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Poiesis & si tu — POIESIS (edited by Nathan Brown & Petar Milat : March 2017, 270 pages) DESCRIPTION If we situate poiesis within the expanded field of material production, then poetics will not only be proper to the province of literature. Where there is making, there we find poetics: theory of the formal practice of production. If, when the first volume of Marx’s Capital descends into “the hidden abode of production” we descend also into the realm of poiesis, that is because making is not only the vatic enterprise of an author reposing in pensive mood. What gets made, and how, depends upon configurations of social and technical forces, and this puts every practice of artistic making – film, sculpture, painting, architecture, performance, poetry, etc. – on a common, though uneven, ground of historical determination. Poetics can be, in one register, the thinking of this historical codetermination of the arts – as in Fredric Jameson’s multivolume project, The Poetics of Social Forms. The theory and practice of making, poiesis, traverses any particular art form, drawing the methods and materials of discrepant productive practices into relation, articulating their common conceptual, formal, and ideological problems across boundaries between specific media, institutional contexts, and disciplinary protocols. With a few additions, most of the essays collected in this volume were presented at a three-day symposium of the same title in Zagreb in 2015. This was also the occasion for a performance of Marjana Krajač’s choreographed dance piece, Variations on Sensitive, which in turn occasioned the poetic response by angela rawlings, si tu, published along with Poiesis. Essays by Thomas Schestag, Branka Arsić, David Wills, Jed Rasula, Marie Gil, Alexi Kukuljevic, Amanda Holmes, Goran Sergej Pristaš, Julie Beth Napolin, Aaron Schuster, Dee Morris & Stephen Voyce, Nathan Brown. EDITORS Nathan Brown is Canada Research Chair in Poetics and Director of the Centre for Expanded Poetics in the Department of English at Concordia University (Montréal, Canada). Petar Milat is a philosopher and the main programme coordinator at Multimedia Institute (Zagreb, Croatia). — si tu by angela rawlings (March 2017, 88 pages) DESCRIPTION si tu (Croatian): are you here? si tu (French): if you in situ (Latin): on site In a Zagreb monument, five women navigate relationships to space, self, another. If you, a body. If you, in relation to a body any body another body. To how. And for whom. These relationships unfold over two hours via Marjana Krajač’s choreography Variations on Sensitive. angela rawlings arrives a little late to Variations on Sensitive, and with cherries. She moves and is moved by the extraordinary relationships performed by the women. A little late and with cherries, she writes. With eyes fixed on the performers, she improvises her hand over sixty notebook pages, making and marking si tu as an unplanned composition with and through the performed moment. PRAISE FOR THE BOOK “[Flips through book.] Classic rawlings. [Lands mid-book.] How do you pronounce this: ‘č, š’? [Turns page.] ‘Cherries, chanterelles…’ OOOOOooooooooooh hahahhahahahhahahahahhahahahaha.” — Sachiko Murakami ABOUT THE AUTHOR a rawlings is an intradisciplinary artist using languages as dominant exploratory material and she considers how to perform geochronology as an LKAS PhD candidate at University of Glasgow. Her performance practice seeks and interrogates relational empathy between bodies—be they human, more-than- human, other-than, non. Meditating on languages as inescapable lenses of human engagement, rawlings’ methods over the past fifteen years have included sensorial poetries, vocal and contact improvisation, theatre of the rural, and conversations with landscapes. rawlings’ books include Wide slumber for lepidopterists (Coach House Books, 2006), o w n (CUE BOOKS, 2015), and si tu (MaMa, 2017). Her libretti include Bodiless (for Gabrielle Herbst, 2014) and Longitude (for Davíð Brynjar Franzson, 2014). rawlings is half the new-music duo Moss Moss Not Moss (with Rebecca Bruton) and the polypoetry duo Völva (with Maja Jantar). She loves in Iceland. Meira: http://arawlings.is
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Poiesis @ MaMa Conjuncture je serija simpozija o filozofiji, politici i estetici 21. stoljeća. Program koordiniraju Nathan Brown (Sveučilište Concordia / Centre for Expanded Poetics) i Petar Milat. Od 2009. naovamo, ugostili smo predavače kao što su Peter Hallward, Graham Harman, Martin Hägglund, Catherine Malabou, Ray Brassier, Michel Chion, Barbara Cassin i drugi. Poiesis Poiesis znači stvaranje. Ali što to znači stvaranje? Znači, između ostalog, to da poetika nije ograničena samo na područje književnosti. Gdje ima stvaranja, ima i poetike: teorije formalne prakse proizvodnje. Kad se u prvom tomu Kapitala uputimo prema “skrivenom mjestu proizvodnje”, tad smo se uputili prema području poiesisa i to zato što stvaranje nije samo pojedinačni autorski pothvat. Ono što će biti stvoreno, i način na koji će biti stvoreno, ovisi o konfiguraciji društvenih i tehničkih snaga što znači da se sve prakse umjetničkog stvaranja—film, kiparstvo, slikarstvo, arhitektura, izvedbene umjetnosti, poezija, itd.—odvijaju na zajedničkom, neravnom terenu historijske determiniranosti. Poetika, ovako shvaćena, može biti promišljanje međusobne historijske determiniranosti umjetnosti—kao što pokazuje Poetika društvenih oblika, još nezaključeni projekt Fredrica Jamesona. Teorija i praksa stvaranja, poiesis, presijeca pojedinačne umjetničke oblike te pritom, prelazeći preko granica pojedinih medija, institucionalnih okruženja i disciplinarnih protokola, povezuje metode i materijale diskrepantnih proizvodnih praksi te artikulira njihove zajedničke pojmovne, formalne i ideološke probleme. No, budući da se odnosi i na poeziju, razumijevanje poiesisa također nam pomaže da pristupimo poetskom jeziku u njegovom vlastitom elementu. Taj element ne može biti jezik po sebi: jezik se neprestano stvara i proizvodi — proces njegove proizvodnje uvijek je u tijeku. Filologija proučava povijest jezika, uvijek tekući proces njegove proizvodnje. Ali, kako ističe Werner Hamacher u knjizi Minima Philologica, objekt filologije —jezik—također je medij u kojem se njeno proučavanje odvija te ona, upisana u beskonačno refleksivnu strukturu, neprestano stvara ono što proučava. To je područje poiesisa i upravo zato Hamacher kaže da “filologija svoj temelj pronalazi u poeziji”. Poezija je ono neprestano izvanjsko jezika i to kao unutrašnji proces njegove proizvodnje: stvaranje onog što će biti jezik od onoga što je jezik. “Poezija se”, piše Celan u Meridijanu, “održava na margini sebe same”, a ta margina nije samo njezina, nije samo margina poezije, nego i margina samog jezika. Poiesis, stvaranje, proizvodnja neraskidivi su od rada na margini, od izlaganja danosti jezika onom što je izvan njega ne samo putem stalne rekonstitucije onog što jezik jest, nego i putem izlaganja jezika onom što nije jezik: drugim medijima formalne artikulacije i historijskim determinacijama koje ga uvjetuju. Kao rad na marginama, naš simpozij bit će posvećen teoriji i praksi poiesisa kao neprestane proizvodnje oblika pri čemu oblik neće biti shvaćen kao nešto što pripada jednom jeziku, jednom mediju, ovoj ili onoj umjetnosti, nego prije kao invencija onoga što bi oni mogli biti. — Nathan Brown Raspored — četvrtak, 11.06. 18:00 – 20:00 Nathan Brown : The Irony of Anatomy – Basquiat’s Poetics 21:00 – 22:30 Oleg Tcherny : Blur Yes Shades Can Blur [projekcija @ MM Centar, Savska 25] 11:30 – 12:00 Conference-Introduction (Nathan Brown & Petar Milat) 12:00 – 14:00 Aaron Schuster : How to Research Like a Dog – Kafka’s New Science \_ Marie Gil : Poetics of Immanence in the Western Tradition 15:00 – 17:00 Goran Sergej Pristaš : Work, non work, art work \_ Angela Rawlings : Gibber – Ecopoiesis 19:00 – 21:00 Amanda Holmes : Drifting into Non-Sense – On Julia Kristeva’s Poietical Subjects \_ Stephen Voyce : Poetic Cartographies — subota, 13.06. 12:00 – 14:00 David Wills : The Poetics of Inanimate Life: Mallarmé, Cixous, Celan. 15:00 – 17:00 Jed Rasula : Producing the Inscrutable – Some Lessons of Modernism 20:00 – 20:30 Angela Rawlings [performans @ Booksa, Martićeva 14d] — nedjelja, 14.06. 12:00 – 14:00 Branka Arsić : Object-Poems – On Emily Dickinson’s late poetics 15:00 – 17:00 Thomas Schestag : poiein 18:00 – 20:30 Marjana Krajač : VARIJACIJE O OSJETNOM [plesna izvedba @ Dom HDLU/Džamija, Trg žrtava fašizma 16] — ponedjeljak, 15.06. 20:00 – 21:30 David Grubbs : Records Ruin the Landscape — utorak, 16.06. 21:00 David Grubbs & Andrea Belfi [koncert @ Polukružna dvorana Teatra &TD, Savska 25]