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Vendredi 1er juillet : n’en déplaise à la météo, l’été est là, pour certains ce sont les premiers départs, rêves d’archipels et exils sur le sable, horizon bleu. Dossier ouvert en devenir sur Roland Barthes

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PDF of Chris Marker’s Le Dépays — click on the image 

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Michel Foucault en 1979 : «Les hommes réprimés par la dictature choisiront d’échapper à l’enfer»

http://www.liberation.fr/debats/2015/09/17/michel-foucault-en-1979-les-hommes-reprimes-par-la-dictature-choisiront-d-echapper-a-l-enfer_1384684

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pourquoi / why

Even as he obsessively asks himself why he is not loved, the amorous subject lives in the belief that the loved object does love him but does not tell him so.

1. There is a “higher value” for me: my love. I never say to myself: “What is the use?” I am not nihilistic. I do not ask myself the question of ends.[1]  Never a “why” in my monotonous discourse, except for one, always the same: But why is it that you don’t love me? How can one not love this me whom love renders perfect (who gives so much, who confers happiness, etc.)? A question whose insistence survives the amorous episode: “Why didn’t you love me?; or again: O sprich, mein herzallerliebstes Lieb, warum verliessest du mich? – O tell, love of my heart, why have you abandoned me? [2]

2. Soon (or simultaneously) the question is no longer “Why don’t you love me?” but “Why do you only love me a little?” How do you manage to love a little? What does that mean, loving “a little”? I live under the regime of too much or not enough; greedy for coincidence as I am, everything which is not total seems parsimonious; what I want is to occupy a site from which quantities are no longer perceived, and from which all accounts are banished.

Or again – for I am a nominalist: Why don’t you tell me that you love me? 

3. The truth of the matter is that – by an exorbitant paradox – I never stop believing that I am loved. I hallucinate what I desire. [3]  Each wound proceeds less from a doubt than from a betrayal: for only the one who loves can betray, only the one who believes himself loved can be jealous: that the other, episodically, should fail in his being, which is to love me – that is the orgin of all my woes. A delirium, however, does not exist unless one wakens from it (there are only retrospective deliriums): one day, I realize what has happened to me: I thought I was suffering from not being loved, and yet it is because I thought I was loved that I was suffering; I lived in the complication of supposing myself simultaneously loved and abandoned. Anyone hearing my intimate language would have had to exclaim, as of a difficult child: But after all, what does he want?

(I love you becomes you love me. One day, X receives some orchids, anonymously: he immediately hallucinates their source: they could only come from the person who loves him; and the person who loves him could only be the person he loves. It is only after a long period of investigation that he manages to dissociate the two inferences: the person who loves him is not necessarily the person he loves.)

Roland Barthes

A Lover’s Discourse (1977)

↑ 1 NIETZSCHE: “What does nihilism signify? That the higher values are losing their value.The ends are lacking, there is no answer to this question ‘What’s the use?’ “

↑ 2 HEINE: “Lyrisches Intermezzo.”

↑ 3 FREUD: “We must take into account the fact that the hallucinatory psychosis of desire not only…brings concealed or repressed desires to consciousness but, further, represents them in all good faith as realized.”

Related: Love Means the End of Happiness

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Come on, guys. Read more critical theory. Read more Deleuze.

Overheard at The Washington Post (via washingtonpost)

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Heidegger, not, on Broadway

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Description and reading list for 1989 Derrida seminar on “The Politics of Friendship.”

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Lecture by Christina Hendricks for the "Remake/Remodel" theme. For more, see http://artsone-open.arts.ubc.ca/michel-foucault-the-history-of-sexuality-an-intr...

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Le philosophe de la « déconstruction » est mort il y a dix ans. Enquête sur l’héritage intellectuel d’un penseur qui se méfiait des héritiers.

Le Monde, 16 octobre 2014

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The Resnais Archipelago Call for papers

A three-day interdisciplinary conference at Duke University hosted by the departments of Romance Studies, Music, the Center for French and Francophone Studies, the Program of the Arts of the Moving Image. Convenors: Anne-Gaëlle Saliot and Jacqueline Waeber October 29-31, 2015 Program Committee Anne Garréta (Duke University) Markos Hadjioannou (Duke University) Anne-Gaëlle Saliot (Duke University) Jacqueline Waeber (Duke University) Over six decades, French film director Alain Resnais (1922-2014) has built one of the most original cinematographic oeuvres of his time. Tirelessly exploring new directions, forms, and genres, Resnais impacted durably on several generations of filmmakers in France and in the rest of the world, stimulating intense debates that continue to resonate in contemporary film theory and philosophy. Yet Resnais’ universe forms a most ungraspable and singular landscape, favoring blurred frontiers and unexpected topographies (a trope still conveyed by the “wild grass” of one his most recent films). In their seminal monograph on Resnais (Alain Resnais: liaisons secrètes, accords vagabonds, Paris, 2006), Jean-Louis Leutrat and Suzanne Liandrat-Guigues draw on the image of the archipelago as a point of entry into Resnais’ both dense and elusive world: a world made out of multiple and scattered territories that can be nevertheless linked together through a tenuous and subterranean thread. Our conference intends to (re)map the “Resnais archipelago” by tracing Resnais’ numerous legacies and sources of influences. Fostering an interdisciplinary dialogue, the conference will welcome participants from film studies, visual studies, art history, music and sound studies, literature, philosophy, history, and other fields. It will also serve as a springboard for an edited collection of innovative essays on Resnais. Keynote speakers will be Professors Suzanne Liandrat-Guigues (Université Vincennes à Saint-Denis-Paris 8), François Thomas (Université Sorbonne Nouvelle-Paris 3), and Steven Ungar (University of Iowa).   PROPOSALS The Program Committee encourages submissions within the following areas of Alain Resnais’ oeuvre, including, but not limited to the following topics: Genres and influences: Genres and their boundaries; Resnais and America; Resnais and surrealism; realism and artificiality. Cinema and the other arts: The graphic arts, comic strip and photography; architecture, the mapping of spaces and territories; theater, theatricality, and decors; Resnais and literature; the serial novel. The art of narration/the art of the image: Uses of voice-over and soundtrack; frame and montage; polyphony and mosaic; the miniature/the scale-model. History as material: Memory and the politics of remembrance; history and its traumas; temporal resurgences; uses and functions of fragments and archives. Philosophical readings of Resnais: Temporal and spatial topologies; Resnais and utopia; Deleuzian approaches to Resnais; the brain and neurosciences. Resnais cinéphile: Resnais and the French New Wave; silent film; cross-cultural perspectives on Resnais in national and international cinemas, especially Asian cinema; Resnais’ actors. Please submit an abstract of up to 500 words, including your name, affiliation, contact information, and brief curriculum vitae, to Anne-Gaëlle Saliot (as340@duke.edu) and Jacqueline Waeber (jw140@duke.edu), no later than December 15, 2014. The Committee will make its final decision on the abstracts by the end of January 2015, and contributors will be informed immediately thereafter. Further information about the program, registration, travel and accommodation will be announced during Spring 2015.

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"Gilles Deleuze and Felix Guattari: Refrains of Freedom," an international conference to be held in Athens, 24-26 April, 2015, Panteion University, is now accepting submissions. 

Deadline for submissions is November 1, 2014.

Gilles Deleuze and Felix Guattari:

Refrains of Freedom International Conference

We invite abstracts for papers and panel discussions on all aspects of Deleuze and Guattari's work, and we particularly welcome contributions attempting to elucidate the meaning of Deleuze and Guattari's claim that "pluralism equals monism" as well as its significance for a number of issues central to their writings.

http://www.critical-theory.com/submit-your-papers-gilles-deleuze-and-felix-guattari-refrains-of-freedom/

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Duras Duras. Trois pièces sonores

Duras, Duras est une série libre de pièces radiophoniques produites par Radio Grenouille, en écho à la rétrospective des films de Marguerite Duras au FID (Festival international de Cinéma à Marseille), qui s’est tenu du 1er au 7 juillet 2014. Ces trois pièces radiophoniques sont issues du webmag FID + une réalisation de Radio Grenouille à l’occasion de la 25° éditions du FID.

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Happy Birthday, Jacques Derrida, born 15 July 1930, died 9 October 2004

Seven Quotes

I believe in the value of the book, which keeps something irreplaceable, and in the necessity of fighting to secure its respect.

No one gets angry at a mathematician or a physicist whom he or she doesn’t understand, or at someone who speaks a foreign language, but rather at someone who tampers with your own language.

What cannot be said above all must not be silenced but written.

But psychoanalysis has taught that the dead—a dead parent, for example—can be more alive for us, more powerful, more scary, than the living. It is the question of ghosts.

I always dream of a pen that would be a syringe.

The traditional statement about language is that it is in itself living, and that writing is the dead part of language.

Learning to live ought to mean learning to die - to acknowledge, to accept, an absolute mortality - without positive outcome, or resurrection, or redemption, for oneself or for anyone else. That has been the old philosophical injunction since Plato: to be a philosopher is to learn how to die.

Derrida was a French philosopher who published more than 40 books, as well as hundreds of essays. He is best known for developing a form of semiotic analysis known as deconstruction. He is one of the major figures associated with post-modern philosophy.

Source for Image

by Amanda Patterson for Writers Write

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Walter Benjamin’s library card, Bibliothèque Nationale, Paris, 1940.

The greater the shock factor in particular impressions, the more vigilant consciousness has to be in screening stimuli; the more efficiently it does so, the less these impressions enter long experience [Erfahrung] and the more they correspond to the concept of isolated experience [Erlebnis]. Perhaps the special achievement of shock defense is the way it assigns an incident a precise point in time in consciousness, at the cost of the integrity of the inci­dent’s contents. This would be a peak achievement of the intellect; it would turn the incident into an isolated experience. Without reflection, there would be nothing but the sudden start, occasionally pleasant but usually distasteful, which, according to Freud, confirms the failure of the shock de­fense. Baudelaire has portrayed this process in a harsh image. He speaks of a duel in which the artist, just before being beaten, screams in fright. This duel is the creative process itself. Thus, Baudelaire placed shock experience [Chockerfahrung] at the very center of his art. This self-portrait, which is corroborated by evidence from several contemporaries, is of great signifi­cance. Since Baudelaire was himself vulnerable to being frightened, it was not unusual for him to evoke fright. Valles tells us about his eccentric gri­maces; on the basis of a portrait by Nargeot, Pontmartin establishes Baude­laire’s alarming appearance; Claudel stresses the cutting quality he could give to his utterances; Gautier speaks of the italicizing Baudelaire indulged in when reciting poetry; Nadar describes his jerky gait.

from On Some Motifs in Baudelaire - Walter Benjamin