Thomas Allen Harris: Screening and Conversation
Beyond Security: Approaches toward a Cinema of Okinawa. Parts II and III
Angelo Madsen Minax: Screening and Discussion
Prelude: A Song About Love
Agnė Jokšė and Su Friedrich: Unconditional Love and Rules of the Road
Raúl Ruiz: Central Conflict Theory and Its Discontents
Love and Time: A screening of Anocha Suwichakornpong’s Come Here
Screening: Mohammad Shawky Hassan, Shall I Compare You to a Summer’s Day?
H.D.’s HERmione and Kenneth Macpherson’s Borderline
Jean-Marie Straub and Danièle Huillet: The Bridegroom, the Actress, and the Pimp
Forms of Experience: An Evening with Su Friedrich
It seems as if the desire to cancel out the experience of communism over the last decades may have proceeded, step by step, with the desire to cancel out the experience of love. Just as communism has been replaced by an infinite, inconclusive negotiation over rights, so too love has become a contractual affair, an engagement to barter about as if it were any other aspect of existence. Love no longer even has any experience of the end: one is fired, perhaps with an SMS, and if it’s worth the trouble you can put it on your CV.
The order of libidinal agriculture is the order of neoliberal totalitarianism in disguise. The couple form may look like a plot of land for individual use. But really it is an industrial production site for all sorts of capital (financial, cultural, social, emotional, etc.).
We use the gaps and the pauses as ways to think more clearly and more effectively with one another and by way of one another and past the separation of one and another. There’s a rhythm. Definitely. But it’s an irregular rhythm. And not only irregular compared to some metronomic norm but irregular in being overpopulated. The beautiful thing about the polyrhythm is that even though it’s just the two of us, as Bill Withers and Grover Washington Jr. would say, it’s way more than that. Not only our parents, our families, our partners, and the various children in our lives, but also all these other people that we’re always working with and talking with and thinking with and reading with. There’s always a lot of sound in our head, and in our hands, too.