國際學者講座：影像與批判理論
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,
Founding Director,
Gregg Lambert received his Ph.D. in Comparative Literature& Philosophy in
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室
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室
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.
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- 本訊息負責人 洪萩陽
- 電話 2284-0321
- E-mail foreign@dragon.nchu.edu.tw