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Wounds to Scars: Acts of Remembrance in Word & Image

Above: A sample of Keaney and Gallagher's work in a segment of their Twinsome Minds project


A one-day only stunning multimedia performance of philosophy, art, and healing. The performance will touch on themes of visual art and stories of remembrance as acts of healing.

Richard Kearney is The Charles B. Seelig Professor in Philosophy at the Boston College Philosophy Department. He is the author of over 20 books on European philosophy and literature (including two novels and a volume of poetry) and has edited or co-edited 14 more. As a public intellectual in Ireland, he was involved in drafting a number of proposals for a Northern Irish peace agreement (1983, 1993, 1995).
Sheila Gallagher is an Associate Professor of Fine Art at Boston College where she teaches courses on drawing, painting and contemporary art practice. Her work takes many forms including video, flower installations, smoke paintings and computer-aided drawing. Widely exhibited in the United States, Gallagher's work has been shown at such venues as The Institute of Contemporary Art, The Museum of Fine Arts Boston, Dodge Gallery, NYC, and Wellesley College.

Their Twinsome Minds project (a phrase from Finnegans Wake) is a multimedia performed talk with text by Richard Kearney and moving images by Sheila Gallagher. The performance mines what is often lost behind official historical accounts and acts of commemoration, and proposes a transformative work of interpreting the past for a new generation. Their Guestbook Project promotes the power of digital storytelling as a means of healing divisions. 
"Peace takes practice. Peace takes creativity. Peace takes engagement."

The event will take place at MSU's Center for Advanced Visualization and Experiential Analysis, which boasts 180 degrees of projection screen and state of the art audio systems.

February 15th, 6:00pm

Student Success Building (890 Auraria Pkwy) Room 420

Entry is free and open to the public.


The Tragedies of David Lean: A Philosophical Film Retrospective

Join philosophers Adam Graves and Sean Morris as they discuss the moral and aesthetic dimensions of Lean’s masterpieces. 

David Lean is perhaps best known for his larger-than-life cinematography. His widescreen Technicolor spectacles, such as The Bridge on the River Kwai, contain some of film’s most iconic images—images of such monumental proportion that they tend to dwarf the characters who appear almost imperceptibly in their all-encompassing frame. He once commissioned Panavision to manufacture a custom 482mm telephoto lens, aptly known as the “Lean lens,” just to capture a single scene: Omar Sharif’s character emerging from a mirage shimmering over the vast Jafr mudflats in Lawrence of Arabia. 

And yet, when asked to comment on his own strengths as a director, Lean spoke of a different kind of lens and a different sort scale: “My distinguishing talent is the ability to put people under the microscope, perhaps to go one or two layers farther down than some other directors.” Lean’s true legacy lies in his ability to move seamlessly between the monumental and the microscopic, to use impossibly large canvasses to paint intimate portraits, and to explore the inner depths of complex characters through a sweeping visual style. In a Lean picture, these inner and outer worlds are neither disconnected, nor juxtaposed—they disclose themselves simultaneously, each through the other. And for this reason his films and characters, perhaps more than most, deserve to be encountered on the silver screen. 

This series will include three of Lean’s most critically acclaimed films, each of which might be characterized as a twentieth-century tragedy. We begin with the lesser-known Brief Encounter, a relatively small picture produced in England a decade before Lean’s first Hollywood-backed epic. Celia Johnson plays a suburban housewife whose illicit affair with a stranger awakens exhilarating emotions as well as paralyzing guilt. This will be followed by Lean’s first major international success, The Bridge on the River Kwai, where Alec Guinness plays the dignified Colonel Nicholson, whose obsession with duty ultimately prevents him from recognizing his highest obligation. We conclude the series with Lawrence of Arabia,where Peter O’Toole delivers a breakout performance as an ambitious young man who, with remarkable hubris, tries to give a people something we know he cannot—namely, their freedom. 

Each of these films tells a tale of profound unfulfillment: unconsummated love in Brief Encounter, unfulfilled duty in Kwai, and frustrated ambition in Lawrence. And each film provides a unique occasion to contemplate good and evil, virtue and vice, innocence and guilt, and to reflect upon the power of film to illuminate the nature of human existence. 

Adam Graves is associate professor of philosophy at MSU Denver, specializing in phenomenology and hermeneutics (the theory of interpretation). He is currently teaching an Honors Seminar on the representation of evil in film. 

Sean Morris is associate professor of philosophy at MSU Denver and works in logic, the foundations of mathematics and the history of analytic philosophy. From time to time he dabbles in questions relating to the good life as they arise in classic films. 

February 14th, 6:30pm: Brief Encounter

February 21st, 6:30pm: Bridge on the River Kwai

February 28th, 6:30pm: Lawrence of Arabia

1510 York St., 3rd Floor
Denver, CO 80206

$15 Tickets at the SIE Website

Be sure to follow us on Facebook for a ticket giveaway!


Shakespeare in the Parking Lot

 Above: D-phi's 2016 collaboration with Shakespeare in the Parking Lot, a vingette of their Romeo and Juliet

The Denver Center for Performing Art's “Shakespeare in the Parking Lot” will perform an abridged version of A Midsummer Night's Dream outside the Tivoli Building, to be followed by an interview with the director and actors.

April 16th, 12:30 pm

Tivoli Commons (SE Corner of 900 Auraria Pkwy)

Performance is free and open to the public.


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