Click here to read the Pipe Dream’s coverage of Associate Professor and Interim Chair Nancy Um‘s recent contribution to the Dean’s Distinguished Lecture Series, “A Mosque, a Tomb, and the Arabian Legacy of Coffee.”
In an 1834 essay, the French physicist André-Marie Ampère used the term “cinématique” [kinematics] to first describe the study of the geometry of pure motion that became indispensable for engineering industrial technologies. Beyond its obvious etymological kinship with “cinema,” the nineteenth century field of kinematics established a relationship between ideas and machines that found its fullest articulation in film. No doubt the affinity between industrial production and cinema is as old as film itself, with the Lumière brothers’ first film, Exiting the Factory [Sortie d’usine, 1895], depicting workers departing the Lumière factory in Lyon. Yet, it was not until the emergence of scientific management and psychotechnics—an applied form of experimental psychology pioneered by the psychologist-turned-film theorist, Hugo Münsterberg—that cinema came to represent an epistemic limit condition for thinking in the machine age.
Jeffrey West Kirkwood is Assistant Professor of Art History and Cinema at Binghamton University.
In conjunction with On Kawara—Silence, the Solomon R. Guggenheim Museum will host a range of public programs. Conceived by exhibition curator Jeffrey Weiss, the discussion series Duologues On Kawara positions the artist within a global, interdisciplinary context. The dynamic pairing of talks are followed by framed conversations on specific aspects of Kawara’s work, encompassing diverse topics such as language, travel, politics, pictorial abstraction, and the theme of the “everyday.”
All events of the series Duologues On Kawara include a viewing of On Kawara—Silence and a wine reception in the Guggenheim rotunda.
Alfredo Jaar and Tom McDonough
April 28, 6:30pm
This conversation will focus on two themes that surface when considering the political context of Kawara’s practice: the post-Conceptual representation of world events such as war; and the Situationist model of socio-cultural critique concerning the “practice of everyday life.” Artist and activist Alfredo Jaar and writer and critic Tom McDonough discuss these themes in relation to their own projects. For tickets, click here.
Free for students with advanced RSVP.