GCAS 4th Annual Conference, 2018
June 9 and 10
“Aesthetic Resistance and Performance: Philosophy, Fascism, Democracy”
Lewis Gordon: Theory in an Age of Fascism and Terror
Lewis Gordon is Professor of Philosophy at UCONN-Storrs; Honorary President and Core Professor at the Global Center for Advanced Studies; and Honorary Professor at the Unit of the Humanities at Rhodes University (UHURU), South Africa. His books include Bad Faith and Antiblack Racism (Humanities Press, 1995), Her Majesty’s Other Children (Rowman & Littlefield, 1997), Existentia Africana (Routledge, 2000), Disciplinary Decadence (Routledge, 2006), An Introduction to Africana Philosophy (Cambridge UP, 2008) and, more recently, What Fanon Said: A Philosophical Introduction to His Life and Thought (NY: Fordham UP; London: Hurst; Johannesburg: Wits UP, 2015; in Swedish, Vad Fanon Sa, Stockholm: TankeKraft förlag, 2016), La sud prin nord-vest: Reflecţii existenţiale afrodiasporice, trans. Ovidiu Tichindeleanu (Cluj, Romania: IDEA Design & Print, 2016), and, with Fernanda Frizzo Bragato, Geopolitics and Decolonization: Perspectives from the Global South (London, UK: Rowman & Littlefield International, 2018). His Facebook page is:
and he is on twitter: https://twitter.com/lewgord.
Clayton Crockett: White Christian Nationalism and the Threat of American Fascism
Clayton Crockett is Professor and Director of Religious Studies at the University of Central Arkansas. He is the author of Derrida After the End of Writing (2017), Deleuze Beyond Badiou (2013), Radical Political Theology (2011), and Religion, Politics, and the Earth (with Jeffrey W. Robbins, 2012), among others. He is a co-author, along with Creston Davis, Slavoj Zizek, and Jeffrey W. Robbins, of the book series “Insurrections: Critical Studies in Religion, Politics, and Culture” for Columbia University Press. He is working on a philosophy of energy.
Giovanni Tusa: “Autonomia”. Notes from italian postoperaism
Giovanbattista Tusa is a philosopher and media researcher based in Paris and Lisbon. He is is currently a Research Fellow at the Laboratory of Aesthetics and Philosophy of Artistic Pratices at the Nova University in Lisbon, and his research is funded by the Fundação para a Ciência e a Tecnologia (FCT). He has studied in philosophy, contemporary arts, cinema in Italy, Spain, UK, Cuba, Canada. After his PhD in Philosophy, he has been Research Fellow in France and Italy, and worked as Lecturer in Philosophy and Critical Theory in many institutions in Europe and the US. As a documentary filmmaker and video artist, he has had his works screened in Cuba, London documentary film festival, Biennale della Danza in Venice, Coimbra and Paris.
His latest work, De la Fin, co-authored with Alain Badiou, has been published in France in 2017.
Nadine Shaanta Murshid: Women’s participation in microfinance and their use of neoliberal language in Bangladesh
Nadine Shaanta Murshid is Assistant Professor at the School of Social Work, University at Buffalo, State University of New York. She studied business administration and public policy at the bachelors and masters levels before pursuing a PhD in Social Work from Rutgers University. Her research focuses primarily on institutions like microfinance and mobile money and their unintended consequence in terms of health and well-being such as intimate partner violence. She teaches social welfare history and policy, diversity and oppression, research methods, and program evaluation.
Rocco Gangle: Abductive Inference and Political Aesthetics
Rocco Gangle is the author of Diagrammatic Immanence: Category Theory and Philosophy, Francois Laruelle's Philosophies of Difference: A Critical Introduction and Guide, and Iconicity and Abduction (with Gianluca Caterina), and is most recently the editor of Superpositions: Laruelle and the Humanities (with Julius Greve). He has published widely in the areas of logic, metaphysics, Continental philosophy of religion, philosophy of science and political theory. He is full professor of philosophy at Endicott College, USA, where he directs the Center for Diagrammatic and Computational Philosophy.
Francisco González Castro: The political-artistic practice and its effects.
Artist, curator and researcher, PhD in Arts. As an artist, he has developed his work since 2005 to date with exhibitions and presentations, both individual and collective, in different countries. In addition, he has done various projects as curator, focused on establishing relationships between artists of different generations around issues of art and society. In his works and research he approaches social and political themes around the power and reflections of the usefulness of art as an element of concrete change in society and within the contingency, positioning the concept of the political-artistic, as its main theoretical contribution. Highlights are the projects: “In between / art y society” (2012), “In between / art and contingency” (2014) and “Layers of Disappearing: 1002 of 7000” (2016). He has also presented his research in various congresses and magazines in Chile and abroad. Recently published the book “Performance Art in Chile: histories, processes and discourses”.
BriAnna Olson, Video Artist - EX NIHILO
BriAnna is an artist and researcher based in New York. Her image-making practice began with a Bolex camera at King’s College in London and has taken her around the world. She designs and directs live video art projections, as well as music videos. Her work has premiered on Logo, People, SPIN, Blender Magazine, Stereogum, NPR All Songs Considered, RAGE, and Pitchfork websites, as well it has exhibited with Brooklyn Art Project and CMJ Music Festival in New York. She is a member of the National Association of Women Artists.
Camilla Howalt/ Installation & Performance artist: On Silence as Resistance (not acceptance)
Camilla Howalt, an i with a dot, am a performing artist specializing in performances and installations, currently based in Denmark. ‘i’ am educated in art, and in philosophy and aesthetics in London. ‘i’ aim to use philosophical models as blueprints for my performances and installations. ‘i’ think, research, and construct my installations through pictures, colors, metaphors and concepts. ‘i’ use words. ‘i’ use the word's ability to convey the story. ‘i’ use its semiotic and etymological significance to, through poetry, express a distortion in the mediated. ‘i’ call these 'vignettes'. In addition, ‘i’ focus on keeping on educating myself in staging (curating) and conceptualizing the concept of the Other through repeated exposure of the One. It is my great ambition to combine my work as an artist with what ‘i’ understand as contemporary philosophical challenges, visionary, ethically, and aesthetically, in a way that benefits the work, and thus the viewer.
Jon Solomon: Translation and Indisciplinarity as Anomalous Zones of Resistance: A critique of the apparatus of area
Jon Solomonis a professor at Université Jean Moulin, Lyon (France). How do we understand disciplinary divisions in the Humanities and their relation to geopolitical divisions in the world of nation-states born out of colonial encounter?
1) We must call into question “the modern regime of translation” as well as the consequences brought about by this regime that are institutionalized in the disciplines of the Humanities.
2) How can the distinction of the general human sciences from area studies still be maintained? Should philosophy, or thought in general, be characterized by geocultural appellations? Should archives be equated with populations? Can the United Nations continue to be an implicit organizational template for the development of a postcolonial Humanities?
3) The two binary oppositions, “the West and the Rest,” and “humanitas and anthropos,” are premised upon the unity of the West and “the shape of the European spirit” (humanitas according to Edmund Husserl). Unless the unity of the West is presumed, these binary oppositions cannot sustain their conceptual coherence. To what extent is the unity of the West possible? How was it historically constituted? With what kinds of political projects has it been associated? On what grounds can the colonial difference between the West and the Rest be mapped onto the anthropological difference humanitas and anthropos?
4) What roles does the synthesis of colonial difference and anthropological difference play in the production of local knowledge in national histories and cultural studies in the West as well as the Rest? What roles does curriculum in the Humanities and social sciences in undergraduate and graduate education play in the conservation of anthropological difference?
Alexandra Gabbard, PhD, Universidade Federal de Minas Gerais, Brasil.
An enthusiastic reader and writer whose research focuses on the cross-cultural fields of Cultural Studies, Queer Theory, Gender Studies and Feminist Studies. Having obtained a PhD degree in Contemporary Politics and Literatures in 2017, the main corpus of the thesis approached perspectives on maternity, sorority and matricide under the aegis of feminist psychoanalysis and Irigarayan reconceptions of feminine genealogy.
The aim of her contribution is to highlight the issues of ontological matricide, sorority. gendered identities, transgressive acts of resistance and complex connections to mother figures. The theoretical framework of this intervention relies on the support of feminist psychoanalysis and gender studies. I propose a reconceptualization of conflicted gendered relationships under the lens of sorority, portraying how the positive reconstruction of motherhood and maternity approximates womyn and enables them to resist patriarchal control. My work reflects upon traditional psychoanalytical theories that view the double as a manifestation of estrangement and death, recasting the traditional views of the doppelgänger as a positive and empowering manifestation of alterity and subjectivities. The groundwork for this seminar is based on my PhD dissertation in English Literature, and is available through the following link:
Anita Chari: “I am your voice”: Aesthetics, Politics and the Possibility of Critical Art.”
This essay explores two recent exhibitions by the feminist art collective, Claire Fontaine, which engage with the contemporary political and economic context of Brexit, the Trump presidency, the European refugee crisis, and the vicissitudes of political affect in the midst of the current explosion of right wing populist movements across the United States and Europe, and puts these exhibitions into dialogue with theoretical questions about the relationship between contemporary political agency and artistic representation. The essay explores the contemporary theoretical significance of certain artistic strategies prevalent in Claire Fontaine’s recent work, including the sculpturalization of political speech, the juxtaposition of machinic and human prosody, and the reflection of political stasis in the form of objects. Using the work of the theorist Sylwia Chrostowska, I argue that these artistic strategies all converge as strategies of reflection of political reality at a distance, in contrast to strategies of representation of a unitary political subject, which as Chrostowska argues, “can serve active reflection on the side and site of struggle.” I speak furthermore to the perceptual and political significance of the reflection of political stasis amidst the inherent ambivalence of democratic practices in the current punitive and arguably fascist phase of neoliberalism.