Event Type Co-sponsored Events
Feed the Fire: A Cyber Symposium in Honor of Geri Allen celebrates the work of the late pianist, composer, improvisor, and educator and serves as a launch for a
Feed the Fire: A Cyber Symposium in Honor of Geri Allen celebrates the work of the late pianist, composer, improvisor, and educator and serves as a launch for a special issue of the journal Jazz and Culture, “The Power of Geri Allen.” Feed the Fire focuses on Allen’s work in music as a performer, composer, teacher, activist, and mentor, and features a keynote event with Terri Lyne Carrington (Berklee College of Music), Angela Davis (University of California, Santa Cruz), Gina Dent (University of California, Santa Cruz), and Farah Jasmine Griffin (Columbia University).
This online event is free and open to the public and is part of a week-long celebration of the 50th anniversary of the Pitt Jazz Seminar: https://www.jazz.pitt.edu/
Registration required at http://heymancenter.org/events/feed-the-fire-a-cyber-symposium-in-honor-of-geri-allen/
Mount Allen III (SFJAZZ)
Dwight Andrews (Emory University)
Courtney Bryan (Tulane University)
Terri Lyne Carrington (Berklee College of Music)
Angela Davis (University of California at Santa Cruz)
Gina Dent (University of California at Santa Cruz)
Michael Dessen (University of California at Irvine)
Kevin Fellezs (Columbia University)
Farah Jasmine Griffin (Columbia University)
Michael Heller (University of Pittsburgh)
Ellie M. Hisama (Columbia University)
Vijay Iyer (Harvard University)
Aaron J. Johnson (University of Pittsburgh)
Veronica Johnson (Detroit Sound Conservancy)
Tammy L. Kernodle (Miami University)
George E. Lewis (Columbia University)
Nicole Mitchell Gantt (University of Pittsburgh)
Fred Moten (New York University / Tisch School of the Arts)
Robert O’Meally (Columbia University)
Yoko Suzuki (University of Pittsburgh)
Francis Wong (Asian Improv Arts)
The symposium is sponsored by the Society of Fellows/Heyman Center for the Humanities, the African American and African Diaspora Studies Department, and the Institute for Research on African American Studies at Columbia University and the Jazz Studies Program and the Department of Music at the University of Pittsburgh. Co-sponsoring the event are the Center for Jazz Studies, the Institute for Research on Women, Gender, and Sexuality, and the Department of Music at Columbia University, and the Barnard Center for Research on Women, the Department of Women’s, Gender, and Sexuality Studies and the Department of Africana Studies at Barnard College, and the Gender, Sexuality, and Women’s Studies Program, and Humanities Center of the University of Pittsburgh.
(Thursday) 9:30 am - 5:30 pm EST
The Heyman Center for the Humanities and the Society of Fellowsheymancenter@columbia.edu
On which grounds can we claim, in 2020 and with scholarly confidence, that a literary text has “progressive” or “right-wing” affinities? How does a live performance’s evidently intended critique
On which grounds can we claim, in 2020 and with scholarly confidence, that a literary text has “progressive” or “right-wing” affinities? How does a live performance’s evidently intended critique of racist or homophobic dispositifs actually succeed (or fail)? What justifies the declaration that a film unfolds a revolutionary sensibility—or more pragmatically, contributes to working through unprecedented social crisis? Questions such as these could not be more topical today against the backdrop of new fascisms and heated public conflict in an age of heightened emergency and precarity, fear, anger, and hate. In the German context, resonant inquiries have flared up in recent debates around individual authors’ or texts’ uncanny proximities with rightwing movements but also in a resurgence of interests in (progressive, egalitarian, anti-fascist) activist political aesthetics.
This workshop emerged from a graduate seminar connecting twentieth-century German critical thought about aesthetics and politics to twenty-first century debates around art and reading in affect, queer, and critical race studies. While inspired by the range of connections we were able to make, we also noticed that aesthetic theory offers surprisingly few fresh and specifically developed answers to our questions. The workshop therefore re-envisions these questions from two (intertwined) angles:
- a) Building on recent debates about “critical” and “postcritical” reading methodologies in the humanities, we want to look more closely at—and specify—the ways in which we read politically today.
- b) At the intersection of the modernist tradition of politicalaestheticswith contemporary new materialisms, affect studies, and more, we will aim to finetune the agency of artworks in their relationships with society: What does or can art actually do politically?
Presenters have been given the charge to develop their answers by starting from adverbs (-> “reading [how]”) and verbs (-> “art [does]”) respectively.
Full conference information, including speakers and schedule, can be found here.
Hosted by the Department of Germanic Languages and Literatures at Columbia University (faculty organizer: Claudia Breger), with co-sponsorship from The Heyman Center for the Humanities,
the Institute for Comparative Literature and Society, and the Institute for Research on Women, Gender, and Sexuality, and external support from the Federal Republic of Germany through the German Academic Exchange Service (DAAD).
12 (Thursday) 6:00 pm - 14 (Saturday) 2:00 pm
Department of Germanic Languagesgermanic@columbia.edu 415 Hamilton Hall, MC 2812, 1130 Amsterdam Avenue · New York, NY 10027