Around the mid-nineteenth century what had hitherto been described as a multiplicity of physical forces, was unified under the novel concept of energy. Working in tandem with, and under the aegis of, the transition to fossil fuel consumption, this reduction of multiple forces to one single unifying concept also entailed the suggestion that turning the compressed time of fossil deposits into the accelerated time of propulsion engines was not simply an economic but a moral imperative.

Part of the lecture series Reduction

This symposium will explore the concept of reduction from a phenomenological perspective, as a movement towards the cornerstones of lived experience, as an attempt to grasp the primary encounter between self and world through the senses.

Organized by Alberica Bazzoni and Federica Buongiorno

CATALYSTS – Somatic Resonance is an installation exhibition of somatic states from the work of Icelandic choreographer Margrét Sara Guðjónsdóttir. The exhibition is a choreography of mixed reality technologies, kinaesthetic algorithms, affects, archival material, and live bodies.

Supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media, co-produced by Data Society Research Program of Malmö University, Inter Arts Center, ICI Berlin, Open Spaces Tanzfabrik Berlin, WUK performing arts

Focusing on examples by British psychoanalysts, including Marion Milner and Christopher Bollas, this talk will attempt to construct an alternative to existing analyses of the encounter between Marxism and psychoanalysis that focus on abstract theories by grounding itself instead in socially and economically contextualised accounts of clinical practice.

Part of the lecture series Psychoanalytische Kulturwissenschaft

The lecture series is a cooperation of the Berlin Institute for Psychotherapy and Psychoanalysis (BiPP), the Cultural Science Institute of the Humboldt University Berlin, the International Psychoanalytic University (IPU), and the ICI Berlin, organized by Wilhelm Brüggen (BIPP), Monika Englisch (BIPP) and Andreas Gehrlach (HU Berlin), funded by the Friedrich Stiftung Hannover

Over the last twenty years, reenactment has been appropriated by both contemporary artistic production and art-theoretical discourse, becoming a distinctive strategy to engage with history and memory. As a critical act of repetition, which is never neutral in reactualizing the past, it has established unconventional modes of historicization and narration.

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