“ Tripping through ” is an invitation to plunge into the invisible relationships of hard and soft computer matter through sensuous mediation. The projects outlined are designed to provoke and capture the specific behavior of individual computer components through the use of appropriate software fragments. If one approaches a digital apparatus with a transducer that transforms electromagnetic fields into acoustic waves, the analytical sphere is changed into concrete acoustical phenomena and enters the world of sensation (electromagnetic emissions can be picked (...) using induction microphones and output as acoustic signals. A suitable example is a Monacor telephone adapter AC-71/3,5MM). In choreographies for software and computer parts, these become actors in noise pieces for and in computers. Machine noises can be mediated for the public. They reveal the activity of computer programs in the widest sense and the activity of the computers or computer parts they are running on. The time and space of computer processes and memory span different levels of reality during “ runtime. ” Software being processed within this system of coordinates creates its own temporal and spatial dimensions, which are staged for an audience to provide a sensual experience: that of logic encountering the physical world. (shrink)

This paper offers a close reading of “The Geology of Morals,” the third and possibly most important chapter, or plateau, of Deleuze and Guattari’s magnum opus A Thousand Plateaus. I analyse some of...

The conceptual persona of the idiot recurs and evolves over the decades between Deleuze’s Difference and Repetition and his final book with Guattari, What is Philosophy?, shifting from a philosophical question to a nonphilosophical one that allies thought with literature and life. The great figure of this shock of literature is Antonin Artaud who, Deleuze argues, refinds thought’s creative capacity by putting it back in touch with its immanent outside – with a machinic and pre-personal ‘unthought’. This essay will argue (...) that by turning to works from later in Artaud’s œuvre, especially the 1946 poem-cycle Artaud le Mômo, the problem of idiocy meets a correlative problem concerning life and death. Artaud establishes a four-fold of thought-unthought-life-unlife which is problematically resolved in what he calls a ‘body’, a figure which I will argue requires that we rethink the relationship Artaud experiences between idiocy and suffering. (shrink)

Deleuze's writings often bring Spinoza and Artaud into close proximity, and given that the latter is often first encountered by many anglophone readers through Deleuze, the tendency to think of Artaud as a Spinozist risks becoming conventional. In fact, much of Artaud's metaphysics is incompatible with Deleuze's Spinozism, not least the relation between a body and its constitutive outside, and the questions of affect and expression. In reading Artaud's ‘An Affective Athleticism’ essay and with recourse to his final works, this (...) article will explore these differences with particular reference to vitalism, experimentation and unilateral difference. (shrink)

This paper offers a phenomenological or hermeneutic reading—employing Heidegger's notion of the 'ontological difference'—of certain central aspects of schizophrenic experience. The main focus is on signs and symptoms that have traditionally been taken to indicate either 'poor reality-testing' or else 'poverty of content of speech' (defined in the Diagnostic and Statistical Manual of Mental Disorders III-R as: “speech that is adequate in amount but conveys little information because of vagueness, empty repetitions, or use of stereotyped or obscure phrases"). I argue (...) that, at least in some cases, the tendency to attribute these signs of illness to the schizophrenic patient results from a failure to recognize that such patients—as part of a quasi-solipsistic orientation and alienation from more normal, pragmatic concerns—may be grappling with issues of what Heidegger would call an ontological rather than an ontic type, issues concerned not with entities but with Being (i.e. not with objects in the world but with the overall status of the world itself). An application of the Heideggerian concept of the ontological difference has the potential to alter one's sense of the lived-worlds of such patients, of what they may be attempting to communicate, and of why communication with them so often breaks down. (shrink)

This paper considers contradictory features of emotional or affective experience and expression in schizophrenia in light of the “Kretschmerian paradox”—the fact that schizophrenia-spectrum patients can simultaneously experience both exaggerated and diminished levels of affective response. An attempt is made to explain the paradox and explore its implications. Recent research on emotion in schizophrenia is reviewed, including subjective reports, psychophysiological measures of arousal or activation, and behavioural measures, focusing on flat-affect and negative-symptom patients. After discussing relevant concepts and vocabulary of emotion (...) (“affect”, “emotion”, “mood”, “feelings”, the “passions”), the need for a phenomenological approach focusing on subjective experience is proposed. Four modes of nonparanoid experience in schizophrenia are discussed: Bodily Alienation, Disengagement, Unworlding, and Subjectivisation. Each mode involves withdrawal from functional contexts—temporal, practical, and interpersonal—normally associated with emotional reactivity and expression; each may be accompanied by forms of non-emotional affectivity no less intense than the emotions they replace. Possible relationships between psychophysiological measures, expressive behaviour, and subjective emotional or affective response are considered. (shrink)

In the Letter of Humanism, Heidegger reinterprets the Greek notion of ethos as designating the way in which human beings dwell in the world through a “unifying” language. Through various down strokes in the autobiographical and psychopathological literature on schizophrenia as well as in literary texts and literary criticism, this paper, experimental in its effort, argues that the language productions of schizophrenia and poetry, each in its own way, seem to fall outside this unification of a language in common. Furthermore, (...) it argues that this “falling outside” is related to radical experiences of “alienation” and “otherness,” which call for an alteration of conventional language. However, whereas poetry appears to open new linguistic possibilities, schizophrenia runs the risk of reducing language to the silence of incomprehensible “nonsense.” The paper ends with the suggestion that a poetic employment of language may hold a double potential with regard to the understanding and possible treatment of schizophrenia spectrum disorders. (shrink)

A recent collection of essays,Feminist Perspectives on Law and Theory,is here taken as the starting point for an analysis of the political trajectory of feminist jurisprudence. The ‘new wave’ of feminism borrows much of its inspiration from continental theory – from Derrida, Deleuze and Irigaray – and has been subject to criticism for its attention to language and its turn towards culture and aesthetics. Reviewing the materialist bases of the new wave, and particularly its concern with the immediacies of the (...) body and events, it is argued here that it represents a return to the radicalism of feminist legal theory. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)