Rabih Mroué
Guest lecture应该也能算在这个list里吧. 黎巴嫩艺术家。开始前放了短片集，在其中一部末尾看到Hito Steyerl, 果然之后的（他称之non academic）lecture思路极类似，从基于图像的蛛丝马迹中找到可以贯穿更大领域的线索。听这种灵动的argument就明显感受到很多其他论述只是懒惰的拼凑。
从manifesto开始--How to film a demonstration，不要拍人脸，要拍标语，拍冲突，用现场声音和时间，等等可以保护抗争者、忠于现实的方式。幽默里有血，你笑，但是知道是真的有人死了。
然后从一个拍摄者被射击的视频切入，视频前段是一直抖动的居民楼画面，只有一两秒闪过持枪士兵，最后士兵正对镜头抬起枪，枪响。之后还有一个类似的视频，只是士兵换成坦克。Double shooting--三脚架的是固定、平稳的权威，绝对纯洁不朽，正如一把有固定枪架的机枪；而抗议者必须在动态中，是不稳定的手持。枪与手机镜头，几乎是两个世代的对立。
最后是一个对我而言新而有力的解读。你认为视频拍摄者还活着吗？在枪与手机镜头的对立背后，再加入一层观者。如果子弹打入镜头，那么也应打入与拍摄者站在同一视角的观者的屏幕。如果观者仍然活着，那么他们就应该活着。区别于图像亦可作为武器的胜利者论调，而是提问，如果背后拍摄图像的人被杀害，图像为什么没有能成为杀死观者的武器？或者其实是的。
还有图像如何进入官方渠道，艺术机构对这种战争画面的“需求”，图像被传播的前提，等等问题。我其实想问他的影片在母语者间放映反响如何。
也喜欢这位的这种观点：
At that time, my generation of artists were not at all exposed, or invited, or noticed by the European festivals, museums, and art centers. Only the international media were interested in Lebanon after the war. Journalists and some art curators were fishing for melodramatic stories about the horror of the wars and its atrocities, which reduced us to either victims or terrorists. Of course my generation was not interested in this, so we were trying to find our own way of producing works without sponsorship and funding. The lecture-performance is a form that does not need much money or can even have no budget.
One of the main characteristics of the non-academic lecture is its flexibility. It liberates me from the market, it frees me from any authority that is above me. I’m free to do whatever I want, wherever I want: in a theater, in a house, in a hall, in an art center.