For the better part of the past decade, global social movements have drawn popular attention to the power of image production and acts of representation, particularly the ways ubiquitous cameras challenge the exercise of power This essay lays out a theoretical schema for interrogating a broader “politics of visibility” at work in the early twenty-first century, most readily apparent through the activities of smartphone-enabled and visually-savvy activists. As new media technologies have opened up new strategies of representation, these modes of (...) representation have been incorporated into existing media practices that delimit the ways in which the consequentiality of various movements and political projects can be understood. Theoretically revisiting the concept of visibility, this essay critiques the relationship between technology and the production of knowledge in media studies before arguing that the visibility of an event presages a consequentiality partially determined by the ways in which it is rendered perceptible and thus, intelligible. (shrink)

Deleuze and Guattari develop a notion of “minor literature” in their short book on Kafka, and the opposition major/minor has been used with varying degrees of success by critics working in a range of disciplines including architectural theory. Teasing out the potentially subversive implications of the major/minor opposition requires reading it in relation to other binarisms developed by Deleuze and Guattari in those same years, e.g., state/nomadic science, striated/smooth space, optic/haptic, as well as Guattari’s useful concept “machinic heterogenesis.” Then, one (...) ends up with a minor architecture concerned with partially subversive practices rather than with structure per se. A building’s minor status is figured through its deployment in and production of a space that is a technological, social and political pattern as well as a line of flight. This paper reads minor architecture by examining the minor house built by Henry David Thoreau at Walden Pond and those currently being assembled by the Mad Housers in Atlanta, Georgia. (shrink)

The essay consists of three parts: the first argues that Deleuze's moral philosophy in The Logic of Sense provides an ethical model of counter-actualisation; the second shows how three different practices of art therapy offer a means to effect this counter-actualisation and thereby demonstrate the restorative power of art; the third explores how such a power might form part of what Guattari calls the ‘ethico-aesthetic paradigm’ (Guattari 1995).

Responding to the co-production of screen seriality and human subjectivity within contemporary machine cultures and economies of excess, this article examines televisual affect and proposes concepts that address the languages, components and processes of particular televisual subjectivities. Discussions focus on science fiction fantasy series Farscape – a space odyssey fascinated with biotechnological evolution and mutative consciousness. This article aims to invigorate and extend the critical analysis of contemporary televisual affect, taking up questions and methodologies from Félix Guattari’s machinic ontology and (...) Georges Bataille’s formulation of a sacrificial economy to address the conditions of consumption–production relevant to television today. (shrink)

You never reach the Body without Organs, you can't reach it, you are forever attaining it, it is a limit. People ask, So what is this BwO? - But you're already on it, scurrying like vermin, grouping like a blind person, or running like a lunatic: desert traveller and nomad of the steppes. On it we sleep, live our waking lives, fight - fight and are fought - seek our place, experience untold happiness and fabulous defeats; on it we penetrate (...) and are penetrated; on it we love. (Deleuze and Guattari, 1987: 150). (shrink)

In this experimental piece of writing I want to think about the pedagogy of contact and the plight of the hikikomori or social recluse in Japan. I am interested in exploring how the hikikomori practices a kind of contactlessness or what I will call a deadly ipseity of desire. What does it mean to resist contact, to be without contact, to be without desire? What does it mean to risk contact, to risk being tactile with the other, to risk affirming (...) one’s desires? I want to generate a discussion about what has happened to desire, to its promise and possibility and why it is so difficult to anticipate or forecast what is to come. For me the BwO of hikikomori is the ruin of desire, the collapse of desire, a disaster of desire. I am pursuing a line of thought which highlights the loss of the possibility of processual schizophrenic breakthrough and in its place the becoming-autistic of the self, the perilous breakdown of the self. (shrink)

By tracing the genealogy of Lawrence Ferlinghetti's outlandish notion of the fourth person singular and its appropriation in The Logic of Sense, several keys concepts in Deleuze's thought such as the nonpersonal and pre-individual subjectivity can be rendered clearer to the understanding. While there is poetic licence in the use of the term by Ferlinghetti, the fourth person singular is heuristic for exploring the notion of free indirect speech and, more speculatively, the ideas of impersonal death and suicide. The fourth (...) person singular is thus a trope that sheds light on the ideas of humour, irony, lightness and becoming ‘without a verb’ in Deleuze's thought. Under close scrutiny is what Ferlinghetti designates as the ‘cool’ eyes of the fourth person singular. We shall work to differentiate these from so-called mad, Dada-esque ‘unblinking’ eyes. We shall ask how the poet in ‘obscenely seeing’ the impossible possibility of life can envision – perspicaciously – the immanent sense of death-in-life. From what standpoint does the poet gain access to the real? To consider this fully it is necessary to follow the Deleuzian interpretation of singularities as true transcendental events so as to clarify what gives life a ‘non-personal power, above individuals’. (shrink)

This paper examines the affective disorders plaguing many young people and the problem of attention-deficit hyperactivity disorder in particular. It aims to define the limits of the critique of British educationalist Sir Ken Robinson in terms of his philosophy of ‘creativity’ through a consideration of the ideas of French philosopher Bernard Stiegler, especially the notions of ‘industrial temporal objects’ and stupidity. It makes the case for adopting elements of each distinct research paradigm as a prolegomena to forging a social critique (...) of capitalist-dominated, market-led educational institutions. The former, it will be seen, identifies some of the problems facing teachers in terms of the use and application of technology, the false divide between arts and the humanities, but falls short of explaining the root of the structural and psychic malaise in neo-liberal regimes regarding classroom breakdown in general. The latter, despite the apocalyptic tone of some his pronouncements provides an update and radicalization of Deleuze’s societies of control thesis in terms of what Stiegler designates ‘uncontrollable societies’. Stiegler, it will be seen, presents a critique of technology that is all the more pressing in an age in which the loss of expectation in the lives of young people can lead to a corresponding fall off or destruction in ‘deep attention’. I want to test the hyperbole of Stiegler’s assertion that young people today suffer from a ‘colossal’ attention deficit disorder of unprecedented scale and magnitude. (shrink)

We are living in and beyond two massive changes in the world, both of which must be addressed by education, the caretaker of memory. First is the geological era of the Anthropocene—a crisis...

Devoted to the late Paul Virilio (1932–2018) and in the advent of debates surrounding the Anthropocene and in light of corresponding changes to conceptions of scale and image, this paper attempts to extrapolate a Virilian pedagogy of the image. It is Virilio’s work which remains timely and singularly fecund in this area and it is for this reason that it may help to shape a new pedagogy of scale and image. This may allow us to better grasp the decentring of (...) human conceptions of time and space as we come to better understand the vastness of cosmological space and time. To demonstrate this, his work is read in tandem with Félix Guattari’s work on ecosophy and Bernard Stiegler’s work on negentropy to show how Virilio’s critique of the diminishment of perspective diverges from their respective approaches to forge an arresting pedagogy of the image vis-à-vis geographical and ecological conceptions of Earthly spatial and temporal scale. The perceived poverty of Earthly perspective is read in the light of a scalar perspectivism which understands the enormity of the universe and humanity’s microscopic place within it. As Virilio is concerned with the changes in scale which manifest with the onset of globalization, the question arises as to how an applied dromology (that is the philosophy of speed) may work alongside both Guattari’s schizoanalytic and ecosophical research and Stiegler's pharmacology of the image in a way that mounts a robust and unique critique of the mental pollution of the image as such. Here the pedagogical implications are significant as the diminishment of world perspective for Virilio – a consequence of the singular global time of capital – devastates our understanding of the cosmos. This understanding of the poverty of scale and perspective is contrasted with a multiscalar approach to the world, which is itself searching for a philosophical and pedagogical response to the reduction of the world to nothing. (shrink)

At first glance a Russian anarchist’s revolutionary address to the youth of his day made in the late 19th century and the address to youth made by a contemporary French philosopher may appear to have little in common as their context and era are ostensibly very different. How would Petr Kropotkin’s address be understood in our time? Are Kropotkin’s concerns the same as those raised by Bernard Stiegler? Could Kropotkin speak of universal concerns, a sense of elevation and sublimation not (...) governed, undermined or circumvented by digital relations, calculation or algorithmic determination? I find a mutual concern with the coming into maturity of youth, but, I am concerned that as we are passing through an epochal and revolutionary transformation driven by digital and cognitive capitalism and in our toxic and crisis-ridden milieu, Kropotkin’s rhetoric would inevitably fall on deaf ears? Is his rhetoric on revolution anachronistic? How would his rhetoric be crafted for a youth seemingly indifferent to the plight of fellow brethren? Is it conceivable that the humanist-inflected prospects of youth so vaunted by Kropotkin have now been devastated by the inhuman and nihilistic tendencies of the so-called miscreant, ‘blank generation’ as described by Stiegler? True, while it is difficult to calibrate the vision of youth affirmed in Kropotkin with the fear of youth in Stiegler, and, despite differences in episteme, tradition and political orientation, both thinkers I think are concerned with the trials and tribulations of youth and both hold out the prospect of the not-yet of youth, of the coming into being of the maturity of youth, of Aufklärung. It is this shared focus I wish to examine further. (shrink)

This article proffers a critical reading of multiliteracy pedagogy and a materialism of the multimodal and machinic. A critical stance is taken against the mesmerising modes of representation that run rampant across our ocular territories. The article assesses the dangers of fetishizing technologies. To this end, Multiple Literacies Theory (MLT) is read through a Guattarian theoretical prism to emphasise four chief points: (1) the role of the unconscious, (2) the role of affect (affectus in the Spinozian sense; contrary to feeling (...) which immobilises, affect moves us), (3) the apparent becoming cyborg of the human race and (4) the desire to desire repression. The author contends that while qualitative multiplicities play a central role for MLT, it is neither inconsistent nor contradictory to consider the role of the machinic in greater detail. It is argued that more research must be directed into the cartographic, ethological and noological mechanisms at work in plastic universes of reference (new technologies and the arts) which transform the virtual and transfigure the dynamic of affect. (shrink)

Here, I wish to pursue an analysis of the potential link between the thinkers Félix Guattari and Bernard Stiegler as I see in both thinkers a profound rumination of the question of therapeutic care and curation at the institutional level. My concern is with the institutional object and its deadly repetitions. By and through agitating the coefficient of transversality, my argument is that this might problematize the dyadic and sometimes dysfunctional transindividual relationships between doctor and patient, teacher and pupil. My (...) concern is with the passage from the machinic objet petit ‘a’ in Lacan to Winnicott’s transitional object (objet petit ‘b’), and then beyond their functions to the institutional object itself which Guattari idiosyncratically calls the objet petit ‘c’. The rationale behind this move is to consider how the mediating third object needs to be recast in light of the poisonous and addictive nature of transitional objects such as smartphone technology. My point is that we must rethink the pharmacological possibility of the incorporation of the transitional object at the institutional level, which is to say, to understand the relationship between institutional objects such as the therapeutic club and the transitional object (digital technologies) in order to appreciate critically the toxic effects of the latter. Yet we also must understand the pharmacological or therapeutic aspects of the transitional object in itself, which is to say to understand its precise curative usage at the institutional level. (shrink)

What potential can be found in the work of Deleuze and Guattari for critical legal scholarship? The authors argue that their work can be deployed to re-think ‘critique’ by directly addressing the place and role of the ‘critic’. It is argued that the continued commitment to a stance of ‘resistance’ in CLS is underpinned by never-ending dualisms which, if not confronted and replaced, can only make CLS ever more redundant. The authors ask: ‘what is critique beyond the dualism of power (...) and resistance, of state and nomad?’ This question arises from a belief that critique is still capable of being effective, but only if there is the courage to experiment, and to think creatively. In this sense, the ‘exhaustion’ of critique is framed as an opportunity to re-think and re-engage with the politics of law. The paper diagrams, through image and film, a critical thought: the potential of the artisan. Film is utilised not as representation, nor as illustration, but as a thinking mind in its own right, through which questions relating to the state, political action, and creative thinking can be framed. Such a re-framing is essential, it is argued, for an engagement with the emergence of societies of control. (shrink)

Inclusion of the humanities in undergraduate medicine curricula remains controversial. Skeptics have placed the burden of proof of effectiveness upon the shoulders of advocates, but this may lead to pursuing measurement of the immeasurable, deflecting attention away from the more pressing task of defining what we mean by the humanities in medicine. While humanities input can offer a fundamental critical counterweight to a potentially reductive biomedical science education, a new wave of thinking suggests that the kinds of arts and humanities (...) currently used in medical education are neither radical nor critical enough to have a deep effect on students’ learning and may need to be reformulated. The humanities can certainly educate for tolerance of ambiguity as a basis to learning democratic habits for contemporary team-based clinical work. William Empson’s ‘seven types of ambiguity’ model for analyzing poetry is transposed to medical education to: (a) formulate seven values proffered by the humanities for improving medical education; (b) offer seven ways of measuring impact of medical humanities provision, thereby reducing ambiguity; and (c) --as a counterweight to (b) – celebrate seven types of ambiguity in contemporary medical humanities that critically reconsider issues of proof of impact. (shrink)

This article takes a genealogical approach to the problem of affective communication that we find coalescing around the phenomenon of ‘affective transfer’ identified in experiences such as voice-hearing, telepathy and hypnotic suggestion. These experiences breach the boundaries between the self and other, inside and outside, and material and immaterial, and make visible some of the central issues that are important in re-thinking affect, relationality and embodiment. The article will attempt to re-engage the problematic of subjectivity by asking what a turn (...) to affect entails within such technologies of listening and attention. This is particularly important when such turning or opening to affect engenders a conversation with traumatic memories, albeit a conversation that does not occur primarily in a verbal register. The key focus will be on the marginalized status of telepathic modalities of affective transfer throughout the histories of the development of the psychological sciences. The article uses this as a platform to consider the connections between what is occluded or excluded from the psychological sciences, and what is being silenced within work on affect taking form across the humanities. Taking us back to the practice of telepathy in the 19th century and the problem of hypnotic suggestion in the mid 20th century (the Macy Conferences), the article discloses how both function as carriers of what is being overlooked and silenced in the engagement by many affect scholars with the knowledge-practices of the psychological and neurosciences. (shrink)

Félix Guattari's theoretical and practical interests in cinema culminated in the film project A Love of UIQ. While critics have concentrated on the sci-fi screenplay's elements of minor cinema, its themes of mass media, emerging computer technologies and informatic-communication networks particularly express Guattari's concept of post-media. The screenplay is an aesthetic meditation on the potentialities of post-media, a concept that anticipates the practical and theoretical issues surrounding the age of the Internet. A Love of UIQ voices Guattari's ambivalence towards the (...) liberatory possibilities of network technologies that are at constant risk of capitalist recapture. (shrink)

Nicolas Philibert's 1997 documentary, La moindre des choses, depicts the daily lives of residents and staff at the private psychiatric clinic La Borde, and their production of Witold Gombrowicz's play Operetka. This paper will analyse the aesthetic and ethical implications of La Borde's production of Gombrowicz's play by mapping the documentary, text and production's collective expressions. The film's capacities to reconfigure audience subjectivities through a filmic and intensive entanglement will be explored at length by framing the documentary's cinematography in Félix (...) Guattari's theories of the ethico-aesthetic paradigm and minor cinema. (shrink)

Today, looking at the Middle East, through and beyond the dust and smoke of war, it is apparent that new forms of politics and democracy are being shaped in social practices and by social experimentation. We are referring to the people's councils that have been established in various places in the Kurdistan region, and through which people are taking greater responsibility for and control of their daily lives and the places where they live. Those involved refer to these councils in (...) the context of ‘democratic autonomy’ and ‘democratic confederalism’, which indicates that they are not simply to be considered as just local initiatives, but also contribute to a larger project or idea and way of thinking about and doing politics. We may not fully comprehend this form of politics, yet this should challenge academics and those interested in developing new forms of democracy to take a closer look. (shrink)

In this article, the diagram is used to chart the movement from Deleuze's transcendental empiricism and engagement with structuralism in the 1960s to Deleuze and Guattari's ethico-aesthetic constructivism of the 1970s and 1980s. This is shown to culminate in a biopolitical critique and decoding of philosophy, which is part of the unfolding of a transdisciplinary research programme where art is seen to come ontologically ahead of philosophy.

The Politics of Orientation provides the first substantial exploration of a surprising theoretical kinship and its rich political implications, between Gilles Deleuze's philosophy and the sociological systems theory of Niklas Luhmann. Through their shared theories of sense, Hannah Richter draws out how the works of Luhmann and Deleuze complement each other in creating worlds where chaos is the norm and order the unlikely and yet remarkably stable exception. From the encounter between Deleuze and Luhmann, Richter develops a novel take on (...) postfoundational ontology where subjects and societies unfold in self-productive relations of sense against a background of complexity. The Politics of Orientation breaks and rebuilds theoretical alliances by reading core concepts and thinkers of Continental Philosophy, from Leibniz to Whitehead and Marx, through this encounter. Most importantly, the book puts Luhmann and Deleuze to work to offer urgently needed insight into the rise of post-truth populism. In our complex democratic societies, Richter argues, orientation against complexity has become the ground of political power, privileging the simplistic narratives of the populist right. (shrink)

'A Differential Play of Forces' is a study of transcendental empiricism in musical contexts. It presents a reading of Gilles Deleuze and Félix Guattari’s philosophical apparatus and explores how music can be thought of as functioning in the operation Deleuze terms transcendental empiricism. Central to transcendental empiricism is the idea of an encounter with intensive difference and the consequent experience of intensive and virtual forces. The thesis sets out to explore this idea in three interwoven steps. First, it develops transcendental (...) empiricism as a philosophical framework, expounding central notions related to time and aesthetic experience. In the context of this philosophical apparatus, music is then discussed as an encounter with intensity and what this may entail for our understanding of musical experience and its potential. The third part of the thesis explores the idea of experiencing intensive forces through music in the thinking and poietic of three composers of the twentieth century: Arnold Schönberg, Olivier Messiaen and Giacinto Scelsi. The thesis develops three ‘images of thought’ corresponding, respectively, to the composers’ expressed theoretical ideas, identifying central concepts from Deleuze and Guattari’s philosophy. A mutual illumination of ideas about music and transcendental empiricism is thus presented, pointing towards a possible convergence between theory and practice, thinking and aesthetic experience as a differential play of intensive forces. (shrink)

Deleuze and Guattari’s thought on remainders of childhood has proven its worth for educational theory and philosophy. However, thus far the discussion has not paid much attention to their notion of infantilization, which reveals a new dimension of their understanding of childhood. In this article, I develop both their concept of becoming-child and their concept of infantilization. This allows for thinking the remainders of childhood as inherently risky and ambiguous. I argue that this new understanding does not only paint a (...) more complete picture of Deleuze and Guattari’s theory of childhood, but is also better equipped to evade two dangers already identified in the Deleuze and Guattari scholarship: the romanticization of childhood on the one hand and the risky proximity of becoming-child to the acceleration of consumerist capitalism on the other hand. (shrink)

Postmodern culture is usually defined as an age of mechanical reproduction and mechanical degeneration characterized by the eradication of performative aura. This article argues that a crucial distinction should be made between the `anti-auratic' arguments of mainstream 20th-century cultural theory (discussed here in terms of the writings of Benjamin, Baudrillard and Virilio), and the regenerative auratic tradition in 20th-century avant-garde performance (discussed here in terms of the successive explorations of the multimediated body in the work of the Italian Futurist Marinetti, (...) the French sound poet Henri Chopin and the Australian cybernetic body artist, Stelarc). If Baudrillard's and Virilio's most extreme hypotheses argue that postmodern technology reduces the body to the condition of the handicapped, Marinetti, Chopin and Stelarc all demonstrate how technological modifications of the body reinforce the impact of installation art and performance art exploring (and manifesting) individual identity. Significantly, the most interesting subtexts in Benjamin's, Baudrillard's and Virilio's arguments all qualify their accounts of the alleged `death' of aura, and in Baudrillard's case now emphasize the ways in which photography `rediscovers' aura. (shrink)

Deleuze's relationship to Kant is intricate and fundamental, given that Deleuze develops his transcendental philosophy of difference in large part out of Kant's work. In doing so he utilises the moment of the sublime from the third Critique as the genetic model for the irruption of the faculties beyond their capture within common sense. In this sense, the sublime offers the model not only for transcendental genesis but also for aesthetic experience unleashed from any conditions of possibility. As a result, (...) sensation in both its wider and more specifically artistic senses (senses that become increasingly entwined in Deleuze's work) will explode the clichéés of human perception, and continually reinvent the history of art without recourse to representation. In tracing Deleuze's ‘‘aesthetics’’ from Kant we are therefore returned to the viciously anti-human (and Nietzschean) trajectory of Deleuze's work, while simultaneously being forced to address the extent of its remaining Idealism. Both of these elements play an important part in relation to Deleuze's ‘‘modernism’’, and to the discussion of his possible relevance to contemporary artistic practices. (shrink)

Felix Guattari was a modernist. He not only liked a lot of modernist artists, but his ‘aesthetic paradigm’ found its generative diagram in modern art. The most important aspect of this diagram was its insistence on the production of the new, the way it produced a utopian projection of a ‘people to come’, and so a politics whose only horizon was the future. Also important for Guattari's diagram of the ‘modern’ were the forces of abstraction, autonomy and immanent critique. Together (...) these elements construct an artwork that is radically singular and separate, composed of a-signifying, a-temporal and invisible forces, sensations that go beyond our human conditions of possibility. In this Guattari's modernism must be understood as being quite different from his co-option by contemporary art theorists influenced by post-Operaist thought. Post-Operaism understands politics as ‘being-against’, a dialectical form of negation that finds its political condition of possibility in what already exists. Because such thought sees modern art as being entirely subsumed by the institutions and markets that contain it, art itself must be negated in order for aesthetic powers to become political. This has lead post-Operaist thought to align itself strongly with the avant-garde positions of institutional-critique and art-into-life, or ‘non-art’. Guattari's modernism takes him in a very different direction, affirming modern art despite its institutional enframing, because art is forever in the process of escaping itself. This makes modern art the model in Guattari's thought for politics itself. (shrink)

This paper seeks to analyze the construction of ethics in sexuality research in which qualitative methods are employed in the field of social sciences. Analyses are based on a bibliographic review of current discussions on research methods of queer theory and on the authors' own experiences of past research on sexuality. The article offers a theoretical perspective on the ways ethnography and in‐depth interviews become methods that can rely on a consensual method and create a politics of intimacy between the (...) researchers and research participants. The politics of intimacy may contribute to the production of a politically engaged knowledge while escaping from the moral matrix that usually governs the relationship between researchers and research participants. It is argued here that the researcher's sexed and gendered body matters for fieldwork; that the consensual method among participants may be employed in sexuality research as a fruitful tool; and that the relationships created among researchers and participants can pose a challenge to predetermined ethical guidelines in research. As a result, discussions problematize the existence of a politics of intimacy in sexuality research that is characterized by ethical relations among research participants. (shrink)

Academics from diverse disciplines are recognizing not only the procedural ethical issues involved in research, but also the complexity of everyday “micro” ethical issues that arise. While ethical guidelines are being developed for research in aboriginal populations and low-and-middle-income countries, multi-partnered research initiatives examining arts-based interventions to promote social change pose a unique set of ethical dilemmas not yet fully explored. Our research team, comprising health, education, and social scientists, critical theorists, artists and community-activists launched a five-year research partnership on (...) arts-for-social change. Funded by the Social Science and Humanities Research Council in Canada and based in six universities, including over 40 community-based collaborators, and informed by five main field projects, we set out to synthesize existing knowledge and lessons we learned. We summarized these learnings into 12 key points for reflection, grouped into three categories: community-university partnership concerns, dilemmas related to the arts, and team issues. In addition to addressing previous concerns outlined in the literature, we identified power dynamics hindering meaningful participation of community partners and university-based teams that need to be addressed within a reflective critical framework of ethical practice. We present how our team has been addressing these issues, as examples of how such concerns could be approached in community-university partnerships in arts for social change. (shrink)

The TGarden is a genre of responsive environment in which actor–spectators shape dense media sensitive to their movements. These dense fields of light, sound, and material also evolve according to their own composed dynamics, so the agency is distributed throughout the multiple media. These TGardens explore open-ended questions like the following: what makes some time-based, responsive environments compelling, and others flat? How can people improvise gestures without words, that are individually or collectively meaningful? When and how is a movement intentional, (...) or collectively intentional? This paper introduces what has been at stake behind the experimental work: subjectivation, moving from technologies of representation to technologies of performance, and the potential for ethico-aesthetic novelty. (shrink)

This paper takes Deleuze's idea ‘to green’ as a qualitative predicate which becomes a rhizomatic event where Jesper Hoffmeyer's ‘plant being’ contemplates through waves and rhythms, hence affects and percepts. The article then brings forward an intertwined group of Chinese ideograms which are designed with plant-radicals, making up an ecosystem towards the establishment of a new Chinese ecocriticism under the banner of biosemiotics. Such an effort will, hopefully, widen the scope and dimension of the new field of environmental humanities, with (...) an emphasis on the scenario of affective attuning to the agency of vegetal life. The main purpose is to put Deleuze and Guattari's form-event assemblage within the stratification of regimes of signs in A Thousand Plateaus, in order to establish a ‘natureculture’ continuity not only between science and art, but also between a Western rethinking of language/culture and a Chinese ecosystem/ecocriticism. (shrink)

Deleuze and Guattari’s Thousand Plateaus includes some useful concepts to understand technologies and their relations to humans as individuals and as a society. This article provides an introduction to their notions of machine and becoming and places them in the context of technological use in general, with a special focus on the cellphone. The concept of machine exceeds the technological context, yet it can be still relevant to technologies, especially digital ones. The concept of becoming assists in better understanding co-shaping (...) processes in which a technology and its users change in tandem. Becoming is analyzed as a set of five characteristics: [1] transduction, a change process in both the user and the technology; [2] rhizome, no starting or end point; [3] molecularity, small movement or change that can create a big difference; [4] partial simulation, creating a non-identical copy; and [5] anti-memory, forgetting the past. Based on this analysis, the concept of becoming-mobile is introduced as a new way of understanding the interrelations between humans and their cellphones. Becoming-mobile can be further developed either with Deleuze and Guattari’s own concepts such as nomadicism or with “external” concepts such as postphenomenology’s embodiment and new mobility studies’ virtual mobility. Machine, becoming, and becoming-mobile address some basic questions in philosophy of technology, thereby enabling us to refer to Deleuze and Guattari as philosophers of technology. (shrink)

:Masculinity studies recognizes that masculinity is culturally variable, historically specific, multidimensional, and multiple. This mutability is reflected in concepts like hegemonic masculinity, hybrid masculinity, mosaic masculinities, personalized masculinities, sensual masculinity, and inclusive masculinity. Building on this idea of mutating masculinity, this paper addresses a theoretical problem acknowledged by many scholars: how to account for both the singular intimacy of lived experience and the commonality of shared social norms. In order to build a mutable model that encompasses both experience and norms (...) the paper borrows from Félix Guattari's technique of schizoanalytic cartography, which maps assemblages. This new approach to theorizing masculinity is illustrated by diagrams which map its institutional, discursive, cultural, existential, bodily, and biological aspects. (shrink)

The mass popular dissent which has marked the early twenty-first century, from al-Qaeda to the Arab Spring to the Occupy movement, can be read as expressions of collective, subjective, existential mutation. This reading is inspired by Félix Guattari, who described the 1979 Iranian revolution, the Polish Solidarity movement and the 1989 Chinese student demonstrations as demands for subjective singularisation. In each of these examples of social discontent, past and present, demands vary widely even within the same movement, spanning economics, lifestyle, (...) religion and politics, and ranging from cries for liberation to conservative returns to ancient tradition. In order to perform a schizoanalysis of such amorphous movements, Guattari developed a four-part ecosophic object, composed of existential Territories, Universes of value, material-energetic Flows and machinic Phyla. Assemblages can be dynamically mapped along these four dimensions. Of crucial importance in the age of extreme deterritorialisation is the existential Territory, which could potentially take the form of a homeland based on poetry or music rather than on ethnicity or even place. Such portable homelands would characterise the dissensual processual post-media era for which Guattari longed. (shrink)

Arguably, two of the most important forces affecting contemporary global culture are the growing awareness of ecological crises and the rapid spread of digital media. Félix Guattari's unfinished concept of ecosophy suggests the basis of a theoretical framework for constructing productive syntheses between the ecological and the digital. Moreover, a Guattarian rethinking of the ecological turn in the humanities challenges the philosophical basis of the pedagogy of Nature appreciation that has characterised the eco-humanities landscape since the 1970s. Guattari's ecosophy gestures (...) towards a transversal eco-humanities, which would be rhizomatically rooted in autopoiesis and becoming-other, rather than defined by static allegiance to the ideals of ‘Self-realisation’ postulated by the deep ecology movement. (shrink)

Starting from the famous statement by Deleuze and Guattari in What Is Philosophy? that ‘[i]mmanence can be said to be the burning issue of all philosophy’, this article explores their claim of an ontology of immanence and/as relational ontology in quantum terms. The theme of this special issue allows for a rereading of the terminology of different/ciation, which Deleuze developed in ‘The Method of Dramatization’ and Difference and Repetition, and I here relate it to the question of consistency of the (...) plane of immanence, such as it is emphasised in the later work of Deleuze and Guattari. The article exemplifies the significance that the early issue of ‘dramatization’ as different/ciating passage has on an adequate understanding of both ‘immanence’ and ‘becoming’, and it shows their in/seperability for a relational ontology as onto-ethology. By making the Deleuze-Guattarian immanence resonate with Barad's agential realism, the article zooms in on the specific quality of the ‘passage’ in order to do justice to the claim of a ‘mature’ philosophy that thinks immanence as immanent only to itself. (shrink)

The essay presents a novel theory of meaning-as-response inspired by the pragmatist cultural historian Morse Peckham in the mid-twentieth century. This approach is useful here in consideration of how artistic behavior can make a difference in technical culture and in relation to innovative technical practices. Continuing from Félix Guattari's notion of the machine as a partial object, this essay examines the essentialist idea of computational machines as creative collaborators which haunts the model of interaction prevailing today. Following this negative critique, (...) the essay advances a positive approach emphasizing partiality in experimental design practices as a step toward a renewed art of living. (shrink)

In view of the philosophical problems that vex the debate on situated affectivity, it can seem wise to focus on simple cases. Accordingly, theorists often single out scenarios in which an individual employs a device in order to enhance their emotional experience, or to achieve new kinds of experience altogether, such as playing an instrument, going to the movies or sporting a fancy handbag. I argue that this narrow focus on cases that fit a ‘user/resource model’ tends to channel attention (...) away from more complex and also more problematic instances of situated affectivity. Among these are scenarios in which a social domain draws individuals into certain modes of affective interaction, often by way of attunement and habituation to affective styles and interaction patterns that are normative in the domain in question. This can lead to a phenomenon that is not so much ‘mind extension’ than ‘mind invasion’: affectivity is dynamically framed and modulated from without, often contrary to the prior orientations of the individuals in question. As an example, I discuss affective patterns prevalent in today’s corporate workplace. I claim that workplace affect sometimes contributes to what is effectively a ‘hack’ of employees’ subjectivity. (shrink)

We introduce the working concept of “affective arrangement.” This concept is the centerpiece of a perspective on situated affectivity that emphasizes relationality, dynamics, and performativity. Our proposal relates to work in cultural studies and continental philosophy in the Spinoza–Deleuze lineage, yet it is equally geared to the terms of recent work in the philosophy of emotion. Our aim is to devise a framework that can help flesh out how affectivity unfolds dynamically in a relational setting by which it is at (...) the same time modulated in recurring ways. With this orientation, this article contributes to the interdisciplinary study of situated affectivity and to the theoretical and conceptual unification of distinct strands of research from several disciplines. (shrink)

About 20 years ago, the ecology of media art practices proliferated in two domains: those that attached themselves to high technology labs or companies like Xerox PARC, and those that took advantage of personal computing to form collectives only loosely coupled to academic institutions or disciplines. In this essay, I closely examine the diverse epistemic cultures and diverse technical, political, and generational interests in such “cyber-anarchist” networks. I sketch the economy of knowledge in recent media arts and technology communities of (...) practice in the wake of Open Source. I use as my lens the experience of creating a responsive media space called the TGarden, with a collective that gathered more than 26 artists and engineers from 11 institutions and 7 nations. (shrink)

Professor Bogue is one of the major commentators on Gilles Deleuze, whose philosophical legacy constitutes an important influence on my scholarship. I am grateful to Bogue for acknowledging my usage “of Deleuze, and of so many other thinkers across a host of disciplines, [as] intriguing and powerful”. My book not only aims to demonstrate that Tarot represents edusemiotic pedagogy, but also to achieve a new understanding of its functioning. Early in the Prologue I quote Gettings (1973): “no-one has ever been (...) able to explain how it works”. So, while the value of Tarot in terms of being a counseling tool or educational aid was addressed in the prequel called Re-Symbolization of the Self, its naturalistic grounding becomes fully explicated in the present book. And this is what faces Bogue’s criticism who objects to my use of the word natural arguing that Deleuze emphasized “unnatural participation”.Precisely: a semiotic perspective problematises nature as reduced to its classical descripti .. (shrink)

This essay pursues Gilbert Durand’s plea for a new anthropological spirit that would overcome the bureaucracy-or-madness dichotomy which has since Nietzsche left its imprint upon contemporary thought, forcing it to choose between an “Apollonian” ontology established upon some kind of first principle and a “Dionysian” ontology consisting in the erasure of any founding norm. It does so by reclaiming Dionysus and Apollo’s original twin-ness and dual affirmation in dialogue with contemporary anthropological theory, especially Roy Wagner’s thesis on the interplay of (...) “elicitation” and “containment” in sociocultural life. What would happen then, I ask, if we were to reimagine today’s philosophical game – which after Heidegger Deleuze, and Derrida turns variously and increasingly around subtraction – otherwise: as a chiastic board on which Apollo would cut Dionysus’s continuum, which Dionysus would in turn restore despite Apollo’s cuts, and on which the obliteration of any of the two gods would entail the inevitable dismemberment of the other? Accordingly, I offer a full reassessment of Dionysus’s and Apollo’s complementary roles in ancient-Greek culture in discussion not only with Nietzsche’s Dionysian philosophy but also with Ihab Hassan’s postmodern critique of Orpheus. All of it less with the purpose of putting forward a new metaphysics than with the intent of restating the translucent-ness that keeps together reality and thought against any claim that they are either transparent or opaque to one another. (shrink)

Engaging with the specific ways current media technologies interact with, or directly access the human body, we suggest developing a ‘symmetrical’ theory of touch. Critically referring to Bruno Latour’s invocation of ‘symmetrical anthropology’, we reconsider tactile agency as ‘technological agency’, arguing that the concept of touch – traditionally viewed as an exclusively human ability – should be extended to non-human actors and analysed in view of the cultural logic of capitalism. Its systematic focus, then, is on the productive intersections and (...) contact zones between biology and technology: from phenomena of non-human touch in industrial production to the material touching taking place in the instrumental grasp on the living in the 19th-century physiological laboratories and the invisible operations of tracing, tracking and sensing taking place in the technological milieus of today’s environments. In highlighting the tactile dimension of digital modernity and its economic genealogies, this article aims to advance a combined concept of human and non-human touch which provides a crucial angle for reconsidering bodies and technologies in the age of ubiquitous computing. (shrink)

We adventure becomings-Merry Pranksters with Félix Guattari on Ken Kesey's magic bus to resonate the group's transversality that we already affect subjunctively, individually and plurally from which our subjectivities crystallise collectively and independently with intensive-extensions to go viscerallectric and fractalactic. Yet in-process, before our consciousnesses go motored, we swim with jet streams of both Guattari and transversal poetics to navigate subjective affects by which wilful parameterisations achieve desirable eventualisations.

This paper suggests that the imbrication of user-friendly software and the posthuman has increasingly been revealed as an intrinsically arborescent relationship, one premised upon the striation of personal information through different forms of software media and allowing for unprecedented avenues of control and subjective manipulation. My analysis begins with a conceptualisation of user-friendliness, tracing its development as the majoritarian style of software design. In assessing the effects of this process of subjective imbrication with arborescent software technology, it is suggested that (...) one effect of the pathological asignification of instrumentality in the representation of software is the genesis of a topological space which allows for a capacity for control over the subjective becoming of others through control over digitally mediated perception. To illustrate this point, the revelations concerning Cambridge Analytica's use of targeted advertisements on Facebook to affect voting preferences during the 2016 American presidential election are examined as an example of the quotidian domination which is characteristic of the subjective condition of arbormosis. This analysis can be applied to issues of gender, technology, and modes of subjective control. (shrink)