This article explores the contemporary ‘symptomatic’ position of radically excluded social groups through a critical engagement with the work of Žižek, Deleuze and Guattari. It begins with a presentation and critique of Žižek's theorisation, arguing that while he correctly perceives the symptomatic status of certain social groups and issues, his approach is insufficiently radical because of its reliance on inappropriate structuralist assumptions and metaphysical negativity. It then compares this theory to Deleuze and Guattari's theory of minoritarianism, viewed as a similar (...) attempt to engage with the symptomatic effects of exclusion. A political trajectory is derived from Deleuze and Guattari's theory which reconceives the politics of the excluded in terms of emancipatory lines of flight rather than gestures of identification. The article then explores social movements arising from the growing phenomenon of global exclusion in neoliberalism, looking at examples such as Somalia and Bolivia, and proposing autonomy and networked approaches to social life as responses to exclusion which reconfigure social space in affirmative ways. (shrink)

Constellations, Volume 28, Issue 3, Page 350-367, September 2021.

In answering the question “who is the subject of music,” we argue that it is a subject of excess and emergence, and we rely on the definition and development of these terms by Žižek and Björk. Such a subject is movement and activity; it exceeds the experiences, objects, others and symbolic order that make it who it is; and it emerges through desire and drive, and resonance and animation. We open with a brief discussion of Žižek’s subject of excess, which (...) we then relate to his approach to subjectivity in music. After an analysis of Björk’s music, centered on the piece “Black Lake” and from a perspective informed by Žižek’s account of subjectivity, we shift our attention to Björk’s thoughts on music in order to find elements that allow for the development of a subject of emergence. While the elements of excess and emergence are present in both accounts of the subject, Žižek’s and Björk’s respective focus on one of these concepts allow us to develop a fuller picture of subjectivity, particularly but not exclusively as it is engaged with in musical activities. (shrink)