The Deleuze Camp is a week-long series of workshops related to the conference theme in the week prior to the conference. It will be held from 12-16 June 2017 at Buddies in Bad Times Theatre in Toronto, Canada.
Deleuze Studies 2017 Camp schedule
Deleuze Studies 2017 Camp social schedule (final)
Camp leaders include:
Ian Buchanan is Professor of Cultural Studies at the University of Wollongong. He is the founding editor of the journal of Deleuze Studies and editor of 4 book series relating to the work of Deleuze (Deleuze Connections [EUP], Plateaus [EUP], Schizoanalytic Applications [Bloomsbury] and Deleuze Encounters [Bloomsbury]). He is the author of Deleuzism (Duke University Press, 2000) and Readers’ Guide to Anti-Oedipus (Bloomsbury, 2008) as well as the co-editor of Deleuze and Feminist Theory (EUP, 2000), Deleuze and Literature (EUP, 2000), Deleuze and Music (EUP, 2004), Deleuze and Space (EUP, 2005), Deleuze and the Contemporary World (EUP, 2006), Deleuze and Politics (EUP, 2008), Deleuze and the Schizoanalysis of Cinema (Continuum, 2008), Deleuze and the Schizoanalysis of Visual Arts (Bloomsbury, 2014), and Deleuze and the Schizoanalysis of Literature (Bloomsbury, 2015). In addition he has published over 50 journal articles and book chapters on the work of Deleuze.
Nick Davis is Associate Professor of English at Northwestern University. He teaches and writes in the areas of film, queer theory, feminist and gender studies, and American literature. His book The Desiring-Image: Gilles Deleuze and Contemporary Queer Cinema theorizes a new model of queer cinema based more on formal principles than identity politics, drawing heavily on Deleuzian philosophies of film, desire, and unpredictable production. He has published essays on Alfonso Cuarón’s Y tu mamá también, Julie Dash’s Illusions, John Cameron Mitchell’s Shortbus, William Friedkin’s The Boys in the Band, James Baldwin’s Blues for Mister Charlie, and the politically radicalized actresses Julie Christie and Vanessa Redgrave. Forthcoming work includes essays on Todd Haynes’s I’m Not There and Leos Carax’s Holy Motors , plus a developing book project on vexed depictions of sexual consent in recent global cinema. Since 1998, he has published film reviews and essays at www.NicksFlickPicks.com and is now a Contributing Editor at Film Comment.
Helen Palmer
is a writer, performer and lecturer in the Department of English Literature at Kingston University, London. She is the author of Deleuze and Futurism: A Manifesto for Nonsense (Bloomsbury, 2014). She has recently published papers on feminist rewritings and diffractive pedagogies, and some of her poetry has recently been published in the Minnesota Review themed issue on new materialism. She is currently writing a book called Queer Defamiliarisation and a novel called Pleasure Beach, which is a feminist reimagining of Joyce’s Ulysses.
Greg Seigworth is Professor of cultural studies in the Department of Communication and Theater at Millersville University of Pennsylvania. Greg has written and spoken widely on theories of affect, philosophies of the everyday,
and the work of Deleuze and Guattari. He is co-editor (with Melissa Gregg) of The Affect Theory Reader (2010, Duke UP). Greg’s most recent work takes up affect in relation to technologies of the interface and the workings of debt.
Anne Sauvagnargues is Professor of Philosophy in the Department of Philosophy at the University of Paris Ouest Nanterre La Défense. A specialist in aesthetics and the philosophy of Gilles Deleuze, she co-directs the collection ‘Lignes d’art’ with Fabienne Brugère for Presses Universitaires de France. She is the author of numerous works, including Deleuze and Art (Bloomsbury 2013), Artmachines: Deleuze, Guattari, Simondon (Edinburgh University Press 2016), and Deleuze. L’empirisme transcendental (Presses universitaires de France 2008, forthcoming with Edinburgh University Press).
Camp Venue: Buddies in Bad Times Theatre, 12 Alexander Street, Toronto, ON, M4Y 1B4
Established in 1979, Buddies in Bad Times Theatre is Toronto’s leading destination for artistically-rigorous, alternative theatre and a world leader in developing queer voices and stories for the stage. Over the course of its history, it has evolved into the largest facility-based queer theatre company in the world and has made an unparalleled contribution to the recognition and acceptance of queer lives in Canada.
We invite scholars and graduate students to apply.
Taking flight: assembling, becoming, queering 