Stevie Schmiedel writes: There seem to be two “camps,” two ways of reading Gilles Deleuze’s and Félix Guattari’s concept of “becoming-woman” as described in their Thousand Plateaus. My own reading of Deleuze and Guattari’s work confirms an anti-psychoanalytic and anti-dialectical understanding that turns against the psychoanalytic feminism presented by Luce Irigaray, and even against Judith Butler’s Foucauldian re-reading of Lacan with which she defines a political practice of parodic performances.

In "Screening the past" Adrian Martin wrote a piece on "Claire Denis and the cinema of the body": "Recall any single film by Claire Denis, or any aggregate image of the mood and texture of her work as a whole: every thing, every body, is in motion.

New York Times writer Robert Sullivan has published a great long piece on Todd Haynes new movie: "You could begin the story of Todd Haynes’s Dylan movie at the very beginning, about seven years ago, while Haynes was driving cross-country in his beat-up old Honda.

I think everybody has the 15 theses, it is necessary, I think, for the talk. I'll comment about the theses and you can read them. I think the great question about contemporary art is how not to be Romantic. It's the great question and a very difficult one. More precisely, the question is how not to be a formalist-Romantic. Something like a mixture between Romanticism and formalism. On one side is the absolute desire for new forms, always new forms, something like an infinite desire. Modernity is the infinite desire of new forms.

Berlin has in recent years become a particular focal point for contemporary Chinese art. The journalist and writer Annett Busch has talked to some of the major galleries and art critics to find out why, and uncovered interesting trends in a fast changing scene.

This is a close reading of "Bicycle thieves" by Millicent Marcus, the Mariano Di Vito Professor of Italian Studies and Director of the Center for Italian Studies at the University of Pennsylvania.

Riding Towards the Future is a text on Wang Xiaoshuai's movie "Beijing Bicycle" written by Elizabeth Wright for Senses of Cinema, "an online journal devoted to the serious and eclectic discussion of cinema". She recently completed her honours year in film studies at Monash University (Melbourne). Her thesis focused on the film aesthetic of Wong Kar-wai.
http://www.sensesofcinema.com/contents/01/18/beijing_bicycle.html

"Neorealism and Pure Cinema: The Bicycle Thief" is an essay by Andre Bazin on Vittorio de Sica's "The Bicycle Thieves" (Ladri di biciclette) from 1948. Bazin calls the movie "pure cinema"; that is, it tells a simple story composed of "real" events involving "real" people in "real" places. The truth of its extraordinary emotional impact is another element of the story's purity. Bazin is commonly regarded as one of the most important or influential writer on cinema. He was a co-founder of the French film review "Cahiers du cinéma"

"I write to you from a far-off country…" Christian François Bouche-Villeneuve writes about Chris Marker in "Senses of cinema": "Information regarding the early life of Chris Marker, photographer, filmmaker, videographer, poet, journalist, multimedia/installation artist, designer, and world traveler, is scarce and conflicting. The year to which his movies, videos, and multimedia projects are dated depends on which source you use, and in which country you live. Personal data is in a state of complete disarray: Derek Malcolm, writing about ¡Cuba Sí!

At KIT theory we prefer not to reproduce the popular binaries between theory and praxis. Instead we want to promote, experiment and play with ever changing notions of a theoretical praxis by practicising theories.

In principal we understand art theory as the art of seeing art. It is not a fixed body of knowledge, a compilation of historical facts or philosphical history. Theory is nothing fixed and stable, it is fluid, it flows like water and therefore needs to be revisited and reinvented over and over again.