"Slavoj Žižek answers the question, "Do you think science has replaced philosophy in discovering the bigger questions of life?" Philosophy is not dying, he says — in fact, we need it more now than ever."
"Slavoj Žižek is a Slovenian philosopher and cultural critic. He is a professor at the European Graduate School, International Director of the Birkbeck Institute for the Humanities, Birkbeck College, University of London, and a senior researcher at the Institute of Sociology, University of Ljubljana, Slovenia. His books include Living in the End Times, First as Tragedy, Then as Farce, In Defense of Lost Causes, four volumes of the Essential Žižek, and many more."
Directed / Produced by Elizabeth Rodd and Jonathan Fowle
ILLEGAL GALLERY PRESENTS: ARTIST SPOTLIGHT: JEAN ARP
“French sculptor, painter, collagist, printmaker and poet of German birth. The son of a German father and French Alsatian mother, he developed a cosmopolitan outlook from an early age and as a mature artist maintained close contact with the avant-garde throughout Europe. He was a pioneer of abstract art and one of the founders of Dada in Zurich, but he also participated actively in both Surrealism and Constructivism. While he prefigured junk art and the Fluxus movement in his incorporation of waste material, it was through his investigation of biomorphism and of chance and accident that he proved especially influential on later 20th-century art in liberating unconscious creative forces.”
ILLEGAL GALLERY PRESENTS: “Vulture” by Robinson Jeffers
I had walked since dawn and lay down to rest on a bare hillside
Above the ocean. I saw through half-shut eyelids a vulture wheeling
high up in heaven,
And presently it passed again, but lower and nearer, its orbit
I understood then
That I was under inspection. I lay death-still and heard the flight-
Whistle above me and make their circle and come nearer.
I could see the naked red head between the great wings
Bear downward staring. I said, ‘My dear bird, we are wasting time
These old bones will still work; they are not for you.’ But how
he looked, gliding down
On those great sails; how beautiful he looked, veering away in the
over the precipice. I tell you solemnly
That I was sorry to have disappointed him. To be eaten by that beak
become part of him, to share those wings and those eyes—
What a sublime end of one’s body, what an enskyment; what a life
ILLEGAL GALLERY PRESENTS ARTIST SPOTLIGHT: ANA MENDIETA
“My art is grounded in the belief of one universal energy which runs through everything: from insect to man, from man to spectre, from spectre to plant from plant to galaxy. My works are the irrigation veins of this universal fluid. Through them ascend the ancestral sap, the original beliefs, the primordial accumulations, the unconscious thoughts that animate the world”
“Ana Mendieta was born into a politically prominent family in Cuba closely affiliated with the Communist movement led by Fidel Castro. When the alliance between Castro’s factions and Mendieta’s father turned sour in 1961, she was sent to live in the United States. Her exile informed the development of her ensuing work; she did not identify with a particular homeland and adopted various sites for her performances and their documentation. The untitled works that comprise the Silueta series, which she preformed as she traveled between Iowa and Mexico, reveal her interest in the earth as a site to address issues of displacement by recording the presence of her body—or the imprint it left behind—within different natural environments. Mendieta often filled in the silhouette of her body on the earth with various materials such as rocks, twigs, and flowers, as well as blood and gunpowder.”
ILLEGAL GALLERY PRESENTS: “A Radio With Guts” by Charles Bukowski
it was on the 2nd floor on Coronado Street
I used to get drunk
and throw the radio through the window
while it was playing, and, of course,
it would break the glass in the window
and the radio would sit there on the roof
and I’d tell my woman,
“Ah, what a marvelous radio!”
the next morning I’d take the window
off the hinges
and carry it down the street
to the glass man
who would put in another pane.
I kept throwing that radio through the window
each time I got drunk
and it would sit there on the roof
a magic radio
a radio with guts,
and each morning I’d take the window
back to the glass man.
I don’t remember how it ended exactly
though I do remember
we finally moved out.
there was a woman downstairs who worked in
the garden in her bathing suit,
she really dug with that trowel
and she put her behind up in the air
and I used to sit in the window
and watch the sun shine all over that thing
while the music played.
Here is a brief but informative introduction to Philosopher, George Herbert Mead, a close friend of a John Dewey, and author of “Mind, Self, and the Society”
Like many of his colleagues at the University of Chicago, George Herbert Mead ranged widely in his intellectual interests. Unlike them, however, he published infrequently, restrained by what his friend John Dewey labeled “a certain diffidence” or by what Mead himself more plainly termed “my inability to write what I want.” Still, Mead exerted a wide influence. Regarded highly by philosophers in his own lifetime, his work has more recently attracted the sympathetic attention of scholars in other fields.
Raised in a conventional Christian home, Mead struggled during his years at Oberlin and Harvard with a loss of certainty as fundamental doubts about religion in general and Christianity in particular produced a personal spiritual crisis. He drifted in and out of a variety of occupations before settling at Harvard to study with Josiah Royce. There, Mead grew dissatisfied with the dominant speculative approach and its failure to engage the scientific and social problems that concerned him. Seeking a more realistically grounded philosophy, he left Harvard, eventually writing a dissertation at the University of Berlin. While in Germany, he not only studied philosophy, but also observed firsthand the growing Social-Democratic Labor movement, an experience that encouraged Mead’s later involvement in American social reform.
Mead accepted a position at the University of Michigan in 1891 and struck up a friendship with another young philosophy professor - John Dewey. When William Rainey Harper invited Dewey to Chicago in 1894, one of the conditions Dewey laid down before accepting was that George Mead be given a position as well. Mead took the post offered to him and began a nearly forty-year career as a philosopher at Chicago.
Mead’s philosophical approach grew out of his conviction that knowledge was not remotely removed from the immediate experiences of everyday life. The quest to integrate knowledge and experience became the hallmark of philosophy at the University of Chicago.
While at Chicago, Mead participated actively in a variety of local movements and social programs in the growing city. He was treasurer of Hull House, a member of the progressive City Club, and editor of the Elementary School Teacher.
"When Robert Maynard Hutchins attempted to appoint Mortimer Adler to the philosophy department in 1931, Mead and four other philosophers created a nationwide stir when they resigned from the University. Convinced that Adler’s appointment and his neoThomist approach represented a disturbing political and philosophical shift within the University of Chicago, an embittered Mead accepted a post at Columbia University. He died unexpectedly a few months later and never filled the new position.
After Mead’s death, his son and daughter-in-law, Henry and Irene Tufts Mead, oversaw the compilation of unpublished manuscripts, lecture notes, and student notes. Published posthumously as a three-volume set, these books, Mind, Self and Society (1934), Movements of Thought in the Nineteenth Century (1936), and The Philosophy of the Act (1938), along with an edited version of his Carus lectures, The Philosophy of the Present (1932), form the main corpus of Mead’s philosophical writings, which have had a distinctive influence upon recent American social science.”
"TRAILER OF THE DAY: INSIDE LLEWN DAVIS
Inside Llewyn Davis is the new film from The Coen Brothers. It stars Oscar Isaac, Carrie Mulligan, Justin Timberlake, Garrett Hedlund, and Coen Brother regular John Goodman. It’s the story of folk singer Llewyn Davis and his attempt at being heard. The fact Oscar Isaac is starring in this is what really sold me. He did a film last year called “10 Years” in which he played a famous musician returning for his high school reunion. He has an awesome voice and actually has two tracks on the “10 Years” soundtrack. -Jake “
ILLEGAL GALLERY PRESENTS: OUTSIDER ARTIST SPOTLIGHT: MIROSLAV TYCHY
"This last master of the 20th century photography was only discovered some 6 years ago and left a radical and unorthodox body of photography focussed on the female figure. After studying at the Academy of Arts in Prague, Miroslav Tichý withdrew to a life in isolation in his hometown of Kyjov, Moravia, Czech Republic. In the late 1950s he quitted painting and became a distinctive Diogenes-like figure. From the end of the 1960s he began to take photographs mainly of local women, in part with cameras he made by hand. He later mounted them on hand-made frames, added finishing touches with pencil, and thus moved them from photography in the direction of drawing. The result are works of strikingly unusual formal qualities, which disregard the rules of conventional photography. They constitute a large oeuvre of poetic, dreamlike views of feminine beauty in a small town under the Czechoslovak Communist régime."
ILLEGAL GALLERY PRESENTS: “A March In The Ranks, Hard-prest” by Walt Whitman
"A MARCH in the ranks hard-prest, and the road unknown;
A route through a heavy wood, with muffled steps in the darkness;
Our army foil’d with loss severe, and the sullen remnant retreating;
Till after midnight glimmer upon us, the lights of a dim-lighted
We come to an open space in the woods, and halt by the dim-lighted
‘Tis a large old church at the crossing roads—‘tis now an impromptu
—Entering but for a minute, I see a sight beyond all the pictures
and poems ever made:
Shadows of deepest, deepest black, just lit by moving candles and
And by one great pitchy torch, stationary, with wild red flame, and
clouds of smoke;
By these, crowds, groups of forms, vaguely I see, on the floor, some
in the pews laid down; 10
At my feet more distinctly, a soldier, a mere lad, in danger of
bleeding to death, (he is shot in the abdomen;)
I staunch the blood temporarily, (the youngster’s face is white as a
Then before I depart I sweep my eyes o’er the scene, fain to absorb
Faces, varieties, postures beyond description, most in obscurity,
some of them dead;
Surgeons operating, attendants holding lights, the smell of ether,
the odor of blood;
The crowd, O the crowd of the bloody forms of soldiers—the yard
outside also fill’d;
Some on the bare ground, some on planks or stretchers, some in the
An occasional scream or cry, the doctor’s shouted orders or calls;
The glisten of the little steel instruments catching the glint of the
These I resume as I chant—I see again the forms, I smell the
Then hear outside the orders given, Fall in, my men, Fall in;
But first I bend to the dying lad—his eyes open—a half-smile gives
Then the eyes close, calmly close, and I speed forth to the darkness,
Resuming, marching, ever in darkness marching, on in the ranks,
The unknown road still marching.”
ILLEGAL GALLERY PRESENTS: OUTSIDER ARTIST SPOTLIGHT: JAMES CASTLE
"Born in 1899 in rural Garden Valley, Idaho—only nine years after that frontier territory was admitted to the Union—James Castle mined the local landscape of his family’s homesteads and mapped his deeply private domestic world to produce a remarkable body of drawings, collages, and constructions. Deaf since birth, he never learned to sign, read, or write in a conventional manner, but instead communicated through his art. Over the course of a life lived on his family’s three successive farms, he amassed thousands of works on and in paper—his parents’ role as postmasters likely providing many of his supplies, as he used scraps of printed matter and packaging materials for use as surfaces, collage elements, and source material. The bulk of Castle’s work can be classified as drawings, rendered in his preferred medium of stove-soot and saliva applied with a sharpened stick as stylus. Known initially for his expressionistic representational landscapes and interiors, Castle has come to be recognized in recent years for the full breadth of his work, which encompasses an important body of abstract drawings, color meditations, loosely representational constructions, collages, and text drawings. Working exclusively with humble materials and always in an intimate scale, Castle created complex reconfigurations, dissections, and inventions of typeface in his text appropriation drawings and collages. He garnered some local acclaim during his lifetime (including 1963 and 1976 exhibitions at the Boise Gallery of Art) but only achieved international recognition decades after his death in 1977. In 2011, the Museo Reina Sofia held the first international retrospective of Castle’s work."