Celeste Theatre, Cornerstone
The lecture will introduce the interface of art and technology in view of Heidegger’s discussion of technology and philosophies of immateriality developed by Lyotard and Deleuze. Examples from performance and new media art will shape the lecture. What might it mean for art to be “immaterial” and how might this bear on theories of subjectivity? How is Techne-Performance “immaterial”?
|Timothy Murray is Professor of Comparative Literature and English and Curator of the Rose Goldsen Archive of New Media Art. He is the Cornell Principal Investigator of the Central Humanities Corridor, generously supported by a grant from the Andrew W. Mellon Foundation, and he sits on the International Advisory Board of the Consortium of the Humanities Centers and Institutes (CHCI) and the Steering Committee of the Humanities, Arts, Science, and Technology Advanced Collaboratory (HASTAC). He is Co-Moderator of the -empyre- new media listserv and the author of Digital Baroque: New Media Art and Cinematic Folds (Minnesota 2008); Zonas de Contacto: el arte en CD-ROM (Centro de la imagen, 1999); Drama Trauma: Specters of Race and Sexuality in Performance, Video, Art(Routledge, 1997); Like a Film: Ideological Fantasy on Screen, Camera, and Canvas(Routledge, 1993); Theatrical Legitimation: Allegories of Genius in XVIIth-Century England and France (Oxford, 1987). He is editor of Mimesis, Masochism & Mime: The Politics of Theatricality in Contemporary French Thought (Michigan, 1997) and, with Alan Smith, Repossessions: Psychoanalysis and the Phantasms of Early-Modern Culture(Minnesota, 1997). His curatorial projects include CTHEORY MULTIMEDIA and Contact Zones: The Art of the CD-Rom.