DARE 2017: aberrant nuptials

2nd international conference on
Deleuze and Artistic REsearch

Orpheus Institute, Ghent, Belgium
20 – 22 November 2017

call for proposalsproposalpapervenuesday 1day 2day 3ongoing in absence

Courtesy of the Getty's Open Content Program.

James Anderson (Blencarn, UK 1813 – Rome 1877). Bernini’s Apollo and Daphne, about 1845-55. Albumen silver print, 37.5 x 20.7 cm, J. Paul Getty Museum, Los Angeles. Courtesy of the Getty’s Open Content Program.

To become is never to imitate, nor to ‘do like’, nor to conform to a model, whether it is of justice or of truth. There is no terminus from which you set out, none which you arrive at or which you ought to arrive at. Nor are there two terms which are exchanged. The question ‘What are you becoming?’ is particularly stupid. For as someone becomes, what he is becoming changes as much as he does himself. Becomings are not phenomena of imitation or assimilation, but of a double capture, of non-parallel evolution, of nuptials between two reigns. Nuptials are always against nature. Nuptials are the opposite of a couple. There are no longer binary machines: question-answer, masculine-feminine, man-animal, etc. This could be what a conversation is – simply the outline of a becoming. The wasp and the orchid provide the example.
—Gilles Deleuze and Claire Parnet, Dialogues II. New York: Columbia University Press, 2007, 3

Life alone creates such zones [of indeterminacy] where living beings whirl around, and only art can reach and penetrate them in its enterprise of co-creation. This is because from the moment that the material passes into sensation, as in a sculpture, art itself lives on these zones of indetermination.
—Gilles Deleuze and Félix Guattari, What is Philosophy? New York: Columbia University Press, 1994, 173

call for proposals

The philosophy of Gilles Deleuze and its resonating discourses have become increasingly relevant to the field of Artistic Research, and Deleuze is now a key reference for many artist-researchers engaging with knowledge across artistic, academic and non-academic fields of practice. DARE 2015: The Dark Precursor was the first conference attempting to trace the encounter between artistic research and Deleuze’s world. The Second International Conference on Deleuze and Artistic Research, DARE 2017: Aberrant Nuptials, continues that mapping, readdressing the question ‘How can communication occur between heterogeneous systems?’ focussing on the nnotions of ‘aberrant nuptials’ and ‘zone of indeterminacy’.

The conference title (mis)quotes Deleuze’s celebrated passage of the wasp and the orchid to suggest that the relation between art and research might be that of a double-capture, of which Gian Lorenzo Bernini’s Apollo e Dafne is (mis)appropriated as allegory. ‘Becomings are not phenomena of imitation or assimilation, but of a double capture, of non-parallel evolution, of nuptials between two reigns. Nuptials are always against nature. Nuptials are the opposite of a couple.’ (Dialogues II, p. 3).

‘Zone of indeterminacy’ finds similar formulations in Difference and Repetition and Logic of Sense, but only in the plateau ‘Postulates of Linguistics’ is the concept fully developed, particularly in relation to music, to the idea of continuous variation, and to all those secret languages which are better defined as ‘chromatic languages’: ‘This is what we are getting at: a generalized chromaticism. Placing elements of any nature in continuous variation is an operation that will perhaps give rise to new distinctions, but takes none as final and has none in advance. (A Thousand Plateaus, p. 97). Thus, ‘zone of indeterminacy’ relates to the action of bringing together two heterogeneous systems and to pair them, either by linking them physically in an actual event or virtually, as a productive diagram.

DARE 2017 invites artists, composers, scholars and all artist-researchers not to interpret or critique Deleuze and his world, but to appropriate and challenge it within Artistic Research, problematizing it through artistic practices and for concrete acts of creation. The conference welcomes both artistic presentations and scholarly papers, giving special attention to artistic research in music. Proposals will be selected by the conference Editorial Board in a two-stage peer-review.

first stage: submit a proposal

What to submit
  • Author(s) name, affiliation (if applicable), contact email address
  • 5 keywords
  • Title of the presentation
  • 500 words abstract written in English
  • Short list of references (optional)
  • Links to supporting image, audio and video files (optional)
  • 100 words bio written in English, list of publications/exhibitions/performances
  • publishable email address, personal website (optional)
How to submit

Please email your proposal directly to the Conference Coordinator
Paolo Giudici: paolo.giudici [AT] orpheusinstituut.be
All submissions will be acknowledged.
Deadline for submission: Sunday, 5 February 2017

Acceptance

Possible outcomes of the proposal review:

  • either accepted to present at the conference
  • or not accepted

Notification of results: Monday, 6 March 2017

second stage: submit a paper

What to submit

Scholarly presentations
Accepted authors should provide the full text of their conference paper (max. 3000 words) and the files of their audiovisual presentation (if applicable).

The texts will be circulated among the moderators and participants of each panel in advance of the conference, so as to allow panellists to prepare the discussion.

Artistic presentations
Accepted authors of artistic presentations should provide the full technical rider of their exhibition, performance or screening together with all related materials (video, audio, musical scores, etc.).

How to submit

Please email your proposal directly to the Conference Coordinator, Paolo Giudici: paolo.giudici [AT] orpheusinstituut.be

All submissions will be acknowledged.
Deadline for submission: Monday, 5 June 2017

Acceptance

Possible outcomes of the presentation review:

  • either accepted for presentation at the conference with minor revisions
  • or accepted for presentation at the conference without revisions

In addition, the Editors will recommend twelve accepted presentations to be published after the conference in a specially edited book.

Notification of results: Monday, 30 October 2017 (EXTENDED).

venues

Orpheus Institute

The conference takes place at Orpheus Institute during the three days.

Handelsbeurs Concertzaal

The concert Aberrant Nuptials takes place at Handelsbeurs Concertzaal on day 2.

programme of day 1

Monday, 20 November 2017

Morning (plenary)

Entrance
  • 8:30 – 9:30
    Registration
Concert Hall
Dining Hall
  • 8:30 – 9:30
    Tea & coffee
  • 13:00 – 14:00
    Lunch

Afternoon (parallel)

Concert Hall
Auditorium
Penthouse
Dining Hall
  • 16:00 – 16:30
    Tea & coffee
  • 18:00 – 18:30
    Tea & coffee

Evening (plenary)

Concert Hall

programme of day 2

Tuesday, 21 November 2017

Morning (plenary)

Concert Hall
Dining Hall
  • 10:30 – 11:00
    Tea & coffee
  • 13:00 – 14:00
    Lunch

Afternoon (parallel)

Concert Hall
Auditorium
Penthouse
Dining Hall
  • 16:00 – 16:30
    Tea & coffee
  • 18:00 – 20:00
    Conference dinner

Evening (plenary)

Handelsbeurs Concertzaal
  • 20:15 – 22:30
    Chair’s Concert. Aberrant Nuptials.

    • Part I: Aberrant Decodings
    • Part II – Rasch25: vers la nuit

programme of day 3

Wednesday, 22 November 2017

Morning (plenary)

Concert Hall
Dining Hall
  • 10:30 – 11:00
    Tea & coffee
  • 13:00 – 14:00
    Lunch

Afternoon (parallel)

Concert Hall
Auditorium
Penthouse
Dining Hall
  • 16:00 – 16:30
    Tea & coffee
  • 18:00 – 18:30
    Tea & coffee

Evening (plenary)

Concert Hall
Dining Hall

ongoing

Entrance / Cellar

On screen. Paulo de Assis and Michael Schwab, Nietzsche6+1: The Weight of Music

On view. Liana Psarologaki, Hydor

On view. Spencer Roberts, Deleuze / Derrida

Red Room

On view. Marina Kassianidou, How to Know: A Space

Listening. Obsolete Capitalism Sound System, Chaos Sive Natura

Penthouse

On view. Elisabeth Presa, Garden of Small Nuptials

in absence

The conveners of DARE 2017 have received funding from the European Research Council under the European’s Seventh Framework Programme (FP/2007-2013) / ERC Grant Agreement n. 313419.