Diverging Doubles: Between the Sensing Body and Its Projected Image

George Themistokleous

With the proliferation of electronic media, Gilles Deleuze’s conception of time-image is extended to various media platforms that lie outside the cinematic discourse. By moving beyond the cinematic confinements that physically  distance  the  bodily  viewer  from  the image, digital media, including augmented reality technologies, have allowed for changing interactive relations in the perc...

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conference: DARE 2017: aberrant nuptials
date: November 21, 2017
venue: Orpheus Institute, Penthouse
format: in words
practice: image

Mining the Aesthetico-Conceptual: Deleuze, Derrida and Artistic Research

Spencer Roberts

Despite their many political and philosophical allegiances, Deleuze and Derrida might— in accordance with Deleuze and Parnet’s dictum—be best described as the opposite of a couple. While their mutual hostility towards conceptual stasis, overly linear approaches to temporality and excessively centred notions of subjectivity targeted a number of common philosophical opponents, this apparent un...

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conference: DARE 2017: aberrant nuptials
date: November 21, 2017
venue: Orpheus Institute, Penthouse
format: in words
practice: space
keywords: artistic research, Jacques Derrida

A Life as an Open Landscape. Systems of Codetermination in Three Robotic Shows

Zornitsa Dimitrova

Combining A. Naess’s vision of “ecospheric belonging” and Guattari’s concept of an “ecosophy” as a science set “to create new systems of valorisaion, a new taste for life . . . ,” this paper looks at a string of robotic shows by SRL from the late 1970s. These shows uniformly address the possibility of relating to an environment and the question of artefactual autonomy but at the sa...

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conference: DARE 2017: aberrant nuptials
date: November 21, 2017
venue: Orpheus Institute, Penthouse
format: in words
practice: performance
keywords: actual, aesthetics, landscape, politics

Photogenesis: Brokering World

Peter Burleigh

From their inception, the nexus of practices that later became named photography were characterised as being the production of images “impressed by Nature’s hand.” It was a technology seemingly without want of human agency—albeit one where the earliest full proclamation of photography, published by Henry Talbot in a scurry to claim the priority of his “art of photogenic drawing�...

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conference: DARE 2017: aberrant nuptials
date: November 21, 2017
venue: Orpheus Institute, Penthouse
format: in words
practice: image
keywords: photography, singularity