This is an audio version of my PhD From Eye to Brain: Gilles Deleuze, Refiguring the Subject in Film Theory (University of Amsterdam, 1998). The audio recording for the entire manuscript was performed by the Royal Institute for the Blind (Peterborough, 1998). This is Section 12 A from the last chapter of the dissertation Chapter 9: The Sound-Machine, Becoming-Music and the Politics of Becoming-Imperceptible.
About Esther Goud's A Strange Love Afair with Ego. In: De Filmkrant, #400 juli/aug 2017, p. 24-25. Online version can be read here.
“Uma guerra nas estrelas metafísica? Consciência celestial no cinema contemporâneo.” In: Lucia Leão (org.). Processos do Imaginário. São Paulo: Képos, 2016, 464p. 115-136pp. ISBN: 9788583731344 (Portugese translation of “A Metaphysical Star War”). Download PDF.
“Metallurgic Fashion: Sartorial Transformations in Changing Techno-Mediated Worlds” in Adriano D’Aloia, Marie-Aude Baroniam & Marco Pedroni (eds.),Fashionating Image: Audiovisual Media Studies Meet Fashion. Special Issue Comunicazioni sociali, n. 1 : 2017 Vita e Pensiero / Pubblicazioni dell’Università Cattolica del Sacro Cuore Milano, 43-52. Find here the article in PDF.
Article on I'm Not Your Negro van Raoul Peck in De Filmkrant 398 Mei 2017. Online version here.
Over Alejandro Jodorowski's prachtig autobiografisch filmgedicht Poesia sin Fin (en La Danza de la Realidad). Lees hier de online versie in De Filmkrant. # 394. Januari 2017.
Introductie bij de presentatie van "Follow the Gold"-compilatie bij Aurum Nevada, een avond over goud in Perdu. Gepubliceerd in Tijdschrift Terras, Issue 10 Metalen, 2016. Redactie Miek Zwamborn.
An Interview with Patricia Pisters in the Newsletter of SMART Cognitive Science, 10 May 2016.
“I grew up in a small village in the South of the Netherlands: there was no cinema, only a library. So I grew up just reading; I went to the library with my father every Friday night. The libraries had these nice big boxes with all these cards, and I just loved ‘playing library’. At home I made every book we had – we did not have a lot of books – into library books with pockets in the inside of the cover containing return cards. I really loved that, and I also liked to play teacher: I wanted to be either a librarian or a teacher. So after high school, I first started doing a vocational teacher training course in Nijmegen, because I wanted to become a French-English teacher. But then when I was in Paris for the first time, I realized that I wanted to really learn the French language, have access to the wealth of books written in French, and I stopped the teacher training course. I went to study in Paris, which is where I discovered cinema. Then I came to Amsterdam, first to work, and then to study. I studied French and also Film Studies, a free doctorate – within this degree it was possible to compose your own program. I went back to France to do my DEA (Diplôme des études approfondies), which is comparable to a research master. In the meantime, the department film and television studies was established in Amsterdam, and professor Elsaesser who set up the program asked me to come and work there. That is how I started to teach, even before I started my PhD; then it was just natural to do also a PhD. So I had some detours: it is through French, and French literature and cinema that I ended up in the department of media studies.”