Lunchtime-Series-2012

Amma Y. Ghartey-Tagoe Kootin: “Performing the Archive”

Anonymous — Fri, 07 Dec 2012 07:00:00 +0000

Amma Y. Ghartey-Tagoe Kootin: “Performing the Archive” Anonymous (not verified) Fri, 12/07/2012 - 00:00

Dr. Amma Y. Ghartey-Tagoe Kootin (known as “Dr. Amma”) practices and studies the intersections of academic history and performance (i.e. theatre, film, and television). Her research interests center on the African Diaspora, particularly the impact of the transatlantic slave trade in her homeland of Ghana, and how performance mediates the interactions between continental Africans, first-generation Africans in the U.S., and African-Americans. NOTABLE WORKS: Her current projects are a manuscript and historical musical about African and African- American performers in the 1901 Pan-American Exposition. The book, The Battle Before ‘The Souls of Black Folk’, is a comparative examination of African-American scholar W.E.B. Du Bois’s early writings and the U.S.’s first world’s fair of the 20th century, which was held in Buffalo, New York. The historical musical, “At Buffalo,” is a methodological-innovation in “performing the archive,” a concept developed by Dr. Amma through her workshops with theatre and dance students.

Off

Traditional

White

Paul Gordon: “Listening/Hearing in Heidegger, Derrida and Nancy”

Anonymous — Mon, 03 Dec 2012 07:00:00 +0000

Paul Gordon: “Listening/Hearing in Heidegger, Derrida and Nancy” Anonymous (not verified) Mon, 12/03/2012 - 00:00

“My talk will be on a fundamental shift from ontology to “otology” a propos the notion of genuine hearing/listening, in Heidegger and his “friends,” Kaja Silverman, Derrida and Nancy.” – Paul Gordon

Paul Gordan has taught at the University of Colorado since shortly after receiving his Ph.D. from the Department of Comparative Literature at Yale, where he studied with Paul de Man, J. Hillis Miller, Shoshana Felman and others. Since then he has been developing his interest in theories of literature through studies in psychoanalysis, film, music, and painting as well as in the continued study of literary theory and the general hermeneutic question of how one “reads” art and literature.

His primary interests are in the relationship between art, literature and philosophy. In his writing and teaching he follows the Heideggerian notion of truth as the “happening” of truth in which the work of art becomes the locus of its own unique paradigm of questions and answers. His research involves the study of figuration (the “critical double”), tragedy (“rapturous superabundance”), psychoanalysis and, currently, the relationship between art and metaphysic (the “absolute”).

NOTABLE WORKS

BOOKS: Dial M for Mother: A Freudian Hitchcock, Tragedy After Nietzsche: Rapturous Abundance, The Critical Double Figurative Meaning in Aesthetic Discourse, foreward by J. Hillis Miller,

ARTICLES: “Words Words Words: The Un-Usual Suspects.” Proceedings of the International Association for Philosophy and Literature (in Press), Illustration of J. Hillis Miller.” Word and Image 24/1 (2006)., “Oedipal Echo-Effects.” Kill Bill I/II. Under Review., “Revis(ion)ing Freud’s Medusa: On Castration and the C-Word.” Under Review.

ACCOLADES: �鶹ӰԺ Faculty Assembly Teaching Award, Spring 2008.

Off

Traditional

White

Reece Auguiste: “Memory and Archive”

Anonymous — Mon, 05 Nov 2012 07:00:00 +0000

Reece Auguiste: “Memory and Archive” Anonymous (not verified) Mon, 11/05/2012 - 00:00

During his lecture, Auguiste outlined numerous ways of thinking about the archive: an as object of critical inquiry; as the embodiment of historical events; as the formation of discourses; as epistemological foundation of the archive as repository for memory; and, as a negotiation between institutional power and agency. His particular vision of the archive is focused on an experience of (time through) the archive. Working from Bergson, Auguiste breaks the Western stronghold on the duality between perception and memory, feeling rather that each is embedded in the other, and making matter out of perception itself.

In asking why we archive, I believe Auguiste is also asking a question about the politics of preservation, ownership (over the past) and (future) access. Why do we hang on to the past? Is it a matter of nostalgia? Is it informed by a fetishism of the archival object itself? Is it out of a fear of forgetting? Or is the archive a monument to memory in and of itself? Are there ethics to the archive? How can its materials be used, reused, re-contextualize, or remixed? Are there limits to its ethical communication? Or, is (and should) the archive be completely open for any possible reconfiguration of the past it stakes a claim to? We are complicit in making the archive unstable — it is not inherently so — human agency and interaction destabilize it. Performing the archive therefore brings in all of these issue as it pulls the person (and personal) back into the equation.

Post pulled from: http://archinodes.com/node/142

Off

Traditional

White

Kirk Ambrose: “Authenticity”

Anonymous — Mon, 01 Oct 2012 06:00:00 +0000

Kirk Ambrose: “Authenticity” Anonymous (not verified) Mon, 10/01/2012 - 00:00

Kirk Ambrose is associate professor and chair of the department of Art and Art History. In addition to many articles and book chapters, he is author of The Nave Sculpture of Vézelay: The Art of Monastic Viewing (2006) and co-editor of Current Directions of Romanesque Sculpture Studies (2010). He has a book forthcoming next year entitled Monsters in Twelfth-Century European Sculpture and is currently at work on a volume on Portuguese Romanesque sculpture.

Off

Traditional

White