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INTEREST AREAS
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Critical social theory
Modern and avant-garde art
Aesthetics and poetics of media
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DOCTORAL DISSERTATION
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Adorno's Marxism
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The writings of Theodor W. Adorno comprise an attempted recovery of Marx's critical theory for a dialectic of 20th Century social forms. Through immanent critique of modern aesthetic, epistemological, philosophical, political and psychological forms of social subjectivity and its antinomies, contradictions and discontents, including those of ostensible Marxism, the thought figures of Adorno's essays are modeled after and attempt to elaborate Marx's self-reflexive critique of the subjectivity of the commodity form. Adorno's critical theory considers modern aesthetic form as social form. Following Marx, Adorno's critique of modern social forms is concerned with their potential for emancipation as well as domination: "culture industry," for instance, is meant to grasp comprehensively the context for the critical social object and form of aesthetic subjectivity in common for practices of both "hermetic" art and "popular" culture; and the emergence of post-ego psychological "authoritarian personality" and the "eclipse of the individual" are meant to characterize not only benighted or misled "masses" but also, reflexively, 20th Century developments in the social-historical formation of critical subjectivity itself, including Adorno's own. In Adorno's essays, objects of cultural critcism become "prismatic," illuminating the formation of subjectivity and providing moments for critical reflection and recognition. However, readings of Adorno have fallen below the threshold of this dialectic, and both the rhetorical register and critical intent of such works as Dialectic of Enlightenment have become obscured. Adorno's thought understands itself as being formed in a period of counterrevolution, civil war and reaction after the revolutions of 1917-19, and it faces and seeks to provoke recognition of the possibility and reality of social regression as well as regression in thinking. Apprehending Marx's critical legacy after the collapse of 2nd International Social Democracy in 1914 and the 1917-19 Communist revolutions, Adorno's thought tries to recognize the nature of the diremption between Marx's critical theory and ostensibly Marxist politics, pointing, for example, to Marx's Critique of the Gotha Program in considering the degeneration of Marx's legacy into what Marx would call "political economy" rather than its critique, and developing a critique of 20th Century society that is aware of Lenin's critical caveats in the face of ostensibly Leninist politics after 1917 as well as Trotsky's critique of Stalinist reaction in the Soviet Union. The emancipatory moment of 1917-19, however failed and betrayed, remains the lodestar for Adorno's thought, apprehending the unfolding of 20th Century history as reaction against and retreat from that moment. Stalinism, fascism, the Fordist national state, and the "one-dimensional" or non-contradictory "industrial" society hypothesis emerging mid-century with the resumption of world war obscured the historical legacy of Marxist politics as well as Adorno's dialectic, which remained, through the late works of the 1960s such as Negative Dialectic and Aesthetic Theory, consistent with its social-political origins in the 1920s-'30s and sought to grasp contradictions of social modernity at more profound levels than traditional Marxist categories of relations of the market, private property and class struggle, whose critical valences had become attenuated. The coincidence of reception of Adorno's works with the emergence of social discontents, oppositions and transformations of the 1960s and their aftermath obscured Adorno's thought during the two decades of "postmodernism" that finally culminated in the events of 1989-92, and whose exhaustion has opened possibilities for reconsidering the critical-theoretical tradition as a whole. Precedence for such recovery and reappropriation of Left critique can be found in the works of the late '70s-early '80s by thinkers retrospectively critical of the forms of social discontents that had emerged in the '60s, critically apprehending and struggling against a certain one-sided misapprehension of modernity as baleful social homogeneity that informed the oppositions of the '60s and the postmodernism that followed: Moishe Postone's reinterpretation of Marx centering on the dialectical critique of proletarian labor and industrial production; Adolph Reed's critique of the transformation and persistence of American politics of black-white "race" after the '60s; and Gillian Rose's Hegelian critique of the antinomies of sociological epistemology. Attempts at reappropriating Adorno's critical theory after postmodernism might remain bound by the terms of the postmodernist reception of Adorno, if inverting them. But Adorno's dialectic itself can explain and provide for the critical specification of the terms of its mistaken reception and obscurity through successive and varied historical moments. The present work engages the reconstruction of and development upon the coherence of Adorno's dialectic as expression of the extended tasks and project of Marxian critical theory bequeathed by history to the present. [PDF] [Adorno epigraphs: dissertation tasks and project] [proposal presentation]
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University of Chicago, Committee on the History of Culture
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Committee:
Moishe Postone, co-chair (History)
Kenneth W. Warren, chair (English, African-American Studies)
James F. Lastra (Cinema and Media Studies)
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presentation
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22 February 2010
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University of Chicago
Social Theory Workshop [workshop paper]
Faculty coordinator: Moishe Postone
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TEACHING
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Jan. 2004 - present
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School of the Art Institute of Chicago
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Adjunct Assistant Professor, Departments of Art History, Theory and Criticism; Liberal Arts; and Visual and Critical Studies
(self-designed courses, 3 credits each):
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- Adorno on "Culture Industry:" Critical Theory of Art as Social Subjectivity
[incl. Marx, Luxemburg, Lukács, Trotsky, Wilhelm Reich, Kracauer, Benjamin, and Marcuse]
(Spring '04, '05, '06, '07, '08, '09, '10, '11) [Spring '10 syllabus]
- Benjamin and History: The Future of the Subject
[incl. Baudelaire, Nietzsche, Bergson, Proust, Freud, Kafka, Brecht, and Breton]
(Fall '04, '06, '07, '08, '09, '10) [Fall '04 course homepage] [Fall '09 syllabus]
- Critical Art: The Philosophy of Modernism
[Kant, Schiller, Hegel, Nietzsche, Lukács, Marcuse, Adorno, et al.]
(Fall '05, '06, '07, '08, '10, Spring '10) [Spring '10 syllabus]
- Critical Society: Philosophy and Modernity: Marx and Marxism
[Rousseau, Smith, Kant, Hegel, Marx, Lukács, Korsch, Adorno, et al.]
(Spring '07, '09) [Spring '07 poster] [Spring '09 syllabus]
- Introduction to Critical Theory
[Marx, Trotsky, Lukács, Kracauer, Benjamin, Adorno, Greenberg, Barthes, Foucault, et al.]
(Summer '05, '09) [Summer '09 syllabus]
- Media and Modernity: Spectacle and Society
[films by Ruttmann, Eisenstein, Vertov, Buñuel, Hitchcock, Deren, Brakhage, Schneemann, Resnais, Godard, Marker, et al.; and writings by Kracauer, Benjamin, Adorno, Debord, Baudrillard, et al.]
(Fall '05) [Fall '05 syllabus]
- The Museum of Art: Postmodernism and Critique
[Benjamin, Adorno, Barthes, Foucault, Crimp, Foster, Krauss, Owens, et al.]
(Fall '06) [Fall '06 syllabus]
- Origins of Modernism, France 1848-71: Painting, Poetics, Politics
[T. J. Clark, Michael Fried, et al. on Baudelaire, Courbet, Manet, et al.]
(Spring '04*, Fall '05, Spring '08, '11, Summer '09, '10) [Summer '10 syllabus]
(* co-instructor: Stephanie Karamitsos)
- Psychoanalysis and Society: Freud and after
[Sigmund Freud, Wilhelm Reich, Anna Freud, Fanon, Adorno, et al.]
(Fall '07) [Fall '07 syllabus]
Dept. Chairs: James Elkins, Raja Halwani, Maud Lavin, Margaret Olin, Kym Pinder, David Raskin
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Sept. 2002 - present
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University of Chicago, Social Sciences Collegiate Division
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Lecturer (core college curriculum courses, 5 credits each):
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- Power, Identity, and Resistance I: Social Theory of Capitalism
[Smith, Marx, Durkheim, et al.] (Autumn '02)
- PIR II: Liberalism and its Critics
[Hobbes, Locke, Rousseau, Burke, Mill, Nietzsche, Schmitt, Gandhi, Woolf, et al.] (Winter '05)
Coordinators: Gary Herrigel and Deborah Gould
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- Self, Culture, and Society I: Capitalism and Social Modernity
[Rousseau, Smith, Marx, Weber, Lukács, et al.] (Autumn '07, '08, '09) [Autumn '09 syllabus]
- SCS II: Cultural Meaning and Modern Society
[Durkheim, Foucault, Nietzsche, Kracauer, Adorno] (Winter '06, '07, '08, '09) [Winter '09 syllabus]
- SCS III: The Self in Context
[Freud, Mead, Goffman, Fanon, de Beauvoir, Adorno, Marcuse, et al.] (Spring '05, '06, '07, '08, '09) [Spring '09 syllabus]
Coordinators: Moishe Postone and Bertram J. Cohler
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Course Intern (3-quarter course sequence, 5 credits each):
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- Self, Culture, and Society
I [Rousseau, Smith, Marx, Malinowski, Weber, E. P. Thompson, et al.] (Autumn '03)
II [Durkheim, Lévi-Strauss, Sahlins, Foucault, Benjamin, Adorno, et al.] (Winter '04)
III [Freud, Vygotsky, James, Mead, Goffman, Fanon, et al.] (Spring '04)
Instructor: Bertram J. Cohler
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Sept. 1997 - Jan. 1998
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Columbia College, Chicago, Illinois
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Instructor, Television Department (studio art course, 4 credits):
- Video Techniques I (Fall '97)
Coordinator: Michael Niederman
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Jan. 1995 - May 1996
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School of the Art Institute of Chicago
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Teaching Assistant, First Year Program (studio art course, 6 credits):
- 4-D/Time Arts (Spring '96)
Instructor: Adrian Blundell
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Teaching Assistant, Video Department (studio art course, 6 credits):
- Basic Video Production I
Instructors: Gabriel Gomez (Spring '95), and Leah Gilliam (Fall '95)
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Feb. - May 1993
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Hampshire College
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Teaching Assistant, School of Communication and Cognitive Science:
- Issues in Gay and Lesbian Film and Video (Spring '93, 4 credits)
Instructor: Stashu Kybartas
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PUBLICATIONS (selected)
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Essays
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The Child with a Lion: the utopia of interracial intimacy
(approx. 15,000 words) March, 2000
GLQ: a journal of lesbian and gay studies 6.2 (2000): 249-285 [HTML] [PDF] [PDF layout]
"The writer discusses black-white interracial homosexuality from his perspective as a white male, recognizing the dubiousness of his attempt. He proceeds as if interracial intimacy were a problem of the text, the inexorable force of racial difference and its traces in writing implicating not only the writer/reader but language itself. Employing the techniques of montage and bricolage, he invokes a potentially infinite series of iterations of one specific stereotype of interracial male homosexuality that forces otherwise heterogeneous textual sources into writing about the situation of a 'little white boy' with a 'big black man'. He reveals that he is endeavoring not to authorize the stereotypical scenario with his incidental personal experiences but to redeem the utopia promised by the stereotype, the happiness the interracial symbolizes that causes it to be stigmatized by both white and black people." Subject descriptors: Homosexuality — United States. Sex attitudes. Intimacy (Psychology). Geographic: United States — Race relations. [Humanities Abstracts (© 2000 H. W. Wilson Company)]
University of Chicago readers: Kenneth W. Warren and James F. Lastra
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presentation
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27 May 2002
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University of Chicago
Social Theory Workshop [discussion notes] [poster]
Faculty coordinator: Moishe Postone
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The Failure of the Islamic Revolution: the nature of the present crisis in Iran
(approx. 4,000 words) August, 2009
International Journal of Žižek Studies 3.4 (2009) [PDF]
Confusion on the Left around the 2009 electoral crisis in Iran has been expressed both in defense of President Ahmadinejad's claim to victory as well as by support of Iranian dissidents and protesters. Slavoj Žižek has weighed in, questioning prevailing understandings of the nature of the Iranian regime and its Islamist character. Responses have recapitulated problems on the Left in understanding the Islamic Revolution since 1979. All share in attributing to Iran an autonomous historical rhythm or logic of its own, rather than as a symptomatic effect of a greater history. Žižek has come closest to addressing this issue of greater context, but even he has failed to address the history of the Left.
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Poems
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lagoonal body (c. 1993), and the man they beat until dead (c. 1995)
EPOCH: a magazine of contemporary literature 49.2 (2000): 230-231
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CONFERENCE PAPERS (selected)
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Adorno and Korsch on Marxism and philosophy (approx. 2,000 words) May, 2010
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conference
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14 May 2010
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Historical Materialism conference, York University, Toronto, Canada [conference paper]
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Adorno and Freud: The relation of Freudian psychoanalysis to Marxist critical social theory (approx. 3,000 words) April, 2010
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conference
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7 April 2010
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7th Annual Social Theory Forum: Critical Social Theory: Freud and Lacan for the 21st Century, University of Massachusetts, Boston [paper abstract] [conference paper draft] [revised manuscript] [PDF layout]
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Adorno and Benjamin's Philosophy of History: The challenge of the history of the Left to the progressive view of history (approx. 9,000 words) May, 2008
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conference
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7 November 2009
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Rethinking Marxism 2009, Amherst, Massachusetts [paper abstract] [conference paper]
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presentation
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30 May 2008
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University of Chicago
History of Culture Symposium [presentation paper]
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Adorno in 1969: Adorno's Marxism and the problem and legacy of the '60s Left in theory and practice (approx. 8,000 words) October, 2006
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conferences
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6 August 2009
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Adorno — 40 Years On, Centre for Social and Political Thought, University of Sussex, U.K. [call for papers] [conference programme] [paper abstract] [conference paper]
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26 October 2006
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Rethinking Marxism 2006, Amherst, Massachusetts [conference paper]
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presentation
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23 October 2006
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University of Chicago
Social Theory Workshop [workshop paper] [poster]
Faculty coordinator: Moishe Postone
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"A Feast of Scraps:" Glenn Ligon's art, photography and the social history of blackness in America (approx. 4,000 words) January, 1996 and April, 2003
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conference
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26 April 2003
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The Racialized Body: Race as Lived and Theorized, the 10th Annual University of Chicago Minority Graduate Student Association Eyes on the Mosaic Conference
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PROFESSIONAL ACTIVITIES (selected)
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2008
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Book referee:
Theodor Adorno: Key Concepts (2008)
Edited by Deborah Cook
Acumen Publishing (Stocksfield, U.K.)
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VIDEO WORKS 1993-98
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"Movie" (1998, 3 min.)
NTSC digital video, stereo audio
The song "Movie" by His Name Is Alive (1996) animates the snapshot of a longed-for lost lover, exploring the tension between representational imagery and haptic surface, primary colors of flat video chrominance and deep luminance of the image, disintegrating through multiple iterations: "Take back the thoughts you left me."
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"Theme from Danger Island" (1997, 5 min.)
NTSC digital video, stereo audio
A CÆSURA music video for Chicago DJ and recording artist Jordan Fields's "Theme from Danger Island" (SSR/Crammed Discs, Belgium). A short clip depicting a man dancing during a "voodoo" ceremony in the blaxsploitation-era James Bond film Live and Let Die becomes the occasion for a 1960s Op Art-style rumination on the textures of video's primary colors and dynamic grid: "No man is an island entirely of itself" (John Donne).
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message from the messenger: three poems by Paul Celan (1996, 17 min.)
NTSC digital video, stereo audio
Imaging the sex of two male lovers, one black, one white, against three poems by Holocaust survivor Paul Celan, message from the messenger explores otherness and reconciliation through metaphor and the graphics of white and black. Composed of long takes in real time that loop back upon themselves, with a minimal, synthesized soundtrack of rumbling drone, static digital noise, and silence, the video invokes the wistful utopia of intimacy without "race" and sex without death.
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IDI (1995, 7 min.)
NTSC digital video, stereo audio
IDI is an elegiac reverie on images of black-white interracial male homosexuality, enacting the imbrication of fantasy and memory. One brief scrap of home video is reflected in a scene from commercial pornography, juxtaposed with lyrical imagery of floating autumn leaves, ludic recombinations structured by cyclical washes of electronic music by Aphex Twin.
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GHOST BODY (1993, 20 min.)
NTSC U-Matic SP videotape, stereo audio
GHOST BODY is a personal meditation on the ambivalences of interracial male homosexuality. Caressing black hands trace a white body. Poems, letters and personal reminiscences evoke interracial encounters. Aimé Césaire conjures Robert Mapplethorpe's black male nudes in a poetic rendering of the word "nigger." Angry letters from a black man to his white suitor disavow interracial love. Snow falls and the wistful piano of Erik Satie's enfantines sets the mood for Claude McKay's evening with a visiting "snow fairy."
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VIDEO WORKS: PUBLIC SCREENINGS (* artist attendance)
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"Movie" (1998, 3 min.)
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premiere screening
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22 November 1998
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MIX NYC '98: the 12th New York Lesbian and Gay Experimental Film and Video Festival (Anthology Film Archives) *
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exhibition
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5-7 May 2006
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Victoria Erotica Film and Arts Festival, British Columbia, Canada (Ambrosia Event Centre)
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broadcast
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2005
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Pink TV, France: Paradise Video Art Exhibition
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message from the messenger: three poems by Paul Celan (1996, 17 min.)
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premiere screening
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15 November 1996
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MIX '96: the 10th New York Lesbian and Gay Experimental Film and Video Festival (New York University Cantor Film Center) *
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film festivals
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20, 23 October 1997
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Image & Nation Gaie et Lesbienne: le 10e festival international de cinéma et de vidéo de Montréal, Canada (Goethe-Institut) *
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11 April 1997
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12th Turin International Lesbian and Gay Film Festival, Italy (Cinema Massimo)
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exhibitions
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22-27 April 2005
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The Lower West Side Film Festival, New York (Collective: Unconscious)
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18 July 1999
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Little Kino in Slumberland, New York (Exit Art / The First World)
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19 June 1999
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Gay Shame '99, Brooklyn (Dumba)
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7 May 1999
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Times Square Sin-ema, Brooklyn (Dumba)
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25 March 1999
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Kino im SCHULZ, Köln, Germany (Schwulen- und Lesben-Zentrum)
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22 October 1998
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Sexperiments, New York (Knitting Factory AlterKnit Theater)
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14 June 1998
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Please Kill Dumba, Brooklyn (Dumba)
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7 February 1998
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Immedia '98: Hybrid Digital Media Show, Ann Arbor (University of Michigan Media Union) *
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15 February 1997
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Queer Video Screening benefit party for CUNY Center for Lesbian and Gay Studies and Gay and Lesbian Caucus of the College Art Association of America Conference, New York (vOID)
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broadcast
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2005
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Pink TV, France: Paradise Video Art Exhibition
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IDI (1995, 7 min.)
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premiere screening
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4, 11 November 1995
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Reeling: the 15th Chicago Lesbian and Gay International Film Festival (Chicago Filmmakers) *
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film festivals
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16, 17 November 1996
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Image & Nation Gaie et Lesbienne: le 9e festival international de cinéma et de vidéo de Montréal, Canada (Cinéma ONF)
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22 October 1996
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7th Hamburg Lesbian and Gay Film Festival, Germany (Metropolis)
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6 September 1996
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3rd New York International Video and New Media Festival (Angel Orensanz Foundation)
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1 June 1996
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6th Toronto Lesbian and Gay Film and Video Festival, Canada (The Metropolitan Cinema)
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exhibitions
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July 1999
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Kino im SCHULZ, Köln, Germany (Schwulen- und Lesben-Zentrum)
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30 June 1998
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Touch Me, Feel Me, See Me, Berkeley (Pacific Film Archive)
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8 January 1998
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Touch Me, Feel Me, See Me, New York (Knitting Factory AlterKnit Theater)
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24 Nov. - 19 Dec. 1997
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Columbia College Part-Time Faculty Exhibition, Chicago (Hokin Gallery) *
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28 February 1997
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Recalcitrant Fixations, San Francisco (Artists Television Access)
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24 February 1996
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OutWrite '96: the 6th National Lesbian, Gay, Bisexual and Transgendered Writers Conference, Boston (Park Plaza Hotel)
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GHOST BODY (1993, 20 min.)
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premiere screening
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12 September 1993
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MIX: the 7th New York Lesbian and Gay Experimental Film and Video Festival (The Kitchen) *
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film festivals
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21 June 1999
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23rd San Francisco International Lesbian and Gay Film Festival (Roxie Cinema) *
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26 October 1995
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6th Hamburg Lesbian and Gay Film Festival, Germany (Kino 3001)
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15 July 1995
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Outfest '95: the Los Angeles Gay and Lesbian Film and Video Festival (Directors Guild of America)
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3 June 1995
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1995 Boston Lesbian and Gay Film Festival (Harvard University)
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9 April 1995
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10th Turin International Lesbian and Gay Film Festival, Italy (Cinema Massimo)
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24 July 1994
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6th Vancouver Lesbian and Gay Film/Video Festival, Canada (Video In)
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9 July 1994
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Out in Africa: the 1st Gay and Lesbian Film Festival of South Africa (Guguletu Township Program, Cape Town) *
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15 June 1994
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18th San Francisco International Lesbian and Gay Film Festival (Center for the Arts at Yerba Buena Gardens) *
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20 May 1994
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1994 New York Lesbian and Gay Film Festival (Quad Cinema) *
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22 April 1994
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4th Princeton Lesbian, Gay and Bisexual Film Festival (Princeton University)
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21 March 1994
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8th London Lesbian and Gay Film Festival, U.K. (National Film Theatre, British Film Institute) *
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13 November 1993
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13th Chicago Lesbian and Gay International Film Festival (Chicago Filmmakers) *
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28 October 1993
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1st Baltimore Gay and Lesbian Film Festival (Johns Hopkins University)
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exhibitions
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31 May 2006
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MIX NYC: The Gay and Lesbian Underground Film Festival, New York (Carlito's Café and Gallery / Art for Change)
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5-7 May 2006
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Victoria Erotica Film and Arts Festival, British Columbia, Canada (Ambrosia Event Centre)
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18 February 2005
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Queer Cinema at BAAD! screening of MIX: New York Queer Experimental Media Festival, New York (Bronx Academy of Arts and Dance)
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16 June 1996
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University of Hamburg, Germany
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7 Sept. - 14 Oct. 1995
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Strange Fruits, Los Angeles (Los Angeles Center for Photographic Studies, Re:Solution Gallery)
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3 August 1995
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Victoria University of Wellington, New Zealand
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8, 14, 27 June 1995
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9a Semana Cultural Lésbica Gay, Mexico City (UNAM Museo del Chopo, Museo de Arte Carrillo Gil)
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11 February 1995
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Bates College, Lewiston, Maine
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9 February 1995
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In a Different Light, University of California at Berkeley (Pacific Film Archive)
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20 November 1994
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University of Leeds, U.K.
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BROADCAST VIDEO
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"Use It Up and Wear It Out" (with Dawn Patch, 1991, 4 min.)
NTSC U-Matic videotape, stereo audio
The dance song "Use It Up and Wear It Out" (1990 cover by Pat & Mick of an original by Odyssey), popular during the 1990-91 United States war against Iraq, organizes the montage of contemporary popular media imagery aestheticizing the war machine and political rallying for the war with footage documenting the de-industrialization and socio-economic deterioration of the U.S. in the 1970s-'80s.
Inspired by the epilogue to Walter Benjamin's essay "The Work of Art in the Age of Mechanical Reproduction" (1936), which states that "[humankind's] self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order."
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broadcast
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1991
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Deep Dish/Paper Tiger Television: Gulf Crisis TV Project
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VISITING ARTIST PRESENTATIONS (selected)
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12 December 1996
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DePaul University, Chicago, Illinois
Department of Philosophy
Interlocutor: Darrell Moore
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19 November 1996
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New York University
Department of Cinema Studies
Interlocutor: Isaac Julien
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PANELS (selected)
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27 April 2010
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The Politics of the Culture Industry: Art Today
public forum of the Platypus Affiliated Society, Chicago
with Stephen Eisenman and Claire Pentecost
School of the Art Institute of Chicago
[prepared text]
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5 November 2009
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30 years of the Islamic Revolution in Iran: The Tragedy of the Left
public forum of the Platypus Affiliated Society, Chicago
with Maziar Behrooz, Kaveh Ehsani, and Danny Postel
University of Chicago
[prepared text] [The Platypus Review Iran forum supplement PDF]
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14 June 2009
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The Platypus Synthesis: History, Theory, and Practice
with Richard Rubin and Ian Morrison
presented at the 1st annual Platypus International Convention, 2009
School of the Art Institute of Chicago
[prepared text] [MP3 audio recording]
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12 June 2009
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The Decline of the Left in the 20th Century: Towards a Theory of Historical Regression
2001 (Spencer Leonard), 1968 (Atiya Khan), 1933 (Richard Rubin), 1917 (Chris Cutrone)
presented at the 1st annual Platypus International Convention, 2009
School of the Art Institute of Chicago
[prepared text]
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18 April 2009
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Dialectics of Defeat: Towards a Theory of Historical Regression
panel at Left Forum 2009: "Turning Points", Pace University, New York City
with Benjamin Blumberg, Atiya Khan, Spencer Leonard and Richard Rubin
[PDF poster] [prepared text of opening remarks] [video] [YouTube video clips]
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15 April 2009
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Punk and Postmodernism
Exploring the art and act of negation
with Patrick Durgin, Chuck Hendricks and Dan Sinker
School of the Art Institute of Chicago
[prepared text of opening remarks]
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6 December 2008
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Progress or regress? The future of the Left under Obama
public forum of the Platypus Affiliated Society, New York
with Stephen Duncombe, Pat Korte, Charles Post, and Paul Street
New York University
[PDF poster] [prepared text of opening remarks] [transcript excerpts] [MP3 audio recording]
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25 July 2008
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The Marxist-Humanist Committee presents:
The Crisis in Marxist Thought
with Kevin Anderson, Peter Hudis, Andrew Kliman, and Sandra Rein
hosted by the Platypus Affiliated Society, Chicago
School of the Art Institute of Chicago
[PDF poster] [prepared text of opening remarks]
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6 November 2007
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The 3 Rs: Reform, Revolution, and "Resistance"
The problematic forms of "anticapitalism" today
with Michael Albert, Stephen Dumcombe, and Brian Holmes
public forum of the Platypus Affiliated Society, Chicago
School of the Art Institute of Chicago
[poster] [questions for panelists] [prepared text of opening remarks] [transcript excerpts] [MP3 audio recording] [YouTube video clips]
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15 October 2007
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Platypus presents: an interview with Tariq Ali
on Iraq, the anti-war movement, and the state of the Left today
School of the Art Institute of Chicago
[poster] [YouTube video clips]
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30 January 2007
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"Imperialism" — What is it? Why should we be against it?
with Kevin Anderson, Nick Kreitman, Danny Postel, and Adam Turl
public forum of the Platypus Affiliated Society, Chicago
School of the Art Institute of Chicago
[poster] [announcement] [questions for panelists] [prepared text of opening remarks] [MP3 audio files] [YouTube video clips]
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16 March 2006
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"Re-Presenting the Present: the Danish Cartoons, Islam and You"
public panel discussion hosted by the Muslim Student Association
School of the Art Institute of Chicago
[text of comments] [panelists and readings] [poster] [panel follow-up blog comments]
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18 June 1999
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"The Color of Sex: Race and Sexuality in Queer Film and Video"
23rd San Francisco International Lesbian and Gay Film Festival (Castro Theater)
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26 October 1997
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"Une Décennie d'Imagination Gaie et Lesbienne" / "Tracing Ten Years of Queer Cinema"
Image & Nation Gaie et Lesbienne: le 10e festival international de cinéma et de vidéo de Montréal (Université Concordia)
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24 March 1994
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"Colours of Love"
8th London Lesbian and Gay Film Festival (National Film Theatre, British Film Institute)
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12 September 1993
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"Who's Saying What About Whom?"
MIX: the 7th New York Lesbian and Gay Experimental Film and Video Festival (The Kitchen)
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EXTRA-CURRICULAR ACTIVIES (selected)
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Sept. 2006 - present
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Faculty Advisor, Platypus student organization, School of the Art Institute of Chicago
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March 2006 - present
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Organizer, Platypus Affiliated Society and reading group, Chicago
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