國際學者講座:影像與批判理論

更新時間:2014-04-14 12:28:49 / 張貼時間:2014-04-14 12:19:48
外國語文學系
單位外國語文學系
1,997

國際學者講座:影像與批判理論

Seminars on Image Thought and Critical Theories

 

Prof. Gregg Lambert

Dean's Professor of the Humanities

Principal Investigator, Central New York Humanities Corridor

Founding Director, Humanities Center

Syracuse University

New York

 

 

Gregg Lambert received his Ph.D. in Comparative Literature& Philosophy in University of California, Irvine, CA. He has been the Distinguished Visiting Fellow for years in several institutes, especially the Institute for the Humanities of Utrecht University, the Netherlands in 2013 and Ewha Women’s University and also Sungkyunkwan University, Seoul, Korea in 2010-2011. He also has received a lot of academic awards: Outstanding Alumni Achievement Award, Pacific University (2008); Undergraduate Teaching Award, Department of English, Syracuse University (1999-2000); Dean’s Summer Research Grant, College of Arts & Sciences, Syracuse University (1997-99); Nominated to Harvard Society of Fellows (1995, 1999), to name just a few here. He has co-edited with several scholars for many books: (with RosiBranidott, in process) Re-Drafting Perpetual Peace of a Contemporary World; (with Daniel W. Smith in 2012) Deleuze: A Philosophy of the Event by Francois Zouribichvili; (with Aaron Levy in 2010) Perpetual Peace Project (new edition of Kant’s Perpetual Peace); (with Aaron Levy in 2007) Rerevolutionnaire: Conversations in Theory. Vol.1; (with Victor Taylor in 2006) Jean-François Lyotard: Critical Evaluations in Cultural Theory; (with Ian Buchanan in 2005) Deleuze and Space. As to monographs, he has published at least five books: (2013) Who’s Afraid of Deleuze and Guattari?, (2012) In Search of a New Image of Thought: Gilles Deleuze and Philosophical Expressionism, (2008) On the (New) Baroque, (2005) The Return of the Baroque in Modern Culture, (2003) The Non-Philosophy of Gilles Deleuze.

 

 

 

 

 

Welcome to the Seminars:

 

2014.4.22        PM3:10-5:10

Schizoanalysis and the Cinema of Stanley Kubrick

靜宜大學  任垣樓238教室

主持人: 邱誌勇  副教授

 

2014.4.23  PM2:10-4:30

Deleuze’s Brain-Machine: Cinema and the Image of Thought

中興大學  萬年樓502

主持人: 蔡淑惠  副教授

 

2014.4.24  PM2:10-4:00

Becoming Animal and the Origin of the Work of Art

淡江大學  外語學院大樓 204

主持人: 蔡振興  教授

 

2014.4.25  PM4:30-6:30

The Unconscious Leap in Thought: On the Future of Theory

台灣大學   舊總圖外文系會議室

主持人: 蕭立君  副教授

 

主辦單位: 中興大學外文系

合辦單位: 台灣大學外文系、淡江大學英文系、靜宜大學大眾傳播學系

協辦單位: 中興大學研發處、中興大學語言中心

 

指導單位: 科技部人文司

 

English Abstracts:

 

1. Deleuze’s Brain-Machine: Cinema and the Image of Thought


This first lecture concerns the renewal of the image of thought experienced by
modern philosophy through its connection to the arts, literature, and especially
modern cinema. At the same time, the problem of renewal of the image has also been
the basis of the various renewals that have occurred in modern cinema, particularly in
what is commonly referred to as “intellectual cinema,” and is present from the very

beginning of this modern industrial art form, and through cinema theorists such as
Eisenstein and others. For this reason, in the mid-1980s, immediately following the
completion of the second volume with Guattari, Deleuze turned his attention to this
corollary crisis around the “image of thought” in modern cinema, especially in what
he calls “the cinema of the brain.” However, the two volumes of the cinema studies,
Cinema 1: The Movement-Image and Cinema 2: The Time-Image, should in no way
be understood as “film theory”; rather, they are Deleuze’s attempt to draw a map of

the situation confronted by modern cinema concerning its own image that might
provide philosophy with a new means of creating concepts that would replace its
earlier universals. Consequently, in this lecture I will develop ten propositions on
what Deleuze calls the “cinema of the brain,” employing the films of Stanley Kubrick,
particularly Eyes Wide Shut, The Shining, and 2001: A Space Odyssey to illustrate
Deleuze’s concepts.

 

2. Schizoanalysis and the Cinema of Stanley Kubrick

In his later works, Deleuze referred many times to what he described as 'our

new relationship to the Brain'. As he writes in Cinema 2: The Time-Image, because

'the Brain is no more a reasonable system than the world is rationally constructed [...],

the brain becomes our illness, our passion, rather than our mastery, our solution

ordecision' (Deleuze, 1989). In other words, there is a crack between the brain and the

worldhowever, the crack is not 'between', as if the brain was on one side of a vast

crevice or fissure and the world was on the other side, since this would simply

reduplicate the old Cartesian dualism. Instead, we must now recognize that this crack

is continuous and runs along a plane that stretches between both terms conceived as

purely virtual points. What is most remarkable in this remapping of the earlier divide

between objective and subjective conditions of apperception is Deleuze's assertion

thatthe 'interval' between brain and world, or between stimulus and response, is now

governed by a logic of the irrational cut, which is responsible for creating points of

uncertainty between inside and outside (perception or hallucination, associative

memory or reminiscence). Accordingly, the relation between brain and world

becomes a topological point between inside and outside in an uncertain, probabilistic

and a-centered system. As Deleuze argues in Cinema 2, and later in What is

Philosophy? (with Guattari), it is this character of uncertainty that governs our new

relationship to the brain. In this lecture, I will develop and illustrate Deleuze’s theory

of the brain as an a-centered and probabilistic system using Kubrick’s use of the

irrational cut in films like Dr. Strangelove and The Shining, as well as A.I., from the

original screenplay by Kubrick that was developed into the mainstream film by Tom

Cruz.

 

3. Becoming Animal and the Origin of the Work of Art

    In the first of the series of interviews conducted by Claire Parnet called ABCdaire, “A for animal,” Deleuze makes some very interesting and telling statements concerning the relation between a territory and art that often bears a relation to the animal, or to the notion of “becoming-animal,” which is often described as a process of “creating a relation to territory” in reference to the artist and the writer. For Deleuze, the animal has a privileged and very specific relation to the notions of territory and world, one that is based on a relative number of affects and on a process of selection (i.e., the extraction of singularities from a milieu or an environment [Umwelt]). Very simply put, the animal entertains a relation to its world that is produced in terms of a relation to distinctive territory, whereas the human is found to have a relation to world, but no relation to a distinctive territory (i.e., the human being has no proper territory of its own). However, for Deleuze, the writer and the artist are often described as beings who enter into a process of becoming where the subject loses its own proper identity as an individual or a human being and enters into a process that closely approximates the animal’s “captivation” by an environment, to employ Heidegger’s term, even though the artist or the writer produces a specific world by extracting lines, fragments, colors, visions or scenes from its external environment in order to compose a territory that is expressed by the work of art.

 

4. The Unconscious Leap in Thought: On the Future of Theory

The new image of thought proposed in Deleuze and Guattari’s last work

together is at once extremely beautiful and incredibly violent, depicting a process of

thinking marked by explosions and incredible speeds, but also by moments of

unsupportable slow motion, both of which outstrip conscious perception. Here, we are

confronted with an image of the brain determined as an a-centered and probabilistic

system that is always subject to a confrontation with chaos, unable to support the

unconscious leaps of memory and association belonging to what they define as a

“Non-Objectified Brain.” In this concluding lecture, I will focus on just one level of

association— the leap between philosophy and cognitive psychology, Gestalt theory

in particular, as one language of possibility space they employ to explore what I will

define as “the plan of immanence” which is the image of thought of contemporary

theory.

 

 

 

  • 本訊息負責人 洪萩陽
  • 電話 2284-0321
  • E-mail foreign@dragon.nchu.edu.tw
Back
TOP