The Image of Gaddafi

What is to be done with moving images of/after political events? Can we speak of critical moving images? When and how are moving images critical of political configurations and to what effect? What do bodies in movement and moving regimes of visibility reflect on each other in the production and reception of moving images? Could we advance the possibility of protest aesthetics and what does it involve and imply? What role do moving images play as monuments and documents in possible critical or political configurations and how does that return into either artistic practice or academic debate? Format: One day event, formed of two roundtables, each on a sub-theme. For each roundtable, the aim is to invite academics, artists and young researchers to share their views on a series of questions raised by the sub-theme, through short presentations and screenings of video works, followed by discussions, first between the participants, then opened to the public. Sub-themes: *Critical Images Disciplinary vision(s) and control technologies have created disciplined and disciplining moving images, from modernity to postcolonial contexts, from so-called virtualized wars to mediated revolutions. Such vision(s) can, of course, be read in conjunction with the subjectivities they produce and the relations between spaces and bodies which they conjure. What, then could be critical images and how would they invite resistant subjectivations to power, discipline and control? Confirmed speakers: Pasi Väliaho (Media and Communications, Goldsmiths), Ryan Bishop (Winchester School of Art), Ayesha Hameed (Visual Cultures, Goldsmiths), Caterina Albano (Central St. Martins), Miranda Pennell (artist, London), Matthew Fuller (Centre for Cultural Studies, Goldsmiths). *Protest Aesthetics Godard has called against making political film, and towards ‘making film politically,’ a kind of production of moving images that is a political act, a re-organization of the sensible, perhaps in Ranciere’s terms. What, then, does it mean to politically make works using moving images, be it works of art, alternative media and information or film? How can we formulate the conditions of possibility for the production of work that is engaged politically in a time of over-abundance of moving images and of means of producing them but an increasingly surveyed and censored climate? How to actualize the relations between production of moving images and their reception in an emancipatory way, especially considering spatialities and temporalities of local contexts in globalized, transnational configurations? Could we speak, in this case, of not an aesthetics of protest, but of protest aesthetics? Confirmed speakers: Simon Sheikh (Visual Cultures, Goldsmiths), David Rych (artist, Berlin), Ruchir Joshi (filmmaker and writer, Calcutta), Bernadette Buckley (Politics, Goldsmiths), Nicole Wolf (Visual Cultures, Goldsmiths), James Ellison (Loughborough University), Thakur Sumesh Sharma and Zascha Colah (curators, Clarkhouse Initiative, Mumbai