Principles of design composition are commonly understood to pertain to geometrical systems for arranging parts in assembling a formal whole. Connection to socio-cultural 'meaning' and relevance arguably occurs primarily via the assumed divinity or universality of these systems. In the contemporary architectural world, where explicitly held beliefs in fundamental, geometrically defined principles or values have dissipated, guiding principles of composition appear to be obsolete. This seems particularly true in relation to work that highlights process - or change, responsiveness, interactivity and (...) adaptability - since this implies that the composition remains in flux and unable to be grounded in the composition of form. While processually inflected architecture (referred to here as 'processual architecture'), has been an active field since at least the 1960s, it has been significa ntly developed since design experiments involving digital computation intensified in the 1990s. For this field of work, both highly celebrated and criticised as superficial or unethical, any connection to 'meaning' or value that might be offered by principles of composition would appear especially lost. This thesis reviews, counterpoises and reorients these assumptions, arguing a case for the value of processual architectural that has not been previously articulated. After the last 10 to 15 years of digital experimentation, it is clear that digital technology in itself is not the primary issue, but simply part of a complex equation. The thesis articulates this 'equation' through the model of emergence, which has been used in the field with increasing prominence in recent years. Through both practice-based research and theoretical development, a processually inflected theory of composition is proposed. This offers pathways through which the potential of processual architecture might be productively developed, aiming to open this field of work into a deeper engagement with pressing contemporary socio-political issues. The thesis demonstrates how the cultivation of particular modes of attention and engagement, found to hold an implicit but nevertheless amplified significance within processual architecture, make it possible to develop an embodied awareness pertaining to an 'ethico-aesthetic know-how'. This know-how is acquired and matured through attention to the affective dimensions that arise through design activity. The thesis highlight aspects of design process and products that are routinely suppressed in architectural discourse, generating new insights into the importance of affect for design process, design products and the relations between them. The ethical dimensions of such an approach become especially poignant through the explicit connection made between design activity and the practices of everyday life. Relationships between architecture and the social become re-energised, in a radically alternative manner to the social agendas of modernism or the more literary critiques of post-modernism. Through detailed discussions of the specific, local conditions with a series of design projects I have undertaken, I argue how and why close attention to the affective dimensions of design process offers new and productive ways to approach research through design practice. This offers a response to the calls for new 'post-critical' forms of research through empowering both sides of a previously held divide: theory and practice. (shrink)

Animals populate our artistic and philosophical discourses in critical ways. From Jacques Derrida's or Karen Barad's cat, to Donna Haraway's dog, to the fish in Lucien Castaing-Taylor and Véréna Paravel's Leviathan, these animals feature heavily in discussions regarding limits – the limits of the human and thus its relation with non-humans, but also the limits of knowledge itself. Cute or dangerous, real or fantasised, dead or alive: in this article, I juxtapose the various ways that such animals confront us with (...) what Jacques Derrida describes as “the point of view of the absolute other”. Similarly, recent texts stage encounters with animals – thus distributing agency towards a larger variety of beings, carving out space for a previously excluded non-human other. Yet these encounters are mediated in profoundly different ways. In researching how encounters with the animal are differentially inflected and “defracted” respective to the medium in which they are staged, this article invokes questions of form and style within the critical dialogue that attempts to centre non-human animals. Highlighting how formal decisions are not accidental, but rather integral, to the praxis of the philosophy of animality, this article aims to draw attention to how specific forms and styles allow for a moment of contact with a non-human other. To this end, this article examines three oft-cited encounters: Derrida's encounter with his cat, an intense stare with a fish in Leviathan, and Barad's inflection of Schrödinger's cat. This juxtaposition gives insight into the limits of certain styles of producing thought and critically reflects on these works in their discussion of non-human life and agency. (shrink)

This article searches for a way of theorizing the interconnectedness of processes of individuation, relationality and affect, with the aim of clearing the ground for an approach that establishes the basis of this interconnectedness by reference to mechanisms common to all living things. It establishes a number of shifts that enable us to think the categories and concepts like the individual, the subject, the group, the threshold, relationality, co-implication and so on according to a fundamental decentring, finally breaking with both (...) subject-centredness and its privilege of the individual as model or starting point; the same epistemological shift implies the rejection of the anthropocentric divide between humans and animals, while avoiding species of sociobiologism, pre-formationism, geneticism and other monocausal paradigms. What the new problematic of life enjoins us to rethink are the standpoint of singularity rather than that of the individual, coupled to the standpoint of relationality as a principle enabling us to think the self—other, human—animal, nature—culture and human—world in terms of compossibility and complex becoming. This view about the co-constitution of all life has major implications regarding responsibility for the other and responsibility for the world, grounded in the standpoint of the temporality and historicity of being as existential condition circumscribing the relation to the other. This shift at the level of ontology is explored via an engagement with the work of Simondon and his conceptual apparatus, particularly ideas of psychic and collective individuation, the pre-and transindividual, the associated milieu; this perspective is re-articulated by way of the work of Merleau-Ponty, Haraway’s notion of ‘companion species’, Ettinger’s concept of the ‘I—other plurality’, and cognate concepts that point to a new terrain for theorizing affect. (shrink)

J. L. Austin's claim that language ‘used not seriously’ is ‘parasitic’ upon ‘normal use’ has proved a puzzle to literary scholars, who have often taken this to mean that they are not allowed to apply the insights of speech-act theory to their own object of research. This article explores how, when read together, Michel Serres’ definition of the parasite as a ‘thermal exciter’ and Deleuze's concept of ‘minor literature’ bring out the hidden potential inherent in Austin's claim. More specifically, the (...) article argues that Austin's reference to literature as a parasitic entity might become a promising conceptual gift, allowing us to generate a new model for approaching the world-shaping potential of literary texts. (shrink)

In this article, I analyse line-rendering techniques in drawing and choreography, based on a Deleuzian framework. This pragmatic approach for understanding affect emerges in three distinct formulations. The first engages the coincidence of drawing and choreography at the limit of reach; the second investigates how trace and movement generate different yet mutually resonant versions of semblance. The third framework considers the potential for improvisation in the irreconcilability of contour and surface in the weighted line. These three framings generate an experimental (...) milieu in which I articulate the co-emergence of thought and feeling in relation to relevant concepts of the body and affect. In activating affective intensity in different line-rendering operations, this analysis traces the way that affects help to modulate tendencies of moving, feeling and thinking over a series of operations. (shrink)

From Peirce, a sign represents something other than itself, an object, for some third; from Deleuze, a sign can create and erase an object, for some third. He makes this claim in the cinema books, without detailed explication. It is a fleeting reference to the Peircean triad developed in his semiotics; moreover, references to “objects” in Deleuze’s discussions of signs in his other work are often generic. In this essay, I explain what it means in Deleuze’s semiotics for a sign (...) to create and erase its object. My method is to use the perspective of the object in the semiotic triad to compare Deleuze and Peirce’s semiotics. Deleuze’s sign that creates and erases its object marks a clear departure from Peirce’s semiotics. For Deleuze, like Peirce, an acquaintance with the object independent of the action of the sign is necessary for semiotics. Of most significance is that for Peirce, thinking with signs necessarily involves modifying prior knowledge of the object – meaning one’s conception of the object is a version of what was already known; while for Deleuze, thinking with signs can involve producing ideas at a second remove from the object – in turn, creating and erasing new object(s). Ultimately, this essay contributes to research on Deleuze’s cinema books by undertaking a detailed reading of a part of his discussion that has not been analyzed. Furthermore, in producing Deleuze’s concept of a sign that creates and erases its object, this essay reminds us how we think – andcouldthink – with signs, reaffirming the importance of semiotic analysis for discussion about thinking with signs. Finally, this essay contributes to scholarship on Deleuze’s and Peirce’s semiotics. (shrink)

The primary aim of this article is to bring the work of Deleuze and Guattari to bear on the question ofcommunication in the classroom. I focus on the mathematics classroom, where agency and subjectivity are highly regulated by the rituals of the discipline, and where neoliberal psychological frameworks continue to dominate theories of teaching and learning. Moreover, the nature ofcommunication in mathematics classrooms remains highlyelusive and problematic, due in part to the distinct relationship the discipline has with verbal language and (...) thought. I first discuss current attempts to better address the embodied nature ofcommunication in mathematics classrooms, and argue that these remain overly logo-centric and language-centric in their conception of thinking. I then show how the work of Deleuze and Guattari on thought as a radical disruptive event can be used effectively to critique current pedagogical practices that privilege a narrow conception of communication in the classroom. I examine a set of exemplary classroom videos used in mathematics teacher education to argue that the current approach fails to honor the highly creative and disruptive nature ofthinking. (shrink)

Reconceptualist and post‐reconceptualist curriculum scholars have drawn upon the notion of a complicated curriculum conversation as a means to describe the imbricated, pluralist, and eclectic character of curriculum theorizing. Insofar as this curriculum conversation is accomplished via language however, it remains wed to a particular representational logic restricting what might be thought. This essay explores the question of what it means to theorize curriculum when the very idea of a complicated curriculum conversation begins to fall into cliché. Mobilizing the philosophical (...) thought of Gilles Deleuze, this essay analyzes three representational commitments of contemporary curriculum theorizing, addressing how each are inadequate for the theorization of difference or the instantiation of the radically new. Against the implicit commitment to conformity alive in the curriculum field, this essay posits an ethics of disidentification exemplified via Bruce McDonald's horror film Pontypool. It is via such a tactic of productive disidentification, this essay claims, that thought might be unfettered from the orthodoxies of common sense, becoming in this way more adequate for opening spaces unanticipated by contemporary representational regimes. (shrink)

This paper juxtaposes Deleuze's notion of the virtual alongside Oyama's notion of a developmental system in order to explore the promises and perils of thinking bodily identity as indeterminate at a time when new technologies render bodily ambiguity increasingly productive of both economic profit and power relations.

This article puts forward the notion of animistic design as an uncertainty-driven strategy to reimagine human–machine interaction as a milieu of human and nonhuman. Animistic design is suggested as capable of fostering affects, sensibilities and thoughts that capitalize on the uncertain, the unpredictable and the nonlinear, and their capacity to trigger creative pathways. Informed by post-human philosophies, theories of mediation and materiality, as well as by affect, agency and aesthesia, animistic design eschews the anthropomorphic and the cute playfulness often associated (...) with animism. Instead, it proposes a practical–theoretical framework to articulate the nexus of digital innovation, interaction design practices, technical materialities and affective responses already emerging in the digital cohabitation of the human and the nonhuman. Using a ‘research through making’ approach, the article describes in detail a series of animistic design experiments and prototyping methods that explore ways of rethinking interaction as an open-ended and creative enterprise. Animistic design offers an investigative strategy that exploits degrees of collaboratively curated uncertainty and unpredictability to imagine forms of digital interaction, and to engender creative human–nonhuman relationships within a given digital milieu. (shrink)