Jean Baudrillard's 3rd simulation stage reinterpreted through the theory of architecture, Marxism and Jaques Lacan.

This paper takes issue with what seem to be standard practices of at least some organizations that use models in their ad campaigns. These organizations know that many of their models have had drug problems but refuse either to tolerate this or to help them. Some organizations have, allegedly in the name of a responsibility for the health of their customers, rather opted for a firm condemnation of the practices in which models such as Kate Moss apparently engage. This raises (...) questions about hypocrisy. The paper uses Levinas's concept of the face critically to describe what might be going on in the conflict between Moss and some of the companies she worked for. Moss is arguably understood by these companies as a role model who should not engage with drugs or street life. Against these more or less patronizing tendencies, the paper claims that it is not so much the face but processes of defacement that should trouble us from a moral perspective. The face, it is maintained, is not only ethical but also has a materiality. In opposition to what is maintained by at least some scholars of Levinas, art, literature and history have alerted us over and over again that the face is anything but indelible. Some examples from art show us the versatility and vulnerability of the face. The gossip and hype about what came to be known as the Kate Moss affair stands, it is argued, in a long misogynic tradition of defacement. (shrink)

Mario Perniola finds more than one cause in common with Deleuze, establishing a link between some aspects of Deleuze's theories and his own education, oriental philosophy, the situationists, but mostly Surrealism and Stoicism, two philosophical attitudes sharing the awareness that the threshold between actuality and virtuality is shifting and in constant transformation. The core element of the essay is notably the notion of becoming, to be taken strictly in relation to the notions of assemblage and plane of consistency. Together they (...) account for one and the same moment, a disposition of elements, which is not stable but in constant movement. (shrink)

This paper takes issue with what seem to be standard practices of at least some organizations that use models in their ad campaigns. These organizations know that many of their models have had drug problems but refuse either to tolerate this or to help them. Some organizations have, allegedly in the name of a responsibility for the health of their customers, rather opted for a firm condemnation of the practices in which models such as Kate Moss apparently engage. This raises (...) questions about hypocrisy. The paper uses Levinas's concept of the face critically to describe what might be going on in the conflict between Moss and some of the companies she worked for. Moss is arguably understood by these companies as a role model who should not engage with drugs or street life. Against these more or less patronizing tendencies, the paper claims that it is not so much the face but processes of defacement that should trouble us from a moral perspective. The face, it is maintained, is not only ethical but also has a materiality. In opposition to what is maintained by at least some scholars of Levinas, art, literature and history have alerted us over and over again that the face is anything but indelible. Some examples from art show us the versatility and vulnerability of the face. The gossip and hype about what came to be known as the Kate Moss affair stands, it is argued, in a long misogynic tradition of defacement. (shrink)

OB-scene is a performance centred on a live sonification of biological data gathered in real-time with a medical vaginal probe, made by the author. The use of the photoplethysmograph, which takes inspiration from the first medical vaginal probes used for diagnostic purposes by Masters and Johnson introduces a media-archaeological aspect to this work. Data gathered through the probe is processed and transformed into sound and visuals projected in the exhibition space. OB-scene takes inspiration from Jane Bennett’s Vibrant Matter in which (...) she argues that human agency has echoes in non-human nature and vice versa, shifting away from anthropocentrism towards the concept of ‘vital materiality’ that runs across bodies, both humans and unhuman. Furthermore, OB-scene is affiliated with an emerging movement of women and technology called ‘XenoFeminism’. It introduces the idea of techno-alienation and focuses on the concept of other/diverse desires, new forms of desiring, experiencing something other. In this specific work, this takes the form of a technofeminism incorporating the fluid, the non-human and the diverse. In this performance, the body is fused with the technology, rather than empowered or enhanced by technology itself, body and technology become a unique actant enabling the audience to experience the sensorial assemblage as a space for communal experience with political implications. OB-scene is as an immersive environmental work where the senses, affect and memory were key features of ‘assemblage thinking’. (shrink)