Garden of Small Nuptials

Elizabeth Presa

Accompanying the conference Aberrant Nuptials is an image of Bernini’s sculpture Daphne and Apollo, which famously depicts the moment when Daphne, fleeing Apollo, “launches down a line of flight” into strange and unnatural becomings. In the original sculpture in the Galleria Borghese, exquisitely carved forms appear to oscillate between the marble’s frozen translucence and the mov...

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conference: DARE 2017: aberrant nuptials
date: November 22, 2017
venue: Orpheus Institute, Penthouse
format: encounter
practice: space
keywords: colour, François Zourabichvili, Gian Lorenzo Bernini, resistance, stratum, transcendence

Deleuze, Duras: Desire, Community, Power

Katie Pleming

Marguerite Duras, comme chacun le sait, elle adore la mer. Bon, bon, pourquoi, pourquoi?
—Deleuze, Cinéma et Pensée Deleuze’s readings of Duras’s cinema (primarily in Cinema 1 and 2, but also in his mid- 90s lectures at the University of Paris VIII) offer a useful starting point for thinking about Duras and Deleuze together. In this paper I draw on “Th...

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conference: DARE 2017: aberrant nuptials
date: November 22, 2017
venue: Orpheus Institute, Penthouse
format: in words
practice: image
keywords: Anti-Oedipus, Marguerite Duras, montage, Sigmund Freud

Fictioning a Thought of Performance

Tero Nauha

Art and philosophy are non-parallel nuptials. Artistic practice often follows the forms of “philosophising,” but both art and philosophy are forms of thinking in materialistic terms. But how does performance think and can we regard the different series of thought, philosophy, and performance as conflating into one universal thought? In my presentation, my aim is to articulate the concepts of ...

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conference: DARE 2017: aberrant nuptials
date: November 22, 2017
venue: Orpheus Institute, Penthouse
format: performed
practice: performance
keywords: aesthetics, fictioning, form, theremin

Fiction, Philosophy, and Poetry Wrapped Around the Creal: On Writing the Novella ‘Who Killed the Poet?’

Luis de Miranda

Often, when confronted with an up-close manifestation of what my brother called “The Creal,” that vital metamorphic lava of life as constant creation, we bury our gaze in the poster, the label, the package—like that photo of an anonymous old man Bardo took when he was in London with Ophelia, on the way to Oxford, where her father Peter Lovelace lived. On the back of the photo, my brother had...

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conference: DARE 2017: aberrant nuptials
date: November 22, 2017
venue: Orpheus Institute, Penthouse
format: in words
practice: writing
keywords: creal, novella, plane of immanence, William Shakespeare