=) 3C Wo łodźko 18/05/2017 14:30 –15:0 0
Abstract In the following paper, by asking about the methods of practicing affect, I am focusing on what can be called the pedagogies of affect. I am transversally following Gilles Deleuze’s notion of pedagogy of concept that he defined with Félix Guattari as ‘the conditions of creation as factors of always singular moments’ (What Is Philosophy?). To learn about the pedagogy of affect would be thus to learn the condition of how affect is produced, how it functions and what its implications are. Importantly, as that which is considered as singular moment, beyond categorization, it demands a different logic of thinking. To learn how to learn is a question of creation, of production of the new in a way that would capture the intensity of the moment. It is a paradoxical process indeed: how to capture that what cannot be captured? How to learn what cannot be learned but only experienced in a moment? Using the example of bioart I will discuss how it forces the new material microbiopolitics of our multibodies that practice moments of transformative encounters. The paper draws arguments from the recent launching of the first Dutch Fecal Bank that is to allow for a more persistent treatment of fecal microbiome transplantation. However, rather than calling for a more symbiotic and nonanthropocentric thinking, our relationship with microbiome is usually described in terms of ‘super-organization’ that perpetuates the power of fixed categories and hierarchies between bodies. Using the example of the bioart work Microbiome Security Agency (2015), I will discuss how bioartists practice the relational understanding of microbiome that focuses on transversal conditions to create and generate the new. The question of conditions focuses on how to resist the logic of signification by creating new concepts rather than perpetuating old hierarchies. Art working with living materialities and agencies gives a new understanding that what matters is continuous experimentation with the body but not in order to achieve more control, but rather to allow for speculation and attentiveness to bodies’ difference. In the following paper, I will discuss how within their speculative approach bioartists exercise such questions as: how can we know what the body is when the material reconfigurations change; and how do our practices transform our presuppositions and knowledge?
53 / 70