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January 7, 2013

Critical/Liberal/Arts: A BABEL Symposia Series [2013]

cloudsCritical/Liberal/Arts: A BABEL Symposia Series [2013]


University of California, Irvine
19 April 2013


The Graduate Center, CUNY
27 September 2013

The “hermeneutics of suspicion” has fallen under suspicion. There has been a turn against “critique” and away from “paranoid reading.” Yet critique — understood to encompass heterogeneous practices of judgment and pursuits of justice — has not outlived its usefulness. Critical/Liberal/Arts is a project and event-space seeking new articulations and performances of critique’s timeliness for a one-day symposium at UC Irvine in April 2013, followed by another at the Graduate Center, CUNY in September 2013, with both symposia to be documented in a special double-issue of postmedieval: a journal of medieval cultural studies. We have been inspired by the recent experiments of thinkers and artists who are crafting, composing, curating, inventing, agitating, building, healing, resisting, and playing as ways of inquiring into the limits and consequences of our world. Presenters are invited to think about critique in proximity to other modes of action, especially those of making and creation — to discover creation and critique inhering in one another, or wending apart, or crossing one another again and again like a pair of knives being whetted, or like the faces of the proverbial Mobius strip.

We hazard that many of the categories used to distinguish modes of knowledge production are in practice overlapping or entwined: distance and involvement; criticism and aestheticism; sensation and reflection; detachment and attachment; interrogation and incorporation; control and loss of control before the objects of our study. A survey of the humanities and social sciences at present turns up projects that transcend traditional rubrics and do not remain in their respective fields at all — but rather cross out of academia and continue on to other planes of social practice. These projects represent serious commitments to tinkering, mapping, constructing, organizing, blogging, protesting, ornamenting, fantasizing, occupying, and more. We invite accounts of practices from inside and outside of the university that might be counted among the new arts of critique, or new modes of critical creation.

Presenters have been encouraged to avoid post-critical hype and anti-critique retrenchment. Polarizing these issues has helped generate powerful critiques-of-critique as well as strong defenses of traditional critical frameworks (such as Marxism, feminism, queer studies, race studies, postcolonial studies, post-structuralism, and the like). But we are interested in exploring theories and practices beyond the polemic. To wit: What are the scenes or spaces of critical invention? What different faces might critique have? What does it feel like? What does it do? How does historical consciousness play a role in generating new forms, tools, or ideas? What does it mean to be “uncritical”? Is there an erotic hermeneutics, pace Sontag, or an eros of critique? How do we engage criticism and art against the actuarial interests of the corporate university? Can we “afford” to nurture speculative creation, or pure science, in an age of austerity? Do delight, rapture, or the drift of daydreams have a role in criticism? Is there value in maintaining what separates the injunctions to critique and to create? How might our practices cross-pollinate the sciences and the fine arts? Or politics and aesthetics? Or the future and the past?

Go HERE to register. Follow the links above to more specifics regarding the schedules and participants for each event.

Symposia Organizers: Elizabeth Allen (UC Irvine), Glenn Burger (Queens College, CUNY), Rebecca Davis (UC Irvine), Eileen Joy (BABEL Working Group), Steven Kruger (Queens College, CUNY), Julia Reinhard Lupton (UC Irvine), Allan Mitchell (University of Victoria), Julie Orlemanski (Boston College), Beryl Schlossman (UC Irvine), and Myra Seaman (College of Charleston).


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