Activity - Emotion Does Not Say ‘I’ | MACBA Museum of Contemporary Art of Barcelona

20 October, 2014 to 22 October, 2014

The term 'Open PEI' refers to the specific activities organised as part of the MACBA Independent Studies Programme that are open to the public. During the sessions, video streaming will be available here. The lecture will be French spoken.

During these three seminars we will introduce ways of reflecting on the subject of emotions from an aesthetic and political perspective. What does revealing our emotions mean? Crying in public, for instance? For Hegel pathos is a privilege. Nietzsche sees it as the ‘origin’, despite a philosophical tradition that saw emotions as a dead end both for language and action. We will briefly analyse how, at the opposite end of the spectrum, Bergson considers the intensity of emotions, while Sartre and Merleau-Ponty explore their capacity for opening up to the world, Freud their dialectic nature, and Deleuze (after Spinoza and Nietzsche) their intrinsic power. If emotion signifies ‘movement outside of…’, doesn’t it follow that emotions place the I outside of itself?

Main sponsor of the activities:

With de support of:

Programme

20, 21 AND 22 OCTOBER, FROM 7 TO 9 pm

Venue: Meier Auditorium.
Seating: 160 places available.
Admission: Free admission.
With simultaneous translation

1. Participants must attend all three sessions (100%) to be eligible for the course certificate.
2. Students who do not arrive at the start of the session will have their places allocated to those waiting in the Auditorium in strict order of arrival.

Georges Didi-Huberman is a philosopher, art historian and essayist, and has been a lecturer in at the École des Hautes Études en Sciencies Socials in Paris since 1990. He studied at the French Academy in Rome, Villa I Tatti in Florence and the Warburg Institute in London, and has taught at universities around the world. His works mainly take the form of essays, usually focusing on the history and theory of images from an aesthetic and philosophical perspective. His published works include Ce que nous voyons, ce qui nous regarde (1997), L'Image survivante. Histoire de l'art et temps des fantômes selon Aby Warburg (2002), Images malgré tout (2004), Gestes d'air et de pierre. Corps, parole, souffle, image (2005), Ouvrir Venus. Nudité, rêve, cruanté (2005), Devant le temps (2006) and Ex-voto. Image, organe, temps (2006).