Breakout Rooms Program
The Miami Symposium
EDEN ROC HOTEL
4525 Collins Avenue – Miami Beach, Florida 33140
Here is the final program. We would like to inform you that given the volume and the high quality of the papers, the Scientific Committee had a specially difficult task selecting the papers accepted for the conference. Due to our time and space limits only 64 papers were selected, which means that a large number of excellent papers had to be left out. We ask these authors to please be understanding and we encourage them to actively participate in the conference as part of the audience.
*1. Irene Greiser (Argentina)*2.Monica Febres C. (Ecuador)
*1.Viviana Berger (Mexico)*2 Angelica Marchesini (Argentina)
*1. Daniel Millas (Argentina)*2. Manuel Zlotnik (Argentina)
*1.Patricio Alvarez (Argentina)*2.Diana Wolodarsky (Argentina)
5 de maio de 2013
Miami Symposium - Breakout Rooms Program
4 de maio de 2013
DEA en Psicoanálisis
| ||||||||||||||||||||
2 de maio de 2013
ACF Est : Projection Débat "D'autres voix, un autre regard sur l'autisme" 1er juin Strasbourg
L'ACF-Est et le Cinéma L'Odyssée vous propose une projection - débat du film
D'AUTRES VOIX - UN AUTRE REGARD SUR L'AUTISME
en présence d'Ivan Ruiz Réalisateur et Psychanalyste à Barcelone et de Jean Pierre Rouillon, Psychanalyste, membre de l'Ecole de la Cause freudienne et Directeur du Centre Thérapeutique et de recherche de Nonette de Clermont Ferrand
Dans ce film sensible, des parents « à la parole parfois fragile » évoquent la rencontre singulière avec leur enfant autiste, comment ils ont été désarmés, se sont sentis honteux et ont parfois renoncé à une vie sociale, « mais ils parlent fièrement de leur enfant ». C'est aussi une énorme déclaration d'amour à leur enfant, différent et pour qui ils n'ont pas d'autres réponses que la tendresse.
Ce documentaire ne s'engage pas dans le registre de la santé. Il propose de croiser ces aventures humaines. L'autisme n'est pas une maladie, davantage une volonté délibérée de ne pas entrer en contact expliquent les psychanalystes. Ces derniers racontent comment pour aider chaque enfant à trouver une place dans le monde, sortir de leur labyrinthe, chaque fois leur pratique est réinventée. Comment eux aussi ils apprennent des autistes, de leurs capacités spécifiques et hors du commun. Albert, diagnostiqué Asperger, est le fil rouge de ce documentaire émouvant. Le jeune homme évoque son monde intérieur comme un labyrinthe ténébreux, et comment il cherche à se faire entendre.
Ivan Ruiz est réalisateur, psychanalyste, président de l'Association Teadir de parents d'enfants autistes de Barcelone. Il est papa également d'un petit garçon autiste. Dimanche, « J'ai voulu donner la parole aux personnes concernées par l'autisme, explique le réalisateur. Il ne s'agit pas de n'importe quelles voix, mais de voix qui puissent transmettre une sensibilité autre que l'approche dominante qui place les autistes dans des cases étroites. »
bande annonce : http://www.youtube.com/watch?
The Poster of the NLS Congress: The Artist Miltos Manetas, “The El Greco of the Geeks”
Miltos Manetas
“The El Greco of the Geeks”
Miltos Manetas, “The El
Greco of Geekdom” as the Guardian’s journalist Steve Shipside named him, is an
artist and theorist whose work explores the representation and the aesthetics
of the information society.
Manetas is the Founder of
the Art Movement Neen, a pioneer of Machinima[1] and an instigator of Internet Art.
Born
(in 1964 in
Athens) and grown up in Greece, Manetas
defines himself as a “Southerner”. Her mother was working at the central phone
station connecting phone calls as a phone operator and his father was repairing
the electric circuits at the same building. He lived in a “PC universe”, in a “PreComputers
and PreContermporary art” environment, as he says, and he remembers himself
feeling “excited, bored and happy”.
He
left Greece in 1985 at the age of 20. At that time, it was the “new Greece”
that started to get born, the Greece of the “new south” populated by “MAC”,
(Man After Computers / Man After Contemporary Art). Trying to escape from his
Family and more precisely from the concept of the Family and the obligation to
have one, he went to Milan where he studied Fine Arts.
In
1995 he started painted. He was then included in Traffic show, and later in
Bourriaud’s book Relational Aesthetics. But at this time, Manetas decided to
change his approach to art. He
abandoned performance, objects and site specific installations and he began
making paintings about computer technology, exploring the possibilities of
creating art by using video games and the Internet. “Having to
deliver works for four final exhibitions that were supposed to be my last, I
bought four canvases and painted the same picture on all of them. These first
paintings (Sad Tree, 1995) were successful and I continued painting first
laptops and digital cameras and later all kinds of hardware. At that point, I
didn’t know how to use computers, I learned quickly and I became “a screen
junkie”. While I was doing my paintings, I started using digital media to
portray the digital world”.
In
1996, Manetas moved to New York City and began working on a series of video
game-related artworks, using Lara Croft and Mario as “ready-made” characters. Both
works were exhibited at the Institute of Contemporary Arts, in the exhibition
entitled Made in Italy. It was at that occasion that The Guardian published an
article on Manetas calling him the “El Greco of the Geeks”.
In Super Mario Sleeping, a
video from 1998, Mario sleeps under a tree, while in Flames, a 1997 video, Lara
Croft is constantly getting hurt.
Manetas
was one of the first artists to both recognize and celebrate the influence of
videogaming on contemporary art, on visual culture tout court, and on our
psyche. His epiphany spawned a series of game-based artworks
for different media (painting, videos, installations) and therefore he is a
true pioneer of Game Art. His "Videos after Video Game (1996-2006)"
series is considered the first example of Machinima. “In the same way that the
impressionists focused on nature, computer landscape became for my generation
the most important subject matter. Of course, video games were around a long
time ago, but it was only during late 1990's that we realized that they were
part of that computer landscape, and not just yet another bit of visual
excrement that was dropping out from television”, Miltos explains.
In 1999, Manetas leaves NYC and enjoys being an
“orphan”. Having moved again, this time from the Far North of
New York to the extreme West of Los Angeles, he tried and he succeeded to
distance himself even from that second happy family of his: the Art World.
”I started looking for new friends, other orphans, who were -like myself-under the existential spell of computing. That's how the Electronic Orphanage in LA's Chinatown was born and that's how the art movement Neen was initiated. But the Art World started expanding west, and so I left Los Angeles to diffuse Neen to the World”. Manetas was compulsively traveling all over the world and displayed exhibitions.
”I started looking for new friends, other orphans, who were -like myself-under the existential spell of computing. That's how the Electronic Orphanage in LA's Chinatown was born and that's how the art movement Neen was initiated. But the Art World started expanding west, and so I left Los Angeles to diffuse Neen to the World”. Manetas was compulsively traveling all over the world and displayed exhibitions.
Another important show
was Elysian Fields at Centre Georges Pompidou in Paris,
curated by the Purple Institute. In spring of 2000,
Manetas presented the new name, Neen, to an exhibition-performance held at
the Gagosian Gallery in New
York City. Manetas says about “neen”:
“Neen in Greek means "exactly now", the absolut present.
It is the latin "Nunc" (from "futurum nunc est," in Greek το "μελλει ειναι νυν" (what's going to be is now). In numbers, NEEN is 5555. The keywords for the number 5 are: activity, influence, courage, motivation, change freedom, curiosity, telepathy, experience, the intellect.
It is the latin "Nunc" (from "futurum nunc est," in Greek το "μελλει ειναι νυν" (what's going to be is now). In numbers, NEEN is 5555. The keywords for the number 5 are: activity, influence, courage, motivation, change freedom, curiosity, telepathy, experience, the intellect.
But
more importantly, Neen is an animated word. It is a palindrome. It is a
mirror-word: you can read it backwards and upside-down. NEƎИ”
Having
developed the technique of “Invisible Painting”-a very personal and simple
manner to keep doing his art while he was traveling, he was going around
shamelessly, as he says, until he met Catalina and immediately their “genes
start talking to each other so loudly” that they decided “to co-produce a
baby”. He started
desiring “to become a local again”.
He
explains «Invisible art» like this: “There was a change for me after I had a
recent accident in 2010, when I went down 40 meters from the top of
a rock on my back with a little tree, finally saving my life. After
a month of immobility in the hospital, I returned to that same place where I
had the accident and I rented a little house there. Waiting to recover
completely, I had my colors and canvasses brought there but I couldn't paint:
regular painting just didn't seem a good idea anymore.
Finally, one day that I took a brush and without any color on it, I started "painting" over the landscape. A few days after my "discovery", I kept my Blackberry on my left hand, I start filming whatever it was that I was painting. A Blackberry and a brush was now all that I needed for a studio. That's how the BLACKBERRY PAINTINGS were born and from that moment, I decided to continue my life by painting it at the same time”.
Finally, one day that I took a brush and without any color on it, I started "painting" over the landscape. A few days after my "discovery", I kept my Blackberry on my left hand, I start filming whatever it was that I was painting. A Blackberry and a brush was now all that I needed for a studio. That's how the BLACKBERRY PAINTINGS were born and from that moment, I decided to continue my life by painting it at the same time”.
Meanwhile,
in 2007, London's Hayward Gallery commissioned
Manetas to do a special project around the idea of Existential Computing, a new
term he was using for his practice. During this show, Manetas met Malcolm McLaren and
they participated together in a show that artist Stefan Bruggemann curated at
the I-20 gallery
in New York City. Manetas'
work for this exhibition was a piece commissioned previously by Newcastle's Baltic Centre
for Contemporary Art and the British magazine Dazed &
Confused for the Dazed
& Confused versus Andy Warhol exhibition. It consisted solely of a
URL written on the wall: "http://www.ThankYouAndyWarhol.com.”
Malcolm
McLaren (1946-2010) became a friend and a master to Manetas. He
followed his advice "to find himself a private place".
Manetas
chose to settle down with Catalina in Rome.
”The reason that I picked Rome instead of Los Angeles
or Nairobi, was because Enzo Cucchi had recently
told me that “Rome
is not one city but many, at least seven, one over the other, all still very
active". Always amazed by Parallel Worlds, I went there, but already
from my first months there, I discovered that there is something else that was
making from Rome
a very special city and that had to do exactly with the concept of Middle
South.
For
centuries now, Rome
is the border between South and North and I suspect that the city actually owns
at least a part of its riches to the job it does dividing the two”, Manetas
explains.
“So
when it came to us, having decided to “Start Up” our daughter there, it was
like a statement to me. Indeed, we called her Alpha, which as a symbol and
term, is used to refer to or describe the first or most significant occurrence
of something”. Her daughter, gave him a new inspiration: ”In my pictures, I try
to re-invent family photography. I am doing that by projecting the pictures
that I take from Alpha, back to the room where I photographed her or to some
other place. Then I am re-photographing them. Decontextualizing the pictures that
way helps me to think of the three of us not as a family but as MAC
(Miltos/Alpha/Catalina): a network”.
In
2009 he started the Internet Pavilion of the Venice Biennial and from 2011 he
directs the MACROeo (electronicOrphanage
at the MACRO Musem in Rome).
According
to Lev Manovich, Manetas is a true “painter of information life”, “the only
contemporary painter who made this reality the focus on his paintings”.
Sources:
The
site of the artist: http://cargocollective.com/manetas
Lev Manovich (2009)
How to Represent Information Society?, Miltos
Manetas, Paintings from Contemporary Life, Johan & Levi Editore, Milan
South
Magazine, MAC, my family at “Middle
South” by Miltos Manetas
Steve
Shipside: “El Greco of Geekdom”, the Guardian, 23 Oct 1997, Gb 1996
DIBATTITO MILANO
*Un resto reale della lingua*/Maurizio Mazzotti/
Nel suo intervento, all'VIII Congresso AMP, a Buenos Aires, nell'aprile
2012, Sonia Chiriaco, parla di quello che lei definisce "l'equivoco
radicale" della lingua. Ciò che dà forza a questa espressione, nella
testimonianza della collega francese, è che essa si delinea attorno al
momento della fine dell'analisi e della ricerca della parola della fine.
Laddove, al posto di questa parola, e per Sonia Chiriaco si è trattato
di un sogno,brulicavano gli equivoci di un significante, "ormeaux"
(conchiglie di mare) , cioè "hors mots" (fuori parole), "or mot "
(parola d'oro) , "mort" (morte).....
Laddove questa parola manca, lì, ed è questo il passo di Sonia Chiriaco,
si segna l'incontro con quello che essa chiama l'equivoco radicale della
lingua: per cui è impossibile estrarre dalla lingua la parola, o la
formula, che designerebbe /tutto/ il godimento di un parlessere,
scrivendosi in un reale posto del tutto al di fuori di quello, equivoco,
della lingua. Quel che apporta questa testimonianza è di mettere
l'accento non solo sulla mancanza dell'ultima parola dell'Altro, uno dei
modi di dire la rimozione originaria di Freud o l'Altro in quanto
radicalmente barrato di Lacan, ma di situarne un reale, un reale proprio
a /lalingua/ che si parla. Un reale inestirpabile dell'equivoco
radicale, che è congiuntura tra la lingua e il corpo e di cui le
testimonianze di passe, in alcuni casi, focalizzano una riduzione a
quella letteralità di scrittura possibile al nostro livello di
parlesseri, in cui arriviamo alla fermata che viene subito prima
dell'ultima, quella che non sarebbe più del /semblant/, quella di un
reale che pulserebbe fuori dal collegamento al significante della
lingua. Nella testimonianza di Sonia Chiriaco invece troviamo il reale
degli equivoci che si sono depositati nella lingua da cui si è parlati.
Senza la parola della fine ma non senza l'evidenza dell'incidenza
contingente del significante nella sua portata di traumatismo.
In altri contesti questo reale della lingua divampa negli equivoci che
non cessano di sgorgare nella polifonia della camera degli echi che
attraversano un corpo al punto da doversi tappare le orecchie, come ci
insegna l'autismo. Oppure da doverne attenuare l'impatto con la
scrittura, che, nel caso di genio, quello di Joyce, diventa scrittura de
/lelingue /(Philippe Sollers /docet/)/, /paradossale barriera al
traumatismo dove non è più possibile definire una lingua, distinguendola
sulla base delle sue strutture fonematiche. Paradosso che, in questo
caso, nemmeno il riferimento all' indoeuropeo potrà stemperare, restando
vano il suo tentativo,da finzione scientifica, di fornirci la matrice
che possa assorbire del tutto il resto dell'"equivoco radicale" della
lingua nel suo legame reale ad un corpo.
PIPOL NEWS FLASH 5
Inscrizioni on line: www.europsychanalyse.eu
Informazioni : +32 (0)483 365 082 | info@europsychanalyse.eu
PIPOL NEWS
Comitato di lettura delle simultanee
il comitato di lettura per i testi inviati per le simultanee cliniche di PIPOL 6 é composto da :
Monique Kusnierek e Gil Caroz per i testi in francese (148 testi)
Rosa-Elena Manzetti, Massimo Termini e Sergio Caretto per l'italiano (45 testi)
Carmen Cunat, Antoni Vicens e Laura Petrosino per lo spagnolo (32 testi)
Laura Petrosino e Gil Caroz per l'inglese (6 testi)
Geert Hoornaert per l'olandese (5 testi)
Contiamo in totale 236 testi, cifra definitiva. Il comitato carbura. Una sintesi di ogni testo e dei suoi significanti maggiori sarà fatto in tutte le lingue. A partire da queste sintesi, il programma delle simultanee sarà stilato da Gil Caroz . Per ricordarvi, i testi scelti saranno ri-lavorati con un mentore. É un servizio che proponiamo agli autori al fine di permettergli di conoscere/testare l'Altro e di migliorare il loro testo prima di presentarlo.
Acto de entrega en la U.N.C de la mención Visitante Distinguido al Dr. Guy Briole
En el marco del X Seminario Internacional del CIEC, ‘’La feminización del mundo’’, el día viernes 19 de Abril de 2013, se celebró el acto de entrega de la mención Visitante Distinguido otorgada a nuestro invitado, el Dr. Guy Briole.
La ceremonia contó con la presencia de autoridades de la Universidad, la Subsecretaria Académica de la Secretaria de Graduados en Ciencias de la Salud de la Facultad de Ciencias Médicas Dra. Mirta Valentich, y la Vicedecana de la Facultad de Psicología Magister Cristina Petit, , quienes entregaron alDr. Briole la certificación, por ambas Facultades.
Este acto, puso en valor, rodeado de un nutrido público, la importancia de su presencia en nuestra ciudad y especialmente en la UNC, en el año en que se festeja su 400 aniversario. Luego de la distinción escuchamos su disertación ‘’ Manía, melancolía y goce triste en el siglo XXI’’.
Informes: Secretaría del CIEC
Mariano Moreno 36 - Tel.: 351 4253159
e-mail: fundacionciec@arnetbiz.com.ar - www.cieccordoba.com.ar
e-mail: fundacionciec@arnetbiz.com.ar - www.cieccordoba.com.ar
Assinar:
Postagens (Atom)