Do 14. Feb. 2013, 18h

Vorträge "Formen/Modelle der Bildung & Selbstbestimmung"
mit: Gernot Bubenik, Helmut Hartwig, Fakultät Null, The Public School Berlin, Demokratische Schule X
Moderation: Annette Maechtel

Die Veranstaltung ist Teil der Reihe "Eine Reise ins Innere der NGBK": Bringen demokratische Handlungsweisen in der Kunst- und Kulturproduktion Ressourcen hervor, die im Sinne einer selbstbestimmten Bildung genutzt werden können? Mehr Info:
http://ngbk.de/development/index.php?option=com_content&view=article&id=280:reiseagentur&catid=130&Itemid=373&lang=de

Event will mainly be in German language. Check here also for English description:
http://ngbk.de/development/index.php?option=com_content&view=article&id=282:reiseagnetur&catid=11&Itemid=315&lang=en

Hello Everybody!

As discussed in the last meeting, we will read and discuss Eduard Glissant's notion of 'Opacity' and the poetics of relations. I want to discuss the possible relation between opacity, eccentricity and  Deleuze and Guattari's becoming minor. We are creating a constellation...let's see how they work (or don't) together ...

Link to the poetics of relation (few introductory chapters) : http://www.mediafire.com/?xalckg0l98a6uvz

I'll upload 'For Opacity' and Glissant' bio  on aaaarg.org very soon..

Caleb, can you please post something about 'Touching feeling' you were mentioning last time? thanks..

Reading for the next session:

- Octavia Butler, Speech Sounds (short story)

http://boblyman.net/englt392/texts/speech_sounds.pdf

Someone last time mention 'Clarice Lispector'...it would be good to read a short story...

please let me know if you have any other suggestion!

federica

Saturday, October 20, 2012 - 16:00
Archive Books , Dieffenbachstraße 31, 10967
Find out more here.

Dear All,

I hope this note finds you well,

Next session: We will read together Gertrude Stein's short story 'The Gentle Lena' . here you can download the story + a bio for those you are not familiar with Stein's life and writings.     

http://aaaaarg.org/text/40729/gentle-lena

This Wednesday (19 September @ 19:00) we will be holding our first meeting of Political Fiction. The proposal and class emerged from discussions we had during The Aesthetics of Resistance reading group held last spring. For this week's meeting, "Rather than limiting the relation between politics and literature to a definition of Political Fiction as genre, I would suggest that we start our conversation from the more productive definition of 'minor literature.'" (from Federica who will be facilitating this week). Click here for the reading list. Also, we'll be planning out subsequent sessions at this meeting so if you have ideas on other things we can read in the future, please bring them! 

Hope to see you there.

Thanks for a great last class everyone!

To continue exploring the primal mother-phantasies we discussed refer to this text:

"From Proto-ethical Compassion to Responsibility: Besidedness, and the three Primal Mother-Phanasies of Not-enoughness, Devouring and Abandonment."

Philosophical Studies. Vol. 2 (Vilnius: Versus, 2006), 100-135

• Kester’s definition of “dialogical aesthetics” could be understood as a way of describing artworks that consist of more than one utterance made by different speakers. Bakhtin defines an utterance as a complete text/speech by one author/speaker, which is the appropriate unit of analysis in speech/art/literary communication, rather than structural linguistics which does not account for the role of context in meaning. Kester’s examples put forward the idea of plural authorship, as in more than one person involved in the production of one artwork/text. This seems to go beyond Bakhtin’s definition of an artwork as one utterance. Kester’s expanded idea of the artwork is, I would say, to use Bakhtin’s words a “sphere of communication”. What does it do to consider an artwork a “sphere of communication” rather than as a discreet text?

Last week we discussed Grant Kester’s thesis that certain kinds of art practice require a new understanding of aesthetics as “dialogical”. In contrast to the modernist avant-gardes’ emphasis on the idea of the aesthetic as a sudden somatic shock or epiphany that is then made sense of using a critical discourse, dialogical aesthetics occur over time, paralleling the continual performative constitution of subjectivity in discursive encounters.

After the discussion in our second meeting, I am setting additional reading for the next class. Please read the Bakhtin as planned, but please also read these two short excerpts (and of course the rest of each article if you have time):

pp. 13-14  Amelia Jones, "Presence" in Absentia: Experiencing Performance as Documentation"

http://aaaaarg.org/text/38207/presence-absentia-experiencing-performance-documentation

and then for further reference to the ideas she raises:

pp. 150-152 Peggy Phelan, Unmarked - The Politics of Performance, "The ontology of performance: representation without reproduction"

http://aaaaarg.org/text/5818/unmarked-politics-performance-chapter-7

sorry for the even more last minute contribution, but for the records…:

group 4

the proposed question was:

how does lecture performance operate in opening up the knowledge production?

First we had a discussion on "site specifity" which meant in the context of our discussion, that you have to be there, to encounter the actual performance, to be able to answer that question.

As an example of a lecture performance we were told about Zoe Laughlins performance at  performance platform in Berlin, which was dealing with the performativity of matter.

She was presenting materials (like for example the cotton produced by NASA to collect moon dust, paper clips, etc.). In a number of processes these materials transformed, according to (basic) physical laws.