Deadline: 1 February, 2014

• The Second International Deleuze Studies in Asia Conference will be held at Toyonaka campus of Osaka University. The conference dates are Jun 6-8 2014.
• The Second International Deleuze Camp in Asia (summer school) will also be hosted by Osaka University, May 31 to June 3, 2014.

Both programs will be conducted in English.

In Japan, Deleuze and Guattari’s work has been influential since the 1970s when their work first began to be translated. It experienced a big boom in 1980s and has grown in importance ever since. now, in this century, their work is discussed in a wide variety of fields, such as cultural studies, literary studies, politics, culture, art, architecture and environment.

The Deleuze Studies in Asia conference is organized with the aim of providing a platform for all researchers with an interest in Deleuze and Guattari’s work, especially in Asia (Japan, Korea, Taiwan, China and Southeast Asia) regardless of fields and intensions. Participation by researchers from Europe, America and Latin America is welcome, indeed it is hoped that this conference will generate many new “rhizomatic” connections across the many islands of thoughts we all derive from.

The main theme of the conference is “Island”. Island is a big issue not only in terms of Japan as an island country, but also for Deleuze studies, further, with reference to the subject of “individual”.

Click here for more information.

7th International Deleuze Studies Conference: Models, Machines and Memories

Istanbul, July, 14-16th 2014 at the Department of Interior Design, Istanbul Technical University, Istanbul, Turkey

Deadline: 20 January, 2014

Models, Machines and Memories: 7th International Deleuze Studies Conference in Istanbul 2014 explores the themes related to the works of Deleuze and Deleuze and Guattari, and brings together scholars from a wide variety of disciplines and geographies. Exploring the relationship between the philosophy, space, architecture, arts, socio-political studies and sciences, through enriched views of trans-disciplinary perspectives, Models, Machines and Memories offers an open invitation to all scholars with an interest in the work of Deleuze and Guattari.

2014 Deleuze Studies Conference is hosted by ITU-Istanbul Technical University. It will be held in the beautiful Taşkışla Building of ITU-School of Architecture. One of the great cities of the world, Istanbul is a unique, historically rich and multi-layered city. Its extraordinary urban life, will provide the perfect milieu for the Deleuze Conference and the Deleuze Camp.

Click here for more information.

Conference on Deleuze’s Cultural Encounters with the New Humanities
9-12 June, 2014 at the Department of English and the Technoscience Culture and Research Centre, Hong Kong Shue Yan University, Hong Kong

Deadline: 15 January, 2014

The organizers of this conference are inspired by Gilles Deleuze’s thought on how the traditional humanities could be revitalized through an emphasis on a nomadic encounter between the East and the West. To encounter is to see differently of the world; and true
encounters are always with an outside, from roots to rhizomes. The conference is rooted in humanities studies of literature, various art forms, cultural texts such as media and films, etc, but the topics of studies flow over to concepts related to a revised humanities and particularly to the post‐human. The conference welcomes Deleuze scholars who explore into many of the ramifications of such a new humanities on the one hand, and on the other, those who aspire towards mapping and/or recreating cultural boundaries between the East and the West by experimenting with new concepts so as to create
interassemblages between them. It is the conference’s mission to “dislocate” any sense of cultural centrism, meanwhile relocating the very edges of encounters or interfaces within the context of a globalized, intercultural and sustainable nomadology in the 21st century and beyond.

Click here for full announcement (PDF).

École normale supérieure – Paris 16-18 mai 2013

Le cinéma de Bergson : image, affect, mouvement

Colloque international organisé par l’Université de Paris Ouest-Nanterre (Ireph et HARp) et l’Ecole normale supérieure (Ciepfc-Cirphles)

Résumé

Bergson n’a jamais eu le projet de penser le cinéma pour lui-même, encore moins de produire une philosophie du cinéma. Sa célèbre critique de « l’illusion cinématographique » a une portée bien plus générale ; le cinéma n’y est jamais en position de comparé, mais de comparant. Il n’empêche, des premiers écrits critiques aux recherches plus récentes qui, dans le sillage de Gilles Deleuze, ont voulu trouver dans la doctrine de la durée de quoi nourrir une réflexion contemporaine sur les images en mouvement, la philosophie bergsonienne n’a jamais cessé d’accompagner l’activité théorique suscitée par le cinéma. En réunissant des chercheurs issus de disciplines diverses, ce colloque international voudrait faire un pas de plus en envisageant quelque chose comme un « cinéma de Bergson ». Ce cinéma virtuel se dessine en filigrane dans son œuvre, au-delà des occurrences explicites du cinématographe ; on peut le dégager par une série de recoupements, au prisme d’une culture visuelle commune au cinéma, à la peinture, mais aussi à la littérature et aux sciences, en relation avec tous les dispositifs de vision appareillée qui reconfigurent la sensibilité moderne. Le cinéma de Bergson porte ainsi une autre idée du cinéma : le cinéma comme idée, au-delà de sa réalisation historique. Il concerne bien sûr les « vues animées », mais plus largement le mouvement des images, la place des émotions et des affects dans la relation esthétique que nous entretenons avec elles.

Tout le détail concernant cet événement peut être consulté sur le lien suivant :

http://www.ciepfc.fr/spip.php?article335

JEUDI 16 MAI, salle Dussane
45, rue d’Ulm – Paris 5e
14h00 Frédéric Worms : Ouverture du colloque
Après-midi
Présidence : Frédéric Worms (Université de Lille, ENS, Paris)

Section 1 : Faux mouvements
14h15 : Arnaud Bouaniche (Lycée Gambetta, Arras)
Bergson et le schématisme cinématographique de l’intelligence
15h00 : Clélia Zernik (École des beaux arts de Paris)
Les paradoxes de l’« effet phi »
(Pause café)

Section 2 : Sympathie et possession
16h15 : Raymond Bellour (CNRS)
Art, sympathie, hypnose, cinéma
17h00 : Mikhail Iampolski (New York University)
Expressivité et possession. Bergson et le cinéma expérimental de Maya Deren

VENDREDI 17 MAI, salle Dussane
45, rue d’Ulm – Paris 5e
Matin
Présidence : Elie During (Paris Ouest-Nanterre)

Section 3 : Dispositifs de vision
9h30 : Maria Tortajada (Université de Lausanne)
Bergson au croisement des dispositifs de vision (XIXe-XXe siècle)
10h15 : Anne Sauvagnargues (Université Paris Ouest-Nanterre)
Bergson, Simondon et le stéréoscope
(Pause café)

Section 4 : Une philosophie-cinéma
11h30 : Mauro Carbone (Université Lyon 3)
Qu’est-ce qu’une « philosophie-cinéma » ? La réponse du jeune Sartre via Bergson
12h15 : Ioulia Podoroga (Université de Genève)
L’idée de mouvement « pur », de l’art pictural à l’art cinématographique. Bergson et la pensée des premiers théoriciens du cinéma

Après-midi
Présidence : Anne Sauvagnargues (Paris Ouest-Nanterre)

Section 5 : Cinéma exposé, cinéma étendu
14h30 : Mirjam Schaub (Hochschule für Angewandte Wissenschaften, Hamburg)
Y a t-il un cinéma étendu selon Bergson ?
15h15 : Dork Zabuynan (Université Lille 3)
Cinéma exposé et coexistence des temps
(Pause café)

Section 6 : Bergson, Einstein et le cinéma
16h30 : Jimena Canales (Harvard University, Cambridge Mass.)
Einstein’s films and Bergson’s movies
17h15 : Elie During (Université Paris Ouest-Nanterre)
La relativité des temps : du burlesque cinématographique à l’art vidéo

SAMEDI 18 MAI, salle de conférences
46, rue d’Ulm Paris 5e
Matin
Présidence : Ioulia Podoroga (Université de Genève)

Section 7 L’Image virtuelle
9h30 : John Mullarkey (Kingston University, London)
What Does the Cinematic Background Demonstrate ? Depth of Field Thinking in
Bergson and Bazin
10h15 : Maël Renouard (ENS, Paris)
L’image-réminiscence
(Pause café)

Section 8 : Clôture/Ouverture
11h30 : Paola Marrati (Johns Hopkins University, Baltimore)
Bergson et le cinéma de science fiction

The English Department at TamkangUniversity, the publisher of the internationally renowned Tamkang Review, is pleased to announce that it will be hosting The First International Deleuze Studies in Asia Conference on the theme Creative Assemblages, May 31- June 2, 2013, and, prior to the conference, the Deleuze Camp, May 25-29, 2013.

Creative Assemblages

As one of the most important terms in Gilles Deleuze’s oeuvre,“assemblage ”refers to the territory of an object along with its own regime of signs and pragmatic system. Yet assemblage also refers to the forces of deterritorialization underlying the structure which enable the formation of new connections. In other words, the Deleuzian assemblage is not only a territorial gesture, framing its own territory, but also a performative practice of carving out new routes of thinking. Most important, Deleuze and Guattari emphasize the epistemological sparks emanating from creative interventions in the continual process of territorialization, deterritorialization and reterritorialization of assemblages.

Assemblages are everywhere: human beings, as centers of indetermination, are assemblages of images, as Deleuze makes clear when he “assembles” the brain with the screen, the world with film, as elements of a philosophy of time. Even virtual assemblages on digital networks (email, facebook, twitter) in our quotidian life can be regarded as assemblages. Assemblages are also practical and political as well as theoretical. In this light, to what extent can Deleuze’s philosophical thinking assist us in canvassing various prospective assemblages, and what is the retrospective assemblage between us and Deleuze? Is it possible for us to theorize the new informatics sensibilia by formulating the dispositif of the horizontal/ rhizomatic assemblages? And apart from the superficial/superfluous assemblages, is it possible to build any vertical yet not arborescent assemblages?

Situating this concept in the contemporary world, we are seeking to form transdisciplinary assemblages in order to respond to and have dialogues with present predicaments. Possible topics for papers may include but are not limited to:

1. Connections between Deleuze and Guattari’s work;
2. Connections among all the different arts, including literature, film, music, architecture, etc.
3. Deleuze-Asian Assemblages;
4. Affect and Asian Aesthetics;
5. Image and Thought;
6. Deleuze and Gender;
7. Psychoanalysis and Schizoanalysis;
8. Creative Betrayal of Deleuze;
9. Pros and Cons of Deleuze;
10. Ecology with/without Guattari;
11. Digital Folds;
12. Translation as Expression.

Is there a Deleuzian way of thinking about design?
How to think at design like a philosopher, and to think at philosophy like a designer.

Deleuze and Design is the first book to interrogate the theory and practice of design throughthe thought of Gilles Deleuze and Felix Guattari. Beginning with an investigation of how the field ofdesign is currently mutating, this book suggests an open-ended definition of design reflectingdesign’s own entanglement with the practice of ‘making worlds’, thus to create futures. Taken as aforce, a disruption, and a process, design is here taken as the embodiment of possible worlds.

Whether products or scenarios, packaging or experiences, objects or digital platforms,services or territories, organizations or methodologies, design is here taken in its broadest sense asa profoundly innovative and disruptive force, constituted in the multiform entanglement of practices,discourses, industry agendas, lifestyles and behaviours, thus optimally positioned to offer a stringentcritique of how the emergence of complex relationships between human and non human agencieselicit affects, tells stories and ultimately make us think by doing.

To design means always to engage with what is not-yet but could be. To design means toengage with the new, the possible, the potential. Design is not however a mere matter of future-forecasting or problem-solving. Rather, it is about turning imagination into reality. Thus, the presentemerges as the embodiment of a thought. Design possesses an extraordinary quality: it is projectthat keeps on designing, it keeps on giving visible, tangible shape to the material world we inhabit.Every designed object contains in itself the seeds of future practices and future behaviours.

Can we investigate and reconceptualise design’s own prehension into the future withDeleuze’s theoretical corpus? What are the tensions between a creative philosophy intended as thepractice of creating new concepts and the practice, discourse and theory of design as the field notsimply of innovation but of the creation of the future?

Deleuze’s formidable thought can be taken on board by design, not as a fulminous theoreticalfad to be shortly outmoded, but as a slow releasing arsenal of tools to think with, and to inform, theprocess of thing-making. Ideas on the relations between the actual and the virtual, the becomingelse of matter and the affects elicited by the utterly relational kinship of bodies and objects, all canbenefit by a reconceptualization based on Deleuze’s philosophy.

In particular, Deleuze’s idea that philosophy is creative and revolutionary precisely because itis always creating new concepts deeply resonates with the demands and the agenda of design,always engaged with thinking about the not-yet. Even more pertinent to design is Deleuze’saffirmation that new concepts should be both necessary and unfamiliar, as well as being a responseto real problems.

If to design means always to engage with the making of the new, design then is a powerfulperspective on the future, a lens through which we can catch a glimpse of what is not-yet but might,could be. Indeed, for some design theorists we have a future only by design (Fry 2009). But design isnot only a reality-building, world-making project. It is also a vector intersecting a multiplicity of otherforces – political, economical, social, cultural, experiential, institutional – and as a force it participatesto the construction of the future. It is not the future in itself but participates to its creation; it is not anevent in itself but participates to its generation.

A (by no means) exhaustive list of possible topics:

• Designing systems
• Designing experiences
• Design as social innovation/social enterprise
• A Deleuzian take on critical/speculative design
• Relationship with objects/status of object? assemblage
• Ethology/affect/encounters/affordance…
• Deleuze and design research
• Design and the future
• Design and becoming/the becoming of design
• A Deleuzian account of prototypying
• The ethic role of designers
• Design as social practice
• Design and sustainability
• Design and…and…and.. a new paradigm to think at design with
• Design of embodiment
• Design of subjectivity
• Conceptual design. Design thinking
• Design as a political agenda
• Design as posthumanism, a new paradigm to think things with
• Design and circulation, monitoring and capture of affect
• Design and control
• Design pedagogy
• Design and inter/trans/infradisciplinarity

Paper proposals may be submitted to
Betti Marenko b.marenko@csm.arts.ac.uk by March the 23rd.

Proposals should include CV, contact information, and a preliminary abstract of 300 words orless.

Full papers by August the 23rd