonderdelinde.nl/) On weekends we are open for the public and are happy to guide day guests and passersby through the experimental camp-ierence of shifting and reestablishing formats and standards of hosting and coasting. Individually established “tenthomezones” will introduce you to the interiors of each creative caravanning trip of the participant artists. The support team of CA - alPPlSyBJJoajD -MPING will guide you into a field under a constant but decent breeze of polyester and polyamide fumes (We do provide solutions in cotton for those with allergies). Further touristic suggestions by foot, bike and bus will soon be arranged by our campering hosts. Under their guidance and expertise, this unique opportunity to combine villageian urbanism and natural camp-flora will grow into a sensory experience of its own. Throughout the 10 day period, the kitchen will offer a menu reflecting on the local and seasonal assets. In a reciprocal form of learning and informing the site will grammatically and aesthetically set its own rulings and parameters. Which of the letters do you want to engage with: alPPlyJJoaBj or try the D! (CA-alPPlSyBJJoajD-MPING is a by the ICAWW approved and governed operation) http://kunsthuissyb.nl/over-syb/ Sincerely Yours! Gramp-Master FLASH!<br />
<br />
http://kunsthuissyb.nl/over-syb/fotos/<br />
<br />
Kunsthuis SYB <br />
<br />
Hoofdstraat 70 <br />
<br />
9244 CP Beetsterzwaag</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=THEMATIC_PROJECTS&diff=25775THEMATIC PROJECTS2019-09-17T13:47:44Z<p>Petravanderkooij: </p>
<hr />
<div>'''2019 - 2020'''<br />
<br />
<br />
'''THEMATIC PROJECT FOR 2ND YEAR STUDENTS ONLY:'''<br />
<br />
[[CA-alPPlSyBJJoajD–MPING]]<br/><br />
<br />
<br />
'''THEMATIC PROJECTS OPEN TO ALL STUDENTS:'''<br />
<br />
[[UNRECONCILED]]<br/><br />
<br />
[[How to be 'authentic']]<br />
<br />
<br />
<br />
<br />
''PAST YEARS THEMATIC PROJECTS:''</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Y_CA-alPPlSyBJJoajD%E2%80%93MPING&diff=25774Y CA-alPPlSyBJJoajD–MPING2019-09-17T13:47:02Z<p>Petravanderkooij: </p>
<hr />
<div>'''CA - alPPlSyBJJoajD – MPING'''<br />
a thematic project/residency at Kunsthuis SYB led by Bernd Krauß, 6 credits,<br />
September 19-29, 2019<br />
<br />
This thematic residency requires full participation over the course of 10 days and the individual and collective production of work for public presentation at SYB, and documentation for PZI MFA and SYB. The residency will be followed up by a homecoming, reintegration presentation. <br />
<br />
Located between our friendly camping site competitors “It Polderdykie” to the west and “Het Koningsdiep” to the east, CA - alPPlSyBJJoajD - MPING is found at SYB, in the lovely Friesian village of Beetsterzwaag – a magnet for culture-craving seekers in the vast north of the Netherlands. <br />
During the late summer season (September 19-29) we will offer both indoor and outdoor pitches on our estate. From dramatic scenes on stage, to the cuddly atmosphere of our artist vintage corner, to spots with wide views into the typical Dutch neighborhood backyard, we guarantee you an exceptional stay, sleep, and dream experience. <br />
Pitch your tent on your preferred location. For the unequipped, a tent dorm is available. In that case, a sleeping bag and mat are still required! <br />
For those with an urge for higher categories of comfort we have rearranged the wood-paneled attic into 2 bedrooms, each equipped with Landgraaf twin beds. <br />
Here you can also find also direct access to the sanitary cell, which includes a country-rain shower and standard toilet. The core of the hospitality operation lies on the first floor, where you’ll find a well-equipped kitchen, including a six flame gas cooking arrangement that has been approved by the local star authorities (Landgoed Lauswolt = Golf & Country Club) as decent machinery. <br />
Completing the hospitality offering is a living and comfort zone with views onto the treetops of the nearby park. Free WIFI included.<br />
The bus stops directly under the kitchen window and could bring you to the nearby Friesian hub, Drachten, the recent skyrocketing development of which has only left the local trot track out of its pampering success. <br />
Heerenveen hosts a first-division football league employer (Abe Lenstra Stadion). One of the internationally known landmarks of post-urban-landscaping (known as PULC) can be found here too: the Ecocathedral and the garden both built and designed by Louis Le Roi. <br />
([https://www.flickr.com/photos/ecokathedralen/albums/72157600125376244/])<br />
Beautiful Beech woods mixed with a Scandinavian-inspired Heather zone are within walking distance. <br />
A sculpture trail might guide you through the parks of the former county estate. <br />
Berry season will be on! Afterwards you may pick an exquisite cheese at the local specialty shop. A supermarket caters most of the daily needs. The town’s pub is legendary for its particular style of billiards. <br />
And on Fridays, the fish booth stops just around the corner. For further relaxation you can help out at the local horse riding manege. (https://www.manegeonderdelinde.nl/)<br />
On weekends we are open for the public and are happy to guide day guests and passersby through the experimental camp-ierence of shifting and reestablishing formats and standards of hosting and coasting. <br />
Individually established “tenthomezones” will introduce you to the interiors of each creative caravanning trip of the participant artists. The support team of CA - alPPlSyBJJoajD -MPING will guide you into a field under a constant but decent breeze of polyester and polyamide fumes (We do provide solutions in cotton for those with allergies).<br />
Further touristic suggestions by foot, bike and bus will soon be arranged by our campering hosts. <br />
Under their guidance and expertise, this unique opportunity to combine villageian urbanism and natural camp-flora will grow into a sensory experience of its own. <br />
Throughout the 10 day period, the kitchen will offer a menu reflecting on the local and seasonal assets. In a reciprocal form of learning and informing the site will grammatically and aesthetically set its own rulings and parameters. Which of the letters do you want to engage with: alPPlyJJoaBj or try the D!<br />
(CA-alPPlSyBJJoajD-MPING is a by the ICAWW approved and governed operation)<br />
http://kunsthuissyb.nl/over-syb/ <br />
Sincerely Yours!<br />
Gramp-Master FLASH!<br />
<br />
http://kunsthuissyb.nl/over-syb/fotos/<br />
<br />
Kunsthuis SYB <br />
<br />
Hoofdstraat 70 <br />
<br />
9244 CP Beetsterzwaag</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=THEMATIC_PROJECTS&diff=25773THEMATIC PROJECTS2019-09-17T13:46:43Z<p>Petravanderkooij: </p>
<hr />
<div>'''2019 - 2020'''<br />
<br />
<br />
'''THEMATIC PROJECT FOR 2ND YEAR STUDENTS ONLY:'''<br />
<br />
[[Y CA-alPPlSyBJJoajD–MPING]]<br/><br />
<br />
<br />
'''THEMATIC PROJECTS OPEN TO ALL STUDENTS:'''<br />
<br />
[[UNRECONCILED]]<br/><br />
<br />
[[How to be 'authentic']]<br />
<br />
<br />
<br />
<br />
''PAST YEARS THEMATIC PROJECTS:''</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=THEMATIC_PROJECTS&diff=25772THEMATIC PROJECTS2019-09-17T13:46:27Z<p>Petravanderkooij: </p>
<hr />
<div>'''2019 - 2020'''<br />
<br />
<br />
'''THEMATIC PROJECT FOR 2ND YEAR STUDENTS ONLY:'''<br />
<br />
[[CA-alPPlSyBJJoajD–MPING]]<br/><br />
<br />
<br />
'''THEMATIC PROJECTS OPEN TO ALL STUDENTS:'''<br />
<br />
[[UNRECONCILED]]<br/><br />
<br />
[[How to be 'authentic']]<br />
<br />
<br />
<br />
<br />
''PAST YEARS THEMATIC PROJECTS:''</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Y_CA-alPPlSyBJJoajD%E2%80%93MPING&diff=25771Y CA-alPPlSyBJJoajD–MPING2019-09-17T13:45:30Z<p>Petravanderkooij: </p>
<hr />
<div>'''CA - alPPlSyBJJoajD – MPING'''<br />
a thematic project/residency at Kunsthuis SYB led by Bernd Krauß, 6 credits,<br />
September 19-29, 2019<br />
<br />
This thematic residency requires full participation over the course of 10 days and the individual and collective production of work for public presentation at SYB, and documentation for PZI MFA and SYB. The residency will be followed up by a homecoming, reintegration presentation. <br />
<br />
Located between our friendly camping site competitors “It Polderdykie” to the west and “Het Koningsdiep” to the east, CA - alPPlSyBJJoajD - MPING is found at SYB, in the lovely Friesian village of Beetsterzwaag – a magnet for culture-craving seekers in the vast north of the Netherlands. <br />
During the late summer season (September 19-29) we will offer both indoor and outdoor pitches on our estate. From dramatic scenes on stage, to the cuddly atmosphere of our artist vintage corner, to spots with wide views into the typical Dutch neighborhood backyard, we guarantee you an exceptional stay, sleep, and dream experience. <br />
Pitch your tent on your preferred location. For the unequipped, a tent dorm is available. In that case, a sleeping bag and mat are still required! <br />
For those with an urge for higher categories of comfort we have rearranged the wood-paneled attic into 2 bedrooms, each equipped with Landgraaf twin beds. <br />
Here you can also find also direct access to the sanitary cell, which includes a country-rain shower and standard toilet. The core of the hospitality operation lies on the first floor, where you’ll find a well-equipped kitchen, including a six flame gas cooking arrangement that has been approved by the local star authorities (Landgoed Lauswolt = Golf & Country Club) as decent machinery. <br />
Completing the hospitality offering is a living and comfort zone with views onto the treetops of the nearby park. Free WIFI included.<br />
The bus stops directly under the kitchen window and could bring you to the nearby Friesian hub, Drachten, the recent skyrocketing development of which has only left the local trot track out of its pampering success. <br />
Heerenveen hosts a first-division football league employer (Abe Lenstra Stadion). One of the internationally known landmarks of post-urban-landscaping (known as PULC) can be found here too: the Ecocathedral and the garden both built and designed by Louis Le Roi. <br />
([https://www.flickr.com/photos/ecokathedralen/albums/72157600125376244/])<br />
Beautiful Beech woods mixed with a Scandinavian-inspired Heather zone are within walking distance. <br />
A sculpture trail might guide you through the parks of the former county estate. <br />
Berry season will be on! Afterwards you may pick an exquisite cheese at the local specialty shop. A supermarket caters most of the daily needs. The town’s pub is legendary for its particular style of billiards. <br />
And on Fridays, the fish booth stops just around the corner. For further relaxation you can help out at the local horse riding manege. (https://www.manegeonderdelinde.nl/)<br />
On weekends we are open for the public and are happy to guide day guests and passersby through the experimental camp-ierence of shifting and reestablishing formats and standards of hosting and coasting. <br />
Individually established “tenthomezones” will introduce you to the interiors of each creative caravanning trip of the participant artists. The support team of CA - alPPlSyBJJoajD -MPING will guide you into a field under a constant but decent breeze of polyester and polyamide fumes (We do provide solutions in cotton for those with allergies).<br />
Further touristic suggestions by foot, bike and bus will soon be arranged by our campering hosts. <br />
Under their guidance and expertise, this unique opportunity to combine villageian urbanism and natural camp-flora will grow into a sensory experience of its own. <br />
Throughout the 10 day period, the kitchen will offer a menu reflecting on the local and seasonal assets. In a reciprocal form of learning and informing the site will grammatically and aesthetically set its own rulings and parameters. Which of the letters do you want to engage with: alPPlyJJoaBj or try the D!<br />
(CA-alPPlSyBJJoajD-MPING is a by the ICAWW approved and governed operation)<br />
http://kunsthuissyb.nl/over-syb/ <br />
Sincerely Yours!<br />
Gramp-Master FLASH!<br />
<br />
http://kunsthuissyb.nl/over-syb/fotos/<br />
<br />
*Kunsthuis SYB <br />
*Hoofdstraat 70 <br />
*9244 CP Beetsterzwaag</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Y_CA-alPPlSyBJJoajD%E2%80%93MPING&diff=25770Y CA-alPPlSyBJJoajD–MPING2019-09-17T13:44:11Z<p>Petravanderkooij: </p>
<hr />
<div>'''CA - alPPlSyBJJoajD – MPING'''<br />
a thematic project/residency at Kunsthuis SYB led by Bernd Krauß, 6 credits,<br />
September 19-29, 2019<br />
<br />
This thematic residency requires full participation over the course of 10 days and the individual and collective production of work for public presentation at SYB, and documentation for PZI MFA and SYB. The residency will be followed up by a homecoming, reintegration presentation. <br />
<br />
Located between our friendly camping site competitors “It Polderdykie” to the west and “Het Koningsdiep” to the east, CA - alPPlSyBJJoajD - MPING is found at SYB, in the lovely Friesian village of Beetsterzwaag – a magnet for culture-craving seekers in the vast north of the Netherlands. <br />
During the late summer season (September 19-29) we will offer both indoor and outdoor pitches on our estate. From dramatic scenes on stage, to the cuddly atmosphere of our artist vintage corner, to spots with wide views into the typical Dutch neighborhood backyard, we guarantee you an exceptional stay, sleep, and dream experience. <br />
Pitch your tent on your preferred location. For the unequipped, a tent dorm is available. In that case, a sleeping bag and mat are still required! <br />
For those with an urge for higher categories of comfort we have rearranged the wood-paneled attic into 2 bedrooms, each equipped with Landgraaf twin beds. <br />
Here you can also find also direct access to the sanitary cell, which includes a country-rain shower and standard toilet. The core of the hospitality operation lies on the first floor, where you’ll find a well-equipped kitchen, including a six flame gas cooking arrangement that has been approved by the local star authorities (Landgoed Lauswolt = Golf & Country Club) as decent machinery. <br />
Completing the hospitality offering is a living and comfort zone with views onto the treetops of the nearby park. Free WIFI included.<br />
The bus stops directly under the kitchen window and could bring you to the nearby Friesian hub, Drachten, the recent skyrocketing development of which has only left the local trot track out of its pampering success. <br />
Heerenveen hosts a first-division football league employer (Abe Lenstra Stadion). One of the internationally known landmarks of post-urban-landscaping (known as PULC) can be found here too: the Ecocathedral and the garden both built and designed by Louis Le Roi. <br />
([https://www.flickr.com/photos/ecokathedralen/albums/72157600125376244/])<br />
Beautiful Beech woods mixed with a Scandinavian-inspired Heather zone are within walking distance. <br />
A sculpture trail might guide you through the parks of the former county estate. <br />
Berry season will be on! Afterwards you may pick an exquisite cheese at the local specialty shop. A supermarket caters most of the daily needs. The town’s pub is legendary for its particular style of billiards. <br />
And on Fridays, the fish booth stops just around the corner. For further relaxation you can help out at the local horse riding manege. (https://www.manegeonderdelinde.nl/)<br />
On weekends we are open for the public and are happy to guide day guests and passersby through the experimental camp-ierence of shifting and reestablishing formats and standards of hosting and coasting. <br />
Individually established “tenthomezones” will introduce you to the interiors of each creative caravanning trip of the participant artists. The support team of CA - alPPlSyBJJoajD -MPING will guide you into a field under a constant but decent breeze of polyester and polyamide fumes (We do provide solutions in cotton for those with allergies).<br />
Further touristic suggestions by foot, bike and bus will soon be arranged by our campering hosts. <br />
Under their guidance and expertise, this unique opportunity to combine villageian urbanism and natural camp-flora will grow into a sensory experience of its own. <br />
Throughout the 10 day period, the kitchen will offer a menu reflecting on the local and seasonal assets. In a reciprocal form of learning and informing the site will grammatically and aesthetically set its own rulings and parameters. Which of the letters do you want to engage with: alPPlyJJoaBj or try the D!<br />
(CA-alPPlSyBJJoajD-MPING is a by the ICAWW approved and governed operation)<br />
http://kunsthuissyb.nl/over-syb/ <br />
Sincerely Yours!<br />
Gramp-Master FLASH!<br />
<br />
[http://kunsthuissyb.nl/over-syb/fotos/]<br />
<br />
*Kunsthuis SYB <br />
*Hoofdstraat 70 <br />
*9244 CP Beetsterzwaag</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Y_CA-alPPlSyBJJoajD%E2%80%93MPING&diff=25769Y CA-alPPlSyBJJoajD–MPING2019-09-17T13:41:37Z<p>Petravanderkooij: </p>
<hr />
<div>'''CA - alPPlSyBJJoajD – MPING'''<br />
a thematic project/residency at Kunsthuis SYB led by Bernd Krauß, 6 credits,<br />
September 19-29, 2019<br />
<br />
This thematic residency requires full participation over the course of 10 days and the individual and collective production of work for public presentation at SYB, and documentation for PZI MFA and SYB. The residency will be followed up by a homecoming, reintegration presentation. <br />
<br />
Located between our friendly camping site competitors “It Polderdykie” to the west and “Het Koningsdiep” to the east, CA - alPPlSyBJJoajD - MPING is found at SYB, in the lovely Friesian village of Beetsterzwaag – a magnet for culture-craving seekers in the vast north of the Netherlands. During the late summer season (September 19-29) we will offer both indoor and outdoor pitches on our estate. From dramatic scenes on stage, to the cuddly atmosphere of our artist vintage corner, to spots with wide views into the typical Dutch neighborhood backyard, we guarantee you an exceptional stay, sleep, and dream experience. Pitch your tent on your preferred location. For the unequipped, a tent dorm is available. In that case, a sleeping bag and mat are still required! <br />
For those with an urge for higher categories of comfort we have rearranged the wood-paneled attic into 2 bedrooms, each equipped with Landgraaf twin beds. Here you can also find also direct access to the sanitary cell, which includes a country-rain shower and standard toilet. The core of the hospitality operation lies on the first floor, where you’ll find a well-equipped kitchen, including a six flame gas cooking arrangement that has been approved by the local star authorities (Landgoed Lauswolt = Golf & Country Club) as decent machinery. Completing the hospitality offering is a living and comfort zone with views onto the treetops of the nearby park. Free WIFI included.<br />
The bus stops directly under the kitchen window and could bring you to the nearby Friesian hub, Drachten, the recent skyrocketing development of which has only left the local trot track out of its pampering success. Heerenven hosts a first-division football league employer (Abe Lenstra Stadion). One of the internationalyl known landmarks of post-urban-landscaping (known as PULC) can be found here too: the Ecocathedral and the garden both built and designed by Louis Le Roi. (https://www.flickr.com/photos/ecokathedralen/albums/72157600125376244/)<br />
Beautiful Beech woods mixed with a Scandinavian-inspired Heather zone are within walking distance. A sculpture trail might guide you through the parks of the former county estate. Berry season will be on! Afterwards you may pick an exquisite cheese at the local specialty shop. A supermarket caters most of the daily needs. The town’s pub is legendary for its particular style of billiards. And on Fridays, the fish booth stops just around the corner. For further relaxation you can help out at the local horse riding manege. (https://www.manegeonderdelinde.nl/)<br />
On weekends we are open for the public and are happy to guide day guests and passersby through the experimental camp-ierence of shifting and reestablishing formats and standards of hosting and coasting. Individually established “tenthomezones” will introduce you to the interiors of each creative caravanning trip of the participant artists. The support team of CA - alPPlSyBJJoajD -MPING will guide you into a field under a constant but decent breeze of polyester and polyamide fumes (We do provide solutions in cotton for those with allergies).<br />
Further touristic suggestions by foot, bike and bus will soon be arranged by our campering hosts. Under their guidance and expertise, this unique opportunity to combine villageian urbanism and natural camp-flora will grow into a sensory experience of its own. Throughout the 10 day period, the kitchen will offer a menu reflecting on the local and seasonal assets. In a reciprocal form of learning and informing the site will grammatically and aesthetically set its own rulings and parameters. Which of the letters do you want to engage with: alPPlyJJoaBj or try the D!<br />
(CA-alPPlSyBJJoajD-MPING is a by the ICAWW approved and governed operation)<br />
http://kunsthuissyb.nl/over-syb/ <br />
Sincerely Yours!<br />
Gramp-Master FLASH!<br />
<br />
[http://kunsthuissyb.nl/over-syb/fotos/]<br />
<br />
Kunsthuis SYB <br />
Hoofdstraat 70 <br />
9244 CP Beetsterzwaag</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Y_CA-alPPlSyBJJoajD%E2%80%93MPING&diff=25768Y CA-alPPlSyBJJoajD–MPING2019-09-17T13:41:03Z<p>Petravanderkooij: Created page with "'''CA - alPPlSyBJJoajD – MPING''' a thematic project/residency at Kunsthuis SYB led by Bernd Krauß, 6 credits, September 19-29, 2019 This thematic residency requires full..."</p>
<hr />
<div>'''CA - alPPlSyBJJoajD – MPING'''<br />
a thematic project/residency at Kunsthuis SYB led by Bernd Krauß, 6 credits,<br />
September 19-29, 2019<br />
<br />
This thematic residency requires full participation over the course of 10 days and the individual and collective production of work for public presentation at SYB, and documentation for PZI MFA and SYB. The residency will be followed up by a homecoming, reintegration presentation. <br />
<br />
Located between our friendly camping site competitors “It Polderdykie” to the west and “Het Koningsdiep” to the east, CA - alPPlSyBJJoajD - MPING is found at SYB, in the lovely Friesian village of Beetsterzwaag – a magnet for culture-craving seekers in the vast north of the Netherlands. During the late summer season (September 19-29) we will offer both indoor and outdoor pitches on our estate. From dramatic scenes on stage, to the cuddly atmosphere of our artist vintage corner, to spots with wide views into the typical Dutch neighborhood backyard, we guarantee you an exceptional stay, sleep, and dream experience. Pitch your tent on your preferred location. For the unequipped, a tent dorm is available. In that case, a sleeping bag and mat are still required! <br />
For those with an urge for higher categories of comfort we have rearranged the wood-paneled attic into 2 bedrooms, each equipped with Landgraaf twin beds. Here you can also find also direct access to the sanitary cell, which includes a country-rain shower and standard toilet. The core of the hospitality operation lies on the first floor, where you’ll find a well-equipped kitchen, including a six flame gas cooking arrangement that has been approved by the local star authorities (Landgoed Lauswolt = Golf & Country Club) as decent machinery. Completing the hospitality offering is a living and comfort zone with views onto the treetops of the nearby park. Free WIFI included.<br />
The bus stops directly under the kitchen window and could bring you to the nearby Friesian hub, Drachten, the recent skyrocketing development of which has only left the local trot track out of its pampering success. Heerenven hosts a first-division football league employer (Abe Lenstra Stadion). One of the internationalyl known landmarks of post-urban-landscaping (known as PULC) can be found here too: the Ecocathedral and the garden both built and designed by Louis Le Roi. (https://www.flickr.com/photos/ecokathedralen/albums/72157600125376244/)<br />
Beautiful Beech woods mixed with a Scandinavian-inspired Heather zone are within walking distance. A sculpture trail might guide you through the parks of the former county estate. Berry season will be on! Afterwards you may pick an exquisite cheese at the local specialty shop. A supermarket caters most of the daily needs. The town’s pub is legendary for its particular style of billiards. And on Fridays, the fish booth stops just around the corner. For further relaxation you can help out at the local horse riding manege. (https://www.manegeonderdelinde.nl/)<br />
On weekends we are open for the public and are happy to guide day guests and passersby through the experimental camp-ierence of shifting and reestablishing formats and standards of hosting and coasting. Individually established “tenthomezones” will introduce you to the interiors of each creative caravanning trip of the participant artists. The support team of CA - alPPlSyBJJoajD -MPING will guide you into a field under a constant but decent breeze of polyester and polyamide fumes (We do provide solutions in cotton for those with allergies).<br />
Further touristic suggestions by foot, bike and bus will soon be arranged by our campering hosts. Under their guidance and expertise, this unique opportunity to combine villageian urbanism and natural camp-flora will grow into a sensory experience of its own. Throughout the 10 day period, the kitchen will offer a menu reflecting on the local and seasonal assets. In a reciprocal form of learning and informing the site will grammatically and aesthetically set its own rulings and parameters. Which of the letters do you want to engage with: alPPlyJJoaBj or try the D!<br />
(CA-alPPlSyBJJoajD-MPING is a by the ICAWW approved and governed operation)<br />
http://kunsthuissyb.nl/over-syb/ <br />
Sincerely Yours!<br />
Gramp-Master FLASH!<br />
http://kunsthuissyb.nl/over-syb/fotos/<br />
Kunsthuis SYB <br />
Hoofdstraat 70 <br />
9244 CP Beetsterzwaag</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=THEMATIC_PROJECTS&diff=25767THEMATIC PROJECTS2019-09-17T12:47:21Z<p>Petravanderkooij: </p>
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<div>'''2019 - 2020'''<br />
<br />
<br />
'''THEMATIC PROJECT FOR 2ND YEAR STUDENTS ONLY:'''<br />
<br />
[[Y CA-alPPlSyBJJoajD–MPING]]<br/><br />
<br />
<br />
'''THEMATIC PROJECTS OPEN TO ALL STUDENTS:'''<br />
<br />
[[UNRECONCILED]]<br/><br />
<br />
[[How to be 'authentic']]<br />
<br />
<br />
<br />
<br />
''PAST YEARS THEMATIC PROJECTS:''</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/14-10-2019_-Event_2&diff=25757Calendars:Fine Art Calendar/Fine Art Calendar/14-10-2019 -Event 22019-09-16T13:42:14Z<p>Petravanderkooij: Created page with "GUEST TUTOR AZAR MAHMOUDIAN Only 1st years"</p>
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<div>GUEST TUTOR AZAR MAHMOUDIAN<br />
<br />
Only 1st years</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/16-10-2019_-Event_1&diff=25756Calendars:Fine Art Calendar/Fine Art Calendar/16-10-2019 -Event 12019-09-16T13:42:07Z<p>Petravanderkooij: Blanked the page</p>
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<div></div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Thematic_Project_2019-2020:_UNRECONCILED&diff=25733Thematic Project 2019-2020: UNRECONCILED2019-09-11T11:35:23Z<p>Petravanderkooij: </p>
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<div>'''UNRECONCILED <br />
Year long seminar led by Jan Verwoert<br />
6 credits'''<br />
<br />
Critical philosophies of difference and embodiment complicate the use of both these terms. They confront structures of oppression enforced through violent discrimination, and/or insipid inclusions. Some treat you as 'other', some force you to be the 'same'. It hardly makes any difference. Both terms in the equation are born from the selfsame logic (logic of the selfsame) which indiscriminately imposes its standards of otherness and identity onto the world. Difference doesn't actually come to figure: what lived experience it may testify to, and what powers may reside in it, is denied and distorted beyond recognition by divisive acts of setting one apart from the other, under the sign of sexism, racism, xeno- and homophobia… How to articulate difference in a key that breaks (with) the logic of discrimination? Unreconciled practices of embodiment don't resign themselves to filling slots on the given menu of alternatives by playing 'other' to the 'selfsame'. They tap powers that elude distinctions between this and that: an excess or collapse of signs and flesh, of artifice and life, of make-up and making do, of meanings, forces and forms of life which surpass or undercut established norms of discrimination, and expand realities. The challenge difference poses to thought is to invoke in a manner that doesn't fall for false promises of reconciliation, but sustains the tension which inheres to what is neither this nor that. <br />
<br />
The seminar will seek to unfold a series of genealogies which may render tangible how notions of difference and embodiment have been cracked open and interlaced, philosophically, artistically, existentially, and politically. The seminar is structured in three parts, each of which chooses a potentially formative moment in history as a port of entry to our inquiries.<br />
<br />
<br />
LEARNING OUTCOMES<br />
<br />
The educational aim of the course lies in exercising skills of close reading and developing the patience and persistence required for reconstructing complex bodies of thought. Thereby we seek to access an influential tradition of thought and grasp the manner in which different thinkers shape their philosophies by performing variations on premises and key motifs which they share with other thinkers, yet interpret in significantly different ways. In this sense, a goal of the seminar is to reach an understanding of philosophy as an ongoing conversation, so as to acquire the means of joining and continuing this exchange. Consider it a case of call and response: to render the call of a thought audible, we may first need to listen closely, amplify its nuances and voice its implications. Once we hear, we need to respond, and experience the resonances layered thoughts produce, by riffing on them, with precision, answering to philosophical provocations with a freedom born from antagonism as much as attunement. <br />
<br />
REQUIREMENTS FOR OBTAINING CREDITS<br />
Continuous attendance, presence of mind, lively participation, shared enjoyment of layered abstractions.<br />
<br />
<br />
READING, LISTENING AND VIEWING MATERIAL<br />
Irene Gammel: Baroness Elsa — Gender, Dada, and Everyday Modernity, a Cultural Biography, MIT Press, Cambridge Massachusetts & London England, 2003.<br />
<br />
Djuna Barnes: Nightwood. Faber and Faber, London, 2001.<br />
<br />
Djuna Barnes: The Book of Repulsive Women and other poems. Fyfield Books, Manchester 2003.<br />
<br />
Jacques Derrida: Différance. In Jacques Derrida: Margins of Philosophy, Harvester Press, Brighton, 1982, pp. 1-28.<br />
<br />
Luce Irigaray: The Sex which is Not One, Cornell University Press, Ithaca, New York, 1985.<br />
<br />
Luce Irigaray: Speculum of the Other Woman, Cornell University Press, Ithaca, New York, 1985.<br />
<br />
Gilles Deleuze: Difference and Repetition. Columbia University Press, New York, 1994.<br />
<br />
Hortense J Spillers: Mama's Baby, Papa's Maybe: an American Grammar Book. In: Diacritics, Vol. 17, No. 2, Culture and Countermemory: The American Connection (Summer 1987), pp. 64-81.<br />
<br />
Alexander G. Weheliye: Habeas Viscus — Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human; Duke University Press, Durham and London, 2014.<br />
<br />
SCHEDULE<br />
Port 1 OCTOBER - DECEMBER <br />
Blood, sweat and artifice; life, art and excessive body-text-objects; The Baroness Elsa, Djuna Barnes, Jacques Derrida. <br />
<br />
The first port of entry is marked by the life and work of two mothers of modernism, as it played itself out in New York and Paris: 'The Baroness' Elsa von Freytag Loringhoven (poet, performer, phenomenon, sculptor, dada personified) and Djuna Barnes, radical artists in their own right, friends at one point. Both put their bodies at stake, in a performance of art, poetry and literature, that exploded binaries, between gender stereotypes as much as between life and art. They set the tone for the seminar, in the sense that neither of them is a particularly conciliatory figure. Their ways of messing with the difference between existence and artifice led to oeuvres and biographies that not only challenge the canon of modern art as it's commonly taught, they remain unreconciled: Rather than ask for a rephrasing of the protocols for canonisation, their practices demand for a rupture to be held open, and thought through, on its own terms. If there is an ethos implicit to the deconstructive philosophies the seminar studies, it might lie in the need to keep the gaps open from which displacements spawn embodiments surpassing and undercutting imposed norms of difference and/as identity.<br />
<br />
As is becoming increasingly clear now, the life and work of the Baroness is inseperable from the entry of the ready-made into the discourse of modern art. Her practice of clothing herself in garments made from assorted bathroom appliances, and use of plumbing metaphors for erotic purposes, most likely laid the ground for the appearance of the infamous urinal. Her and Duchamp being lovers not only resulted in the series of photographs that saw them posing together in drag (in her clothes) for Man Ray (launching Duchamp's alias Rrose Sélavy), but also led to two sister pieces being put forward in 1917, the upturned urinal (Fountain), and a knotted pipe-trap (God), a twisted vaginal and phallic shape, the first to be authorised by him, the second by her. Quite literally though, it seems she gave the thing to him. What body did the Baroness enter into public circulation in the guise of the ready-made? Anonymous sexual organs? Unattached porcelain and metal genitals to be exchanged as gifts? Or existential signifiers of twisted relations? As little as a throw-away joke? Or as much as all a creature can give? A sur-plus, less than a body, too much of a signifying organ…<br />
<br />
Not only did The Baroness and Djuna Barnes later become involved, there is a strong resonance between the form of existential camp The Baroness advanced and the way Barnes in her pivotal novel Nightwood twists the relation between art and life, artifice and embodiment in a manner that exceeds and undercuts simple binaries. On the face of it, the novel may be read as a slash-your-wrist type queer break-up tale, in which an entire personage of Parisian Left Bank characters becomes transposed into larger-than-life versions of themselves, not least because key voices in the book speak with a tone and vocabulary taken from Milton's Paradise Lost. Not unlike Kathy Acker, Barnes amplifies intensities of life by channeling them trough ostentatious artifice. The result is an incredible displacement, in which language bursts open and defracts realities like a shattered disco-ball. A pivotal figure in the novel—who practically embodies the role of a second narrator of the story within the story, competing with the voice of Barnes' alter ego— is an Irish fake gynaecologist transvestite public drunk commentator of everyone's fate speaking in magnificently riddled anachronistical English, like a queered Joyce or sick doctor straight out of the commedia dell'arte. Semiotically, physically, and glamouristically the sick doctor disseminates difference, in that nothing he says or does is ever at one with itself, but this is precisely why, as a fractured assemblage, his discourse yields perverse wisdom.<br />
<br />
Like Barnes, Jacques Derrida embraces the ongoing displacement of semiosis through 'differing (différance)': the inherent motion of semiotic shifters, and language in so many ways becoming bodily. Here we cross over from poetry, performance, and literary forms of excessive embodiment into the field of a philosophy (at times referred to as 'deconstruction'), which, from the 1970s onwards seeks to voice difference in a key that undercuts and supersedes oppressive regimes of imposed distinctions. In many ways the keys developed by Derrida among other associated thinkers are the arms that many thinkers in the fields of queer, feminist, postcolonial, and black studies thereafter took up. <br />
<br />
<br />
Port 2 JANUARY-MARCH<br />
Embody what dwells in difference, concealed in distinctions, revealed in material experience: Luce Irigaray & Gilles Deleuze<br />
<br />
We will closely study Luce Irigaray to see how she dismantles psychoanalysis as a discourse articulating sexual difference in an oppressive patriarchal key, and how she, in a feminist key, opens pursuit of ways to testify to forms of embodied desire undercutting and superseding the false alternatives imposed by the dominant order preached by psychoanalyst Jacques Lacan. Not unlike Derrida, Irigaray localises the seat of oppression in a symbolic matrix, or semiotic structure, which, by imposing its concepts of otherness on gendered experience, distorts and occludes what potential may reside in difference. In unmaking this matrix, Irigaray seeks to gesture towards the possibility of the feminine AS difference, as "The sex which is not one".<br />
Contrary to Irigaray and Derrida, Deleuze attempts to sidestep the challenge of theorising difference/embodiment primarily through symbolic matrices. From a holistic materialist (Spinozist) point of view, he develops ideas around the concatenation and displacement of singularities along lines of flight, in terms of embodied intensities playing across assemblages and rythms of difference and repetition. <br />
<br />
Port 3 APRIL - JUNE<br />
Difference is no exception! Refusal, in the flesh, as a constant state of life under conditions of oppression. Hortense J. Spillers & Alexander G. Weheliye. <br />
<br />
The third section is centered around the work of contemporary philosopher and critic, Alexander G. Weheliye. In his book "Habeas Viscus - Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human." he launches a powerful critique against forms of philosophy which address difference in the key of the "exception", even and especially when the experience and embodiment of difference is portrayed (in more or less romanticised terms) as a form of deviance, subversion or life on the edge. He points out that, conditions of racial oppression and enslavement create cruel conditions of normality which make violence, and the need for survival persist on a level of collectivity and constancy that can hardly be grasped in a vocabulary focussed on individual performances. To this end Weheliye dismantles Giorgio Agamben's concept of 'bare life' as life in the state of exception. In dialogue with Deleuze and Hortense Spillers, he instead develops the notion of 'enfleshment' to evoke conditions of persistent embodiment of difference, to address the world-changing violence of enslavement, and pertinent forces of racism. The final third section will be an ongoing back-and-forth between Weheliye and Hortense Spillers, their texts being read side by side, so as to create the experience of how philosophy emerges as a form of layered abstraction, in the close interplay between thinkers.</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=YR_2_Thematic_Project_2019-2020:_CA-alPPlSyBJJoajD%E2%80%93MPING&diff=25732YR 2 Thematic Project 2019-2020: CA-alPPlSyBJJoajD–MPING2019-09-11T11:34:49Z<p>Petravanderkooij: </p>
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<div>'''led by Bernd Krauss. Sept 19-29 2019<br />
6 credits''' <br />
<br />
LEARNING OUTCOMES<br />
<br />
- understand your own practice as tool of orientation and learning<br />
- gather information and select it based on relevance and interest<br />
- respond in a short circuit to both the institutional and self set framework <br />
- develop a calibration of what a practice can be beyond or beside being art<br />
- deal with the everyday and possibly embed it in a aesthetic responsible activity <br />
- exploring fields outside of own interest and develop methods of exposure to unknown territories<br />
- understand residency as a cultural format of responsibility for research, production and mediation<br />
-moderating individual presentations in the framework of a group presentation<br />
- organise individual and collective documentation throughout the project<br />
- transport and edit experience and preparing it towards the non-local audience<br />
<br />
REQUIREMENTS FOR OBTAINING CREDITS<br />
<br />
This thematic residency requires full participation over the course of 10 days and the individual and collective production of work for public presentation at SYB, and documentation for PZI MFA and SYB. The residency will be followed up by a homecoming, reintegration presentation.<br />
<br />
<br />
READING, LISTENING AND VIEWING MATERIAL<br />
Please get yourself familiar with the surroundings of Syb and its location from a general and even touristic perspective. Consider relevant parameters that your own practice can touch on. Bring a tent – if you have – or anything that can set your spot on the site.<br />
<br />
SCHEDULE<br />
<br />
September 19-29, 2019</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Short_Pieces_That_Move!&diff=25731Short Pieces That Move!2019-09-11T11:34:36Z<p>Petravanderkooij: </p>
<hr />
<div><br />
'''Short Pieces That Move!''' is an optional reading + writing group, initiated by Kate Briggs and co-run by all those who participate.<br />
(no credits)<br />
<br />
<br />
This reading + writing workshop sprang from an observation: a great deal of writing is happening in the studios. And a question: but what form(s) is it taking? And what of – how much consideration is currently being given to – the question of its form(s)?<br />
<br />
Perhaps it is possible to name a few common features:<br />
<br />
1. Shortness. A line, a paragraph, a page, maybe two pages maximum. 2. Work written to be read aloud and / or performed, not necessarily (if ever) for the page. 3. An interest in short-form storytelling. 4. An interest in (oblique) argumentation: the setting out and exploration of ideas. 5. A desire for the writing to hold something like the charge / power / compaction / openness / precision / indeterminacy of poetry. 6. An uncertainy around what to call (and how therefore to think about and affirm) the status of these writings: poems? stories? texts? scores? scripts? artworks?<br />
<br />
Some of these features can also be found in the prose poem, a form defined in a recent anthology as “a poem without line-breaks” or “a genre with an oxymoron for a name”. We could spend a long time wondering about what those definitions offer and / or mean. However, the point is not to turn artists into prose poets. It is instead to spend time with this versatile form in order to learn from it.<br />
<br />
The aim of this reading + writing group is to collectively establish an inventory of moves observed in other people’s writing to be activated / remobilized in new short written pieces or other kinds of works / settings / constellations of media and materials.<br />
<br />
These new pieces of writing (or works) are then read together + discussed, paying attention to how they move.<br />
<br />
What do we mean by move?<br />
<br />
We mean writing that moves at level of ideas, moving from one thought another, forging new connections or undoing them.<br />
<br />
We writing mean that moves in terms of place or setting: we start here at the table and go somewhere else out the window up to a distant planet.<br />
<br />
Also time; writing that moves at the level of tense, from right now to the deep past to soon.<br />
<br />
Writing that moves in terms of person, focalization, perspective: we start with I and we end on we, or her, or they –<br />
<br />
Writing that moves at the level of speed, writing that accelerates, gains momentum, then goes lazy, suddenly still. (How does punctuation collaborate on this?)<br />
<br />
Writing that contracts and expands.<br />
<br />
Writing that moves within the space of the sentence (that uses the sentence as a space to make moves in) and from one sentence to another. (How does punctuation collaborate on this?)<br />
<br />
Writing that moves at the level of its atmosphere, its weather, from cold to prickly and hot, from certain and sure and then to vulnerable, agitated to calm, and maybe back again.<br />
<br />
Doesn’t all writing do this? Is a good question.<br />
<br />
All writing moves, in the simple / complicated sense that it starts and if we follow the usual reading protocols we move through it and it ends: writing as a durational, unfolding medium, that works with the time of reading + therefore with memory as part of its material.<br />
<br />
What is striking about the prose poem is how it knows it is moving, how it builds in any number (often a remarkable number) of moves into what remains a very short piece.<br />
<br />
How many moves can you make / where can you go in the time-space of a sentence? Or two?<br />
<br />
And where, by this means, can you take me? Writing that knows, by moving, that it is potentially moving me – the reader.<br />
<br />
Moving me in terms of what the sequence of sentences is requiring me think about, to imagine, to pay attention to: all the leaps or small steps or slippages or reversals it asks me to make between images, settings, bodies, ideas. And in terms of my feelings: how all this movement might actually be moving me: affecting me, touching me, exciting me, de-stabilizing, bewildering me…<br />
<br />
Note that sometimes these moves will coincide with what have been traditionally defined / enumerated / set to work as rhetorical devices, and that is interesting too.<br />
<br />
See: https://examples.yourdictionary.com/examples-of-rhetorical-devices.html<br />
<br />
One further area of questioning is the relation between writing on and for the page and writing on and for somebody’s voice: we will keep thinking about this and testing this together.<br />
<br />
General reading so far: Jeremy Noel-Todd, ed. The Penguin Book of the Prose Poem (2018). Robert Haas, A Little Book on Form: An Exploration of the Formal Imagination of Poetry (2017). Renee Gladman, Calamities (2016) Holly Pester, https://poetrysociety.org.uk/the-politics-of-delivery-against-poet-voice/</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Thematic_Project_2019-2020:_UNRECONCILED&diff=25727Thematic Project 2019-2020: UNRECONCILED2019-09-11T11:05:13Z<p>Petravanderkooij: </p>
<hr />
<div>UNRECONCILED <br />
Year long seminar led by Jan Verwoert<br />
6 credits<br />
<br />
Critical philosophies of difference and embodiment complicate the use of both these terms. They confront structures of oppression enforced through violent discrimination, and/or insipid inclusions. Some treat you as 'other', some force you to be the 'same'. It hardly makes any difference. Both terms in the equation are born from the selfsame logic (logic of the selfsame) which indiscriminately imposes its standards of otherness and identity onto the world. Difference doesn't actually come to figure: what lived experience it may testify to, and what powers may reside in it, is denied and distorted beyond recognition by divisive acts of setting one apart from the other, under the sign of sexism, racism, xeno- and homophobia… How to articulate difference in a key that breaks (with) the logic of discrimination? Unreconciled practices of embodiment don't resign themselves to filling slots on the given menu of alternatives by playing 'other' to the 'selfsame'. They tap powers that elude distinctions between this and that: an excess or collapse of signs and flesh, of artifice and life, of make-up and making do, of meanings, forces and forms of life which surpass or undercut established norms of discrimination, and expand realities. The challenge difference poses to thought is to invoke in a manner that doesn't fall for false promises of reconciliation, but sustains the tension which inheres to what is neither this nor that. <br />
<br />
The seminar will seek to unfold a series of genealogies which may render tangible how notions of difference and embodiment have been cracked open and interlaced, philosophically, artistically, existentially, and politically. The seminar is structured in three parts, each of which chooses a potentially formative moment in history as a port of entry to our inquiries.<br />
<br />
<br />
LEARNING OUTCOMES<br />
<br />
The educational aim of the course lies in exercising skills of close reading and developing the patience and persistence required for reconstructing complex bodies of thought. Thereby we seek to access an influential tradition of thought and grasp the manner in which different thinkers shape their philosophies by performing variations on premises and key motifs which they share with other thinkers, yet interpret in significantly different ways. In this sense, a goal of the seminar is to reach an understanding of philosophy as an ongoing conversation, so as to acquire the means of joining and continuing this exchange. Consider it a case of call and response: to render the call of a thought audible, we may first need to listen closely, amplify its nuances and voice its implications. Once we hear, we need to respond, and experience the resonances layered thoughts produce, by riffing on them, with precision, answering to philosophical provocations with a freedom born from antagonism as much as attunement. <br />
<br />
REQUIREMENTS FOR OBTAINING CREDITS<br />
Continuous attendance, presence of mind, lively participation, shared enjoyment of layered abstractions.<br />
<br />
<br />
READING, LISTENING AND VIEWING MATERIAL<br />
Irene Gammel: Baroness Elsa — Gender, Dada, and Everyday Modernity, a Cultural Biography, MIT Press, Cambridge Massachusetts & London England, 2003.<br />
<br />
Djuna Barnes: Nightwood. Faber and Faber, London, 2001.<br />
<br />
Djuna Barnes: The Book of Repulsive Women and other poems. Fyfield Books, Manchester 2003.<br />
<br />
Jacques Derrida: Différance. In Jacques Derrida: Margins of Philosophy, Harvester Press, Brighton, 1982, pp. 1-28.<br />
<br />
Luce Irigaray: The Sex which is Not One, Cornell University Press, Ithaca, New York, 1985.<br />
<br />
Luce Irigaray: Speculum of the Other Woman, Cornell University Press, Ithaca, New York, 1985.<br />
<br />
Gilles Deleuze: Difference and Repetition. Columbia University Press, New York, 1994.<br />
<br />
Hortense J Spillers: Mama's Baby, Papa's Maybe: an American Grammar Book. In: Diacritics, Vol. 17, No. 2, Culture and Countermemory: The American Connection (Summer 1987), pp. 64-81.<br />
<br />
Alexander G. Weheliye: Habeas Viscus — Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human; Duke University Press, Durham and London, 2014.<br />
<br />
SCHEDULE<br />
Port 1 OCTOBER - DECEMBER <br />
Blood, sweat and artifice; life, art and excessive body-text-objects; The Baroness Elsa, Djuna Barnes, Jacques Derrida. <br />
<br />
The first port of entry is marked by the life and work of two mothers of modernism, as it played itself out in New York and Paris: 'The Baroness' Elsa von Freytag Loringhoven (poet, performer, phenomenon, sculptor, dada personified) and Djuna Barnes, radical artists in their own right, friends at one point. Both put their bodies at stake, in a performance of art, poetry and literature, that exploded binaries, between gender stereotypes as much as between life and art. They set the tone for the seminar, in the sense that neither of them is a particularly conciliatory figure. Their ways of messing with the difference between existence and artifice led to oeuvres and biographies that not only challenge the canon of modern art as it's commonly taught, they remain unreconciled: Rather than ask for a rephrasing of the protocols for canonisation, their practices demand for a rupture to be held open, and thought through, on its own terms. If there is an ethos implicit to the deconstructive philosophies the seminar studies, it might lie in the need to keep the gaps open from which displacements spawn embodiments surpassing and undercutting imposed norms of difference and/as identity.<br />
<br />
As is becoming increasingly clear now, the life and work of the Baroness is inseperable from the entry of the ready-made into the discourse of modern art. Her practice of clothing herself in garments made from assorted bathroom appliances, and use of plumbing metaphors for erotic purposes, most likely laid the ground for the appearance of the infamous urinal. Her and Duchamp being lovers not only resulted in the series of photographs that saw them posing together in drag (in her clothes) for Man Ray (launching Duchamp's alias Rrose Sélavy), but also led to two sister pieces being put forward in 1917, the upturned urinal (Fountain), and a knotted pipe-trap (God), a twisted vaginal and phallic shape, the first to be authorised by him, the second by her. Quite literally though, it seems she gave the thing to him. What body did the Baroness enter into public circulation in the guise of the ready-made? Anonymous sexual organs? Unattached porcelain and metal genitals to be exchanged as gifts? Or existential signifiers of twisted relations? As little as a throw-away joke? Or as much as all a creature can give? A sur-plus, less than a body, too much of a signifying organ…<br />
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Not only did The Baroness and Djuna Barnes later become involved, there is a strong resonance between the form of existential camp The Baroness advanced and the way Barnes in her pivotal novel Nightwood twists the relation between art and life, artifice and embodiment in a manner that exceeds and undercuts simple binaries. On the face of it, the novel may be read as a slash-your-wrist type queer break-up tale, in which an entire personage of Parisian Left Bank characters becomes transposed into larger-than-life versions of themselves, not least because key voices in the book speak with a tone and vocabulary taken from Milton's Paradise Lost. Not unlike Kathy Acker, Barnes amplifies intensities of life by channeling them trough ostentatious artifice. The result is an incredible displacement, in which language bursts open and defracts realities like a shattered disco-ball. A pivotal figure in the novel—who practically embodies the role of a second narrator of the story within the story, competing with the voice of Barnes' alter ego— is an Irish fake gynaecologist transvestite public drunk commentator of everyone's fate speaking in magnificently riddled anachronistical English, like a queered Joyce or sick doctor straight out of the commedia dell'arte. Semiotically, physically, and glamouristically the sick doctor disseminates difference, in that nothing he says or does is ever at one with itself, but this is precisely why, as a fractured assemblage, his discourse yields perverse wisdom.<br />
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Like Barnes, Jacques Derrida embraces the ongoing displacement of semiosis through 'differing (différance)': the inherent motion of semiotic shifters, and language in so many ways becoming bodily. Here we cross over from poetry, performance, and literary forms of excessive embodiment into the field of a philosophy (at times referred to as 'deconstruction'), which, from the 1970s onwards seeks to voice difference in a key that undercuts and supersedes oppressive regimes of imposed distinctions. In many ways the keys developed by Derrida among other associated thinkers are the arms that many thinkers in the fields of queer, feminist, postcolonial, and black studies thereafter took up. <br />
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Port 2 JANUARY-MARCH<br />
Embody what dwells in difference, concealed in distinctions, revealed in material experience: Luce Irigaray & Gilles Deleuze<br />
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We will closely study Luce Irigaray to see how she dismantles psychoanalysis as a discourse articulating sexual difference in an oppressive patriarchal key, and how she, in a feminist key, opens pursuit of ways to testify to forms of embodied desire undercutting and superseding the false alternatives imposed by the dominant order preached by psychoanalyst Jacques Lacan. Not unlike Derrida, Irigaray localises the seat of oppression in a symbolic matrix, or semiotic structure, which, by imposing its concepts of otherness on gendered experience, distorts and occludes what potential may reside in difference. In unmaking this matrix, Irigaray seeks to gesture towards the possibility of the feminine AS difference, as "The sex which is not one".<br />
Contrary to Irigaray and Derrida, Deleuze attempts to sidestep the challenge of theorising difference/embodiment primarily through symbolic matrices. From a holistic materialist (Spinozist) point of view, he develops ideas around the concatenation and displacement of singularities along lines of flight, in terms of embodied intensities playing across assemblages and rythms of difference and repetition. <br />
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Port 3 APRIL - JUNE<br />
Difference is no exception! Refusal, in the flesh, as a constant state of life under conditions of oppression. Hortense J. Spillers & Alexander G. Weheliye. <br />
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The third section is centered around the work of contemporary philosopher and critic, Alexander G. Weheliye. In his book "Habeas Viscus - Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human." he launches a powerful critique against forms of philosophy which address difference in the key of the "exception", even and especially when the experience and embodiment of difference is portrayed (in more or less romanticised terms) as a form of deviance, subversion or life on the edge. He points out that, conditions of racial oppression and enslavement create cruel conditions of normality which make violence, and the need for survival persist on a level of collectivity and constancy that can hardly be grasped in a vocabulary focussed on individual performances. To this end Weheliye dismantles Giorgio Agamben's concept of 'bare life' as life in the state of exception. In dialogue with Deleuze and Hortense Spillers, he instead develops the notion of 'enfleshment' to evoke conditions of persistent embodiment of difference, to address the world-changing violence of enslavement, and pertinent forces of racism. The final third section will be an ongoing back-and-forth between Weheliye and Hortense Spillers, their texts being read side by side, so as to create the experience of how philosophy emerges as a form of layered abstraction, in the close interplay between thinkers.</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=YR_2_Thematic_Project_2019-2020:_CA-alPPlSyBJJoajD%E2%80%93MPING&diff=25726YR 2 Thematic Project 2019-2020: CA-alPPlSyBJJoajD–MPING2019-09-11T11:04:49Z<p>Petravanderkooij: </p>
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<div>led by Bernd Krauss. Sept 19-29 2019<br />
6 credits <br />
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LEARNING OUTCOMES<br />
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- understand your own practice as tool of orientation and learning<br />
- gather information and select it based on relevance and interest<br />
- respond in a short circuit to both the institutional and self set framework <br />
- develop a calibration of what a practice can be beyond or beside being art<br />
- deal with the everyday and possibly embed it in a aesthetic responsible activity <br />
- exploring fields outside of own interest and develop methods of exposure to unknown territories<br />
- understand residency as a cultural format of responsibility for research, production and mediation<br />
-moderating individual presentations in the framework of a group presentation<br />
- organise individual and collective documentation throughout the project<br />
- transport and edit experience and preparing it towards the non-local audience<br />
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REQUIREMENTS FOR OBTAINING CREDITS<br />
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This thematic residency requires full participation over the course of 10 days and the individual and collective production of work for public presentation at SYB, and documentation for PZI MFA and SYB. The residency will be followed up by a homecoming, reintegration presentation.<br />
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READING, LISTENING AND VIEWING MATERIAL<br />
Please get yourself familiar with the surroundings of Syb and its location from a general and even touristic perspective. Consider relevant parameters that your own practice can touch on. Bring a tent – if you have – or anything that can set your spot on the site.<br />
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SCHEDULE<br />
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September 19-29, 2019</div>Petravanderkooijhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Short_Pieces_That_Move!&diff=25725Short Pieces That Move!2019-09-11T11:03:50Z<p>Petravanderkooij: </p>
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Short Pieces That Move! is an optional reading + writing group, initiated by Kate Briggs and co-run by all those who participate.<br />
(no credits)<br />
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This reading + writing workshop sprang from an observation: a great deal of writing is happening in the studios. And a question: but what form(s) is it taking? And what of – how much consideration is currently being given to – the question of its form(s)?<br />
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Perhaps it is possible to name a few common features:<br />
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1. Shortness. A line, a paragraph, a page, maybe two pages maximum. 2. Work written to be read aloud and / or performed, not necessarily (if ever) for the page. 3. An interest in short-form storytelling. 4. An interest in (oblique) argumentation: the setting out and exploration of ideas. 5. A desire for the writing to hold something like the charge / power / compaction / openness / precision / indeterminacy of poetry. 6. An uncertainy around what to call (and how therefore to think about and affirm) the status of these writings: poems? stories? texts? scores? scripts? artworks?<br />
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Some of these features can also be found in the prose poem, a form defined in a recent anthology as “a poem without line-breaks” or “a genre with an oxymoron for a name”. We could spend a long time wondering about what those definitions offer and / or mean. However, the point is not to turn artists into prose poets. It is instead to spend time with this versatile form in order to learn from it.<br />
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The aim of this reading + writing group is to collectively establish an inventory of moves observed in other people’s writing to be activated / remobilized in new short written pieces or other kinds of works / settings / constellations of media and materials.<br />
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These new pieces of writing (or works) are then read together + discussed, paying attention to how they move.<br />
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What do we mean by move?<br />
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We mean writing that moves at level of ideas, moving from one thought another, forging new connections or undoing them.<br />
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We writing mean that moves in terms of place or setting: we start here at the table and go somewhere else out the window up to a distant planet.<br />
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Also time; writing that moves at the level of tense, from right now to the deep past to soon.<br />
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Writing that moves in terms of person, focalization, perspective: we start with I and we end on we, or her, or they –<br />
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Writing that moves at the level of speed, writing that accelerates, gains momentum, then goes lazy, suddenly still. (How does punctuation collaborate on this?)<br />
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Writing that contracts and expands.<br />
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Writing that moves within the space of the sentence (that uses the sentence as a space to make moves in) and from one sentence to another. (How does punctuation collaborate on this?)<br />
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Writing that moves at the level of its atmosphere, its weather, from cold to prickly and hot, from certain and sure and then to vulnerable, agitated to calm, and maybe back again.<br />
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Doesn’t all writing do this? Is a good question.<br />
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All writing moves, in the simple / complicated sense that it starts and if we follow the usual reading protocols we move through it and it ends: writing as a durational, unfolding medium, that works with the time of reading + therefore with memory as part of its material.<br />
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What is striking about the prose poem is how it knows it is moving, how it builds in any number (often a remarkable number) of moves into what remains a very short piece.<br />
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How many moves can you make / where can you go in the time-space of a sentence? Or two?<br />
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And where, by this means, can you take me? Writing that knows, by moving, that it is potentially moving me – the reader.<br />
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Moving me in terms of what the sequence of sentences is requiring me think about, to imagine, to pay attention to: all the leaps or small steps or slippages or reversals it asks me to make between images, settings, bodies, ideas. And in terms of my feelings: how all this movement might actually be moving me: affecting me, touching me, exciting me, de-stabilizing, bewildering me…<br />
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Note that sometimes these moves will coincide with what have been traditionally defined / enumerated / set to work as rhetorical devices, and that is interesting too.<br />
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See: https://examples.yourdictionary.com/examples-of-rhetorical-devices.html<br />
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One further area of questioning is the relation between writing on and for the page and writing on and for somebody’s voice: we will keep thinking about this and testing this together.<br />
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General reading so far: Jeremy Noel-Todd, ed. The Penguin Book of the Prose Poem (2018). Robert Haas, A Little Book on Form: An Exploration of the Formal Imagination of Poetry (2017). Renee Gladman, Calamities (2016) Holly Pester, https://poetrysociety.org.uk/the-politics-of-delivery-against-poet-voice/</div>Petravanderkooij