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Please note that all times are shown in the time zone of the conference. The current conference time is: 7th Dec 2022, 10:56:21am CET
The philosophy of transversality in the art of Pál Frenák
Széchenyi István University Apáczai Faculty, Hungary
“a dance on the earth, a drawing on a wall, a mark on the body are a graphic system…that is independent of the voice” (A-O.) My proposed paper is on a well-known Hungarian dance-choreographer Pál Frenák whose projects are determined by the philosophy of Deleuze for 30 years. I am working on a concept that wants to investigate the art of Frenák philosophically. Frenák’s active artistic practice requires a proper theory to reveal its real nature. He is one of the most exciting dance choreographers of our time. Sign language was his mother language since he learned to read and understand her deaf-mute mother’s signs and gestures. Such nonverbal codes became subconscious and developed in unusual ways. Bodily communication and corporeality have been more important for Frenak than verbal communication. The act of destabilization in the pieces of Frenák unanimously creates a positive instability that has a huge effect on the dancer’s physical and mental state as on the sentiments, prejudices of the audience. Architectures and designers help him to display his visions in different spaces (theaters, museums, open spaces). In his last works Frenák used the philosophical theories of Deleuze&Guattari (on fragmentality, folding and transversality). Art cannot be a simple and fixed reflection of reality but the experience of potential interrelations. The notion of “transversal dimension” helps me to bring into communication the fragments of the aesthetic world of a choreographer who left Hungary for France under socialism and lived with Deleuze in the same house for years unconsciously.
11:30am - 12:00pm
The Sensible Structure of Natura Naturans: A Rationalist Interpretation of Deleuze’s Aesthetics
Southwest Jiaotong University, China, People's Republic of
This paper proposes a rationalist interpretation of Deleuze's aesthetics in the light of Spinozist concept "Natura Naturans". 1) Following the Duns Scotus formalist tradition, Deleuze interprets Spinoza’s attribute-mode relation as categories of quality and quantity, corresponding to the pair of concepts "Natura Naturans" and "Natura Naturata". At the level of modes, sensible beings are divisible and separate objects of perception; at the level of attributes, being-Sensible is continuous and indivisible and cannot be directly sensed in experience. 2)With such a framework, Deleuze defines art not as the imitation or representation of nature, but as the expression of the sensible structure of "Natura Naturans". Artwork on the one hand unfolds an autonomous world with figures and images, on the other hand it extracts and reconnects with sensory-qualities and power relations.3) Then both artists and spectators can only grasp the compound of sensation that constitutes artwork through asymmetrical synthesis (connective, conjunctive and disjunctive) , which particularly manifests the transcendental field in Deleuzian sense and reveals the impersonal yet singular life as the universal individual. 4) Based on such discussion, Deleuze outlines a historical trajectory of art with three stages, Classicism, Romanticism and modern age. It provides an alternative narrative to understand the transformation and continuity of art in the twentieth century and to reflect the concept of art itself, especially facing the rise of new forms of audiovisual art with technological advancement.
12:00pm - 12:30pm
1971 – 2022 Inside the Shell: an autoethnography that addresses processes of de- and reterritorialization
Maaike Jong de1, Alexander Grit2
1University of Groningen, NHL Stenden University of Applied Sciences; 2Hanze University of Applied Sciences
In this article, the concept of ‘a shell’ will be reflected upon to create different plateaus: a country as a shell that receives migrant labourers; a museum as a shell that ‘receives’ visitors and hosts objects; and pearls (the national symbol of Qatar), that have been created as a result of a parasite entering an oyster. The notion of a shell might on the surface look contradictory because the shell is a defence mechanism to protect the creature inside. One could argue that true hospitableness is about being open. ‘Inside the shell’ enables us to develop an appreciation of issues surrounding mechanism of ‘a body in pain’ and does this by reflecting upon and exploring society and its institutions in the way they offer safety and shelter, yet also control and constrain. It will do so in an autoethnographic narrative style. This article is inspired by the philosophical work of Gilles Deleuze and Félix Guattari and, more specifically, the concept of de- and reterritorialization that they introduced in A Thousand Plateaus (1987). With this concept they advocate thinking through processes of becoming in an effort to bring a Deleuzian analysis to the field post qualitative enquiry.