Dec 8, 2013 · 9:00 p.m.–11:00 p.m. · Mathey Dining Hall
Need last minute help with a paper? Want a second pair of eyes to check your grammar? Come by the dining hall and have one of our RGS's, Henry Cowles, help you with your writting issue(s).
Dec 9, 2013 · 10:00 p.m.–11:00 p.m. · Mathey Common Room
Come by yourself or bring a team up to 5. Fresh baked cookies will be served.
Dec 9, 2013 · 10:00 p.m.–12:00 p.m. · Mathey Common Room
Come for our weekly event with a group or on your own. Cookies will be served.
Dec 9, 2013 · 10:00 p.m.–11:55 p.m. · Mathey Common Room
Test your trivia knowledge in a fun and friendly atmosphere. Come by yourself, bring a team, challenge someone. Snacks will be served.
Dec 10, 2013 · 9:45 p.m.–11:00 p.m. · Hamilton Hall
This week's treat is PJ's pancackes!!
Dec 11, 2013 · 12:00 p.m.– 1:30 p.m. · Private Dining Room
“Ecstasy in 28mm: Sergei Eisenstein's The Old and the New"
here’s a description of the talk:
Eisenstein’s paean to agricultural modernization The Old and the New (aka The General Line, 1929) remains the Soviet director’s least understood film. On the one hand, its renunciation of the wild experimental editing for which Eisenstein was famous didn’t win it the support of fans of the heroic avant-garde (Stan Brakhage once dismissed the film as “very simple and stupidly straightforward”); on the other hand, its tendency to “cinematic excess” within the shot exceeded the ideological schematism of the propaganda film as a genre, making it useless to the Bolshevik state apparatus. In his own efforts to justify this hermetic and elusive film, Eisenstein drew attention to the particular historical interval at which revolutionary society found itself in the 1920s, a fluid and shifting point of transition somewhere between the old tsarist regime and a future society to come. Ultimately, the contradictory structure of The Old and the New confronts a question central to the philosophy of emergence: How is it possible for a radically new and unprecedented reality (here: post-revolutionary society) to come into being when the new reality must emerge from conditions already in existence? How, in other words, can a reality that transcends the present exhibit itself in the present? On this question, the philosopher George Herbert Mead made the following observation in the late 1920s: “The social character of the universe we find in the situation in which the novel event is in both the old order and the new which its advent heralds. Sociality is the capacity of being several things at once.” As we will see, this notion of sociality is at the heart of The Old and the New.
Come when you can, leave when you must.