In this cross-disciplinary study, Timothy Murray examines the artistic struggle over traumatic fantasies of race, gender, sexuality, and power. Establishing a retrospective dialogue between past and present, stage and video, this work links the impact of trauma on recent political projects in performance and video with the specters of difference haunting Shakespeare's plays. Murray provides close readings of cultural formations as diverse as Shakespearean drama, the Statue of Liberty, contemporary plays by women, African-American performance, and feminist interventions in video, performance and installation. The texts discussed include: installations by Mary Kelly and Dawn Dedeaux; plays by Ntozake Shange, Rochelle Owens, Adrienne Kennedy, Marsha Norman and Amiri Baraka; performances by Robbie McCauley, Jordan, Orlan, and Carmelita Tropicana; stage, film and video productions of "King Lear, Othello, Romeo and Juliet" and "All's Well that Ends Well."

This volume focuses on the relational aspect of Jean-Luc Nancy’s thinking. As Nancy himself showed, thinking might be a solitary activity but it is never singular in its dimension. Building on or breaking away from other thoughts, especially those by thinkers who had come before, thinking is always plural, relational. This “singular plural” dimension of thought in Nancy’s philosophical writings demands explication. In this book, some of today’s leading scholars in the theoretical humanities shed light on how Nancy’s thought both shares with and departs from Descartes, Hegel, Marx, Heidegger, Weil, Lacan, Merleau-Ponty, and Lyotard, elucidating “the sharing of voices,” in Nancy’s phrase, between Nancy and these thinkers. Contributors: Georges Van Den Abbeele, Emily Apter, Rodolphe Gasché, Werner Hamacher, Eleanor Kaufman, Marie-Eve Morin, Timothy Murray, Jean-Luc Nancy, and John H. Smith

In this engaging cross-disciplinary study, Timothy Murray examines the artistic struggle over traumatic fantasies of race, gender, sexuality, and power. Establishing a retrospective dialogue between past and present, stage and video, Drama Trauma links the impact of trauma on recent political projects in performance and video with the specters of difference haunting Shakespeare's plays.
The book provides close readings of cultural formations as diverse as Shakespearean drama, the Statue of Liberty, contemporary plays by women, African-American performance, and feminist interventions in video, performance and installation. The texts discussed include:
* installations by Mary Kelly and Dawn Dedeaux,
* plays by Ntozake Shange, Rochelle Owens, Adrienne Kennedy, Marsha Norman and Amiri Baraka
* performances by Robbie McCauley, Jordan, Orlan, and Carmelita Tropicana
* stage, film and video productions of King Lear, Othello, Romeo and Juliet and All's Well that Ends Well.

In this collection of theoretical writings on film, photography and art, Timothy Murray examines relations between artistic practice, sexual and racial politics, theory and cultural studies. "Like a Film" investigates how the cinematic apparatus has invaded the theory of culture, as a way of weaving together the disparate "psycho-political" fabrics of cultural production, psychoanalysis and politically-marked subject positions. Murray analyzes the impact of cinematic perceptions and productions on a wide array of cultural practices: experimental art - from the film-making of Yvonne Rainer and Derek Jarman to Laurence Olivier's "Othello"; social and political narratives of feminism, homosexuality, race and ecology; the representational and visual theory of Lyotard, Torok, Barthes, Ropars-Wuilleumier, Zizek, Silverman and Laplanche; and articulations of history from the Renaissance visions of Shakespeare and Caravaggio to modern sexual and political fantasy. Murray suggests that the many destabilizing traumas of culture remain accessible to us because they are structured so much like a film.

In "Like A Film," Timothy Murray investigates how the cinematic apparatus has invaded the theory of culture, weaving together the disparate psycho-political' fabrics of cultural production, psychoanalysis and politically marked subject positions. The book analyzes the impact of the apparatus on a wide range of cultural practices: experimental art, from the film-making of Yvonne Rainer and Derek Jarman to Laurence Olivier's "Othello;" social and political narratives of race, sexuality, feminism and ecology; the visual theory of Lyotard, Torok, Barthes, Zizek, Silverman and Laplanche; articulations of history from the Renaissance visions of Shakespeare and Caravaggio to modern sexual and political fantasy. Murray suggests that the many destabilizing traumas of culture remain accessible to us because they are structured so much like film.
Responding directly to multicultural debates over the value of theory and the aim of artistic practice, "Like A Film" addresses questions of cultural identity, the role of Continental psychoanalysis and philosophy, and the ideological importance of artistic form.

Seeing new media art as an entry point for better understanding of technology and worldmaking futures In this challenging work, a leading authority on new media art examines that curatorial and aesthetic landscape to explore how art resists and rewires the political and economic structures that govern technology. How do inventive combinations of artistic and theoretical improvisation counter the extent to which media art remains at risk, not just from the quarantines of a global pandemic but also from the very viral and material conditions of technology? How does global media art speak back to the corporate closures of digital euphoria as clothed in strategies of digital surveillance, ecological deprivation, and planned obsolescence? In Technics Improvised, Timothy Murray asks these questions and more. At the intersection of global media art, curatorial practice, tactical media, and philosophy, Murray reads a wide range of creative performances and critical texts that envelop artistic and digital materials in unstable, political relations of touch, body, archive, exhibition, and technology. From video to net art and interactive performance, he considers both canonical and unheralded examples of activist technics that disturb the hegemony of biopolitical/digital networks by staging the very touch of the unsettling discourse erupting from within. In the process, critical dialogues emerge between a wide range of artists and theorists, from Hito Steyerl, Ricardo Dominguez, Joan Jonas, Isaac Julien, Ryoji Ikeda, and Shadi Nazarian to Gilles Deleuze, Jean-Luc Nancy, Elizabeth Povinelli, Jean-Francois Lyotard, Erin Manning, Achille Mbembe, and Samuel Weber. Brilliantly conceived and argued and eloquently written, Technics Improvised points the way to how artistic and theoretical practice can seize on the improvisational accidents of technics to activate creativity, thought, and politics anew.

In this intellectually groundbreaking work, Timothy Murray investigates a paradox embodied in the book's title: What is the relationship between digital, in the form of new media art, and baroque, a highly developed early modern philosophy of art? Making an exquisite and unexpected connection between the old and the new, Digital Baroque analyzes the philosophical paradigms that inform contemporary screen arts. Examining a wide range of art forms, Murray reflects on the rhetorical, emotive, and social forces inherent in the screen arts' dialogue with early modern concepts. Among the works discussed are digitally oriented films by Peter Greenaway, Jean-Luc Godard, and Chris Marker; video installations by Thierry Kuntzel, Keith Piper, and Renate Ferro; and interactive media works by Toni Dove, David Rokeby, and Jill Scott. Sophisticated readings reveal the electronic psychosocial webs and digital representations that link text, film, and computer. Murray puts forth an innovative Deleuzian psychophilosophical approach-one that argues that understanding new media art requires a fundamental conceptual shift from linear visual projection to nonlinear temporal folds intrinsic to the digital form.

This volume focuses on the relational aspect of Jean-Luc Nancy's thinking. As Nancy himself showed, thinking might be a solitary activity but it is never singular in its dimension. Building on or breaking away from other thoughts, especially those by thinkers who had come before, thinking is always plural, relational. This "singular plural" dimension of thought in Nancy's philosophical writings demands explication. In this book, some of today's leading scholars in the theoretical humanities shed light on how Nancy's thought both shares with and departs from Descartes, Hegel, Marx, Heidegger, Weil, Lacan, Merleau-Ponty, and Lyotard, elucidating "the sharing of voices," in Nancy's phrase, between Nancy and these thinkers. Contributors: Georges Van Den Abbeele, Emily Apter, Rodolphe Gasche, Werner Hamacher, Eleanor Kaufman, Marie-Eve Morin, Timothy Murray, Jean-Luc Nancy, and John H. Smith

Seeing new media art as an entry point for better understanding of technology and worldmaking futures In this challenging work, a leading authority on new media art examines that curatorial and aesthetic landscape to explore how art resists and rewires the political and economic structures that govern technology. How do inventive combinations of artistic and theoretical improvisation counter the extent to which media art remains at risk, not just from the quarantines of a global pandemic but also from the very viral and material conditions of technology? How does global media art speak back to the corporate closures of digital euphoria as clothed in strategies of digital surveillance, ecological deprivation, and planned obsolescence? In Technics Improvised, Timothy Murray asks these questions and more. At the intersection of global media art, curatorial practice, tactical media, and philosophy, Murray reads a wide range of creative performances and critical texts that envelop artistic and digital materials in unstable, political relations of touch, body, archive, exhibition, and technology. From video to net art and interactive performance, he considers both canonical and unheralded examples of activist technics that disturb the hegemony of biopolitical/digital networks by staging the very touch of the unsettling discourse erupting from within. In the process, critical dialogues emerge between a wide range of artists and theorists, from Hito Steyerl, Ricardo Dominguez, Joan Jonas, Isaac Julien, Ryoji Ikeda, and Shadi Nazarian to Gilles Deleuze, Jean-Luc Nancy, Elizabeth Povinelli, Jean-Francois Lyotard, Erin Manning, Achille Mbembe, and Samuel Weber. Brilliantly conceived and argued and eloquently written, Technics Improvised points the way to how artistic and theoretical practice can seize on the improvisational accidents of technics to activate creativity, thought, and politics anew.

Thumar M. TIMOTHY MURRAY Copyright (c) 2013 Thumar takes place in the year 2414. Derak Jamar III, an intergalactic war hero from the Alliance of Planets is posted to Thumar, a planet in the outer rim of the galaxy. Derak, once an intergalactic playboy; meets his governmental liaison, Shesain Andehar, he is swept off his feet. He is guided by the beautiful and exotic Shesain, a high born female Thumarian Ambassador not only into the ways of Thumarian society, but also onto the path of love, romance and fidelity. Their courtship is closely watched as the Andehar family is "The Royal Family" on Thumar. This puts extra pressure on Derak and Shesain to set the ultimate standard. All is going well until an extinction level cosmic occurrence threatens the very existence of the Thumarian home world and their solar system. Derak, a gifted scientist, as well as a high ranking naval officer, must find a way to save Thumar. He succeeds, assisted by Remor, Shesains uncle and sitting Thumarian President along with the planet's leading scientists. However, the planet does not escape unscathed. Derak's DNA sequence is unique to the galaxy, as he finds out in his engagement physical. This causes concern about his family on Earth and its moon. A team of black ops agents, both Earth based and Thumarian are called together for a military style mission. He successfully rescues his family from impending danger. Derak's biggest challenge is yet to come. He must convince his family of their rare DNA structure and the advantages of living on Thumar. With Thumars re-building efforts moving along smoothly, preparations are made for the royal wedding. Derak and Shesain are married and begin their new life together.

"Repossessions "was first published in 1998. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

A double-edged critical forum, this volume brings early modern culture and psychoanalysis into revisionist dialogue with each other. The authors reflect on how psychoanalysis remains"possessed" by its incorporation of early modern mythologies, visions, credos, and phantasms. Their essays explore the conceptual and ideological foundations of psychoanalysis while articulating fresh insights into the vicissitudes of autobiography, translation, mourning, and eroticism in the transitional period from the waning of feudalism to the emergence of capitalism.

Employing a broad spectrum of the most recent, Continental psychoanalytic approaches, the book covers topics and figures ranging from King James to Leonardo, demonology to cartography, astronomy to cross-dressing, and mythology to biology. Its detailed readings of Boccaccio, Ficino, Fine, Michelangelo, Montaigne, and others dramatically reassess the foundational concepts of cultural history, secularization, autobiography, reason, and government. Through a sustained focus on visual and verbal residues of personal and cultural trauma, the essays generate innovative analyses of the interrelation of writing, graphic space, self, and social identification in early modern texts, paintings, maps, and other artifacts.

Contributors: Elizabeth J. Bellamy, Tom Conley, Mitchell Greenberg, Kathleen Perry Long, Julia Reinhard Lupton, Christopher Pye, Juliana Schiesari.

Timothy Murray is professor of English and director of graduate studies in Film and Video at Cornell University. Alan K. Smith is assistant professor in the Department of Languages and Literature at the University of Utah.

In the first collection of its kind, Timothy Murray brings together writing by leading French thinkers on the political effects of theatricality on theater, film, literature, philosophy, and psychoanalysis. In addition to recently translated work by Cixous and Deleuze, the collection features English translations of essays by Althusser, Derrida, Durand, Fanon, Feral, Foucault, Girard, Green, Irigaray, Kristeva, Lacoue-Labarthe, Lyotard, and Marin. Mimesis, Masochism, & Mime provides a welcome theoretical contribution to recent theories of performance and to the development of French cultural studies. Its emphasis on the politics of theatricality lends unprecedented focus to French theorizations of the body, gender, sight, screen, voice, territoriality, otherness, and diversity. In so doing, the volume provides an intellectual context and theoretical blueprint for future work in the cultural study of mimesis, masochism, and mime. The collection highlights the importance of theatricality to the theory and practice of aesthetics as well as to French debates over patriarchy, absolutism, and metaphysics. In turn, wide-ranging analyses provide a range of approaches to the politics of identity, feminism, marginality, and postcoloniality. Timothy Murray's introduction makes clear the theoretical context of the volume, and situates the book in relation to recent Anglo-American debates over realism, multiculturalism, and identity politics. The contributors are especially helpful in linking varying political accounts of ideology, philosophy, and psychoanalysis to historical and contemporary work in performance, film, and video. Astute commentaries on Sophocles, Shakespeare, and Artaud arecombined with fascinating analyses of more recent mixed-media performance, from the European stage (Duras, Theatre du Soleil, Bene, and Strehler), to the site of North American performance (Snow, Mabou Mines, Wilson, and Rainer). Mimesis, Masochism, & Mime provides a stunning account of the political importance of theatricality to contemporary French thought and will be welcomed by readers in French studies, theory, theater, cultural studies, film, women's studies, aesthetics, and psychoanalysis. The essays . . .are judiciously chosen, accurately justified, wide in range within the dispensation of post-structuralist thought--that is, they touch on everything from the question of origins to the libidinal economy of performance to post- Brechtian staging to the ineliminable shadow play of tragedy through its ideological demystification by schizoanalysis to feminism in the theater. --Herbert Blau, University of Wisconsin, Milwaukee Timothy Murray is Professor of English at Cornell University and former Editor of Theatre Journal. He is the author of Theatrical Legitimation: Allegories of Genius in Seventeenth-Century England and France and Like a Film: Ideological Fantasy on Screen, Camera, and Canvas.