Raiding the inarticulate since 2010

accelerated academy acceleration agency AI Algorithmic Authoritarianism and Digital Repression archer Archive Archiving artificial intelligence automation Becoming Who We Are Between Post-Capitalism and Techno-Fascism big data blogging capitalism ChatGPT claude Cognitive Triage: Practice, Culture and Strategies Communicative Escalation and Cultural Abundance: How Do We Cope? Corporate Culture, Elites and Their Self-Understandings craft creativity critical realism data science Defensive Elites Digital Capitalism and Digital Social Science Digital Distraction, Personal Agency and The Reflexive Imperative Digital Elections, Party Politics and Diplomacy digital elites Digital Inequalities Digital Social Science Digital Sociology digital sociology Digital Universities elites Fragile Movements and Their Politics Cultures generative AI higher education Interested labour Lacan Listening LLMs margaret archer Organising personal morphogenesis Philosophy of Technology platform capitalism platforms populism Post-Democracy, Depoliticisation and Technocracy post-truth psychoanalysis public engagement public sociology publishing Reading realism reflexivity scholarship sexuality Shadow Mobilization, Astroturfing and Manipulation Social Media Social Media for Academics social media for academics social ontology social theory sociology technology The Content Ecosystem The Intensification of Work The Political Economy of Digital Capitalism The Technological History of Digital Capitalism Thinking trump twitter Uncategorized work writing zizek

Griselda Pollock, “Is Feminism a Bad Memory or a Virtual Future?”, Warwick, May 12

The Centre for the Study of Women and Gender of the University of Warwick is delighted to invite you to its 2014 Annual Lecture.

The lecture is free to attend (no registration required) and open to all.

Monday, May 12th, 2014, from 5.00 to 7.00

Ramphal Building, room 1.13

PROFESSOR GRISELDA POLLOCK (University of Leeds)

Is Feminism a Bad Memory or a Virtual Future?

Abstract: What is the nature of feminist memory in contesting the impoverished memory being produced for feminism, within and without the ‘feminist’ communities?  Why are certain stories, tropes, and habits in representation of feminism of the later twentieth century so tenacious despite critical resistance and despite the hard evidence that things were not like that? Has feminism become, or produced for itself, a ‘bad memory’? How much is this the problem of the institutionalization of any radical ‘event’ and the structural issues of transmission? If the temporality of our current situation is the contemporary, how is this impacting on the capacity to imagine feminism as more than a historical event receding into the past, losing its relevance before ever new challenges? How can the different moments of its emergence, elaboration, retreat and reinvention over many centuries and in different sites worldwide engender different ways of understanding the point at which we find ourselves now in the becoming of feminism?

My paper will explore the potential of the feminist philosophical discourse on virtuality and hence of open futures in relation of another posture of political fidelity to the core project of thinking difference. How might we move beyond the ‘bad’ memory and enliven a sense of feminist continuities that are neither nostalgic nor disappointed, metaphorized neither by generation nor waves? Can we think the times of feminism and its commitment to the as yet unimagined beyond the limitations of such metaphors and outside the compulsive search for new fashions typical of liquid modernity? To what extent can the resources of feminist cultural thinking in and through art up to this point cease to be the historical archive deadened by our limited stories and become the resource for feminism’s lively virtuality and enabling relevance to the challenges of the unstable present?

GRISELDA POLLOCK is Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory and History (CENTRECATH) at the University of Leeds. Committed to developing an international, postcolonial, queer feminist analysis of the visual arts and cultures, she is currently researching issues of trauma and the aesthetic, Aby Warburg’s legacies, and concentrationary memory. Her most recent publications include After-affects I After-images: Trauma and Aesthetic Transformation(Manchester, 2013); Bracha Ettinger: Art as Compassion (with Catherine de Zegher, ASA 2011);Concentrationary Memories: Totalitarian Terror and Cultural Resistance (with Max Silverman, I B Tauris, 2013); Art in the Time-Space of Memory and Migration  (Freud Museum and Wild Pansy Press, 2013) and the edited collection  Visual Politics of Psychoanalysis: Art & the Image in Post-traumatic Cultures (I B Tauris, 2013). Her forthcoming books include The Nameless Artist: Charlotte Salomon’s Life? or Theatre? as Theatre of Memory (Yale), and  From Trauma to Cultural : Representation and the Shoah / Holocaust.

For the full event webpage, see

http://www2.warwick.ac.uk/fac/soc/sociology/rsw/research_centres/gender/forthcomingevents/annuallecture2014

Useful Information

(The Ramphal building is marked with the number 53, and appears at the centre of the map, within square 4D.)

, ,