To Be Continued?...
Philosophy and Psychoanalysis Today

Part III
15–16 April 2025

Live Session (Zoom)

Boštjan Nedoh
Marisa Žele
Holden M. Rasmussen
Amanda Holmes
Aleš Bunta
Alenka Zupančič
Alejandro Cerda-Rueda
Arka Chattopadhyay
Lorenzo Chiesa
Mladen Dolar
Justin Clemens
Alexi Kukuljevic
Peter Klepec
Stephen Overy
Tadej Troha
Sigi Jöttkandt
Richard Boothby


Part II

16–18 April 2024

Holden M. Rasmussen
Marisa Žele
Aleš Mendiževec
Voranc Kumar
Alejandro Cerda-Rueda
Arka Chattopadhyay
Boštjan Nedoh
Tadej Troha
Adrian Johnston
Mladen Dolar
Henrik Jøker Bjerre
Aleš Bunta
Adam Potts
Alenka Zupančič
Lorenzo Chiesa
Joan Copjec
Emily Laurent-Monaghan
Moritz Herrmann
Arsalan Reihanzadeh
Paris Lavidis
Nadia Bou Ali
Peter Klepec
Mohamed Tal
Frank Ruda
Ray Brassier


Part I
15–17 November 2023

Holden M. Rasmussen
Emily Laurent-Monaghan
Moritz Herrmann
Paris Lavidis
Vesna Liponik
Arsalan Reihanzadeh
Adrian Johnston
Jelica Šumič Riha
Tadej Troha
Boštjan Nedoh
Marisa Žele
Aleš Bunta
Peter Klepec
Alenka Zupančič
Lorenzo Chiesa


To Be Continued? ... 
Info
  • We can certainly say that the dialogue between philosophy and psychoanalysis, however prolix, has so far proved very difficult, ever since the latter’s inception. Is there such thing as a philosophy-psychoanalysis relationship? Or has it always been only empty speech? In that case, should it be continued?
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Sigi Jöttkandt (University of New South Wales)



The Philosophy of Leftness


The padograph is a writing instrument invented by the father of the totalitarian Leader Paduk in Vladimir Nabokov’s 1947 novel Bend Sinister. A personalized sort of typewriter, the padograph imitates a person's handwriting with a ‘repellent’ degree of accuracy and perfection. The padograph flattens out one's expressive flourishes, lopping off the extremes of height and depth of character while nonetheless providing for a carefully calibrated quantum of inconsistency. But beyond its ironic use as an emblem of Paduk's ‘ekwilist’ (equalist) State, Nabokov’s padograph inscribes another history of the relation between writing and thought. In one's signature—that seemingly most spontaneous, expressive, auratic of writing technologies—Nabokov recovers a sort of 'archetype' of individuation. What if, Nabokov asks, all of our most dearly held fantasies of selfhood and of 'personality' were in fact impressions cast by a mechanical ‘hand’? The padograph thus makes perceptible—if only just—another operation that lies more clandestinely hidden in the bends and folds of the linguistic weave, one that broaches an impossible question bordering almost on madness: what operation of synthesis holds together the letters of one's name? Nabokov’s surprising answer—that the Symbolic name must be ‘versified’ by the Real—casts doubt on his long-standing reputation as literature’s most notorious anti-Freudian.