Please join COMMA for the final meeting in our 2015-16 series, “In The Desert of the Real” with a screening of the second film in George Miller’s Mad Max series. Set in a post-apocalyptic desert landscape, the film interweaves themes of war, energy, resource scarcity, and environmental justice. The screening will be followed by discussion, and pizza will be provided.
Please join us for COMMA’s next event in our year-long series, “The Desert of the Real.” Award-winning book artist Lyall Harris will be presenting “From Craft to Art: Communicating Through the Medium of Book Art” on Thursday, May 5th at 3:00. This event, hosted in conjunction with UCSB Special Collections, will be held in UCSB Library’s Special Collections Conference room (3rd Floor of Davidson Library) with a reception immediately to follow.
Since the late 90s, Lyall Harris’ artwork has been exhibited in more than one hundred solo and juried group shows and recognized with over twenty awards, including The George Hitchcock Prize for painting from the National Academy Museum, NY, and a Purchase Award in Book Art from the University of Utah for a fifteen-book site-specific project. Her book art can be found in numerous Special Collection libraries across the United States, among these, Yale (Haas Arts Library), Stanford (Green Library), Indiana University (Lilly Library), Davidson Library (UCSB) and Smith College (Mortimer Rare Book Room). Harris has been the recipient of fellowships at Virginia Center for the Creative Arts, NALL Foundation in Vence, France, and San Francisco’s Grabhorn Institute.
“From Craft to Art; Communicating Through the Medium of Book Art”
Book art at its best is a medium where the maker’s keen use of the material components creates a faceted, more comprehensive and potent language to express content. In this way, the parts themselves, in the context of the piece, become bearers of meaning that work collectively to cause a kind of “transcendence,” from material to conceptual. This is where craft becomes art. Lyall Harris will present an array of these “literary art objects”—variously spawned by particular texts, “book” forms, specific materials, or images—to illustrate my creative process and the unique potential of book art as medium.
Please join us for COMMA’s next event of the Spring Quarter. We will continue our investigation of “The Desert of the Real” on April 15th at 1:00 in South Hall 2623 with a talk by E. Ann Kaplan.
Professor Kaplan is Distinguished Professor of English, and Cultural Analysis and Theory, at Stony Brook University. Her influential works on feminist film theory include Women & Film: Both Sides of the Camera (1990) and Motherhood and Representation (1992). Professor Kaplan’s work on trauma theory includes Trauma Culture: The Politics of Terror and Loss in Media and Literature (2005), and has led her to her current research considering the physic structures of human/environmental relations. In 2015, Rugters published her most recent monograph, Climate Trauma: Foreseeing the Future in Dystopian Film and Fiction.
“’Getting Real About the Anthropocene’: Pretrauma and Cultural Politics in Futurist Dystopian Film (with Reference to Jeff Nicol’sTake Shelter)”
In this talk, taken from her 2015 monograph, Climate Trauma: Foreseeing the Future in Dystopian Film and Fiction, E. Ann Kaplanexplores how cinema negotiates the catastrophe of climate change humans ignore at their peril. She first asks what affects and psychic processes prevent humans from coming together to save the planet. In turning to dystopian narratives to investigate such questions, Kaplan develops the concept of pre-traumatic stress (linked to the familiar Post-Traumatic Stress Syndrome), and asks what impact results from viewers occupying a position of “virtual future humans” in climate disaster fictions. Here, Take Shelter will be discussed as a striking example of pre-traumatic stress. Second, Kaplan attends to the cultural politics in disaster scenarios commenting on meanings attached to race and gender; she introduces psychoanalysis to partially explain the evident sexism and racism. Finally, Kaplan debates whether or not commercial climate disaster films provide an unhelpful sense of mastery, collude with corporate manipulation of fear, or function as a call to action. Film can be a powerful tool for changing consciousness and even policy. She concludes that if we can understand the psychic processes involved in climate denial, we have a chance to rupture the ideological structures that entrap people.
Please join us for COMMA’s first event of the Winter Quarter. We will continue our investigation of “The Desert of the Real” on Friday, April 8th at 1:00 in South Hall 2623 with a talk by Tarek Elhaik. Professor Elhaik is Assistant Professor of Anthropology at the University of California, Davis, where he also runs and curates AIL (the Anthropology of the Image Lab). He has published articles in various journals and anthologies, and is the author of The Incurable Image: Curating Post-Mexican Film & Media Arts (Edimburgh University Press, February 2016). As always, snacks and drinks will be provided.
This talk stems from a series of encounters with artists whose “Earth” is grounded in what Elhaik calls a “geo-curation.” Among these artists is Michelangelo Antonioni whose 1964 classic Technicolor filmRed Desert will as our point of departure. By combining anthropological theories of color (Taussig, 2009; Levi-Strauss, 1964) and Deleuze’s meditation on Antonioni’s “geophysics,” the talk remediates and reconfigures Earth as an enduring form and “incurable-image” (Elhaik, 2016) of the so-called Anthropocene. By assembling images from Red Desert alongside those of Robert Smithson’s earthwork Spiral Jetty (1970) and Tareq Teguia’s film Inland (2008) Antonioni’s geo-curation emerges as a human practice that inhabits the world as a desert without a substance.
Suggested readings for the talk include:
Deleuze, Gilles. “On The Time-Image” in Negotiations (New York: Columbia U. Press) p. 57-61.
Elhaik, Tarek. “Rome-Algiers-Bahia: A Bloc of Sensation In Lieu of Geography” in in Sweet Sixties: Specters and Spirits of a Parallel Avant-garde. Georg Schöllhammer & Ruben Arevshatyan eds. Sternberg Press (2014): 217-228. (Attached)
Taussig, Michael. What Color is the Sacred? (Chicago: University of Chicago Press, 2009), p. 3-12
Levi-Strauss, Claude. The Raw and the Cooked. (London: Jonathan Cape, 1970 [1964]), p. 18-20
Please join COMMA as we continue our 2015-16 series, “In The Desert of the Real” with a screening of the first film in Nacer Khemir’s “Desert Trilogy.” Set in a small town on the edge of an immense desert, Wanderers of the Desert (1984) interweaves myth and dream in order to explore tensions between modern and traditional values. The screening will be held on Friday, Feb. 12th at 1:00 in SH 2635 and, as always, the will be followed by discussion, and pizza will be provided.
Please join us on Friday, Feb. 26th at 1:00 in SH 2635 as COMMA continues the 2015-16 series, “In the Desert of the Real” with a screening of Abderrahmane Sissako’s award winning film, Timbuktu (2014). Inspired by a public execution, Sissako’s film offers a gritty exploration of cultural conflict resulting from the occupation of Timbuktu by a jihadist faction. As always, we will reserve time after the film for discussion and pizza will be provided.
Please join us for the first event in COMMA‘s winter schedule on Friday, Jan. 15th at 1:00 in South Hall 2635. We will be screening Michelangelo Antonioni’s Red Desert (1964). Following the screening, Eileen Joy (UCSB) will join us to discuss the film and her article “Blue” from the important collection, Prismatic Ecologies (2013). Copies of “Blue” are available in the CRC. As always, refreshments will be provided.
Please join us this Friday, Nov. 6th 1:00 in South Hall 2623 (the Sankey Room) for a talk by Dick Hebdige (UCSB, Film & Media Studies) entitled “The Desert on the Doorstep.”Professor Hebdige is the author of several important monographs including Subculture: The Meaning of Style (1979) and Cut ‘n’ Mix: Culture, Identity and Caribbean Music (1987). The talk will draw upon research conducted through the “Desert Studies Project” (2007-15) run under the aegis of the UC Institute for Research in the Arts.
Figured simultaneously as eternally remote yet all too close to home, the Desert in the era of intensifying crisis in the Middle East and the longest drought in California’s recorded rainfall history refuses to stay put. The deserts east of LA, easily accessed via the arterial sprawl of Interstate -10 serve as home to a growing number of permanent Inland Empire residents and as weekend getaway destinations for second homesteaders, tourists, off-road vehicle enthusiasts, Burners and boulderers alike. Hubs for agribusiness, the military-industrial complex, the casino, resort and waste disposal industries, the desert hinterlands form the literally overlooked outer- rim components of trans-nationally networked metropolitan ecologies. Drawing on the archive of the Desert Studies project a UC system wide interdisciplinary arts-centered research initiative centered in southern California’s arid zone this talk addresses the desert’s problematic placement within the imaginary of 21st century West.
Friday, Oct. 16th at 1:00 in SH 2635 Please join us as we open our 2015-16 series, “In The Desert of the Real” with a screening Werner Herzog’s first film in English. The screening and discussion will be held onFriday, Oct. 16th at 1:00 in SH 2635. Set in the Australian desert, Where the Green Ants Dream (1984) stages a confrontation between environmental activism and modernization as local Aborigines fight a mining company searching for uranium mining sites. Blending documentary and feature film, Herzog explores the legal and philosophical issues behind neocolonialism and the extraction of local resources. The screening will be followed by discussion, and food will be provided.
