12.01.2010

Facs of Life Screening ~ a film between Deleuze and his students



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A screening over in Britain of
this
fantastic project
of redoing
recuperation
and loss
of history
the reconstitution
of the molecule
of the sound
of the lectures


of the heady days


then







Heart


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Facs of Life 
Deleuze Film Event at Tate


Wednesday 8 December 2010, 14.00–17.50
Screening of Facs of Life – between Gilles Deleuze and his students (HDV, F/I/UK 2009) by Silvia Maglioni and Graeme Thomson
Roundtable discussion: The Otolith Group, Silvia Maglioni, Graeme Thomson.


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 Some descriptions of the event 

as it was held in New York
at the  16 Beaver Group space

A cinema of missing bodies

Over a series of two days, we will spend time with Silvia Maglioni & Graeme Thomson and explore their effort to realize a cinema that would both be an encounter with Deleuze's thought, as well as an encounter with the traces left of a collective process, which were the courses at Vincennes. The two days will include a screening of the film they have made with some former students, as well as a subsequent day, which will attempt to look more closely at some of the footage from the lectures, and explore an expanded version of their cinematic research/work.
We hope the two days will be a collective process for which Silvia and Graeme may contribute some questions, and which the rest of us may develop, add to, broaden, complicate, or play with.

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2. About Friday Night -- Day 1 -- Facs of Life

Inspired by, and making creative use of, the philosophy of Gilles Deleuze, 'Facs of Life' (I/F/UK 2009, HDV) is a film in eight plateaus that attempts to construct a complex collective refrain of molecular trajectories in life and thought, beginning from a number of encounters: 
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Plateau 1, Inarchivé




with Marielle Burkhalter and Ali Akay, regards the video footage of Deleuze’s Vincennes courses (shot by Marielle Burkhalter in 1975-76) that triggered the desire to make the film, images never properly edited nor incorporated into an official public archive and whose existence as raw rushes in some way mirrors that of Deleuze’s pedagogy on the margins of official philosophy, engaged in an open-ended process of building concepts. Parallels emerge between the fate of the video (footage thrown in the trash on account of its technical obsolescence and only partly salvaged) and that of Vincennes as a whole, an experimental environment where Deleuze, though marginalized, could work more or less unimpeded. Yet these images, far from being ‘substandard’, present in the singularity of their texture and rhythm, a well of virtual fictions and plastic trajectories, haunted by revenance of the post-nouvelle vague diaspora (Eustache, late Bresson, the Rivette of Out 1). Thus the film begins with a detective story: the videos reactivated as surveillance images permitting us to individuate certain figures 30 years later, a process all the while problematized by the subject of the lessons themselves, ‘faciality’ as an apparatus of capture, the translation of a polyvocal body of desires into a binary machine of identification: faces, names, an information model of ‘personal’ histories and reminiscences that the film will attempt to combat through a rhizomatic movement and dispersion of impersonal singularities




From 16 Beaver Archives